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; Aaron Fisher; Stars=Eric Roberts; Countries=USA; 2020. Inside the rain. Inside the rain movie cast. Inside the rain bipolar movie. Inside the rainforest. Damn, Han Solo lost some years and Chewie lost some, bad cgi.

2 wins & 3 nominations. See more awards  » Edit Storyline College film student Benjamin Glass (played by writer-director Aaron Fisher) has it all: ADHD, OCD, borderline personality. And he's also bipolar. But Glass is more than his diagnoses - he prefers the term "recklessly extravagant" -- and he's determined to prove his genius. When a misunderstanding threatens to expel him from college, Glass pushes back; he plans on recreating the incident on video, with the help of a moonlighting porn actress (Ellen Toland), to clear his name. But how will he raise the money for the film, when his parents dismiss the scheme as another manic episode? Inside the Rain is a wincingly funny rom-com-drama, anchored by off-kilter performances by co-stars Fisher and Toland. The colorful ensemble cast includes Rosie Perez as a tough love shrink, Eric Roberts as an unhinged film producer, and Catherine Curtin and Paul Schulze as the long-suffering parents. The ultimate underdog film and proof that if you believe in yourself, anything is possible. Plot Summary | Add Synopsis Details Release Date: 13 March 2020 (USA) See more  » Also Known As: Inside the Rain Box Office Budget: $1, 000, 000 (estimated) See more on IMDbPro  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia A patient of Dr. Holloway (played by Rosie Perez) is played by former world boxing champion Zab Judah, who appeared on set to the happy surprise of Rosie Perez, who is a boxing fan. See more » Frequently Asked Questions See more ».

Inside the rain kiss. This The Realest Fake Thing I've Ever Seen. Ha ha, his building is just labeled “Apartment Building”. Inside the rain release date. Inside the rain forest. Inside the rain trailer 2020. OHHH,its thatpsychopathguy. P. Inside the rain forest where no man has been. That forest is actually really creepy😂😂 but this sound is so nice😌 idk how people dont like rain.

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Who's Involved: Aaron Fisher, Rosie Perez, Eric Roberts, Catherine Curtin, George LaVoo, Ellen Toland, Paul Schulze, Donnell Rawlings Rating: N/A Runtime: 1 hr, 30 m Inside the Rain Official stills & photos 9 more Inside the Rain Plot: What's the story? College film student Benjamin Glass has it all: ADHD, OCD, borderline personality. And he’s also bipolar. But Glass is more than his diagnoses – he prefers the term “recklessly extravagant” -- and he’s determined to prove his genius. When a misunderstanding threatens to expel him from college, Glass pushes back; he plans on recreating the incident on video, with the help of a moonlighting porn actress (Ellen Toland), to clear his name. But how will he raise the money for the film, when his parents dismiss the scheme as another manic episode? Poll: Will you see Inside the Rain? Inside the Rain Cast: Who are the actors? Crew and Production Credits: Who's making Inside the Rain? A look at the Inside the Rain behind-the-scenes crew and production team. Inside the Rain Trailers & Videos Production Timeline: When did the Inside the Rain come together? On or about December 23, 2019 • The film was in Completed status. On or about December 23, 2019 • The film was in Completed status. On or about November 12, 2019 • The film was in Post-Production status. Questions: Frequently Asked About Inside the Rain.

Inside the rain review. Hell yeah helping for a year and a bit now. Found it on my old account then merged the 2. Inside the rain soundtrack. Inside the rain cast. We need some of those artificial rain clouds in Australia. Inside the rain aaron fisher. The first thing you notice about Rain Room, the sure blockbuster installation that opened at MoMA on Friday, is the tropical humidity. The second thing is the sound from hundreds of gallons of water pouring from an artificial ceiling. Finally, after your eyes adjust to the darkness, you actually see it: Rain Room, a 1, 000-square-foot space that’s in a state of perpetual downpour. Except you never get wet. Thanks to eight motion sensors installed above the space, the water pouring from the ceiling shivvers to avoid you as you move through the room, leaving you completely dry. The sensation of walking through a wall of water and staying dry is uncanny—and watching how people react is part of the fun. “Rain Room [pushes] people outside their comfort zones, extracting their base auto-responses and playing with intuition, ” explain its creators, the London technology and art collective rAndom International. “Observing how these unpredictable outcomes will manifest themselves, and the experimentation with this world of often barely perceptible behavior and its simulation, is our main driving force. ” The designers at rAndom International have spent the past three years developing the technology that powers the installation. Recreating rain, you see, isn’t as easy as it sounds. Water dropping from twenty feet above feels very different than rain dropping from clouds thousands of feet overhead, for example. And circulating thousands of gallons of water through public space has its own unique sanitation issues. To deal with both hurdles, MoMA’s team built Rain Room its own building, wedged into an empty lot next door to the ill-fated American Folk Art Museum. The artists, for their part, have stayed mum on the specifics of the technology—they argue that it’s all part of the magic. Rain Room is the kind of installation that museums dream of: wonderfully experiential and accessible to almost every sort of audience, with a New Aesthetic street cred to back it up. Like New Museum’s Carsten Holler exhibit, or the Guggenheim’s (conceptual) trampoline, Rain Room is a taste of things to come for MoMA, which (like all museums) is struggling to reach new audiences and make the most of what it has. All of that aside, on a hot Sunday afternoon, Rain Room is hard not to love. Check it out until July 28. [ MoMA].

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‹Without Paying› The Grudge Watch Free

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Release Year 2020 / Horror / Nicolas Pesce / 4,2 of 10 Stars / Review The Grudge is a movie starring Tara Westwood, Junko Bailey, and David Lawrence Brown. A house is cursed by a vengeful ghost that dooms those who enter it with a violent death / One of the most under-rated movie in history. - Genial abuelo... This movie would've been a hit if it was released before 2005. This movie lacked freshness in terms of Horror or the Jump Scares. The acting is decent and because they stocked to the core plot and expanded it just a bit, this can be a good ending to the beginning of next part and this can be a definite Hit if it is executed well in the next part. That said the uneven screenplay and old routine jumpscares doesn't make this a good one. So, watch it if you don't mind starting your decade with an Okay-ish Film.

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The Grudge Watch free. Horrible experience. Very disappointed, should've watched IP Man 4. The grudge watch free. Entering house : Devil: Ain't funny stop this please this joke is so dry nothing funny and makes me think that someone with low intelect writing it. Well the first Grunge was set in Japan and was pretty spooky, this one looks like it will be too. Thought this one is spelled Grudge instead of Grunge but they both have those creepy people like characters in it. Watch the new grudge free online. I think this is hilarious! This is epic in my opinion. 😂. The Grudge Watch freedom.

Antlers trailer is amazing but The Invisible Man trailer gives away the entire movie #JasonTheWorldisYours.

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This movie comes out one week after Minions: The Rise of Gru, and that movie still doesn't have a trailer. What is going on. The only thing I liked in this movie is John Cho. He is so likeable and watchable. Everytime he shows up on screen, things get better and you immediately connect with him and whatever he's trying to do.
Other than that, this is a dull and unpleasent film. This franchise is known for in each movie having three different narratives all centered on the same house and at the end, all stories start to intervene together. That's what this movie does. When a movie does that right, we get a big twist reveal and payoff. But that's not the case in this movie. In the very beggining, we're told information about a couple of the different storylines and through the rest of the movie, it shows us how they play out. There's not a big twist reveal. It just shows us something that it has already told us. Because of that the movie has no tension. We just see the outcomes we already knew were going to happen.
Maybe that would've worked if the movie gave the characters compelling arcs. But instead, the movie gives the characters really depressing backstories, haunts them with ghosts and then brutally murders them. Now I understand that this is a horror movie. Obviously it's going to be very dark and it's going to have a lot of murder and death inside of it. But there's no character arcs here. There's not really any story here either. Stories have tension, back and forths, colflicts that have to be overcome and victories. Here everything starts bad and it gets worse as you go along in very unpleasent ways that are not remotely enjoyable at all.
I could forgive all of this if this worked as scary movie. But the movie doesn't work as a scary movie. The scares are just people walking down hallways, turning around and a face pops out on the screen. That's what this movie does. It's just a lot of jumpscares. It doesn't do anything new with the genre. It doesn't do anything new with the franchise. Even the kills themselves, half the time, it cuts away right as the kills are about to happen and when you do see the kills, it's just generic people getting scared and chrasing into something or they just jump of a building. Very simplistic, not interesting.
So you have a movie where you don't care about the characters, the stories they do tell are really unpleasent, there's no tension and payoff, the scares don't work and the deaths aren't cool. Put all that together and you have a dreadful movie with a very nice performance from John Cho.
3.3/10 you're not missing much and you can absolutely skip this one.

If the ghost isnt asian this movie will be a flop. The grudge watch it free. The Grudge Watch free mobile. All that I'm to do. The make up artist gets a F. Seems like some kind of blue powder was applied to her face and called it the day. The Grudge Watch free software. Isnt it supposed to be p.r.s project rising spirit not r.s.t.

Watch the new grudge free online 2020. Cant imagine what this movie would be like if she got Checkers or something. This is a nicely made and it just seems real is just my question with which computer program can this. The grudge watch online free. Kudos Omae wa SHIENDIRU. Growing through delusion from mania. The Grudge Watch. This movie is awful. It's already out here in Portugal and I watched it yesterday. It's totally derivative from the 2004 film, it even copies the messed up timeline from the original movie. It has no impact, there's not an ounce of creativity, it's not even entertaining. The characters suck, and what is John Cho doing in this? After Searching, The Exorcist and Twilight Zone, how can he star in such a bad movie? And I'm done with Lin Shaye. She gained popularity with her role in Insidious but every other movie that I've seen her in is absolutely terrible. The Grudge 2020 is a complete disaster, it's such a horrible mess. You'll find yourself gaping at the screen in horror for having spent your hard-earned money in this crap once the movie ends abruptly and the credits start rolling.

The first one came out the year I was born. That do not reply movie is the WHOLE movie I bet. I feel like “ Im not your sister Sadie” was like a big reveal scene. The Grudge was never that scary. Ju On on the other hand... The Grudge Watch free online. The Grudge camrip The Grudge download hd Watch The Grudge online at ultra fast data transfer rate Watch The Grudge movie cast.

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The Grudge Watch free download. The Grudge Watch freelance. Typically sequels are done because the audience will support it. And reboots because something can be improved. This movie offered NOTHING new, not in terms of story or of innovation. The acting was mediocre, like they knew this movie was going to be a flop. I'm baffled as to why John Cho accepted this role because he's better than this. Another thing that was really annoying was the timeline clashing with props. 2004-2006 timeline, with TVs and Cars from
The early 1980s. This made no sense. It was a mess. Don't waste your money. The grudge watch 2 for free.

 

21:17 me and my sister in the kitchen trying to fight over the last cookie at 3 AM. Surely Jason Reitman is above this.

 

 

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; runtime=104min; Country=France; Director=Ladj Ly; Giordano Gederlini, Ladj Ly; Assigned to work alongside unethical police veterans Chris (Alexis Manenti) and Gwada (Djebril Zonga) in Paris' Anti-Crime Brigade, Brigadier Stéphane Ruiz (Damien Bonnard) - a recent transplant to the working-class suburb of Montfermeil, where Victor Hugo wrote his famous novel Les Misérables - struggles to establish a working relationship with influential community leaders while attempting to maintain some semblance of peace between his disreputable team and the citizens of the local housing projects. When what should be a simple arrest goes tragically awry, the three officers must individually reconcile with the aftermath of their actions while angling to keep the neighborhood from retaliating with mob violence. Beginning as a Cesar-winning short film, the film was inspired by the 2005 riots in Paris. It was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival, where it won the Jury Prize (in a tie with BACURAU) and was selected as France's entry for Best International Feature Film at the 92nd Academy Awards.

I miserabili hugo. I miserabili torrent. I miserabili film 2019. I miserabili 1948. I miserabili rai 3. I miserabili film youtube. It would have been slightly better if the Japanese gentleman would have taken a bite out of a raw bell pepper after his line. I miserabili rai. I miserabili film 2012. Herkunft Info französisch misérable < lateinisch miserabilis = jämmerlich, kläglich, zu: miserari = beklagen, bejammern, zu: miser, Misere. I miserabili film. I miserabili pdf. An aside: For all the authenticity that film makers strive for in their films, through the right costumes, hair, make-up, even body-shape (thin, underweight or the opposite) especially in US films, the actors STILL keep their straight, gleaming-white teeth. There may be other actors, but, for instance, Steve Buschemi refused to get his teeth fixed because he thought beautiful, straight, white teeth just did not fit the character of whatever part he played. (And, yeah, I doubt anyone wants to see Anne Hathaway with ugly, blackened teeth which I'm sure would have been common back in the time the book/film is set in, so just an observation.

Is Hong Kong gonna have another Robespierre. Voilà le commentaire français que tu recherchais🇫🇷🇫🇷🇫🇷. I miserabili riassunto. 2019: Hong Kong and Chile😢 #StandWithHongKong. I miserabili victor hugo. I miserabili canzoni in italiano. I miserabili trailer ita. "Les misérables" is a new French film that runs for 105 minutes and this one is among the biggest players this awards season from Europe. This includes consideration by the Cannes Film Festival, the Golden Globe Awards and the Oscars as well as many other award ceremonies. I loved Tom Hooper's take on the subject from a few years ago, but this one here has nothing in common with that one. Both deliver for different reasons. If you know the traditional "Les Misérables" a bit, you will find some parallels, but if eventually there is nothing that clicks for you except that brief conversation in the car about Victor Hugo, Gavroche and Cosette, then that is fine too. One example for me here really was the parallel between Gavroche and Issa, with violence against both kids really causing everything to fall apart in an endless abyss of destruction. There are differences of course too as Issa is really injured and in danger of being killed by a lion even on one occasion, but he lives. But first things first: This Oscar-nominated movie was written (with others) and directed by Ladj Ly and for him it is a really special project because he grew up exactly where this film takes place, which may be the key reason why it felt very authentic. Another reason is that this is his first full feature film ever and that makes it even more special how well-received this one turned out. And what I personally like a lot is that Ly recast exactly these actors that appeared in a short film with the same title that Ly made initially before he turned it into a full feature film. I never really like if they replace actors, especially if the original ones are certainly good enough for this to become a satisfying outcome. And that is certainly true here. All the actors did a good job, not only the ones at the very center, but also every supporting player really and also the many child actors you will find in here, some of them even playing key characters, most of all the one I mentioned earlier already, but also the boy with the drone for example.
Like I wrote in the title of my review, this is a film that will totally have you on the edge of your seat from beginning to end. We have a guy who joins the police force in a part of France that really struggles a lot with all kinds of crime, almost all of these connected with immigrants (or at least people with a foreign background) and that involves drugs, prostitution and just violence in general. But there is also more exotic stuff as we find out here when there is a lion cub involved that is stolen from a circus. The two groups clashing over this issue seem really dangerous, but looking at how the film ends, there is definitely another really dangerous group that may initially have not seemed that way. I won't go any further into detail. You must experience that yourself. It is pretty shocking though how the violence escalates more and more and the police is not exactly helping it with how they act in here. We, the audience, are basically in the same spot like the male protagonist, the guy who joins the force, as we know nothing about his new squad, but find out more and more the more time we spend with the guys, the other two officers that is. There is that scene early on with the marijuana-smoking girl that is also featured in the title and already shows us about the aggression from both sides really, but if you thought that this is the one that escalates the most, think again. It was in retrospective even slightly funny how they here made us feel somewhat safe that a day of work is over and they are back at home all of them, the good guys and the bad guys, although this description is not too perfect because they did so well here with giving the characters realistic shades. The one who shoots the kid is really the best example how we see him cry at home and how he calmed that woman down earlier, so she lets him inside, almost trusts him. This is really a good movie, which is also shown by how well it delivers in terms of attention to detail. Just take the protagonist and how he wears his brassard (is that the right word? that identifies him as a police officer and how his colleagues make fun of that and tell him later on that everybody knows they are cops anyway. There are many more examples of that.
I still find it fascinating or maybe it makes me also a bit sad to see how well France is doing with movies that elaborate on this subject of culture clashes, this time as a gritty crime drama, but also in general becaue immigration has been among the hottest subjects for a really long time now and every time Germany makes a film like that, it normally turns into a big mess that of course must have comedy too like "Willkommen bei den Hartmanns" for example. There are other examples too and 99% of them are really bad. I mean my fellow countrymen cannot be that uncreative while France gets out one excellent film on this subject after the next, even if it is by filmmakers like Ly, who really are not very experienced at all. Shameful really. Anyway, I should be glad France does it this well and it results in quality watches like this one here that are so incredibly tense and have such excellent quality. I also think it is superior to "Parasite" the film that has the foreign language Oscar in the bag now, but then again I am not a big fan of this, and also think Almodóvar's most recent (another nominee in the category) is better than Parasite. I would be so happy if "Les misérables" wins the category, but it is impossible to happen I think. Okay what else can I say about this one here. The running time is also perfect. It feels essential, not too long, not too short. Basically every decision they made here makes sense. What I personally find sometimes a bit difficult is when there are really many characters in a film and frequently they do not get the accurate elaboration and presentation or just feel for the sake of it while adding nothing, but this is also not the case here at all. Every character made sense, even if they just had one or two scenes, and that actually applies to really many characters here. Overall, before I conclude, let me say that despite children, especially one boy (or two) playing a key role here, this is not a film you want to show your small ones. It is way too harsh for that. As you may have seen from my review, I find it very hard to come up with any real flaws here, which also explains my rating I guess. The fact that I for example do not like one bit the ways in which the characters within the unit talk to each other, or in general interact with each other, does not mean they ring false. They don't. They feel pretty authentic. It is just my subjective take that I would not want any of it. So yeah, like I said, it is probably among my top5 films from 2019 at this point. Highly recommended.

I miserabili 2020. Everyone tends to misuse the word "underrated" in place of "underappreciated" when talking about great films that didn't get the recognition it deserves. This film though definitely is underrated. A lot of people treated the movie unfairly when it came out. Everything from the set design to the way it was filmed (all the songs were sang live action, with no dubbing as is customary with musicals) to the cinematography was outstanding. I'm a pretty tough guy and I teared up during "Empty Chairs, Empty Tables". A few parts were way too rushed, such as Anne Hathaway's character's downfall and death, but overall it was a pretty damn good adaption for the constraints that had to be made.

I've listened to some serious versions of this, you know, sang by opera singers etc., and they didnt sound that good like this, far from. In this version, you get the feeling of the actual situation, of the emotions. Their voices are way more real. The serious versions are too nice for one to imagine revolution, fighting, dying and so on. It just doesn't feel right at all. This is the best. Level 1 Hugo tends to be quite sarcastic, if I remember correctly. Also a huge womanizer who lived in the 1800s. So could go either way, haha. level 2 I’m thinking this was sarcastic, but I can never be too sure with books. Either way, I’m loving it level 1 Oh Victor. I will never forget, "Madame Thénardier had a beard. " level 1 "You may have a beard like a man, mother, but I have the claws of a woman! " Javert. level 1 God, I love Victor Hugo so much. His wit is legendary. level 2 Same! I cannot put this book down for the life of me.

All that we are here relating slowly and successively took place at once in all points of the city in the midst of a vast tumult, like the multitude of flashes in a single peal of thunder. Les Misérables ( 1862) is a novel by Victor Hugo which many consider to be one of the greatest works of world literature. It tells of the interwoven lives of its characters over several decades of the early 19th Century, focusing to a great extent on the conflicts between the hero Jean Valjean, a fugitive who spent nearly 20 years of his life as prisoner " 24601 " and police inspector Javert who hunts for him. Others who feature prominently are Cosette the orphaned girl who Valjean raises as a daughter, Marius the revolutionary who loves her, and the villain Thenardier who had horribly exploited Cosette until she was rescued by Valjean. It was originally published in five volumes, four named after some of the primary characters within it. The primary translation used in creating this collection of quotations was that of Charles E. Wilbour. So long as ignorance and misery remain on earth, books like this cannot be useless. See also: Les Misérables (the theatrical musical by Boublil and Schonberg) Preface [ edit] Tant qu’il existera, par le fait des lois et des mœurs, une damnation sociale créant artificiellement, en pleine civilisation, des enfers, et compliquant d’une fatalité humaine la destinée qui est divine; tant que les trois problèmes du siècle, la dégradation de l’homme par le prolétariat, la déchéance de la femme par la faim, l’atrophie de l’enfant par la nuit, ne seront pas résolus; tant que, dans de certaines régions, l’asphyxie sociale sera possible; en d’autres termes, et à un point de vue plus étendu encore, tant qu’il y aura sur la terre ignorance et misère, des livres de la nature de celui-ci pourront ne pas être inutiles. So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilisation, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age — the degradation of man by poverty, the ruin of woman by starvation, and the dwarfing of childhood by physical and spiritual night — are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless. Volume One: FANTINE [ edit] Book I - An Upright Man [ edit] Vrai ou faux, ce qu’on dit des hommes tient souvent autant de place dans leur vie et souvent dans leur destinée que ce qu’ils font. Be it true or false, what is said about men often has as much influence upon their lives, and especially upon their destinies, as what they do. Chapter I: M. Myriel Sire, dit M. Myriel, vous regardez un bonhomme, et moi je regarde un grand homme. Chacun de nous peut profiter. Sire, said M. Myriel, you behold a good man, and I a great man. May each of us profit by it. M. Myriel to Napoleon Il y a beaucoup de bouches qui parlent et fort peu de têtes qui pensent. There are many tongues to talk, and but few heads to think. Voilà monsieur Géborand qui achète pour un sou de paradis. See Monsieur Geborand, buying a pennyworth of paradise. Chapter IV: Works Answer Words Voilà les hypocrisies effarées qui se dépêchent de protester. How frightened hypocrisy hastens to defend itself. Cette âme est pleine d'ombre, le péché s'y commet. Le coupable n'est pas celui qui y fait le péché, mais celui qui y a fait l'ombre. If the soul is left in darkness, sins will be committed. The guilty one is not he who commits the sin, but he who causes the darkness. D’ailleurs qui est-ce qui atteint son idéal? But who ever does attain to his ideal? Chapter VI: How He Protected His House Je ne suis pas au monde pour garder ma vie, mais pour garder les âmes. I am not in the world to care for my life, but for souls. Chapter VII: Cravatte M. Myriel in disregarding dangers to his life. "Let us never fear robbers nor murderers. Those are dangers from without, petty dangers. Let us fear ourselves. Prejudices are the real robbers; vices are the real murderers. The great dangers lie within ourselves. What matters it what threatens our head or our purse! Let us think only of that which threatens our soul. " Personne ne pourrait dire que le passage de cet esprit devant le sien et le reflet de cette grande conscience sur la sienne ne fût pas pour quelque chose dans son approche de la perfection. No one could say that the passage of that soul before his own, and the reflection of that grand conscience upon his own had not had its effect upon his approach to perfection. Chapter X: The Bishop in the presence of an Unknown Light Le général... avait poursuivi l’empereur comme quelqu’un qu’on veut laisser échapper. The general... pursued the emperor as if he wished to let him escape. Chapter XI: A Qualification Book II - The Fall [ edit] You have promised me to become an honest man. I am purchasing your soul, I withdraw it from the spirit of perversity and I give it to God Almighty. Jean Valjean était entré au bagne sanglotant et frémissant; il en sortit impassible. Il y était entré désespéré; il en sortit sombre. Que s’était-il passé dans cette âme? Jean Valjean entered the galleys sobbing and shuddering: he went out hardened; he entered in despair: he went out sullen. What had happened within this soul? Chapter VI: Jean Valjean Ainsi, pendant ces dix-neuf ans de torture et d’esclavage, cette âme monta et tomba en même temps. Il y entra de la lumière d’un côté et des ténèbres de l’autre. Thus, during those nineteen years of torture and slavery, did this soul rise and fall at the same time. Light entered on the one side, and darkness on the other. Chapter VII: The Depths of Despair Le propre des peines de cette nature, dans lesquelles domine ce qui est impitoyable, c’est-à-dire ce qui est abrutissant, c’est de transformer peu à peu, par une sorte de transfiguration stupide, un homme en une bête fauve, quelquefois en une bête féroce. The peculiarity of punishment of this kind, in which what is pitiless, that is to say, what is brutalizing, predominates, is to transform little be little, by a slow stupefactions, a man into an animal, sometimes into a wild beast. Le point de départ comme le point d’arrivée de toutes ses pensées était la haine de la loi humaine; cette haine qui, si elle n’est arrêtée dans son développement par quelque incident providentiel, devient, dans un temps donné, la haine de la société, puis la haine du genre humain, puis la haine de la création, et se traduit par un vague et incessant et brutal désir de nuire, n’importe à qui, à un être vivant quelconque. The beginning as well as then end of all his thoughts was hatred of human law; that hatred which, if it be not checked in its growth by some providential event, becomes, in a certain time, hatred of society, then hatred of the human race, and then hatred of creation, and reveals itself by a vague, brutal desire to injure some living being, it matters not who. La nuit n’était pas très obscure; c’était une pleine lune sur laquelle couraient de larges nuées chassées par le vent. Cela faisait au dehors des alternatives d’ombre et de clarté, des éclipses, puis des éclaircies, et au dedans une sorte de crépuscule. Ce crépuscule, suffisant pour qu’on pût se guider, intermittent à cause des nuages, ressemblait à l’espèce de lividité qui tombe d’un soupirail de cave devant lequel vont et viennent des passants. The night was not very dark; there was a full moon, across which large clouds were driving before the wind. This produced alternations of light and shade, out-of-doors eclipses and illuminations, and in-doors a kind of twilight. This twilight, enough to enable him to find his way, changing with the passing clouds, resembled that sort of livid light which falls through the window of a dungeon before which men are passing. Chapter X: The Man Awakes Depuis près d’une demi-heure un grand nuage couvrait le ciel. Au moment où Jean Valjean s’arrêta en face du lit, ce nuage se déchira, comme s’il l’eût fait exprès, et un rayon de lune, traversant la longue fenêtre, vint éclairer subitement le visage pâle de l’évêque... Toute sa face s’illuminait d’une vague expression de satisfaction, d’espérance et de béatitude. C’était plus qu’un sourire et presque un rayonnement. Il y avait sur son front l’inexprimable réverbération d’une lumière qu’on ne voyait pas. For nearly a half hour a great cloud had darkened the sky. At the moment when Jean Valjean paused before the bed the cloud broke as if purposely, and a ray of moonlight crossing the high window, suddenly lighted up the bishop’s pale face…His entire countenance was lit up with a vague expression of content, hope, and happiness. It was more than a smile and almost a radiance. On his forehead rested the indescribable reflection of an unseen light. Chapter XI: What He Does Jusque-là il avait reçue avec assez d’adresse tout entière sur le dos de sa main. Cette fois la pièce de quarante sous lui échappa, et vint rouler vers la broussaille jusqu’à Jean Valjean. Until this time he had skillfully caught the whole of them upon the back of his hand. This time the forty-sous coin got away from him, and rolled towards the thicket, near Jean Valjean. Chapter XIII: Petit Gervais Il se roidissait contre l’action angélique et contre les douces paroles du vieillard. "Vous m’avez promis de devenir honnête homme. Je vous achète votre âme. Je la retire à l’esprit de perversité et je la donne au bon Dieu. " Cela lui revenait sans cesse. Il opposait à cette indulgence céleste l’orgueil, qui est en nous comme la forteresse du mal. Il sentait indistinctement que le pardon de ce prêtre était le plus grand assaut et la plus formidable attaque dont il eût encore été ébranlé; que son endurcissement serait définitif s’il résistait à cette clémence; que, s’il cédait, il faudrait renoncer à cette haine dont les actions des autres hommes avaient rempli son âme pendant tant d’années, et qui lui plaisait; que cette fois il fallait vaincre ou être vaincu, et que la lutte, une lutte colossale et définitive, était engagée entre sa méchanceté à lui et la bonté de cet homme. He set himself stubbornly in opposition to the angelic deeds and the gentle words of the old man, "you have promised me to become an honest man. I am purchasing your soul, I withdraw it from the spirit of perversity and I give it to God Almighty. " This came back to him incessantly. To this celestial tenderness, he opposed pride, which is the fortress of evil in man. He felt dimly that the pardon of the priest was the hardest assault, and the most formidable attack which he had yet sustained; that the hardness of heart would be complete, if it resisted this kindness; that if he yielded, he must renounce that hatred with which he found satisfaction; that, this time, he must conquer or be conquered, and that the struggle, a gigantic and decisive struggle, had begun between his own wickedness, and the goodness of man. Une voix lui disait-elle à l’oreille qu’il venait de traverser l’heure solennelle de sa destinée, qu’il n’y avait plus de milieu pour lui, que si désormais il n’était pas le meilleur des hommes il en serait le pire. Did a voice whisper in his ear that he had just passed through the decisive hour of his destiny, that there was no longer a middle course for him, that if, thereafter, he should not be the best of men, he would be the worst. Pendant qu’il pleurait, le jour se faisait de plus en plus dans son cerveau, un jour extraordinaire, un jour ravissant et terrible à la fois... Tout cela lui revint et lui apparut, clairement, mais dans une clarté qu’il n’avait jamais vue jusque-là... Cependant un jour doux était sur cette vie et sur cette âme. Il lui semblait qu’il voyait Satan à la lumière du paradis. While he wept, the light grew brighter and brighter in his mind — an extraordinary light, a light at once ravishing and terrible... all returned and appeared to him, clearly, but in a light that he had never seen before... There was, however, a softened light upon that life and upon that soul. It seemed to him that he was looking upon Satan by the light of Paradise. Book III - The Year 1817 [ edit] Propos de table et propos d’amour; les uns sont aussi insaisissables que les autres; les propos d’amour sont des nuées, les propos de table sont des fumées. Table talk and lovers' talk equally elude the grasp; lovers' talk is clouds, table talk is smoke. Chapter VI: A Chapter of Self-Admiration Une discussion est bonne... une querelle vaut mieux. A discussion is good... a quarrel is better. Chapter VIII: Death of a Horse Book IV - To Entrust is Sometimes to Abandon [ edit] She would have softened a heart of granite; but you cannot soften a heart of wood. Ces êtres appartenaient à cette classe bâtarde composée de gens grossiers parvenus et de gens intelligents déchus, qui est entre la classe dite moyenne et la classe dite inférieure, et qui combine quelques-uns des défauts de la seconde avec presque tous les vices de la première, sans avoir le généreux élan de l’ouvrier ni l’ordre honnête du bourgeois. They belonged to that bastard class formed of low people who has risen, and intelligent people who have fallen, which lies between the classes called middle and lower, and which unites some of the faults of the latter with nearly all the vices of the former, without possessing the generous impulses of the workman, or the respectability of the bourgeois. Chapter II: First Sketch of Two Equivocal Faces Said of the Thenardiers Elle y noyait ce qu’elle avait de cervelle. She drowned what little brain she had in them. Said about Madame Thenardier and her reading of cheap novels Il ne suffit pas d’être méchant pour prospérer. La gargote allait mal. To be wicked does not insure prosperity — for the inn did not succeed well. Chapter III: The Lark About the Thenardier's Inn Book V - The Descent [ edit] Un bon maire, c’est utile. Est-ce qu’on recule devant du bien qu’on peut faire? A good mayor is a good thing. Are you afraid of the good you can do? Chapter II: Madeleine Said by an old woman to Father Madeleine, urging him to run for mayor. Le suprême bonheur de la vie, c’est la conviction qu’on est aimé. The supreme happiness of life is the conviction that we are loved. Chapter IV: M. Madeleine in Mourning Il n’y a rien de tel pour épier les actions des gens que ceux qu’elles ne regardent pas. For prying into any human affairs, none are equal to those whom it does not concern. Chapter VIII: Madame Victurnien Spends Thirty Francs on Morality C’est une erreur de s’imaginer qu’on épuise le sort et qu’on touche le fond de quoi que ce soit. Hélas! qu’est-ce que toutes ces destinées ainsi poussées pêle-mêle? où vont-elles? pourquoi sont-elles ainsi? Celui qui sait cela voit toute l’ombre. Il est seul. Il s’appelle Dieu. It is a mistake to imagine that man can exhaust his destiny, or can reach the bottom of anything whatever. Alas! what are all these destinies thus driven pell-mell? whither go they? why are they so? He who knows that, sees all the shadow. He is alone. His name is God. Chapter XI: Christus Nos Liberavit Elle eût attendri un cœur de granit, mais on n’attendrit pas un cœur de bois. Chapter XIII: Solution of Some Questions of Municipal Police Of Fantine and Javert La grande douleur est un rayon divin et terrible qui transfigure les misérables. Great grief is a divine and terrible radiance which transfigures the wretched. Chapter XIII: The Solution of Some Questions connected with the Municipal Police Book VII - The Champmathieu Affair [ edit] Faire le poème de la conscience humaine, ne fût-ce qu’à propos d’un seul homme, ne fût-ce qu’à propos du plus infime des hommes, ce serait fondre toutes les épopées dans une épopée supérieure et définitive. To write the poem of the human conscience, were it only of a single man, were it only of the most infamous of men, would be to swallow up all epics in a superior and final epic. Chapter III: A Tempest in a Brain On n’empêche pas plus la pensée de revenir à une idée que la mer de revenir à un rivage. Pour le matelot, cela s’appelle la marée; pour le coupable, cela s’appelle le remords. One can no more prevent the mind from returning to an idea than the sea from returning to a shore. In the case of the sailor, this is called a tide; in the case of the guilty, it is called remorse. Les bleuets sont bleus, les roses sont roses. Violets are blue. Roses are red. Chapter VI: Sister Simplice Put to the Proof Quand on l’avait jugé, Dieu était absent. When he was tried, God was not there. Chapter IX: A Place for Arriving at Convictions Vous êtes bien malins de me dire où je suis né. Moi, je l’ignore. Tout le monde n’a pas des maisons pour y venir au monde. Ce serait trop commode. You must be very sharp to tell me where I was born. I don't know myself. Everybody can't have houses to be born in; that would be too handy. Chapter X: The System of Denegations Book VIII - The Counter-Stroke [ edit] Heureusement Dieu sait où retrouver l’âme. Happily, God knows where to find her soul. Chapter V: A Fitting Tomb Volume Two: COSETTE [ edit] Book I - Waterloo [ edit] Napoléon... immense somnambule de ce rêve écroulé. Napoleon... mighty somnambulist of a vanished dream. Chapter XIII: The Catastrophe Waterloo est une bataille du premier ordre gagnée par un capitaine du second. Waterloo is a battle of the first rank won by a captain of the second. Chapter XVI: Quot Libras in Duce? Voulez-vous vous rendre compte de ce que c’est que la révolution, appelez-la Progrès; et voulez-vous vous rendre compte de ce que c’est que le progrès, appelez-le Demain. Would you realize what Revolution is, call it Progress; and would you realize what Progress is, call it Tomorrow. Chapter XVII: Is Waterloo to be considered Good? Qu’importe à l’infini? What is that to the Infinite? Chapter XVIII: A Recrudescence of Divine Right Book II - The Ship Orion [ edit] Sur un signe affirmatif de l’officier, il avait rompu d’un coup de marteau la chaîne rivée à la manille de son pied, puis il avait pris une corde, et il s’était élancé dans les haubans. Personne ne remarqua en cet instant-là avec quelle facilité cette chaîne fut brisée. Ce ne fut que plus tard qu’on s’en souvint. A sign of assent being given, with one blow of a hammer he broke the chain riveted to the iron ring at his ankle, then took a rope in his hand, and flung himself into the shrouds. Nobody, at the moment, noticed with what ease the chain was broken. It was only some time afterwards that anybody remembered it. Chapter III: The Chain Of The Iron Ring Must Needs Have Undergone A Certain Preparation To Be Thus Broken By One Blow Of The Hammer Book III - Fulfillment of the Promise to the Departed [ edit] He caught glimpses of everything, but saw nothing. Il entrevoyait tout, et ne voyait rien. Chapter IX: Thenardier Maneuvering Book V - A Dark Chase Requires a Silent Hound [ edit] Cherché, oui; suivi, non. Sought for, he might be, but followed he was not. Chapter II: It is Fortunate that Vehicles Can Cross the Bridge of Austerlitz Jean Valjean avait cela de particulier qu’on pouvait dire qu’il portait deux besaces; dans l’une il avait les pensées d’un saint, dans l’autre les redoutables talents d’un forçat. Il fouillait dans l’une ou dans l’autre, selon l’occasion. Jean Valjean had this peculiarity, that he might be said to carry two knapsacks; in one he had the thoughts of a saint, in the other the formidable talents of a convict. He helped himself from one or the other as occasion required. Chapter V: Which would be Impossible were the Streets Lighted with Gas. Certes, en cet instant-là, si Jean Valjean avait eu un royaume, il l’eût donné pour une corde. Truly at that instant, if Jean Valjean had had a kingdom, he would have given it for a rope. Les fortes sottises sont souvent faites, comme les grosses cordes, d’une multitude de brins. Great blunders are often made, like large ropes, of a multitude of fibers. Chapter X: In Which it is explained how Javert lost the Game Book VI - Petite Picpus [ edit] Sur le premier gobelet on lisait cette inscription: vin de singe, sur le deuxième: vin de lion, sur le troisième: vin de mouton, sur le quatrième: vin de cochon. Ces quatre légendes exprimaient les quatre degrés que descend l’ivrogne; la première ivresse, celle qui égaye; la deuxième, celle qui irrite; la troisième, celle qui hébète; la dernière enfin, celle qui abrutit. Upon the first goblet he read this inscription, monkey wine; upon the second, lion wine; upon the third, sheep wine; upon the fourth, swine wine. These four inscriptions expressed the four descending degrees of drunkenness: the first, that which enlivens; the second, that which irritates; the third, that which stupefies; finally the last, that which brutalizes. Chapter IX: A Century under a Guimpe Nous ne comprenons pas tout, mais nous n’insultons rien. We do not comprehend everything, but we insult nothing. Chapter XI: End of the Petit Picpus Motto of the convent Petit Picpus Il est nécessaire de les connaître, ne fût-ce que pour les éviter. It is necessary to understand them, were it only to avoid them. On the study of "the things which are no more" Book VII - A Parenthesis [ edit] Chapter VIII - Faith - Law [ edit] Nous blâmons l’Église quand elle est saturée d’intrigue, nous méprisons le spirituel âpre au temporel; mais nous honorons partout l’homme pensif. We blame the Church when it is saturated with intrigues; we despise the spiritual when it is harshly austere to the temporal; but we honour everywhere the thoughtful man. Nous saluons qui s’agenouille. We bow to the man who kneels. Une foi; c’est là pour l’homme le nécessaire. Malheur à qui ne croit rien! A faith is a necessity to man. Woe to him who believes nothing. On n’est pas inoccupé parce qu’on est absorbé. Il y a le labeur visible et le labeur invisible. A man is not idle, because he is absorbed in thought. There is a visible labour and there is an invisible labour. Contempler, c’est labourer; penser, c’est agir. Les bras croisés travaillent, les mains jointes font. Le regard au ciel est une œuvre. To meditate is to labour; to think is to act. Folded arms work, closed hands perform, a gaze fixed on heaven is a toil. Thalès resta quatre ans immobile. Il fonda la philosophie. Thales remained motionless for four years. He founded philosophy. Pour nous les cénobites ne sont pas des oisifs, et les solitaires ne sont pas des fainéants. In our eyes, cenobites are not idlers, nor is the recluse a sluggard. Songer à l’Ombre est une chose sérieuse. To think of the Gloom is a serious thing. Sans rien infirmer de ce que nous venons de dire, nous croyons qu’un perpétuel souvenir du tombeau convient aux vivants. Sur ce point le prêtre et le philosophe sont d’accord. Il faut mourir. Without at all invalidating what we have just said, we believe that a perpetual remembrance of the tomb is proper for the living. On this point, the priest and the philosopher agree: We must die. Mêler à sa vie une certaine présence du sépulcre, c’est la loi du sage; et c’est la loi de l’ascète. Sous ce rapport l’ascète et le sage convergent. To mingle with one's life a certain presence of the sepulchre is the law of the wise man, and it is the law of the ascetic. In this relation, the ascetic and the sage tend towards a common centre. Il y a la croissance matérielle; nous la voulons. Il y a aussi la grandeur morale; nous y tenons. There is a material advancement; we desire it. There is, also, a moral grandeur; we hold fast to it. Les esprits irréfléchis et rapides disent: — À quoi bon ces figures immobiles du côté du mystère? À quoi servent-elles? qu’est-ce qu’elles font? Hélas! en présence de l’obscurité qui nous environne et qui nous attend, ne sachant pas ce que la dispersion immense fera de nous, nous répondons: Il n’y a pas d’œuvre plus sublime peut-être que celle que font ces âmes. Et nous ajoutons: Il n’y a peut-être pas de travail plus utile. Unreflecting, headlong minds say: "Of what use are those motionless figures by the side of mystery? What purpose do they serve? What do they effect? " Alas! in the presence of that obscurity which surrounds us and awaits us, not knowing what the vast dispersion of all things will do with us, we answer: There is, perhaps, no work more sublime than that which is accomplished by these souls; and we add, There is no labour, perhaps, more useful. Il faut bien ceux qui prient toujours pour ceux qui ne prient jamais. Pour nous, toute la question est dans la quantité de pensée qui se mêle à la prière. Leibniz priant, cela est grand; Voltaire adorant, cela est beau. Deo erexit Voltaire. Those who pray always are necessary to those who never pray. In our view, the whole question is in the amount of thought that is mingled with prayer. Leibnitz, praying, is something grand; Voltaire, worshipping, is something beautiful. Deo erexit Voltaire. Nous sommes pour la religion contre les religions. We are for religion against the religions. Nous sommes de ceux qui croient à la misère des oraisons et à la sublimité de la prière. We are of those who believe in the pitifulness of orisons, and in the sublimity of prayer. Book VIII - Cemeteries Take What is Given Them [ edit] Impossible! dit-il. Père Fauchelevent, mettez que je suis tombé de là-haut. "Impossible, " he said. "Father Fauchelevent, let it go that I fell from on high. " Chapter I: Which Treat of the Manner of Entering the Convent N’être pas écouté, ce n’est pas une raison pour se taire. Not being heard is no reason for silence. Celui qui s’évade ne tousse pas et n’éternue pas. He who is escaping never coughs and never sneezes. Chapter IV: In Which Jean Valjean has Quite the Appearance of Having Read Austin Castillejo Ce conscrit était chez lui, occupé à chercher sa carte, et bien empêché de la trouver dans son logis puisqu’elle était dans la poche de Fauchelevent. That recruit was at home, hunting up his "card, " and rather unlikely he was to find it, as it was in Fauchelevent's pocket. Chapter VII: In Which will be Found the Origin of the Saying: Don't Lose Your Card Personne ne garde un secret comme un enfant. No one ever keeps a secret so well as a child. Chapter VIII: Successful Examination Le rire, c’est le soleil; il chasse l’hiver du visage humain. Laughter is sunshine; it chases winter from the human face. Chapter IX: The Close Volume Three: MARIUS [ edit] The father of a woman that we love is never a stranger to us. Marius felt proud of this unknown man. Book I - Paris Atomised [ edit] Donnez à un être l’inutile et ôtez-lui le nécessaire, vous aurez le gamin. Give to a being the useless, and deprive him of the needful, and you have the gamin. Chapter III: He is Agreeable Ce vil sable que vous foulez aux pieds, qu’on le jette dans la fournaise, qu’il y fonde et qu’il y bouillonne, il deviendra cristal splendide, et c’est grâce à lui que Galilée et Newton découvriront les astres. This lowly sand which you trample beneath your feet, if you cast it into the furnace, and let it melt and seethe, shall become resplendent crystal, and by means of such as it a Galileo and a Newton shall discover stars. Chapter XII: The Future Latent In the People About the lower classes of France Book II - The Grand Bourgeois [ edit] Ce frère... se croyait obligé de faire l’aumône aux pauvres qu’il rencontrait, mais il ne leur donnait jamais que des monnerons ou des sous démonétisés, trouvant ainsi moyen d’aller en enfer par le chemin du paradis. This brother... felt obliged to give alms to the poor whom he met, but never gave them anything more than coppers or worn-out sous, finding thus the means of going to Hell by the road to Paradise. Chapter VI: In Which We See La Magnon and Her Two Little Ones Toutes deux avaient des ailes, l’une comme un ange, l’autre comme une oie. Both had wings, one like angel, the other like a goose. Chapter VIII: Two Do Not Make a Pair About two sisters Book III - The Grandfather and the Grandson [ edit] Il n’allait nulle part qu’à la condition d’y dominer. He went nowhere save on condition of ruling there. Chapter I: An Old Salon On M. Gillenormand, Grandfather of Marius Un voleur y est admis, pourvu qu’il soit dieu. A thief is admitted, provided he be a lord. Les années finissent par faire autour d’une tête un échevellement vénérable. Years place at last a venerable crown upon a head. Je ne sais point si c’est moi qui n’entends plus le français, ou si c’est vous qui ne le parlez plus, mais le fait est que je ne comprends pas. I do not know whether it is that I no longer understand French, or you no longer speak it; but the fact is I do not understand you. Chapter II: One of the Red Spectres of that Time George Pontmercy's response to his being told he could no longer wear a medal that he had earned fighting in Bonaparte's army Monsieur le procureur du roi, m’est-il permis de porter ma balafre? Monsieur procurer du roi, am I allowed to wear my scar? En deux jours le colonel avait été enterré, et en trois jours oublié. In two days the colonel had been buried, and in three days forgotten. Chapter IV: The End of the Brigand Il était plein de regrets, et de remords, et il songeait avec désespoir que tout ce qu’il avait dans l’âme, il ne pouvait plus le dire maintenant qu’à un tombeau! He was full of regret and remorse, and he thought with despair that all he had in his soul he could say now only to a tomb. Chapter VI: What It Is to have Met a Churchwarden Marius vit en Bonaparte le spectre éblouissant qui se dressera toujours sur la frontière et qui gardera l’avenir. Despote, mais dictateur; despote résultant d’une République et résumant une révolution. Napoléon devint pour lui l’homme-peuple comme Jésus est l’homme-Dieu. On le voit, à la façon de tous les nouveaux venus dans une religion, sa conversion l’enivrait, il se précipitait dans l’adhésion et il allait trop loin. Sa nature était ainsi: une fois sur une pente, il lui était presque impossible d’enrayer. Le fanatisme pour l’épée le gagnait et compliquait dans son esprit l’enthousiasme pour l’idée. Il ne s’apercevait point qu’avec le génie, et pêle-mêle, il admirait la force, c’est-à-dire qu’il installait dans les deux compartiments de son idolâtrie, d’un côté ce qui est divin, de l’autre ce qui est brutal. À plusieurs égards, il s’était mis à se tromper autrement. Il admettait tout. Il y a une manière de rencontrer l’erreur en allant à la vérité. Il avait une sorte de bonne foi violente qui prenait tout en bloc. Dans la voie nouvelle où il était entré, en jugeant les torts de l’ancien régime comme en mesurant la gloire de Napoléon, il négligeait les circonstances atténuantes. Marius saw in Bonaparte the flashing spectre which will always rise upon the frontier, and which will guard the future. Despot, but dictator; despot resulting from a republic and summing up a revolution. Napoleon became to him the people-man as Jesus is the God-man. We see, like all new converts to a religion, his conversion intoxicated him, he plunged headlong into adhesion, and he went too far. His nature was such; once upon a descent it was almost impossible for him to hold back. Fanaticism for the sword took possession of him, and became complicated in his mind with enthusiasm for the idea. He did not perceive that along with genius, and indiscriminately, he was admiring force, that is to say that he was installing in the two compartments of his idolatry, on one side what is divine, and on the other what is brutal. In several respects he began to deceive himself in other matters. He admitted everything. There is a way of meeting error while on the road of truth. He had a sort of willful implicit faith which swallowed everything in mass. On the new path upon which he had entered, in judging the crimes of the ancient regime as well as in measuring the glory of Napoleon, he neglected the attenuating circumstances. Ne pas voir les gens, cela permet de leur supposer toutes les perfections. Not seeing people permits us to imagine in them every perfection. Chapter VII: Some Petticoat Mon père... c’était un homme humble et héroïque qui a glorieusement servi la République et la France, qui a été grand dans la plus grande histoire que les hommes aient jamais faite, qui a vécu un quart de siècle au bivouac, le jour sous la mitraille et sous les balles, la nuit dans la neige, dans la boue, sous la pluie, qui a pris deux drapeaux, qui a reçu vingt blessures, qui est mort dans l’oubli et dans l’abandon, et qui n’a jamais eu qu’un tort, c’est de trop aimer deux ingrats, son pays et moi! My father... was a humble and heroic man, who served the republic and France gloriously, who was great in the greatest history that men have made, who lived a quarter of a century in the camp, by day under grape and under balls, by night in the snow, in the mud, and in the rain, who captured colours, who received twenty wounds, who died forgotten and abandoned, and who had but one fault; that was in loving too dearly two ingrates, his country and me. Chapter VIII: Marble Against Granite Book IV - The Friends of the A B C [ edit] A fire would cause a dawn, undoubtedly, but why not wait for the break of day? Il ne semblait pas savoir qu’il y eût sur la terre un être appelé la femme. He did not seem to know that there was on the earth a being called woman. Chapter I: A Group Which Almost Became Historic About Enjolras Un incendie peut faire une aurore sans doute, mais pourquoi ne pas attendre le lever du jour? Sa spécialité était de ne réussir à rien. Par contre, il riait de tout... Il était pauvre, mais son gousset de bonne humeur était inépuisable. Il arrivait vite à son dernier sou, jamais à son dernier éclat de rire. Quand l’adversité entrait chez lui, il saluait cordialement cette ancienne connaissance, il tapait sur le ventre aux catastrophes; il était familier avec la Fatalité au point de l’appeler par son petit nom. His specialty was to succeed in nothing... He was poor, but his fund of good humor was inexhaustible. He soon reached the last sou but never the last burst of laughter. When met by adversity, he saluted that acquaintance cordially, he patted catastrophes on the back; he was so familiar with fatality as to call it by its nick-name. About L'Aigle [the eagle] aka Lesgueules, Lesgle, or Bossuet C’est dommage que je sois un ignorant, car je vous citerais une foule de choses; mais je ne sais rien. It is a pity that I am ignorant, for I would quote you a crowd of things, but I don't know anything. Chapter IV: The Back Room of the Cafe Musain Grantaire speaking of himself Ce sera avaler une langue bien vite ou une pièce de cent sous bien lentement. That will be swallowing a language very rapidly or a hundred-sous piece very slowly. Chapter VI: Res Angusta Marius must learn German and English to get a job: he only has a hundred sous left and states that this money will last until he learns the languages. His friend, Courfeyrac, remarks that either he will learn fast, or spend slow. Book V - The Excellence of Misfortune [ edit] Voulant toujours être en deuil, il se vêtissait de la nuit. Desiring always to be in mourning, he clothed himself with night. Chapter I: Marius Needy Ses créanciers l’avaient cherché aussi, avec moins d’amour que Marius, mais avec autant d’acharnement, et n’avaient pu mettre la main sur lui. His creditors had sought for him, also, with less love than Marius but with as much zeal, and had not been able to put their hands on him. Chapter II: Marius Poor Marius is looking for Thenardier because he believes his father's life had been saved by Thenardier. Il se gardait fort d’être inutile; avoir des livres ne l’empêchait pas de lire, être botaniste ne l’empêchait pas d’être jardinier. He took good care not to be useless; having books did not prevent him from reading, being a botanist did not prevent him from being a gardener. Chapter IV: M. Mabeuf Il allait à la messe plutôt par douceur que par dévotion, et puis parce qu’aimant le visage des hommes, mais haïssant leur bruit, il ne les trouvait qu’à l’église réunis et silencieux. He went to mass rather from good-feeling than from devotion, and because he loved the faces of men, but hated their noise and he found them, at church only, gathered together and silent. Il n’avait jamais réussi à aimer aucune femme autant qu’un oignon de tulipe ou aucun homme autant qu’un elzevir. Finally, he had never succeeded in loving any woman as much as a tulip bulb, or any man as much as an Elzevir. Une horloge ne s’arrête pas court au moment précis où l’on en perd la clef. A clock does not stop at the very moment you lose the key. Il avait fini par ne plus guère regarder que le ciel, seule chose que la vérité puisse voir du fond de son puits. He had finally come hardly to look at nothing but the sky, the only thing that truth can see from the bottom of her well. Chapter V: Poverty A Good Neighbor of Misery On jugerait bien plus sûrement un homme d’après ce qu’il rêve que d’après ce qu’il pense. We should judge a man much more surely from what he dreams than from what he thinks. Book VI - The Conjunction of Two Stars [ edit] Je viens de rencontrer le chapeau neuf et l’habit neuf de Marius et Marius dedans. Il allait sans doute passer un examen. Il avait l’air tout bête. I have just met Marius' new hat and coat, with Marius inside. Probably he was going to an examination. He looked stupid enough. Chapter IV: Commencement of a Great Distemper Courfeyrac about Marius Book VII - Patron Minette [ edit] Babet était maigre et savant. Il était transparent, mais impénétrable. On voyait le jour à travers les os, mais rien à travers la prunelle. Babet was thin and shrewd. He was transparent, but impenetrable. You could see the light through his bones, but nothing through his eye. Chapter III: Babet, Gueulemer, Claquesous, and Montparnasse Babet is a bandit Book VIII - The Noxious Poor [ edit] Pauvres mères! pensa-t-il. Il y a une chose plus triste que de voir ses enfants mourir; c’est de les voir mal vivre. Poor mothers, he thought. There is one thing sadder than to see their children die — to see them lead evil lives. Chapter II: A Waif Ils sont rares, ceux qui sont tombés sans être dégradés; d’ailleurs il y a un point où les infortunés et les infâmes se mêlent et se confondent dans un seul mot, mot fatal, les misérables. Those are rare who fall without becoming degraded; there is a point, moreover, at which the unfortunate and the infamous are associated and confounded in a single word, a fatal word, Les Misérables. Chapter V: The Judas of Providence Vous parlez là comme un homme brave et comme un homme honnête. Le courage ne craint pas le crime, et l’honnêteté ne craint pas l’autorité. You speak now like a brave man and an honest man. Courage does not fear crime, and honesty does not fear authority. Chapter XIV: In Which a Police Officer Gives a Lawyer Two Fisticuffs Javert speaking to Marius Bossuet! s’écria Courfeyrac, aigle de Meaux! vous êtes une prodigieuse brute. Suivre un homme qui suit un homme! "Bossuet! " Courfeyrac exclaimed. "Eagle of Meaux! you are a prodigious fool. Follow a man who is following a man! " Chapter XV: Jondrette Makes his Purchase Le bouge ainsi éclairé ressemblait plutôt à une forge qu’à une bouche de l’enfer, mais Jondrette, à cette lueur, avait plutôt l’air d’un démon que d’un forgeron. The room thus lighted up seemed rather a smithy than the mouth of hell; but Jondrette, in that glare, had rather the appearance of a demon than of a blacksmith. Chapter XVII: Use of Marius' Five-Franc Piece "Jondrette" is Thenardier Chapter XX - The Ambuscade [ edit] Ce vieillard, si ferme et si brave devant un tel danger, semblait être de ces natures qui sont courageuses comme elles sont bonnes, aisément et simplement. Le père d’une femme qu’on aime n’est jamais un étranger pour nous. Marius se sentit fier de cet inconnu. This old man, so firm and so brave before so great a peril, seemed to be one of those natures who are courageous as they are good, simply and naturally. The father of a woman that we love is never a stranger to us. Marius felt proud of this unknown man. Je ne m’appelle pas Fabantou, je ne m’appelle pas Jondrette, je me nomme Thénardier! je suis l’aubergiste de Montfermeil! entendez-vous bien? Thénardier! Maintenant me reconnaissez-vous? My name is not Fabantou, my name is not Jondrette, my name is Thenardier! I am the innkeeper of Montfermeil! do you understand me? Thenardier! now do you know me? Au moment où Jondrette avait dit: Je me nomme Thénardier, Marius avait tremblé de tous ses membres et s’était appuyé au mur comme s’il eût senti le froid d’une lame d’épée à travers son cœur. When Jondrette had said: My name is Thenardier, Marius had trembled in every limb, and supported himself against the wall as if he had felt the chill of a sword-blade through his heart. Pardon, monsieur, répondit M. Leblanc avec un accent de politesse qui avait en un pareil moment quelque chose d’étrange et de puissant, je vois que vous êtes un bandit. "Pardon me, monsieur, " answered M. Leblanc, with a tone of politeness which, at such a moment, had a peculiarly strange and powerful effect, "I see that you are a bandit. " "M. Leblanc" is Valjean Le prisonnier n’était plus attaché au lit que par une jambe. Avant que les sept hommes eussent eu le temps de se reconnaître et de s’élancer, lui s’était penché sous la cheminée, avait étendu la main vers le réchaud, puis s’était redressé, et maintenant Thénardier, la Thénardier et les bandits, refoulés par le saisissement au fond du bouge, le regardaient avec stupeur élevant au-dessus de sa tête le ciseau rouge d’où tombait une lueur sinistre, presque libre et dans une attitude formidable. The prisoner was no longer fastened to the bed save by one leg. Before the seven men had had time to recover themselves and spring upon him, he had bent over to the fireplace, reached his hand towards the furnace, then rose up, and now Thenardier, the Thenardiess, and the bandits, thrown by the shock into the back part of the room, beheld him with stupefaction, holding above his head the glowing chisel, from which fell an ominous light, almost free and in a formidable attitude. Vous êtes des malheureux, mais ma vie ne vaut pas la peine d’être tant défendue. Quant à vous imaginer que vous me feriez parler, que vous me feriez écrire ce que je ne veux pas écrire, que vous me feriez dire ce que je ne veux pas dire… Il releva la manche de son bras gauche et ajouta: — Tenez. En même temps il tendit son bras et posa sur la chair nue le ciseau ardent qu’il tenait dans sa main droite par le manche de bois. On entendit le frémissement de la chair brûlée, l’odeur propre aux chambres de torture se répandit dans le taudis. Marius chancela éperdu d’horreur, les brigands eux-mêmes eurent un frisson, le visage de l’étrange vieillard se contracta à peine, et, tandis que le fer rouge s’enfonçait dans la plaie fumante, impassible et presque auguste, il attachait sur Thénardier son beau regard sans haine où la souffrance s’évanouissait dans une majesté sereine. "You are pitiable, but my life is not worth the trouble of so long a defence. As to your imagining that you could make me speak, that you could make me write what I do not wish to write, that you could make me say what I do not wish to say —" He pulled up the sleeve of his left arm, and added: "Here. " At the same time he extended his arm, and laid upon the naked flesh the glowing chisel, which he held in his right hand, by the wooden handle. They heard the hissing of the burning flesh; the odour peculiar to chambers of torture spread through the den. Marius staggered, lost in horror; the brigands themselves felt a shudder; the face of the wonderful old man hardly contracted, and while the red iron was sinking into the smoking, impassable, and almost august wound, he turned upon Thenardier his fine face, in which there was no hatred, and in which suffering was swallowed up in a serene majesty. Volume Four: ST. DENIS [ edit] Full title: Saint Denis and Idyl of the Rue Plumet Book I - A Few Pages of History [ edit] La logique ignore l’à peu près; absolument comme le soleil ignore la chandelle. Logic ignores the Almost, just as the sun ignores the candle. Chapter II: Badly Sewed Prospérité sociale, cela veut dire l’homme heureux, le citoyen libre, la nation grande. Social prosperity means man happy, the citizen free, the nation great. Chapter IV: Cracks beneath the Foundation Book II - Eponine [ edit] Rien n’est plus dangereux que le travail discontinué; c’est une habitude qui s’en va. Habitude facile à quitter, difficile à reprendre. Nothing is more dangerous than discontinued labor; it is habit lost. A habit easy to abandon, difficult to resume. Chapter I: The Field of the Lark La pensée est le labeur de l’intelligence, la rêverie en est la volupté. Thought is the labor of the intellect, reverie is its pleasure. Heureux, même dans les angoisses, celui à qui Dieu a donné une âme digne de l’amour et du malheur! Qui n’a pas vu les choses de ce monde et le cœur des hommes à cette double lumière n’a rien vu de vrai et ne sait rien. Happy, even in anguish, is he to whom God has given a soul worthy of love and of grief! He who has not seen the things of this world, and the hearts of men by this double light, has seen nothing, and know nothing of the truth. Non, répondit-elle, je suis le diable, mais ça m’est égal. No. I am the devil, but that is all the same to me. Chapter III: An Apparition to Father Mabeuf Eponine responding to F. Mabeuf, who had just said to her "you are an angel, since you care for flowers. " Book III - The House in the Rue Plumet [ edit] En 93, un chaudronnier avait acheté la maison pour la démolir, mais n’ayant pu en payer le prix, la nation le mit en faillite. De sorte que ce fut la maison qui démolit le chaudronnier. In '93, a coppersmith bought the house to pull it down, but not being able to pay the price for it, the nation sent him into bankruptcy. So that it was the house that pulled down the coppersmith. Chapter I: The Secret House Où finit le télescope, le microscope commence. Lequel des deux a la vue la plus grande? Where the telescope ends, the microscope begins. Which of the two has the grander view? Chapter III: Requiescant Il se disait qu’il n’avait vraiment pas assez souffert pour mériter un si radieux bonheur, et il remerciait Dieu, dans les profondeurs de son âme, d’avoir permis qu’il fût ainsi aimé, lui misérable, par cet être innocent. He said to himself that he really had not suffered enough to deserve such radiant happiness, and he thanked God, in the depths of his soul, for having permitted that he, a miserable man, should be so loved by this innocent being. Chapter IV: Change of Grating Valjean about Cosette Les femmes jouent avec leur beauté comme les enfants avec leur couteau. Elles s’y blessent. Women play with their beauty as children do with their knives. They wound themselves with it. Chapter VI: The Battle Commences Le premier symptôme de l’amour vrai chez un jeune homme, c’est la timidité, chez une jeune fille, c’est la hardiesse. The first symptom of true love in a young man is timidity; in a young girl it is boldness. Chapter VI: The Battle Commences. Trans. Isabel Hapgood. Dante eût cru voir les sept cercles de l’enfer en marche. Dante would have thought he saw the seven circles of Hell on their passage. Chapter VIII: The Chain Valjean and Cosette watch a procession of seven wagons of men who are condemned to the galleys pass by Book IV - Aid from Below May be Aid from Above [ edit] Un soir le petit Gavroche n’avait point mangé; il se souvint qu’il n’avait pas non plus dîné la veille; cela devenait fatigant. Il prit la résolution d’essayer de souper. One evening little Gavroche had had no dinner; he remembered that he had had no dinner also the day before; this was becoming tiresome. He resolved that he would try for some supper. Chapter II: Mother Plutarch is not Embarrassed on the Explanation of a Phenomenon Book V - An End Unlike the Beginning [ edit] You who suffer because you love, love still more. To die of love is to live by it. Love! A dark and starry transfiguration is mingled with that torment. There is ecstacy in the agony. Chapter IV: A Heart Beneath A Stone Book VI - Little Gavroche [ edit] Le plus terrible des motifs et la plus indiscutable des réponses: Parce que. The most terrible of motives and the most unanswerable of responses: Because. Chapter I: A Malevolent Trick of the Wind. Le barbier, dans sa boutique chauffée d’un bon poêle, rasait une pratique et jetait de temps en temps un regard de côté à cet ennemi, à ce gamin gelé et effronté qui avait les deux mains dans ses poches, mais l’esprit évidemment hors du fourreau. The barber in his shop, warmed by a good stove, was shaving a customer and casting from time to time a look towards this enemy, this frozen and brazen gamin, who had both hands in his pockets, but his wits evidently out of their sheath. Chapter II: In Which Little Gavroche Takes Advantage of Napoleon the Great. Le bureau est fermé, dit Gavroche, je ne reçois plus de plaintes. "The bureau is closed, " said Gavroche. "I receive no more complaints. " Said by Gavroche to someone who complained when Gavroche splashed his polished boots with mud. À un certain degré de détresse, le pauvre, dans sa stupeur, ne gémit plus du mal et ne remercie plus du bien. At a certain depth of distress, the poor, in their stupor, groan no longer over evil, and are no longer thankful for good. Ah çà! s’écria Gavroche, qu’est-ce que cela signifie? Il repleut! Bon Dieu, si cela continue, je me désabonne. "Ah, " cried Gavroche, "what does this mean? It rains again! Good God, if this continues, I withdraw my subscription. " Gavroche has just given his coat to a girl when the storm starts to worsen. Book VII - Argot [ edit] Les esprits réfléchis usent peu de cette locution: les heureux et les malheureux. Dans ce monde, vestibule d’un autre évidemment, il n’y a pas d’heureux. La vraie division humaine est celle-ci: les lumineux et les ténébreux. Diminuer le nombre des ténébreux, augmenter le nombre des lumineux, voilà le but. C’est pourquoi nous crions: enseignement! science! Thoughtful persons seldom speak of happiness or unhappiness. In this world, which is so plainly the antechamber of another, there are no happy men. The true division of humanity is between those who live in light and those who live in darkness. Our aim must be to diminish the number of the latter and increase the number of the former. That is why we demand education and knowledge. Chapter I: Origin. Norman Denny Ce qu’on peut faire dans un sépulcre, ils agonisaient, et ce qu’on peut faire dans un enfer, ils chantaient. Car où il n’y a plus l’espérance, le chant reste. What can be done in a sepulcher, they agonised, and what can be done in a hell, they sang. For where there is no more hope, song remains. Chapter II: Roots Vous aurez beau faire, vous n’anéantirez pas cet éternel reste du cœur de l’homme, l’amour. The endeavor is vain, you cannot annihilate that eternal relic of the human heart, love. Plaignons, à l’égal des estomacs, les esprits qui ne mangent pas. S’il y a quelque chose de plus poignant qu’un corps agonisant faute de pain, c’est une âme qui meurt de la faim de la lumière. Let us lament as over stomachs, over minds which do not eat. If there is anything more poignant than a body agonising for want of bread, it is a soul which is dying of hunger for light. Chapter IV The Two Duties: To Watch and to Hope Il n’y a qu’une manière de refuser Demain, c’est de mourir. There is but one way of refusing To-morrow, that is to die. Chapter IV: The Two Duties: To Watch and to Hope Faut-il continuer de lever les yeux vers le ciel? le point lumineux qu'on y distingue est-il de ceux qui s'éteignent? L'idéal est effrayant à voir, ainsi perdu dans les profondeurs, petit, isolé, imperceptible, brillant, mais entouré de toutes ces grandes menaces noires monstrueusement amoncelées autour de lui; pourtant pas plus en danger qu'une étoile dans les gueules des nuages. Should we continue to look upwards? Is the light we can see in the sky one of those which will presently be extinguished? The ideal is terrifying to behold, lost as it is in the depths, small, isolated, a pin-point, brilliant but threatened on all sides by the dark forces that surround it: nevertheless, no more in danger than a star in the jaws of the clouds. Book VIII - Enchantments and Desolations [ edit] Le compliment, c'est quelque chose comme le baiser à travers le voile. A compliment is something like a kiss through a veil. Chapter I: Marius, while seeking a Girl in a Bonnet encounters a Man in a Cap Quand on est à la fin de la vie, mourir, cela veut dire partir; quand on est au commencement, partir, cela veut dire mourir. When we are at the end of life, to die means to go away; when we are at the beginning, to go away means to die. Chapter VI: Marius Becomes so Real as to Give Cosette his Address Book IX - Where are They Going? [ edit] Il y a des moments où l’on a une fournaise sous le crâne. Marius était dans un de ces moments-là. There are moments when a man has a furnace in his brain. Marius was in one of those moments. Chapter II: Marius Book X - June 5th, 1832 [ edit] Le vent des révolutions n’est pas maniable. The wind of revolutions is not tractable. Chapter IV: The Ebullitions of Former Times Book XI - The Atom Fraternises with the Hurricane [ edit] Ses frères le soir, son père le matin; voilà quelle avait été sa nuit. His brothers in the evening, his father in the morning; such had been his night. Chapter I: Some Insight into the Origin of Gavroche's Poetry — Influence of an Academician upon that Poetry. In the evening, Gavroche had found food and shelter for two boys without knowing that they were his brothers. Early the next morning he helped in his father's escape from jail and was not even recognized by him. La rue est libre, les pavés sont à tout le monde. The road is free; the streets belong to everybody. Chapter VI: Recruits Book XII - Corinth [ edit] Ce que vous autres appelez le progrès marche par deux moteurs, les hommes et les événements. Mais, chose triste, de temps en temps, l’exceptionnel est nécessaire. Pour les événements comme pour les hommes, la troupe ordinaire ne suffit pas; il faut parmi les hommes des génies, et parmi les événements des révolutions. Les grands accidents sont la loi; l’ordre des choses ne peut s’en passer; et, à voir les apparitions de comètes, on serait tenté de croire que le ciel lui-même a besoin d’acteurs en représentation. Au moment où l’on s’y attend le moins, Dieu placarde un météore sur la muraille du firmament. Quelque étoile bizarre survient, soulignée par une queue énorme. Et cela fait mourir César. Brutus lui donne un coup de couteau, et Dieu un coup de comète. What you fellows call progress moves by two springs, men and events. But sad to say, from time to time the exceptional is necessary. For events as well as for men, the stock company is not enough; geniuses are needed among men, and revolutions among events. Great accidents are the law; the order of things cannot get along without them; and, to see the apparitions of comets, one would be tempted to believe that Heaven itself is in need of star actors. At the moment you least expect it, God placards a meteor on the wall of the firmament. Some strange star comes along, underlined by an enormous tail. And that makes Caesar die. Brutus strikes him with a knife, and God with a comet. Chapter II: Preliminary Gaiety Les grands périls ont cela de beau qu’ils mettent en lumière la fraternité des inconnus. Great perils have this beauty, that they bring to light the fraternity of strangers. Chapter IV: Attempt at Consolation upon the Widow Hucheloup C’est la souris qui a pris le chat. The mouse has caught the cat. Chapter VII: The Man Recruited in the Rue Des Billettes Said by Gavroche to Javert after revealing him to be a police spy Sa vie avait été ténèbres; sa fin fut nuit. His life had been darkness, his end was night. Chapter VIII: Several Interrogation Points Concerning One Le Cabuc, Who Perhaps was Not Le Cabuc Book XIII - Marius Enters the Shadow [ edit] La guerre civile? qu’est-ce à dire? Est-ce qu’il y a une guerre étrangère? Est-ce que toute guerre entre hommes n’est pas la guerre entre frères? La guerre ne se qualifie que par son but. Il n’y a ni guerre étrangère, ni guerre civile; il n’y a que la guerre injuste et la guerre juste. Civil war? What does this mean? Is there any foreign war? Is not every war between men, war between brothers? War is modified only by its aim. There is neither foreign war, nor civil war; there is only unjust war and just war. Chapter III: The Extreme Limit Book XIV - The Grandeurs of Despair [ edit] Marius avait trop peu vécu encore pour savoir que rien n’est plus imminent que l’impossible, et que ce qu’il faut toujours prévoir, c’est l’imprévu. Marius had lived too little as yet to know that nothing is more imminent than the impossible, and that what we must always forsee is the unforseen. Chapter V: End of Jean Prouvaire's Rhyme Tes amis viennent de te fusiller. Your friends have just shot you. Said by Enjolras to Javert after Prouvaire's execution. Book XV - The Rue De L'Homme Armé [ edit] À de certaines heures, tout semble impossible; à d’autres heures, tout paraît aisé; Jean Valjean était dans une de ces bonnes heures. At certain hours, everything seems impossible; at other hours, everything appears easy; Jean Valjean was in one of those happy hours. Chapter I: Blotter, Blabber L’âme ne se rend pas au désespoir sans avoir épuisé toutes les illusions. The soul does not give itself up to despair until it has exhausted all illusions. On prend la charrette pour la République et on laisse l’Auvergnat à la monarchie. We take the cart for the republic and we leave the Auvergnat to the monarchy. Chapter IV: The Excess of Gavroche's Zeal Gavroche, leaving a note about a cart he has stolen for the barricades Vous parlez gentiment. Vrai, on ne vous donnerait pas votre âge. Vous devriez vendre tous vos cheveux cent francs la pièce. Cela vous ferait cinq cents francs. You talk genteelly. Really, nobody would guess your age. You ought to sell all your hairs at a hundred francs apiece. That would make you five hundred francs. Gavroche talking to the National Guard Se sauver par ce qui vous a perdu, c’est là le chef-d’œuvre des hommes forts. To save yourself by means of that which has ruined you is the masterpiece of great men. Volume Five: JEAN VALJEAN [ edit] Book I - The War Between Four Walls [ edit] Jamais on ne me voit avec des habits chamarrés d’or et de pierreries; je laisse ce faux éclat aux âmes mal organisées. Never am I seen with coats bedizened with gold and gems; I leave this false splendour to badly organized minds. Chapter XVI: How Brother Becomes Father Les peuples comme les astres ont le droit d’éclipse. Et tout est bien, pourvu que la lumière revienne et que l’éclipse ne dégénère pas en nuit. Aube et résurrection sont synonymes. La réapparition de la lumière est identique à la persistance du moi. A people, like a star, has the right of eclipse. And all is well, provided the light return and the eclipse does not degenerate into night. Dawn and resurrection are synonyms. The reappearance of the light is identical with the persistence of the Me. Chapter XX: The Dead are Right and the Living are not Wrong Charles E. Wilbour translation (1862) Peoples, like planets, possess the right to an eclipse. And all is well, provided that the light returns and that the eclipse does not degenerate into night. Dawn and resurrection are synonymous. The reappearance of the light is identical with the persistence of the I. Isabel F. Hapgood translation (1887) Nations, like stars, are entitled to eclipse. All is well, provided the light returns and the eclipse does not become endless night. The reappearance of the light is the same as the survival of the soul. Norman Denny translation (1976) A people, like a star, has the right of eclipse. And all is well, provided the light returns and the eclipse does not degenerate into night. The reappearance of the light is identical with the persistence of the self. Lee Fahnestock and Norman MacAfee translation, based upon that of Wilbour. (1987) Hélas! être monté, cela n’empêche pas de tomber. On voit ceci dans l’histoire plus souvent qu’on ne voudrait. Alas! to have risen does not prevent falling. We see this in history oftener than we would wish. Il y a des gens qui observent les règles de l’honneur comme on observe les étoiles, de très loin. There are people who observe the rules of honour as we observe the stars, from afar off. Chapter XXI: The Heroes Les assaillants avaient le nombre; les insurgés avaient la position. Ils étaient au haut d’une muraille, et ils foudroyaient à bout portant les soldats trébuchant dans les morts et les blessés et empêtrés dans l’escarpement. Cette barricade, construite comme elle l’était et admirablement contrebutée, était vraiment une de ces situations où une poignée d’hommes tient en échec une légion. The assailants had the numbers; the insurgents the position. They were on the top of a wall, and they shot down the soldiers at the muzzles of their muskets, as they stumbled over the dead and wounded and became entangled in the escarpment. This barricade, built as it was, and admirably supported, was really one of those positions in which a handful of men hold a legion in check. Les assauts se succédèrent. L’horreur alla grandissant. There was assault after assault. The horror continued to increase. Pour se faire une idée de cette lutte, il faudrait se figurer le feu mis à un tas de courages terribles, et qu’on regarde l’incendie. Ce n’était pas un combat, c’était le dedans d’une fournaise; les bouches y respiraient de la flamme; les visages y étaient extraordinaires, la forme humaine y semblait impossible, les combattants y flamboyaient, et c’était formidable de voir aller et venir dans cette fumée rouge ces salamandres de la mêlée. Les scènes successives et simultanées de cette tuerie grandiose, nous renonçons à les peindre. To form an idea of this struggle, imagine fire applied to a mass of terrible valour, and that you are witnessing the conflagration. It was not a combat, it was the interior of a furnace; there mouths breathed flame; there faces were wonderful. There the human form seemed impossible, the combatants flashed flames, and it was terrible to see going and coming in that lurid smoke these salamanders of the fray. The successive and simultaneous scenes of this grand slaughter, we decline to paint. Que l’un combatte pour son drapeau, et que l’autre combatte pour son idéal, et qu’ils s’imaginent tous les deux combattre pour la patrie; la lutte sera colossale. Let the one fight for his flag, and the other for his ideal, and let them both imagine that they are fighting for the country; the strife will be colossal... On veut mourir pourvu qu’on tue. They are willing to die, provided they kill. Chapter XXII: Foot to Foot Book II - The Intestine of the Leviatha [ edit] La philosophie est le microscope de la pensée. Philosophy is the microscope of thought. Chapter II: Ancient History of the Sewer Book III - Mire, But Soul [ edit] Jean Valjean had fallen from one circle of Hell to another. Jean Valjean était tombé d’un cercle de l’enfer dans l’autre. Chapter I: The Cloaca and its Surprises La pupille se dilate dans la nuit et finit par y trouver du jour, de même que l’âme se dilate dans le malheur et finit par y trouver Dieu. The pupil dilates in the night, and at last finds day in it, even as the soul dilates in misfortune, and at last finds God in it. Quand un homme habillé par l’État poursuit un homme en guenilles, c’est afin d’en faire aussi un homme habillé par l’État. Seulement la couleur est toute la question. Être habillé de bleu, c’est glorieux; être habillé de rouge, c’est désagréable. When a man clad by the state pursues a man in rags, it is in order to make of him also a man clad by the state. Only the colour is the whole question. To be clad in blue is glorious; to be clad in red is disagreeable. Chapter III: The Man Spun Book IX - Supreme Shadow, Supreme Dawn [ edit] Ch. IV - A Bottle Of Ink Which Serves Only To Whiten [ edit] Vous êtes un infâme! vous êtes un menteur, un calomniateur, un scélérat. Vous veniez accuser cet homme, vous l’avez justifié; vous vouliez le perdre, vous n’avez réussi qu’à le glorifier. Et c’est vous qui êtes un voleur! Et c’est vous qui êtes un assassin! Je vous ai vu, Thénardier Jondrette, dans ce bouge du boulevard de l’Hôpital. J’en sais assez sur vous pour vous envoyer au bagne, et plus loin même, si je voulais. You are a wretch! you are a liar, a slanderer, a scoundrel. You came to accuse this man, you have justified him; you wanted to destroy him, you have succeeded only in glorifying him. And it is you who are a robber! and it is you who are an assassin! I saw you Thenardier, Jondrette, in that den on the Boulevard de l'Hopital. I know enough about you to send you to the galleys, and further even, if I wished. Marius to Thenardier Ch. V - Night Behind Which Is Dawn [ edit] Cosette, entends-tu? il en est là! il me demande pardon. Et sais-tu ce qu’il m’a fait, Cosette? Il m’a sauvé la vie. Il a fait plus. Il t’a donnée à moi. Et après m’avoir sauvé et après t’avoir donnée à moi, Cosette, qu’a-t-il fait de lui-même? il s’est sacrifié. Voilà l’homme. Et, à moi l’ingrat, à moi l’oublieux, à moi l’impitoyable, à moi le coupable, il me dit: Merci! Cosette, toute ma vie passée aux pieds de cet homme, ce sera trop peu. Cette barricade, cet égout, cette fournaise, ce cloaque, il a tout traversé pour moi, pour toi, Cosette! Il m’a emporté à travers toutes les morts qu’il écartait de moi et qu’il acceptait pour lui. Tous les courages, toutes les vertus, tous les héroïsmes, toutes les saintetés, il les a! Cosette, cet homme-là, c’est l’ange! Chut! chut! dit tout bas Jean Valjean. Pourquoi dire tout cela? Mais vous! s’écria Marius avec une colère où il y avait de la vénération, pourquoi ne l’avez-vous pas dit? C’est votre faute aussi. Vous sauvez la vie aux gens, et vous le leur cachez! Vous faites plus, sous prétexte de vous démasquer, vous vous calomniez. C’est affreux... La vérité, c’est toute la vérité; et vous ne l’avez pas dite. Vous étiez monsieur Madeleine, pourquoi ne pas l’avoir dit? Vous aviez sauvé Javert, pourquoi ne pas l’avoir dit? Je vous devais la vie, pourquoi ne pas l’avoir dit? Cosette, do you hear? that is the way with him! he begs my pardon, and do you know what he has done for me, Cosette? he has saved my life. He has done more. He has given you to me. And, after having saved me, and after having given you to me, Cosette, what did he do with himself? he sacrificed himself. There is the man. And, to me the ungrateful, to me the forgetful, to me the pitiless, to me the guilty, he says: Thanks! Cosette, my whole life passed at the feet of this man would be too little. That barricade, that sewer, that furnace, that cloaca, he went through everything for me, for you, Cosette! He bore me through death in every form which he put aside from me, and which he accepted for himself. All courage, all virtue, all heroism, all sanctity, he has it all, Cosette, that man is an angel! "Hush! hush! " said Jean Valjean in a whisper. "Why tell all that? " "Why have not you told it? It is your fault, too. You save people's lives, and you hide it from them! You do more, under pretence of unmasking yourself, you calumniate, yourself. It is frightful... The truth is the whole truth; and you did not tell it. You were Monsieur Madeleine, why not have said so? You had saved Javert, why not have said so? I owe my life to you! why not have said so? " Oh oui, défends-moi de mourir. Qui sait? j’obéirai peut-être. J’étais en train de mourir quand vous êtes arrivés. Cela m’a arrêté, il m’a semblé que je renaissais. Oh, yes, forbid me to die. Who knows? I shall obey perhaps. I was just dying when you came. That stopped me, it seemed to me that I was born again. La mort est un bon arrangement. Dieu sait mieux que nous ce qu’il nous faut. Que vous soyez heureux, que monsieur Pontmercy ait Cosette, que la jeunesse épouse le matin, qu’il y ait autour de vous, mes enfants, des lilas et des rossignols, que votre vie soit une belle pelouse avec du soleil, que tous les enchantements du ciel vous remplissent l’âme, et maintenant, moi qui ne suis bon à rien, que je meure, il est sûr que tout cela est bien. Voyez-vous, soyons raisonnables, il n’y a plus rien de possible maintenant, je sens tout à fait que c’est fini. Death is a good arrangement. God knows better than we do what we need. That you are happy, that Monsieur Pontmercy has Cosette, that youth espouses morning, that there are about you, my children, lilacs and nightingales, that your life is a beautiful lawn in the sunshine, that all the enchantments of heaven fill your souls, and now, that I who am good for nothing, that I die; surely all this is well. Look you, be reasonable, there is nothing else possible now, I am sure that it is all over. Ce n’est rien de mourir; c’est affreux de ne pas vivre. It is nothing to die; it is horrible not to live. J’écrivais tout à l’heure à Cosette. Elle trouvera ma lettre. C’est à elle que je lègue les deux chandeliers qui sont sur la cheminée. Ils sont en argent; mais pour moi ils sont en or, ils sont en diamant; ils changent les chandelles qu’on y met, en cierges. Je ne sais pas si celui qui me les a donnés est content de moi làhaut. J’ai fait ce que j’ai pu. I was writing just now to Cosette. She will find my letter. To her I bequeath the two candlesticks which are on the mantel. They are silver; but to me they are gold, they are diamond; they change the candles which are put into them, into consecrated tapers. I do not know whether he who gave them to me is satisfied with me in heaven. I have done what I could. Les forêts où l’on a passé avec son enfant, les arbres où l’on s’est promené, les couvents où l’on s’est caché, les jeux, les bons rires de l’enfance, c’est de l’ombre. Je m’étais imaginé que tout cela m’appartenait. Voilà où était ma bêtise. Ces Thénardier ont été méchants. Il faut leur pardonner. Cosette, voici le moment venu de te dire le nom de ta mère. Elle s’appelait Fantine. Retiens ce nom-là: — Fantine. Mets-toi à genoux toutes les fois que tu le prononceras. Elle a bien souffert. Elle t’a bien aimée. Elle a eu en malheur tout ce que tu as en bonheur. Ce sont les partages de Dieu. Il est là-haut, il nous voit tous, et il sait ce qu’il fait au milieu de ses grandes étoiles. Je vais donc m’en aller, mes enfants. Aimez-vous bien toujours. Il n’y a guère autre chose que cela dans le monde: s’aimer. The forests through which we have passed with our child, the trees under which we have walked, the convents in which we have hidden, the games, the free laughter of childhood, all is in shadow. I imagined that all that belonged to me. There was my folly. Those Thenardiers were wicked. We must forgive them. Cosette, the time has come to tell of your mother. Her name was Fantine. Remember that name: Fantine. Fall on your knees whenever you pronounce it. She suffered much. And loved you much. Her measure of unhappiness was as full as yours of happiness. Such are the distributions of God. He is on high, he sees us all, and he knows what he does in the midst of his great stars. So I am going away, my children. Love each other dearly always. There is scarcely anything else in the world but that: to love one another. La nuit était sans étoiles et profondément obscure. Sans doute, dans l’ombre, quelque ange immense était debout, les ailes déployées, attendant l’âme. The night was starless and very dark. Without doubt, in the gloom some mighty angel was standing, with outstretched wings, awaiting the soul. Chapter VI - Grass Hides And Rain Blots Out [ edit] Cette pierre est toute nue. On n’a songé en la taillant qu’au nécessaire de la tombe, et l’on n’a pris d’autre soin que de faire cette pierre assez longue et assez étroite pour couvrir un homme. On n’y lit aucun nom. This stone is entirely blank. The only thought in cutting it was of the essentials of the grave, and there was no other care than to make this stone long enough and narrow enough to cover a man. No name can be read there. Il dort. Quoique le sort fût pour lui bien étrange, Il vivait. Il mourut quand il n’eut plus son ange, La chose simplement d’elle-même arriva, Comme la nuit se fait lorsque le jour s’en va. He sleeps. Although his fate was very strange, He lived. He died when he had no longer his angel. The thing came to pass simply, Of itself, as the night comes when day is gone. These final lines are a statement once pencilled on the stone of Valjean's grave. The Isabel F. Hapgood translation is here used; the Wilbour edition leaves the verses untranslated. He sleeps; although so much he was denied, He when his dear love left him, died. It happened of itself, in the calm way That in the evening night-time follows day. Norman Denny translation He is asleep. Though his mettle was sorely tried, He lived, and when he lost his angel, died. It happened calmly, on its own, The way night comes when day is done. Lee Fahnestock and Norman MacAfee translation, based on the Charles E. Wilbour translation External links [ edit] Les Misérables at French Wikisource Free eBook of Les Misérables at Project Gutenberg — English translation by Isabel F. Hapgood Hugo Central Les Miserables at Online Literature Cameron Mackintosh: Les Misérables A Resourceful Les Mis Fan Site.

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#FightForFreedom. Banlieusards les Miserables Y a du talent ailleurs que dans le paris intra muros, il va falloir que l'industrie du cinema se le grave dans la tronche pitain! On veut/aura de la lumière nous aussi! ✊💪. AHR0cHM6Ly9tZWdhLm56LyMhUUZKeHlBQmEhU1pRajFaY1ZRZnBxb04yR255c1lkbzJVd2pQYmN5WldoU2NZaWF1a29tVQo= Les Misérables: 10th Anniversary Royal Albert Hall Concert (1995) Starring Colm Wilkinson, Philip Quast, Ruthie Henshall, Jenny Galloway, Alun Armstrong, Michael Ball and Judy Kuhn Resolution: 480x360 Size: 402 MB Frame rate: 29. 97 FPS Format: MP4 Audio: 96. 0 kb/s (fixed) Hey r/proshotmusicals, I'm trying something new. I'm going to be uploading proshots to MEGA and then posting the links here as Base64 Copy the string at the top of the post Go here Paste the string into the first box and hit decode The MEGA link will be in the second box PM/Post/comment/reply with your requests.

Ruthie Henshall, Susan Boyle, Anne Hathaway. Every version, each one of them is magnificent.

Sometimes I feel bad because theyre so focused on getting the timing right, the tone, the intonation and making sure it sounds good while also they dont like hear what a beautiful composition it is, like they hear it but they dont get to appreciate the chemistry and composition as much as the audience does! How much power a few singers can impact everywhere its crZy. É y Z'avé pa un otre tittre ah trou-vé pou re cet daubasse deu … gauchiasse. Les misérables sont dans les campagnes et sûrement pas dans les « banlieues » ou largent de létat, enfin des français, est déversé par centaines de milliards. Vous nous referez pas le coup des années 80 et de lépoque « touche pas mon pote » cette période est révolue.

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Les misérables - by Patrick, March 01, 2020

3.0/ 5stars

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Watch Macskák movie spoilers without sign up #MACSKÁK, Watch 'Macskák 'Live Stream Online. Notebook veoh MacskÃk.e. 2015/01/18 Ha a macskákon múlna, az ősz és a tél egyszerűen el is maradhatna. Ezeket az évszakokat ugyanis ők nem szeretik. Ennek hátterében az állhat, hogy ők tulajdonképpen „sztyeppei” állatok, és a szervezetük a melegre és szárazságra rendezkedett be. Még a kint tartott macskák is szívesebben húzódnak a meleg, barátságos lakásba, minthogy portyázni induljanak a hidegben. Most azt gondolhatnánk, hogy a macskáknak télen több energiára van szükségük, hogy megtartsák testmelegüket. Ez azonban nem így van. A cicák ugyanis a téli hónapokban kevésbé aktívak, és lényegesen többet alszanak. Így szabályozzák természetes módon az energia- és kalóriaháztartásukat. Figyeljünk a kiegyensúlyozott táplálkozásukra, ami erősíti az immunrendszerüket. Még ha cicánk a hideg évszakban nem is annyira aktív, játsszunk vele rendszeresen, hogy serkentsük keringését, mozgásrendszerét és anyagcseréjét. A macskák szeretik a meleget A macskák mindig a legmelegebb helyeket keresik fel a lakásban. A fűtőtest közelébe fekszenek, kényelmesen bebújnak egy meleg takaróba, vagy a kandalló elé heverednek. Ha túl melegük lesz, keresnek egy hűvösebb helyet. Ügyelni kell arra, hogy a cicának legyen lehetősége visszahúzódni egy hűvösebb zugba. Ha figyelünk a macska testbeszédére, felismerhetjük, hogy inkább fázik vagy melege van. Ha szorosan összegömbölyödik, inkább fázik. Így próbálja megtartani testhőmérsékletét. Ha minden lábát kinyújtja, melegben és kényelemben érzi magát. A vedlés A macskák a tél kezdetével bundát cserélnek. Levetik nyári bundájukat, és egy vastag, meleg téli bundára cserélik. Segítsünk neki azzal, hogy naponta átkeféljük a szőrét. Ezzel elősegítjük a bőr és izomzat keringését, serkentjük az anyagcserét. A szobatigriseknek ez egy valóságos wellnessprogram. A kinti macskák viselkedése télen A kint tartott dorombolóknál is azt fogjuk észrevenni, hogy a lakás meleg helyeit részesítik előnyben. Legfeljebb egy rövid kiruccanást tesznek a szabadba. Fontos, hogy a macskának mindig legyen lehetősége visszajönni a melegbe. A fagyos időben a macska hólyaggyulladást szedhet össze, mely állatorvosi kezelést igényel. A meghittség ideje A macskák ugyanúgy szenvednek a rossz időtől, mint az emberek. Élvezzük a kedvencünkkel töltött időt. Játékkal gondoskodjunk a változatosságról, és figyeljünk arra, hogy cicánk a rossz idő ellenére is jól érezze magát.

 

Notebook veoh mask c3 a1k black. Macskák (Cats) musical A Macskák a Roma Musical Theatre előadásában Varsóban (2007. december 8. ) Eredeti nyelv angol Alapmű T. S. Eliot: Macskák könyve Zene Andrew Lloyd Webber Dalszöveg Andrew L. Webber Szövegkönyv T. S Eliot Fordító Romhányi József Főbb bemutatók 1981. május 11. – New London Theatre 1983. március 25. – Madách Színház Díjak Laurence Olivier-díj weboldal IBDB A Wikimédia Commons tartalmaz Macskák témájú médiaállományokat. A Macskák (Cats) kétfelvonásos [1] musical T. Eliot angol költő Macskák könyve című versciklusából született Andrew Lloyd Webber zeneszerzőnek köszönhetően. A musical a londoni West Enden mutatkozott be 1981 -ben, amit az 1982-es broadwayi és az 1983-as budapesti premier követett. A Broadway történetének leghosszabb ideig futó darabja volt, míg Webber egy másik musicalje, Az Operaház Fantomja meg nem előzte. A zeneszerző a verseskötetben szereplő verseken túl a színházi feldolgozásban Eliot meg nem jelent vázlatait is felhasználta, így több új szereplő is bemutatkozik, akik közül a legnevezetesebb Grizabella. A magyarországi ősbemutató 1983. március 25-én volt a Madách Színházban, közvetlenül a londoni bemutató után. A musical szövegét magyar nyelvre Romhányi József fordította. Az 1983 óta eltelt években az előadást több mint 1400-szor adták elő – nemcsak Budapesten –, hanem Szegeden, Debrecenben, Nyíregyházán, az olaszországi Trento és Bergamo közönsége előtt is. Magyar színházi rekordként (2015-ig) több mint 1, 6 millió néző vásárolt jegyet az előadásokra. A 3 teljes felújítást is megért Macskák legendás macskaszerepeiben már 250 művész lépett színpadra. 2018. március 25-én lett a magyar színháztörténet jubileumaként 35 éves a Madách Színház Macskák című előadása. [2] Történet [ szerkesztés] Macskabál van az elhagyott színház ódon színpadán. Minden évben egyszer megrendezik a bált, és erre összegyűlnek a környék különböző szeszélyű, magaviseletű, eltérő jellemű macskái. Az emberi tulajdonságokkal rendelkező négylábúak a mindennapi megpróbáltatásaikat mesélik el a szürke és unalmas hétköznapoktól kezdve a boldog, önfeledt, de ritka ünnepnapokon át. A fenemacska (fenegyerek) testével, izmaival, vagány mondanivalójával bűvöli el a szép macskalányokat. Színpadra oson a titokzatos bűnöző macska, akit ha tetten érnek, "tovaszáll". Feltűnik az egyszerű munkás közmacska és a vasutas. Szerephez jut a nagy varázsló, a macskák vezetője, valamint a bukott macska is. Ő az, aki darab végére újra reményt kap, visszakapja régi életét, mindazt, ami az embereknek is fontos: a szeretetet, a megbecsülést, a társadalomban elfoglalt méltó helyet. Itt a vége a cselekmény részletezésének! Szereposztás [ szerkesztés] Madách Színház (1983) [3] [ szerkesztés] Grizabella – Almási Éva Old Csendbelenn – Póka Balázs, Lukács László Munkustrapp – Timár Béla Tus, Gastrofar George – Haumann Péter Ben Mickering - Gyabronka József Mindlevery – Hűvösvölgyi Ildikó Lengelingéla – Kishonti Ildikó Elvis Trén – Cseke Péter Micsel Rumli – Szerednyey Béla Bombalurina – Bencze Ilona Quaxo – Paudits Béla Gimb-Gömb – Kiss Mari Madách Színház [ szerkesztés] Tus, Gastrofar George – Hirtling István, Laklóth Aladár, Szolnoki Tibor, Weil Róbert Grizabella – Bajza Viktória, Gallusz Nikolett, Malek Andrea Mefisztulész I. – Kalapács József, Mező Zoltán, Tóth Attila Mefisztulész II. / Nagy Hirig Macska – Bakó Máté, Jevgenyij Lagunov, Túri Lajos Péter Old Csendbelenn – Ambrus Ákos, Egyházi Géza, Rezsnyák Róbert Lengelingéla – Kecskés Tímea, Molnár Gyöngyi Bombalurina – Kisfaludy Zsófia, Ladinek Judit Quaxo – Kiss Ernő Zsolt, Solti Ádám Munkustrapp – Berényi Dávid, Jenei Gábor Mindlevery – Foki Veronika, Szilvási Judit Ben Mickering – Ekanem Bálint Emota, Sándor Dávid Elvis Trén – Sánta László Micsel Rumli – Puskás Péter, Serbán Attila Cassandra – Simon Boglárka, Wégner Judit, Sári Éva Victória – Kecskés Tímea, Magyar Krisztina Gimb-Gömb – Magyar Krisztina, Sári Éva, Vajai Flóra Koricipat – Nagy Attila, Németh Gábor Jegyzetek [ szerkesztés] Források [ szerkesztés] Macskák: a musical királyai, 2008. január Macskák - Szinopszis - Madách Színház Macskák További információk [ szerkesztés] Macskák - Szereplők, alkotók - Madách Színház Zeneportál • összefoglaló, színes tartalomajánló lap.

Notebook veoh mask c3 a1k 5. {Macskák English Full Online} Watch Macskák full movie watch online in hindi. Ki próbáltam és nem mukodik. Notebook veoh mask c3 a1k 4. Notebook veoh MacskÃk.o. Notebook veoh mask c3 a1k review. Notebook veoh MacskÃk.r. Tücsi a galaktikus 2016. július 22. 06:00 A létezésük ökológia katasztrófa Ausztráliában. Az ausztrál szövetségi kormány nyáron hirdetett háborút az elvadult házimacskák ellen. Kutatók szerint az eddig kihalt 29 őshonos ausztrál emlősfajból 28 pusztulásában játszottak szerepet a macskák az elmúlt két évszázadban. Az Ausztráliában őshonos vadállatok védelmében mintegy kétmillió kóbor macska kiirtását tervezik öt év alatt. Ezek az állatok az Európából érkező telepesek házimacskáinak elvadult leszármazottai.     Több mint 120 őshonos fajt fenyeget a kihalás az elszaporodott ragadozók pusztítása miatt. Közölték, hogy mérgezett csalétkeket helyeznek ki, és telefonos alkalmazást is készítettek FeralCatScan néven, mellyel a lakosság értesítheti a hatóságokat, ha olyan területet talál, ahol nagy számban láttak vadászó macskákat. "Nagyon fontos hangsúlyozni, hogy nem utáljuk a macskákat, csak véget kell vetni a károknak, amit a vadon élő állatok közt okoznak. A tudományos bizonyítékok egyértelműek, a vadon kóborló macskák jelentik a legnagyobb veszélyt" - mondta Gregory Andrews, a kihalással fenyegetett fajok biztosa. Úgy vélik, mintegy 20 millió macska él az országban, melyek körülbelül 75 millió őshonos állattal végeznek naponta. A macskák az 1700-as évek végén érkeztek az európai telepesekkel, akkor még háziállatként, ám azóta rengeteg leszármazottuk tért vissza a vadonba és szaporodott el az egész kontinensen. Greg Hunt környezetvédelmi miniszter a macskatartást szigorító intézkedéseket - többek között az ivartalanítást és a mikrochip beültetését - tartja szükségesnek, egyes szakértők szerint érdemes lenne megfontolni azt is, hogy macskát csak házon belül lehessen tartani. Van egy jó fényképed, videód, történeted a saját macskádról? Vagy találtál a neten valami érdekest? Küldd el nekünk a   címre. Ha tetszik, lájkold, és oszd meg ismerőseiddel. Csatlakozz a   Macskaőrséghez a Facebookon, vagy Te is legyél része több mint harmincnyolcezer főt számláló   Toochee FaceBook közösségnek, mert sok mindent csak ott, vagy azon keresztül találsz meg. További blogjaink, és minden egyéb, ami érdekes, de nem ér meg egy blogbejegyzést. Linkek, fotók, videók, rövidebb és hosszabb infók, vagyis bővebb tartalommal várunk rád. Ezt láttad már? Toochee blog:    Pici guruló otthon Szem-Szájnak gasztroblog:   Hutai finomfalatok Napi videó:    A mozgás művészete Napi fotó:   Randalírozók ( via).

Notebook veoh MacskÃk y r o. Notebook veoh MacskÃk.m. Notebook veoh mask c3 a1k price. Majd körülnézek a polcon. és igazad van. Notebook veoh mask c3 a1k 3. I have to preface this that I never saw the Broadway musical or previous movie. I had no idea what the story line was. I was just expecting a musical about cats. So why the horrific reviews? I don't always love musicals. The songs in these were somewhat weird; I only knew of the song "Memories. But I thought Francesca Hayward was cute and very watchable, as well as Laurie Davidson and Robbie Fairchild. Loved the dancing and the sets. We go to movies to either learn something and/or be entertained. Did I learn anything? No, but now I know what Cats is about. Would I see it again? No. Was it terrible? No! The dancing, the sets, the cat "acting" and the weird story line - it was entertaining and visually impressive.

Cool ez a video. Notebook veoh mask c3 a1k 2017. Cats Logo by Really Useful Group Music Andrew Lloyd Webber Basis Old Possum's Book of Practical Cats by T. S. Eliot Premiere 11 May 1981; 38 years ago: New London Theatre, London, England, U. K. Productions Multiple productions worldwide Awards Laurence Olivier Award for Best New Musical Tony Award for Best Musical Tony Award for Best Book of a Musical Tony Award for Best Original Score Cats is a sung-through musical composed by Andrew Lloyd Webber based on the 1939 poetry collection Old Possum's Book of Practical Cats by T. Eliot. It tells the story of a tribe of cats called the Jellicles and the night they make the "Jellicle choice, " deciding which cat will ascend to the Heaviside Layer and come back to a new life. The musical includes the well-known song " Memory " as sung by Grizabella. As of 2019, Cats remains the fourth-longest-running Broadway show and the sixth-longest-running West End show. Lloyd Webber began setting Eliot's poems to music in 1977 and the compositions were first presented as a song cycle in 1980. Producer Cameron Mackintosh then recruited director Trevor Nunn and choreographer Gillian Lynne to turn the songs into a complete musical. Cats opened to positive reviews at the New London Theatre in the West End in 1981 and then to mixed reviews at the Winter Garden Theatre on Broadway in 1982. It won numerous awards including Best Musical at both the Laurence Olivier and Tony Awards. Despite its unusual premise that deterred investors initially, the musical turned out to be an unprecedented commercial success, with a worldwide gross of US$3. 5 billion by 2012. The London production ran for 21 years and 8, 949 performances, while the Broadway production ran for 18 years and 7, 485 performances, making Cats the longest-running musical in both theatre districts for a number of years. Cats has since been revived in the West End twice and on Broadway once. It has also been translated into multiple languages and performed around the world many times. Long-running foreign productions include a 15-year run at the Operettenhaus in Hamburg that played over 6, 100 performances, as well as an ongoing run in a purpose-built theatre in Japan that has played over 10, 000 performances since it opened in 1983. Cats started the megamusical phenomenon, establishing a global market for musical theatre and directing the industry's focus to big-budget blockbusters, as well as family- and tourist-friendly shows. The musical's profound but polarising influence also reshaped the aesthetic, technology, and marketing of the medium. Cats was adapted into a direct-to-video film in 1998, and a feature film adaptation by Tom Hooper followed in 2019. Background [ edit] Cats is based on T. Eliot 's 1939 poetry book Old Possum's Book of Practical Cats, with the songs in the musical consisting of Eliot's verse set to music by Andrew Lloyd Webber. [1] The musical is unusual in its construction; along with Eliot's poems, music and dance are the main focus of the show at the expense of a traditional narrative structure. [2] Musicologists William Everett and Paul Laird described Cats as "combining elements of the revue and concept musical ". [3] The plot centres on a tribe of cats called the Jellicles, as they come together at the annual Jellicle Ball to decide which one of them will ascend to the Heaviside Layer (their version of heaven) and be reborn into a new life. [4] The bulk of the musical consists of the different contenders being introduced, either by themselves or by other cats. [5] Poems [ edit] T. Eliot's poetry provided most of the lyrics for Cats Old Possum's Book of Practical Cats is a collection of light poetry about cats that Eliot had originally written for his godchildren in the 1930s. Due to the rhythmic nature of Eliot's work, there had been previous attempts before Cats at setting his poems to music, though none of these attempts had been met with much critical or commercial success. [6] Musicologist John Snelson wrote of the poems: [They] provided excellent material for musicalization, as Eliot's style in this collection is reminiscent of a popular lyricist. The poet uses repeated catch phrases, strong hooks, steady rhythm and outrageous, attention-grabbing, witty rhymes, which are the ingredients of every well-crafted popular lyric. [7] Most of the lyrics in Cats were taken from Old Possum's Book of Practical Cats with very minor alterations. Supplementary verses from unpublished poems by Eliot were adapted for "Grizabella: The Glamour Cat" and "The Journey to the Heaviside Layer", while the song "The Moments of Happiness" was taken from a passage in Eliot's The Dry Salvages. Cats director Trevor Nunn and lyricist Richard Stilgoe provided the remaining lyrics, namely for the opening number "Jellicle Songs for Jellicle Cats" and the most famous song from the musical " Memory ". The former was written by Nunn and Stilgoe and was modelled after an unpublished poem by Eliot titled "Pollicle Dogs and Jellicle Cats", while the latter was written by Nunn based on another Eliot poem titled "Rhapsody on a Windy Night". [1] Creation [ edit] Inception [ edit] Lloyd Webber began composing the songs in late 1977 as a songwriting exercise, partly because Eliot's book had been a childhood favourite and partly to see if he could write music to predetermined lyrics. The compositions were performed privately for friends but Lloyd Webber had no further intentions for them at the time. After his song cycle Tell Me on a Sunday was televised by the BBC in early 1980, Lloyd Webber began to consider using his musicalization of Eliot's poems in the same vein for a televised concert anthology. [8] He approached producer Cameron Mackintosh to explore possible avenues for the songs. [9] Practical Cats, as the show was then called, was first presented as a song cycle at the 1980 summer Sydmonton Festival. The concert was performed by Gemma Craven, Gary Bond and Paul Nicholas. Eliot's widow and literary executor, Valerie, was in attendance and brought along various unpublished cat-themed poems by Eliot. One of these was "Grizabella the Glamour Cat" which, although rejected from Eliot's book for being "too sad for children", gave Lloyd Webber the idea for a full-blown musical. [10] He explained: The musical and dramatic images that this created for me made me feel that there was very much more to the project than I had realised. I immediately decided that I needed the support of another to encourage me to re-work my settings and to see if a dramatic whole could be woven from the delightful verse that I was now to be allowed to develop. [8] Lloyd Webber thus decided to turn Practical Cats into a musical, co-produced by Mackintosh and the Really Useful Group 's Brian Brolly. [10] Development [ edit] Shortly after the Sydmonton Festival, Lloyd Webber began setting the unpublished poems he had been given to music, a few of which were later added into the show. He also composed the overture and "The Jellicle Ball", incorporating analog synthesizers into these orchestrations to try to create a unique electronic soundscape. [11] Meanwhile, Mackintosh recruited Nunn, the then artistic director of the Royal Shakespeare Company (RSC), to direct Practical Cats. Nunn was an unusual choice as he was considered "too high-brow" for musical theatre, [12] but Mackintosh felt that a "pedigree" director was needed to ensure Valerie Eliot's approval of the project. [13] After much persuasion, Nunn came on board and was joined by his RSC colleagues, choreographer Gillian Lynne and set and costume designer John Napier. [9] [14] Nunn initially envisioned Practical Cats as a chamber piece for five actors and two pianos, which he felt would reflect "Eliot's charming, slightly offbeat, mildly satiric view of late-1930s London". [15] However, he relented to Lloyd Webber's more ambitious vision for the musical. [15] Nunn was also convinced that for the musical to have the wide commercial appeal that the producers desired, it could not remain as a series of isolated numbers but instead had to have a narrative through line. [14] He was therefore tasked with piecing the self-contained poems together into a story. [16] Nunn wrote about the significance "Grizabella the Glamour Cat" had on the construction of the narrative: Here in eight lines Eliot was describing an intensely recognizable character with powerful human resonances, while introducing the themes of mortality, and the past, which occur repeatedly in the major poems. We decided that if Eliot had thought of being serious, touching, almost tragic in his presentation of a feline character, then we had to be doing a show which could contain that material, and the implications of it. Furthermore, we would have to achieve the sense of progression through themes more than incidents. [17] An event called the Jellicle Ball was referenced by Eliot in the poem "The Song of the Jellicles", while a cat version of heaven known as the Heaviside Layer was mentioned in one of his unpublished poems. Nunn expanded on these concepts by conceiving the Jellicle Ball as an annual ritual in which the cats vie to be chosen to ascend to the Heaviside Layer, thus giving the characters a reason to gather and sing about themselves in the musical. He also added the element of rebirth as a play on the idea that cats have nine lives. [1] One of Nunn's stipulations for agreeing to direct Practical Cats was that actress Judi Dench would be cast in the musical. Lloyd Webber was happy to oblige given her credentials and so Dench joined the company in the dual roles of Grizabella and Jennyanydots. Former Royal Ballet principal dancer Wayne Sleep was offered the part of Mr. Mistoffelees after Lloyd Webber and Mackintosh attended a performance by his dance troupe, one of the many dance showcases they saw in preparation for the musical. Casting for the other roles began in November 1980, with auditions held across the UK for dancers who could also sing and act. There was an initial disagreement over the casting of Nicholas as Rum Tum Tugger; Nunn had misgivings about the actor's easy-going attitude but eventually yielded to Lloyd Webber, Mackintosh and Lynne, all of whom were keen on Nicholas for the role. Sarah Brightman, who had already made a name for herself with the chart hit " I Lost My Heart to a Starship Trooper ", arranged a private audition and was cast in an as-then undecided role. By December, the full cast had been assembled. [18] Meanwhile, Mackintosh engaged the advertising agency Dewynters to design a poster for the musical. After much back-and-forth, the agency presented a minimalist poster consisting of a pair of yellow feline eyes (with dancing silhouettes for the pupils) set against a black backdrop. The producers and the creative team loved the design but felt that the title — Practical Cats  — looked out of place when paired with the image of the cat's eyes. The musical's title was thus shortened to just Cats. [19] The musical was scheduled to open on 30 April 1981, with previews starting on 22 April. Shortly before tickets went on sale in mid-February, Nunn revealed to the alarmed producers that he was struggling to write the script for the musical. Despite still having no established book or score, rehearsals began on 9 March 1981 in a church hall in Chiswick, London. The original music director, Chris Walker, became so frustrated with the unfinished score that he quit by lunchtime and was replaced by the film conductor Harry Rabinowitz. [20] The situation improved later that day when Lloyd Webber, Mackintosh and Nunn met with Stilgoe, a musician known for his ability to improvise lyrics on the spot, in hopes that Stilgoe could write an opening song for the musical. By the next evening, Stilgoe had produced a draft for "Jellicle Songs for Jellicle Cats". [21] However, "Memory", an 11 o'clock number for Grizabella that Nunn insisted the show needed as its "emotional centre", [22] still had no lyrics at this point. Lloyd Webber's former writing partner Tim Rice was brought in to write a lyric for the song, but his version was rejected by Nunn for being too depressing. The lyrics for "Memory" were not completed by Nunn until well into the previews. [23] The original 1981 London cast of Cats Many of the ensemble characters were created by the original cast through extensive improvisation sessions held during the rehearsal process. Said Nunn: "[O]n day one of rehearsals what we had was 15 poems set to music and five weeks later we had a show with characters, relationships and stories running from beginning to end. " [24] [25] The production faced a last minute mishap when Dench snapped her Achilles tendon during rehearsals for "The Old Gumbie Cat" and had to pull out one week before the first preview. Her understudy Myra Sands replaced her as Jennyanydots, while Elaine Paige agreed to take over the role of Grizabella. Opening night was pushed back to 11 May, but Mackintosh refused to postpone the previews as he wanted to dispel the industry rumours that the production was an impending debacle. [26] The development of Cats was also plagued by financial troubles. Mackintosh struggled to raise the £450, 000 (US$1. 16 million [27]) needed to stage the musical in the West End as major investors were sceptical of the show's premise and refused to back it. Lloyd Webber personally underwrote the musical and took out a second mortgage on his house for the down payment of the theatre. He later recalled that if Cats had been a commercial failure, it would have left him in financial ruin. [28] The remaining capital was eventually raised by small investments procured from 220 individuals through newspaper advertisements. [1] [12] After the musical became a massive hit, the rate of return for these investors was estimated to have exceeded 3, 500 per cent. [29] Synopsis [ edit] Act I – When Cats Are Maddened by the Midnight Dance [ edit] The Jellicle cats gather every year to make the "Jellicle Choice", and decide which cat will ascend to the Heaviside Layer and come back to a new life. After the overture, the cats gather on stage and describe the Jellicle tribe and its purpose ("Jellicle Songs for Jellicle Cats"). The cats (who break the fourth wall throughout the show) then notice that they are being watched by a human audience, and proceed to explain how the different cats of the tribe are named (" The Naming of Cats "). This is followed by a ballet solo performed by Victoria to signal the beginning of the Jellicle Ball ("The Invitation to the Jellicle Ball"). At this moment, Munkustrap, the show's main narrator, explains that tonight the Jellicle patriarch Old Deuteronomy will make an appearance and choose one of the cats to be reborn into a new life on the Heaviside Layer. The first contender Munkustrap introduces is Jennyanydots ("The Old Gumbie Cat"), a large tabby cat who lazes around all day, but come nighttime, she becomes active, teaching mice and cockroaches various activities to curb their naturally destructive habits. Just as Jennyanydots finishes her song, the music changes suddenly and Rum Tum Tugger makes his extravagant entrance in front of the tribe ("The Rum Tum Tugger"). He is very fickle and unappeasable, "for he will do as he do do, and there's no doing anything about it". Then, as Rum Tum Tugger's song fades, a shabby old grey cat stumbles out wanting to be reconciled; it is Grizabella. All the cats back away from her in fear and disgust and explain her unfortunate state ("Grizabella: The Glamour Cat"). Grizabella leaves and the music changes to a cheerful upbeat number as Bustopher Jones, a fat cat in "a coat of fastidious black", is brought to the stage ("Bustopher Jones: The Cat About Town"). Bustopher Jones is among the elite of the cats, and visits prestigious gentlemen's clubs. Suddenly, a loud crash startles the tribe and the cats run offstage in fright. Hushed giggling sounds signal the entrance of Mungojerrie and Rumpleteazer, a pair of near-identical cats. They are mischievous petty burglars who enjoy causing trouble around their human neighbourhood ("Mungojerrie and Rumpleteazer"). After they finish, they are caught off-guard and confronted by the rest of the cats. Finally, the Jellicle patriarch, Old Deuteronomy, arrives before the tribe ("Old Deuteronomy"). He is a wise old cat who "has lived many lives" and is tasked with choosing which Jellicle will go to the Heaviside Layer every year. The cats put on a play for Old Deuteronomy (" The Awefull Battle of the Pekes and the Pollicles "), telling a story about two dog tribes clashing in the street and subsequently being scared away by the Great Rumpus Cat. A sombre moral from Old Deuteronomy is interrupted by a second loud crash, presumably from Macavity, which sends the alarmed cats scurrying. After a quick patrol for Macavity, Old Deuteronomy deems it a false alarm and summons the cats back as the main celebration begins ("The Jellicle Ball"), in which the cats sing and display their " Terpsichorean powers". During the Ball, Grizabella reappears and is once again shunned by the other cats ("Grizabella: The Glamour Cat (Reprise)") while Old Deuteronomy looks on sadly. She tries to dance along, but her age and decrepit condition prevent her from doing so ("Memory (Prelude)"). Act II – Why Will the Summer Day Delay – When Will Time Flow Away? [ edit] After the Jellicle Ball, Old Deuteronomy contemplates "what happiness is", referring to Grizabella. However, the cats do not understand him, so he has Jemima (also known as Sillabub), the youngest of all Jellicles, sing it in simpler terms ("The Moments of Happiness"). Gus  – short for Asparagus – shuffles forward as the next cat to be introduced ("Gus: The Theatre Cat"). He was once a famous actor but is now old and "suffers from palsy which makes his paws shake". He is accompanied by Jellylorum, his caretaker, who tells of his exploits. Gus then remembers how he once played the infamous pirate captain, Growltiger a. k. a. the Terror of the Thames ("Growltiger's Last Stand"). Gus tells the story about the pirate captain's romance with Lady Griddlebone, and how Growltiger was overtaken by the Siamese and forced to walk the plank to his death. Back in the present, after Gus exits, Skimbleshanks is seen sleeping in the corner ("Skimbleshanks: The Railway Cat"). He is the cat who is unofficially in charge of the night train to Glasgow. Skimbleshanks is considered vital to the rail operations, as without him "the train can't start". Within his song, a whole steam train engine is assembled out of objects in the junkyard. With a third crash and an evil laugh, the "most wanted" cat Macavity appears. He is the so-called " Napoleon of Crime" who always manages to evade the authorities. Macavity's henchmen capture Old Deuteronomy and take off with the patriarch in tow. As Munkustrap and his troop give chase, Demeter and Bombalurina explain what they know about Macavity ("Macavity: The Mystery Cat"). When they are finished, Macavity returns disguised as Old Deuteronomy, but his cover is blown by Demeter and he ends up in a fight with Munkustrap and Alonzo. Macavity holds his own for a time, but as the rest of the tribe begin to gang up and surround him, he shorts out the stage lights and escapes in the resulting confusion. After the fight, Rum Tum Tugger calls upon the magician Mr. Mistoffelees for help ("Magical Mr. Mistoffelees"). Known as the "original conjuring cat", Mr. Mistoffelees can perform feats of magic that no other cat can do. He displays his magical powers in a dance solo and uses them to restore the lights and bring back Old Deuteronomy. Now, the Jellicle Choice can be made. Before Old Deuteronomy can announce his decision, Grizabella returns to the junkyard and he allows her to address the gathering. Her faded appearance and lonely disposition have little effect on her song (" Memory "). With acceptance and encouragement from Jemima and Victoria, her appeal succeeds and she is chosen to be the one to go to the Heaviside Layer and be reborn into a new Jellicle life ("The Journey to the Heaviside Layer"). A tyre rises from the piles of junk, carrying Grizabella and Old Deuteronomy partway toward the sky; Grizabella then completes the journey on her own. [i] Finally, Old Deuteronomy closes the show with an address to the audience ("The Ad-dressing of Cats"). Notes: ^ The method in which Grizabella ascends to the Heaviside Layer varies depending on the production. In the original London and Broadway productions, she climbs up a stairway that emerges from the ceiling. In the 1990s and 2000s scaled-down touring productions, she ascends via a flying saucer -like vessel. [30] Music [ edit] Musical numbers [ edit] Act I "Overture" – Orchestra "Prologue: Jellicle Songs for Jellicle Cats" – The Company "The Naming of Cats" – The Company "The Invitation to the Jellicle Ball" – Victoria, Quaxo, Munkustrap, Company "The Old Gumbie Cat" – Jennyanydots, Munkustrap, Bombalurina, Jellylorum, Demeter, Company "The Rum Tum Tugger" – Rum Tum Tugger, Quaxo, Bombalurina and Company "Grizabella: The Glamour Cat" – Grizabella, Demeter, Bombalurina, Company "Bustopher Jones: The Cat About Town" – Bustopher, Jennyanydots, Bombalurina, Jellylorum, Company "Mungojerrie and Rumpleteazer" – Mungojerrie, Rumpleteazer, Company "Old Deuteronomy" – Munkustrap, Rum Tum Tugger, Old Deuteronomy, Company "The Awefull Battle of the Pekes and the Pollicles" † – Munkustrap, Rumpus Cat and Company "The Jellicle Ball" ‡ – The Company "Grizabella: The Glamour Cat (Reprise)" – Jellylorum and Jemima "Memory (Prelude)" – Grizabella Act II "The Moments of Happiness" – Old Deuteronomy, Jemima, Company "Gus: The Theatre Cat" – Asparagus, Jellylorum "Growltiger's Last Stand" (including "The Ballad of Billy M'Caw" or "In Una Tepida Notte") † – Growltiger, Griddlebone, Genghis, The Crew, Company "Skimbleshanks: The Railway Cat" – Skimbleshanks and Company "Macavity: The Mystery Cat" – Demeter, Bombalurina, Girls "Mr. Mistoffelees" – Mr. Mistoffelees, Rum Tum Tugger, and Company " Memory " – Grizabella, Jemima "The Journey to the Heaviside Layer" – The Company "The Ad-Dressing of Cats" – Old Deuteronomy and Company † "Growltiger's Last Stand" has been dropped from US and UK productions since 2016, [31] with "The Awefull Battle of the Pekes and the Pollicles" moving to Act II to replace it. [32] ‡ Also credited as "Song of the Jellicles and the Jellicle Ball". [32] Orchestration [ edit] Based on the definitive 16-piece licensed version. [33] Characters [ edit] Cats is an ensemble show with a large supporting cast and no leads. [34] Featured [ edit] Characters who are featured singers and/or dancers: Asparagus (Gus) a. the Theatre Cat – A frail elderly cat who used to be a famous stage actor. [35] Bombalurina – A flirty and confident red queen; she is best friends with Demeter and the two share an intense hatred for Macavity. [36] Bustopher Jones – A fat upper-class cat with a "fastidious black coat and white spats". Respected by all, he is a man of leisure who frequents gentlemen's club for their fine dining. [37] In most productions, the actor playing Gus also plays Bustopher, though in early productions the part was handled by the actor playing Old Deuteronomy. Demeter – A troubled and skittish queen; she is best friends with Bombalurina and the two share an intense hatred for Macavity. [36] Grizabella – A former "glamour cat", ostracised by the Jellicles, who has lost her sparkle and now only wants to be accepted. [38] Jellylorum – A motherly caretaker who watches out for the kittens and looks after Gus. Jemima/Sillabub – The youngest kitten. Idealistic and jovial, she is sympathetic to Grizabella's plight. [39] Jennyanydots a. the Old Gumbie Cat – She sits around all day and is seemingly very lazy, but at night, she becomes very active as she rules the mice and cockroaches, forcing them to undertake helpful functions and creative projects to curb their naturally destructive habits. [40] Macavity – A notorious criminal known as the "Napoleon of Crime". [41] Usually played by the actor playing Admetus/Plato. Mr. Mistoffelees – A young black-and-white tuxedo tom learning to control his magical powers. [42] He is a featured dancer, performing his signature "Conjuring Turn" (twenty-four consecutive fouettés en tournant) during his number. [43] Mistoffelees' chorus identity is sometimes known as Quaxo. Mungojerrie – A mischievous troublemaker, he is one-half of a notorious duo of cat-burglars along with Rumpleteazer. [44] Munkustrap – A grey tabby tomcat who is the storyteller and protector of the Jellicle tribe. He is Old Deuteronomy's second-in-command and the show's main narrator. [45] Old Deuteronomy – The wise and benevolent elderly Jellicle leader who is beloved by his tribe. [46] Rumpleteazer – A mischievous troublemaker, she is one half of a notorious duo of cat-burglars along with Mungojerrie. [44] Rum Tum Tugger – A flashy and unappeasable cat who loves to be the centre of attention. [47] Skimbleshanks a. the Railway Cat – An upbeat and active orange tabby cat, who lives on the mail trains and acts as an unofficial chaperone to such an extent he is considered rather indispensable to the train and station employees. [48] Victoria – A demure and graceful white kitten. She is a featured dancer, opening with a ballet solo after "The Naming of the Cats" and is the first character to touch Grizabella. [49] Others [ edit] Other characters who have appeared in multiple notable productions include: Admetus / Plato – The chorus identity of Macavity. He is a quiet ginger-and-white young tom, and is typically paired with Victoria in a pas de deux during the Jellicle Ball. [50] Alonzo – A black-and-white tom. He is vain, insecure and full of bravado. [51] Bill Bailey / Tumblebrutus – A playful tom kitten, often performing acrobatics as well as being a strong dancer. His costume consists of brown patches (including a brown eye patch) on a white base. [52] Carbucketty / Pouncival – A playful and acrobatic brown-and-white tom kitten. [53] Cassandra – An elegant and aloof brown pointed queen. [54] Coricopat and Tantomile – Mysterious twin brother and sister with psychic abilities. [55] Electra – A reserved and solemn tortoiseshell kitten. Her costume is brown, red and black. [56] Etcetera – An exuberant and immature tabby kitten. Her costume is white, black and brown. [57] Griddlebone – Growltiger's lover in " Growltiger's Last Stand ", in which she sings "The Ballad of Billy M'Caw" or the mock Italian aria "In Una Tepida Notte" (depending on production). Usually played by the actress playing Jellylorum. Growltiger – A theatrical character Gus recalls playing in his youth, and who appears in Gus' memory during "Growltiger's Last Stand". [35] In some productions he is portrayed as a vicious pirate; in others, he is more comical. Usually played by the actor playing Gus. Rumpus Cat – A spiky-haired cat with glowing red eyes, seen as a sort of superhero figure in "The Awefull Battle of the Pekes and the Pollicles" despite his ineptness. Usually played by one of the male ensemble characters in the play within the musical. [58] Notable cast [ edit] Role Original London cast 1981 [59] Original Broadway cast 1982 [60] Film 1998 [61] First London Revival cast 2014 [62] Second London Revival cast 2015 [63] Broadway revival cast 2016 [32] Film 2019 [64] Admetus/Plato Steven Wayne Kenneth Ard Bryn Walters Cameron Ball Javier Cid Daniel Gaymon Eric Underwood Alonzo Roland Alexander Héctor Jaime Mercado Jason Gardiner Adam Lake Jack Butterworth Ahmad Simmons Bluey Robinson Asparagus (Gus) Stephen Tate Stephen Hanan John Mills Paul F. Monaghan Christopher Gurr Ian McKellen Bill Bailey/Tumblebrutus Peter Barry Robert Hoshour Fergus Logan Adam Salter Jon-Scott Clark Kolton Krouse N/A Bombalurina Geraldine Gardner Donna King Rosemarie Ford Charlene Ford Emma Lee Clark Christine Cornish Smith Taylor Swift Bustopher Jones Brian Blessed James Barron James Corden Carbucketty Luke Baxter Steven Gelfer Joel Morris Luke Cinque-White Giuseppe Bausilio Cassandra Seeta Indrani René Ceballos Rebecca Parker Cassie Clare Danielle Cato Emily Pynenburg Mette Towley Coricopat Donald Waugh René Clemente Tommy Sliiden Benjamin Mundy James Titchener Corey John Snide Jaih Betote Demeter Sharon Lee-Hill Wendy Edmead Aeva May Zizi Strallen Anna Woodside Kim Fauré Daniela Norman Electra Anita Pashley Leah Sue Morland Lili Froehlich Ida Saki Etcetera Julie Edmett Christine Langner Jo Bingham George/Pouncival John Chester Herman W. Sebek Karl Morgan Stevie Hutchinson Jordan Shaw Sharrod Williams Griddlebone Susan Jane Tanner Bonnie Simmons Clare Rickard Melissa Madden Gray Grizabella Elaine Paige Betty Buckley Nicole Scherzinger Beverley Knight Leona Lewis Jennifer Hudson Growltiger Ray Winstone Jellylorum Sara Jean Ford Freya Rowley Jemima/Sillabub Sarah Brightman Whitney Kershaw Veerle Casteleyn Natasha Mould Tarryn Gee Arianna Rosario Jonadette Carpio Jennyanydots Myra Sands Anna McNeeley Suzie McKenna Laurie Scarth Jane Quinn Eloise Kropp Rebel Wilson Macavity John Thornton Idris Elba Mr. Mistoffelees Wayne Sleep [i] Timothy Scott Jacob Brent Joseph Poulton [i] Mark John Richardson [i] Ricky Ubeda Laurie Davidson Mungojerrie Drew Varley Benjamin Yates Harry Francis Jess LeProtto Danny Collins Munkustrap Jeff Shankley Harry Groener Michael Gruber Callum Train Matt Krzan Andy Huntington Jones Robert Fairchild Old Deuteronomy Ken Page Nicholas Pound Adam Linstead Quentin Earl Darrington [ii] Judi Dench Rum Tum Tugger Paul Nicholas Terrence Mann John Partridge Antoine Murray-Straughan Marcquelle Ward Tyler Hanes Jason Derulo Rumpleteazer Bonnie Langford Jo Gibb Dawn Williams Georgie Leatherland Shonica Gooden Naoimh Morgan Rumpus Cat Frank Thompson [iii] Skimbleshanks Kenn Wells Reed Jones Geoffrey Garratt Ross Finnie Evan James Jeremy Davis Steven McRae Tantomile Femi Taylor Janet Hubert-Whitten Kaye Brown Kathryn Barnes Gabrielle Cocca Emily Tate Victoria Finola Hughes Cynthia Onrubia Phyllida Crowley Smith Hannah Kenna Thomas Georgina Pazcoguin Francesca Hayward ^ a b c Also credited as "Quaxo" (chorus cat) ^ Also credited as "Victor" (chorus cat) ^ Also credited as "Admetus/Cover" Additional film cast [ edit] 1998 film: Femi Taylor as Exotica; Tony Timberlake as Asparagus (chorus cat) [65] 2019 film: Les Twins as Socrates and Plato Notable replacements [ edit] Notable replacements from the musical's West End and Broadway runs: West End [ edit] Admetus/Macavity: Richard Armitage (1994–1995) [66] Alonzo: Warren Carlyle (1992), Steven Houghton (1993), Jason Gardiner (1997), Chris Jarvis (2001–2002) [66] [67] Asparagus/Growltiger: Paul Bentley (1988), Mark Wynter (1990–1992), Peter Polycarpou (2001–2002) [66] [67] Bill Bailey: Michael Sundin (1982) [66] Bombalurina: Femi Taylor (1984–1985), Janie Dee (1990), Donna King (1992), Heather Douglas (1999) [66] Coricopat: Danny John-Jules (1983) [66] Demeter: Erin Lordan (1985), Louise Fribo (1994–1995) [66] Electra: Sarah-Jane Honeywell (1993–1994) [66] Etcetera: Sarah-Jane Honeywell (2001–2002) [66] [67] Grizabella: Angela Richards (1982), Marti Webb (1983), Anita Harris (1985–1986), Clare Burt (1993), Rosemarie Ford (1995), Diane Langton (1996), Stephanie Lawrence (1997), Sally Ann Triplett (1998), Chrissie Hammond (1999–2002), [66] [67] Kerry Ellis (revival; 2015), [68] Madalena Alberto (revival; 2015–2016) [69] Jellylorum/Griddlebone: Rebecca Lock (2000–2001) [66] [70] Jemima: Ruthie Henshall (1987–1989), Louise Fribo (1996), Veerle Casteleyn (1998–1999) [66] Jennyanydots: Ann Emery (1983–1986) [66] Mistoffelees: Gen Horiuchi (1998), Louie Spence (1999), [71] Jacob Brent (2001) [66] Munkustrap: David Burt (1982), Gary Martin (1987–1990), Steven Houghton (1994) [66] Old Deuteronomy: John Turner (1983–1985), John Rawnsley (1995–1997), Dave Willetts (2001), Junix Inocian (2001–2002) [66] [67] Rum Tum Tugger: John Partridge (1995, 2001–2002), [67] Tommie Earl Jenkins (1997–1998) [66] Rumpleteazer: Anna-Jane Casey (1988–1990), Jo Gibb (1996–1997) [66] Skimbleshanks: Neil Fitzwiliam (1984–1985) [66] Victoria: Phyllida Crowley Smith (1992–1993) [66] Broadway [ edit] Alonzo: Scott Wise (1984) [72] Bustopher Jones/Asparagus/Growltiger: Tim Jerome (1984–1986), Gregg Edelman (1986) [72] Cassandra: Charlotte d'Amboise (1984–1985) [72] Demeter: Lena Hall (1999–2000) [73] Grizabella: Laurie Beechman (1984–1988, 1997), Loni Ackerman (1988–1991), Lillias White (1991–1992), Liz Callaway (1993–1999), Linda Balgord (1999–2000) [72] Jennyanydots: Sharon Wheatley (1999–2000) [72] Mistoffelees: Gen Horiuchi (1991–1993, 1995–1996), Jacob Brent (1996–1999), Christopher Gattelli (1999) [72] Munkustrap: Rob Marshall (1987), Bryan Batt (1991–1992), Michael Gruber (1996–1997, 1999), Jeffry Denman (1999–2000) [72] Plato/Macavity/Rumpus Cat: Scott Wise (1983) [72] Pouncival: Robert Montano (1985–1987), Christopher Gattelli (1996–1998, 1999–2000) [72] Rum Tum Tugger: David Hibbard (1993–1996, 1997–1999), Stephen Bienskie (1999–2000) [72] Rumpleteazer: Jennifer Cody (1994) [72] Tumblebrutus: Randy Bettis (1990–1991, 1996–1998) [72] Artistic elements [ edit] Musical treatment [ edit] Cats is completely told through music with no dialogue in between the songs, [74] although there are occasions when the music accompanies spoken verse. Lloyd Webber's compositions employ an eclectic range of musical styles so as to magnify the characters' contrasting personalities. [4] For example, the rebellious Rum Tum Tugger is introduced with a rock song ("The Rum Tum Tugger"); the fallen Grizabella is accompanied by a dramatic operatic aria ("Grizabella: The Glamour Cat"); Old Deuteronomy makes his grand entrance to a lullaby -turned- anthem ("Old Deuteronomy"); and Gus' nostalgia for the past is reflected through an old-fashioned music hall number ("Gus: The Theatre Cat"). [16] Many of the songs are pastiches of their respective genres, which Snelson attributes to the show's origins as a song cycle: The original concept of a set of contrasting numbers, without a dramatic narrative, meant that each song needed to establish some sort of musical characterization independent of the others and develop a quick rapport with the audience. Such a rapid familiarity and identification of purpose can be achieved through pastiche. But it was only a musical starting point, for the songs in Cats move beyond the straightforward " Elvis " pastiche of Joseph and the Amazing Technicolor Dreamcoat; they are less pointed, more the free workings within a range of chosen styles than direct copies of a specific performer or number. The audience responds to the musical differences, given an initial security provided by the familiarity of recognizable, underlying stylistic generalities. [75] Lloyd Webber also employs various techniques to help connect the pieces. Namely, the score relies heavily on recurring motifs as well as the use of preludes and reprises. [76] For instance, melodic fragments of "Memory" are sung by Grizabella and Jemima at several points in the show before the song is sung in full, [39] serving to characterize Grizabella and foreshadow her final number. [77] [78] Similarly, Lloyd Webber introduces a fugue in the overture, and variations of this theme are then repeated throughout the musical until it is finally resolved as Grizabella ascends to the Heaviside Layer. [79] The musical also features an unusual amount of "group-description" numbers. According to musicologist Jessica Sternfeld, such numbers are usually relegated to the prologue and nothing more, as seen in " Another Op'nin', Another Show " from Kiss Me, Kate and " Tradition " from Fiddler on the Roof. Cats on the other hand features four Jellicle-defining songs: "Jellicle Songs for Jellicle Cats", "The Naming of Cats", "The Jellicle Ball" and "The Ad-Dressing of Cats". These numbers allow the cats to celebrate their tribe and species as a whole, in between the ones that celebrate individual members. [80] Choreography [ edit] Regarded as "one of the most challenging shows to dance in musical theatre history", [81] dance plays a major role in Cats as the original creative team had specifically set out to create "England's first dance musical". [82] Before Cats, the industry-wide belief was that British dancers were inferior to their Broadway counterparts. The risky hiring of a British choreographer, Lynne, for a British dance musical was described by one historian as "a vivid and marvellous gesture of transatlantic defiance". [83] Making Lynne's job more challenging was the fact that the music in Cats is unceasing and the majority of the cast remains on-stage throughout nearly the entire show. [83] Lynne choreographed the original London production with a dance crew consisting of her assistant Lindsay Dolan, the dance captain Jo-Anne Robinson, and cast members Finola Hughes and John Thornton. [82] The resulting choreography blends ballet, modern dance, jazz and tap, interspersed with acrobatic displays. [16] Lynne also trained the cast to evoke the movement, physicality and behaviour of actual cats. [84] These feline traits were incorporated into the movement and choreography so as to create an " anthropomorphic illusion". [16] Lynne considered the 13-minute "Jellicle Ball" dance to be the crux of the show, noting that in order to work as a dance-driven musical, Cats "had to succeed there or die". [82] [85] She recalled the difficulty she faced in persuading Lloyd Webber to add the extended dance break, culminating in her and her dance crew having to dance all the parts in the "Jellicle Ball" to convince him. [82] [85] Staging [ edit] The original staging of Cats at the New London Theatre was considered revolutionary [86] and "one of the first truly immersive theatrical experiences". [34] Instead of a conventional proscenium, the theatre was quasi- in-the-round with a central revolving stage. [15] [87] Nunn and Napier had sought to create "an environment rather than a set", [17] and around $900, 000 was spent remodelling the New London in preparation for the show. [9] This included mounting sections of the stalls onto the theatre's 60 ft (18 m) [88] revolve such that the audience moved along with the stage. [16] When the show was brought to Broadway, the Winter Garden Theatre was given a similar $2 million makeover; [89] its proscenium stage was converted into a thrust, and a part of its roof was torn through to allow for the effects of Grizabella's ascension to the Heaviside Layer. [90] Nunn was also adamant that the orchestra for Cats be hidden backstage — out of the audience's view — so as not to break the immersion. [91] Adding to the experience, the show usually includes a lot of audience interaction, such as during the overture when the cast don flashing "green eyes" as they make their way through the audience in the darkened theatre. [80] [92] In the original Broadway production, catwalks were built to connect the stage to the boxes and balcony so as to give the cast access to the entire auditorium during the show. [93] Set and costume design [ edit] Napier began designing the set in November 1980, wanting "a place where cats might congregate together, which also included maximum room for dancing". [94] The set of Cats consists of a junkyard filled with oversized props to give the illusion that the cast are the size of actual cats; [95] it remains the same throughout the show without any scene changes. Over 2, 500 of these scaled-up props were used to fill the whole auditorium in the original Broadway production. [16] [96] Napier also designed the costumes, combining cat and human features based on "hints" given in Eliot's poems, while ensuring that they did not impede the dancers' movements. [94] The costumes generally consist of a unitard, a wig that is fashioned to suggest the presence of feline ears, patches resembling body fur, and arm and leg warmers to give the performers' hands and feet a more paw-like appearance. As with the contrasting music and dance styles, the costumes and make-up are used to bring out each character's distinct personality. For example, the costume for the flirtatious Bombalurina is designed to accentuate her sensuality, while the markings on the costume for Jemima — the youngest of the tribe — resemble crayon scribbles. [24] Every character's design motif is custom-painted by hand onto a plain unitard to line up with their performer's individual body. In order to reproduce the "hand-drawn aesthetic" of Napier's original design sketches, costume painters in the original Broadway production used squeeze bottles to apply the paint. Due to the amount of dancing in Cats, most of the costumes did not last longer than a few months. [97] Productions [ edit] Cats has been translated into over 15 languages and produced professionally in more than 30 countries. [98] London [ edit] Cats at the New London Theatre (1999) Cats premiered in the West End at the New London Theatre on 11 May 1981. The musical was produced by Mackintosh and Lloyd Webber's Really Useful Group, with direction by Nunn, choreography by Lynne (who also served as the associate director), set and costume design by Napier, lighting design by David Hersey, sound design by Abe Jacob and music direction by Harry Rabinowitz. [99] It played a total of 8, 949 performances before closing on its 21st anniversary, 11 May 2002. The final performance was broadcast live on a large outdoor screen in Covent Garden for fans who could not acquire a ticket. [100] Cats held the record as London's longest-running musical from 1989, when it surpassed Jesus Christ Superstar, [101] until 8 October 2006, when it was surpassed by Les Misérables. The musical returned to the West End in 2014 for a planned 12-week limited run at the London Palladium. Beginning on 6 December, the revival starred Nicole Scherzinger as Grizabella, and featured the original creative team, with direction from Nunn, choreography by Lynne and design by Napier. [62] Lloyd Webber was also involved and rewrote "The Rum Tum Tugger" for the revival. [102] The run was later extended through April 2015 and an additional 100, 000 tickets were released, with Kerry Ellis replacing Scherzinger as Grizabella. [68] The musical returned once again to the London Palladium for another limited run lasting from 23 October 2015 to 2 January 2016, starring Beverley Knight as Grizabella. [103] Cats debuted on Broadway on 7 October 1982 at the Winter Garden Theatre with a record-breaking $6. 2 million in ticket pre-sales. [27] Most of the original creative team remained, with Martin Levan replacing Jacob as the sound designer and Stanley Lebowsky replacing Rabinowitz as music director. The musical was co-produced by the original London production team, along with David Geffen and The Shubert Organization. [60] It was the most expensive Broadway show ever mounted at the time with a production cost of $5. 5 million, [104] though it recouped its investment in less than 10 months. [101] On 19 June 1997, Cats overtook A Chorus Line to become the longest-running show in Broadway history with 6, 138 performances. [105] At the time, the musical was found to have had an economic impact of $3. 12 billion on New York City and had generated the most theatrical jobs of any single entity in Broadway history. [96] A June closing date was announced in early 2000 but was subsequently pushed back after a resulting surge in ticket sales. [106] The show closed on 10 September 2000 after a total of 15 previews and 7, 485 performances. [60] One actress, Marlene Danielle, performed in the Broadway production for its entire 18-year run. [72] Its Broadway-run record was surpassed on 9 January 2006 by The Phantom of the Opera, and Cats remains Broadway's fourth-longest-running show of all time. Overall, the original Broadway production grossed approximately $388 million in ticket sales. [107] Encouraged by the reception to the first West End revival, producers began looking to bring Cats back to Broadway in early 2015. [108] The Broadway revival opened on 31 July 2016 at the Neil Simon Theatre. [32] It featured new choreography by Andy Blankenbuehler, with Nunn and Napier from the original creative team returning to direct and design respectively. [109] Scherzinger, who played Grizabella in the 2014 West End revival, had originally agreed to reprise the role on Broadway but later withdrew. [110] Leona Lewis was cast as Grizabella instead and was ultimately succeeded by Mamie Parris in October 2016. The Broadway revival closed on 30 December 2017 after 16 previews and 593 performances. [32] North America [ edit] Following its Broadway debut, Cats has been staged extensively across North America. The first US national tour, Cats National I, launched at the Shubert Theatre in Boston in December 1983 and closed in November 1987. The opening night cast included Laurie Beechman playing Grizabella and Charlotte d'Amboise playing Cassandra; later replacements included Victoria Clark and Jessica Molaskey both playing Jellylorum/Griddlebone. This production was a "slow tour" that had lengthy engagements lasting for several months in each of the nine cities it visited. [111] [112] Cats National II, a separate sit-down production at the Los Angeles Shubert Theatre, ran from January 1985 to November 1986, and starred Kim Criswell and George de la Peña in the roles of Grizabella and Mistoffelees respectively. [113] [114] A third US touring company, Cats National III, ran for two years from September 1986 to September 1988. Notable performers in the third tour included Jonathan Cerullo as Skimbleshanks (1986) and Bill Nolte as Old Deuteronomy (1987). [115] The fourth national company, Cats National IV, toured the United States for 13 years from March 1987 to December 1999. [116] It overtook the first national tour of Oklahoma! in November 1997 to become the longest-running tour in theatre history, and played its 5, 000th performance in July 1999. [117] Notable performers in the fourth tour included Amelia Marshall as Sillabub (1988), Jan Horvath as Grizabella (1990), Bryan Batt as Munkustrap (1991–1992), Jennifer Cody as Rumpleteazer (1992), David Hibbard as Rum Tum Tugger (1992–1993), Natalie Toro as Grizabella (1992, 1997), Christopher Gattelli as Mistoffelees (1993), John Treacy Egan as Old Deuteronomy (1993–1994), J. Robert Spencer as Rum Tum Tugger (1995), Bart Shatto as Bustopher Jones/Gus/Growltiger (1996), Linda Balgord as Grizabella (1998), Andy Karl as Rum Tum Tugger (1998), and Lena Hall as Demeter (1998). [116] By June 1997, the North American touring companies had grossed over $400 million. [89] After the show's closure on Broadway in 2000, Troika Entertainment obtained the touring rights for Cats and launched the show's first non- Equity national company. [118] After a try-out at Harrah's Atlantic City in July 2001, the production toured North America for 11 years from August 2001 to June 2012. [119] [120] [121] Performers in the non-Equity tour included Julie Garnyé as Jennyanydots (2001) [122] and Dee Roscioli as Grizabella (2002). [123] [124] In January 2019, a new North American Equity tour based on the 2016 Broadway revival opened at the Providence Performing Arts Center in Rhode Island, and is scheduled to run through June 2020. [125] Meanwhile, the first Canadian national production premiered in March 1985 at the Elgin and Winter Garden Theatres in Toronto, Ontario. It moved to Montreal two years later and then toured other parts of Canada. By the time the production closed in August 1989, it had become the most successful Canadian stage production of all time with a box office of $78 million from nearly 2 million tickets. [117] [126] A second Canadian touring company began in 2013, 28 years after the first one launched. [127] The musical first played in Mexico from April 1991 to November 1992; [119] the Spanish-language production performed over 400 shows and starred María del Sol as Grizabella, [128] Manuel Landeta as Munkustrap, [129] Susana Zabaleta as Jellylorum, Maru Dueñas as Sillabub and Ariel López Padilla as Macavity. [130] A revival premiered at the Teatro San Rafael in May 2013, with an opening night cast that included Filippa Giordano as Grizabella, Landeta, and Maru Dueñas. [131] After a total of 350 performances, the show closed at the Teatro San Rafael in June 2014, [132] and then toured over 36 cities in Mexico until December 2014. [133] [134] Other performers who later joined the production included Lisset, [135] Rocío Banquells, [136] Lila Deneken and Myriam Montemayor Cruz, all of whom played Grizabella. [137] Another Mexican revival was launched at the Coyoacán Centennial Theater in October 2018, with Yuri as Grizabella and Landeta as Old Deuteronomy. [129] [138] The revival marked its 200th performance in May 2019. [139] United Kingdom [ edit] The first UK and Ireland tour opened in May 1989 at the Opera House Theatre in Blackpool. The cast for this tour included Marti Webb as Grizabella, Rosemarie Ford as Bombalurina and John Partridge as Alonzo. [119] Following a six-month engagement in Blackpool that broke the theatre's box office record and was seen by around 450, 000 people, [140] the production moved to the Edinburgh Playhouse for three months, before closing in May 1990 after another two months at the Point Theatre in Dublin. [119] A second national tour launched in June 1993 at the Bristol Hippodrome, [141] featuring Rosemarie Ford as Grizabella, Robin Cousins as Munkustrap, Simon Rice as Mistoffelees and Tony Monopoly as Old Deuteronomy. [142] The tour closed at the Manchester Opera House in December 1995. [143] Following the closure of the original West End production, a nationwide tour embarked in 2003 with Chrissie Hammond starring as Grizabella, [144] [145] until Dianne Pilkington took over the role in 2006. [146] Hammond reprised the role on tour again from 2007 to 2008. [147] [148] A UK and Ireland tour of Cats launched in February 2013 at the Edinburgh Playhouse with Joanna Ampil as Grizabella. [149] [150] Susan McFadden took over the role from Ampil during the tour's three-week stop in Dublin. [151] The production ran through 2014 before transferring to the West End. [152] In between its limited West End runs, the musical returned to the Blackpool Opera House Theatre in 2015, this time starring Jane McDonald as Grizabella. [153] [154] After the second West End revival, the production toured the UK in 2016 with Anita Louise Combe as Grizabella and Marcquelle Ward as Rum Tum Tugger. [155] [156] Japan [ edit] The Japanese-language production of Cats by the Shiki Theatre Company has been playing continuously since it premiered in Shinjuku, Tokyo, in November 1983. This production is a "slow tour" with engagements lasting for several years in each of the nine cities it has visited. [157] [158] An initial investment of ¥800 million (US$3. 4 million in 1983) was required to bring Cats to Japan, including ¥300 million for the construction of a purpose-built theatre tailored to the needs of the musical. This was a big financial risk for the Shiki Theatre Company as it meant that a long run was needed to turn a profit; however, stage productions in Japan ran on a monthly basis at the time and open-ended runs were unheard of. [159] The resulting success of this production led to what the local media termed a "musical boom" in the 1980s, with other Broadway musicals quickly following suit and opening in Japan. [160] As of 2019, the show is performed at the purpose-built CATS Theatre in Tokyo. [157] [161] The production has played over 10, 000 performances to over 10 million audience members. [162] Similar to the original London staging, the set of the 1, 200-capacity CATS Theatre is built on a revolving stage floor such that during the overture, the stage and sections of the stalls revolve approximately 180 degrees into place. [163] [164] In 1998, the Japanese production underwent major revisions to the choreography, staging and costume designs. [165] Following further revisions in 2018, [166] the current incarnation features 27 named cats, including both Jemima and Sillabub (who have evolved into two separate characters), and an original character named Gilbert. [167] There have been numerous notable performers in the Japanese production, including Shintarō Sonooka as Munkustrap (original 1983 cast), [168] Kanji Ishimaru as Skimbleshanks (1992), [169] Masachika Ichimura, and Mayo Kawasaki. [170] Yoshiko Hattori ( ja:服部良子) holds the production's record for the longest-appearing cast member; she played Jennyanydots in the original 1983 cast and remained in the role for 20 years with a final performance tally of 4, 251. [170] Vienna [ edit] Under the direction of Peter Weck, the first German-language production of Cats opened in September 1983 at the Theater an der Wien in Vienna, Austria. In 1988, the show transferred to the newly-renovated Ronacher Theatre where it ran for another two years before closing on its seventh anniversary in September 1990. [111] [171] The Vienna production played a total of 2, 040 performances to more than 2. 3 million audience members. [172] The original Viennese cast included Ute Lemper who played Bombalurina, Steve Barton who played Munkustrap, and Robert Montano who played Pouncival. [111] Pia Douwes was also a member of the cast from 1987 to 1989, covering several different characters including Grizabella. [173] The Vienna production also performed limited runs at the Komische Oper Berlin in East Germany in 1987, [174] and at the Moscow Operetta Theatre in the Soviet Union in 1988. [175] An ongoing revival by the Vereinigte Bühnen Wien production company opened at the Ronacher Theatre in September 2019. [176] Germany [ edit] Influenced by the show's success in Vienna, a German production by Stella Entertainment premiered in April 1986 at the newly-renovated Operettenhaus in Hamburg. [171] [177] It closed in January 2001 after 15 years, having played over 6, 100 performances to 6. 2 million audiences. [177] [178] Cats was the first stage production in the country to be mounted without public funding and was also the first to run for multiple years; its success established the medium as a profitable venture in Germany. [178] The musical was also a huge boost for tourism in Hamburg, particularly the subdivision of St. Pauli where it accounted for 30% of all tourists. The number of overnight visitors to the city increased by over one million per year within the first five years of the show's premiere. [177] Cats redefined musical theatre in the German-speaking part of the world, turning an industry which consisted of repertory theatre at the time towards privately funded commercial productions. The success of the Vienna and Hamburg productions sparked a "musical boom" in the region that saw numerous musicals being launched not just in Germany but also in Switzerland. [171] [178] It also led to a "construction boom" in Germany as new theatrical venues such as the Schmidt Theater were enacted all around the country. [178] [179] Germany has since grown to become the third largest musical market after the US and UK, with Hamburg as its "musical capital". [171] [178] After Hamburg, the German production transferred to Stuttgart where it played from 2001 to 2002. [180] [181] Stage Entertainment took over the production mid-2002 and moved the show to Berlin (2002–2004) [182] [183] and later Düsseldorf (2004–2005), [184] before touring other cities until 2006. [185] [186] Mehr-Entertainment launched a separate tour of Cats that ran from December 2010 to June 2013, performing in a travelling purpose-built tent theatre. [178] Besides Germany, this company also made stops in cities in Luxembourg, Switzerland and Austria. [187] Europe [ edit] Beyond the UK, Vienna, and Germany, Cats is also produced frequently in the rest of Europe. 1980s and 1990s [ edit] The first non-English production of Cats premiered in March 1983 at the Madách Theatre in Budapest, Hungary, with direction by Tamás Szirtes and choreography by László Seregi. [188] Since then, the Hungarian-language production has continued to be staged intermittently as part of the Madách Theatre's repertoire and, as of 2017, has been performed nearly 1, 500 times. [189] [190] November 1985 saw the premiere of a Norwegian-language production at Det Norske Teatret in Oslo. It closed in January 1987 and included performers such as Øivind Blunck, Brit Elisabeth Haagensli and Øystein Wiik. [117] [191] Jorma Uotinen directed and choreographed a Finnish production at the Helsinki City Theatre that ran for over two years from September 1986 to December 1988, and featured Monica Aspelund as Grizabella, Heikki Kinnunen as Gus, and Kristiina Elstelä as Jennyanydots/Griddlebone. [192] A Swedish version of the musical opened in 1987 at the Chinateatern in Stockholm. The production was seen by 326, 000 audiences before it transferred to the Scandinavium in Gothenburg two years later. [193] Meanwhile, the Carré Theatre in Amsterdam, Netherlands, staged the musical in 1987 (with Ruth Jacott as Grizabella [194]), 1988 and from 1992 to 1993. [195] Cats made its French debut at the Théâtre de Paris from February 1989 to April 1990, [119] with an original cast that included Gilles Ramade as Old Deuteronomy. [196] The show was also produced in Zürich at the ABB Musical Theatre from 1991 to 1993, [197] while a production by Joop van den Ende and the Royal Ballet of Flanders was staged at the Stadsschouwburg Antwerpen in Belgium in 1996. [198] An English/German-language "Eurotour" production also toured the region from May 1994 to December 1995. [172] 21st century [ edit] The first non-replica production of Cats was staged at the Teatr Muzyczny Roma in Warsaw, Poland (2007). The show was staged at the Det Ny Teater in Copenhagen, Denmark, in the 2002–2003 season. [199] This Danish production was translated by Adam Price and was one of the largest theatrical productions ever mounted in the country at the time with 100 performers, musicians and stagehands. [200] The first non-replica production of Cats was approved for a Polish production at the Teatr Muzyczny Roma in Warsaw. [201] Set in an abandoned film studio instead of a junkyard, the Polish version opened in January 2004 and closed in 2010. [202] [203] [204] The Gothenburg opera house staged a production with a Swedish-language script by Ingela Forsman; this version was reimagined to take place in an abandoned fairground and played from September 2006 to February 2007. [205] Other productions were also staged at the Divadlo Milenium in Prague from 2004 to 2005, [186] and a Norwegian revival at the Chat Noir in Oslo in 2009. [206] The first Italian-language production began touring Italy in 2009. [207] The Dutch live entertainment company Stage Entertainment has been responsible for several European productions of Cats. The company produced the musical at the Coliseum Theatre in Madrid from December 2003 to January 2005, with a cast that included Víctor Ullate Roche as Mistoffelees. [208] [209] They then staged a Russian-language production at the Moscow Palace of Youth from 2005 to 2006, with a cast that included Ivan Ozhogin as Munkustrap. [210] [211] A Dutch production under the same company toured the Netherlands and Belgium from 2006 to 2007, [203] [212] featuring several performers in the role of Grizabella including Pia Douwes and Anita Meyer. [213] [214] A Paris revival by Stage Entertainment ran at the Théâtre Mogador from October 2015 to July 2016. This production was based on the 2014 London revival and also featured a new song written especially for the French show by Lloyd Webber. [215] [216] English-language touring companies have also toured the European region extensively. International tours in the early to late 2000s included stops in Sweden, Norway, [217] Finland, [218] Greece, [186] Portugal, [219] Germany, [220] and Italy. [221] The 2013–2014 UK tour visited cities in Belgium, [212] [222] Greece, Italy, [223] Monaco, and Portugal. [152] Most recently, a UK production played in numerous European cities from 2016 to 2019, with tour stops in Switzerland, Croatia, Belgium, Poland, Bulgaria, Germany, Norway, Sweden, Finland, Denmark, Netherlands, and Luxembourg. [224] These European tours have featured several notable performers in the role of Grizabella, including Pernilla Wahlgren (Sweden; 2003), [225] Katarína Hasprová (Slovakia; 2016) [226] and Jenna Lee-James (Netherlands; 2018–2019). [227] Oceania [ edit] The first Australian production ran from July 1985 to August 1987 at the Theatre Royal in Sydney. The original cast included Debra Byrne as Grizabella, John Wood as Old Deuteronomy, Marina Prior as Jellylorum, Jeff Phillips as Rum Tum Tugger, David Atkins as Mistoffelees, and Anita Louise Combe as Sillabub. [117] [228] The Sydney production cost $3 million to mount and grossed a record $28 million. It was credited with revitalising the then-stagnant musical genre in Australia. After closing in Sydney, an additional $1. 8 million was spent transferring the production to Melbourne, including $725, 000 to refurbish the old Her Majesty's Theatre. [229] The Melbourne run played from October 1987 to December 1988, with an opening night cast that included Megan Williams as Grizabella, Wood as Old Deuteronomy, Phillips as Rum Tum Tugger, Linda Hartley-Clark as Demeter, Femi Taylor as Bombalurina, Rachael Beck as Rumpleteazer and Seán Martin Hingston as Plato/Macavity. [117] [230] From 1989 to 1990, the company toured the Festival Theatre in Adelaide, [231] His Majesty's Theatre in Perth, [232] Civic Theatre in Newcastle, Lyric Theatre in Brisbane, and the Aotea Centre in Auckland. [117] This was followed by a second national tour from 1993 to 1996, [233] during which Delia Hannah made her debut as Grizabella in 1994. [234] A professional circus adaptation of Cats, titled Cats Run Away to the Circus, had a national tent tour from 1999 to 2001, with Hannah once again starring as Grizabella. [235] [236] Hannah reprised her role for another production that toured Australia and Asia in 2009 and 2010. [237] In July 2014, Australia's Harvest Rain Theatre Company staged the biggest production of Cats in the Southern Hemisphere with over 700 performers. Produced by Tim O'Connor, the production was performed at the Brisbane Convention & Exhibition Centre. Callum Mansfield directed and choreographed it, and its cast included Marina Prior as Grizabella and Steven Tandy as Bustopher Jones and Gus. [238] [239] From October 2015 to May 2016, a revival toured Australia with stops in Sydney, Hobart, Melbourne, Brisbane, Adelaide, and Perth. [240] [241] The revival featured singer-songwriter Delta Goodrem as Grizabella, [242] before Delia Hannah took over the role during the Adelaide and Perth seasons. [234] [243] The musical played in Auckland from 1989 to 1990, [244] and for a limited run in 2015. [245] A New Zealand national tour played across 16 cities in 2019, with a reimagined setting in a derelict Victorian theatre that was inspired by post-earthquake Christchurch. [246] Asia [ edit] Besides Japan, Cats is also produced regularly in other parts of Asia. The region has hosted numerous English-language productions of the musical, beginning with a tour from 1993 to 1994 when it played in Singapore (with local actress Jacintha Abisheganaden as Grizabella), [247] Hong Kong and South Korea. [248] Cats returned to Asia from 2002 to 2004, when an international touring company performed in Malaysia, [249] South Korea, [250] Shanghai, [251] Taipei and Beijing; [252] [253] [254] the 2004 cast included Slindile Nodangala in the role of Grizabella. [253] A touring company visited Asia again between 2007 and 2010, including stops in Taiwan, [203] Macau, and Thailand in 2007; [255] South Korea from 2007 to 2008; [256] China in 2008; [257] Singapore and Hong Kong in 2009 (with Delia Hannah playing Grizabella); [237] [258] [259] and Manila in 2010 (with Lea Salonga as Grizabella). [260] Cats toured Asia again from 2014 to 2015, making stops in South Korea, Singapore and Macau. [261] Two years later, another Asian tour was launched and is scheduled to run through 2020, with visits to South Korea from 2017 to 2018, [262] Hong Kong [263] and Taiwan in 2018, [264] China in 2018 (with Joanna Ampil as Grizabella) and 2019, [265] [266] and planned stops in the Philippines and Singapore in 2019, and Malaysia in 2020. [266] Cats was China's highest-grossing musical in 2018, accounting for over 20% of the total grosses from all musicals staged in the country that year. [267] The musical has also been translated and staged nationally in Asia. From September 2008 to May 2009, a Korean-language production toured South Korea, with Shin Youngsook and Ock Joo-hyun alternating as Grizabella, Kim Jin-woo and Daesung alternating as Rum Tum Tugger, and Kim Bo-kyung as Rumpleteazer. [268] This production was revived and toured South Korea from 2011 to 2012, with Insooni and Park Hae-mi taking turns to portray Grizabella. [269] The first Chinese-language production began touring various cities in China in 2012. [270] Spanish and Portuguese-language productions of Cats have been staged in South America, with productions in Argentina in 1993 (with Olivia Bucio as Grizabella), [175] in Chile in 2006 (at the Arena Santiago) [271] and 2014, [272] in Colombia in 2009, [273] and in Brazil in 2010 (with Paula Lima as Grizabella). [274] Other countries that the musical has been performed in include South Africa (2001–2002), [249] Lebanon (2002), [275] Qatar (2003, 2017), [276] [277] Turkey (2013), [278] Israel (2014), [279] and the United Arab Emirates (2017). [280] Royal Caribbean International announced in April 2014 that a full-length production of Cats will be performed regularly for guests aboard the cruise ship Oasis of the Seas. [281] The production began playing in autumn 2014 and the cast is rotated every nine months. [281] [282] Regional and amateur [ edit] A school production of Cats in Bangalore, India (2014) Cats has been produced by various professional regional theatre companies. Broadway Sacramento staged the musical in 2003 and 2009 at the Wells Fargo Pavilion. Both productions featured Ken Page reprising his role as Old Deuteronomy from the original Broadway production, along with Jacquelyn Piro Donovan as Grizabella and Jeffry Denman as Munkustrap. [283] [284] A 2010 amphitheatre production at The Muny starred Page as Old Deuteronomy, Stephanie J. Block as Grizabella and Lara Teeter as Munkustrap. [285] The La Mirada Theatre for the Performing Arts staged the musical in 2014, with a cast that included Todrick Hall as Rum Tum Tugger. [286] Nick Winston directed and choreographed a production at the Kilworth House Theatre in 2019 with a cast that included Emma Hatton and Helen Anker. Set in a dilapidated London Underground station during World War II, this production was given a 5-star review by The Stage for its "radical" reimagining of Cats. [287] The musical is also available for school and amateur licensing through The Musical Company. [288] On 24 March 2013, the largest-ever staging of Cats was performed by 3, 000 students from Stagecoach Theatre Arts schools at the National Indoor Arena in Birmingham, UK. [289] Film adaptations [ edit] Steven Spielberg 's former animation studio Amblimation had planned an animated adaptation of the musical in the 1990s. [290] The film was to be set in war-torn London during World War II, but the project was abandoned with the studio's closure in 1997. [291] The following year, a direct-to-video film was released. The film was directed by David Mallet and was shot at the Adelphi Theatre in London. It starred Elaine Paige as Grizabella, John Mills as Gus, Ken Page as Old Deuteronomy, and Michael Gruber as Munkustrap. [292] A film adaptation directed by Tom Hooper for Universal Pictures, Amblin Entertainment and Working Title Films was released on 20 December 2019. The film starred Jennifer Hudson as Grizabella, Taylor Swift as Bombalurina, James Corden as Bustopher Jones, Judi Dench as Old Deuteronomy, Jason Derulo as Rum Tum Tugger, Idris Elba as Macavity, Ian McKellen as Gus, Rebel Wilson as Jennyanydots and Francesca Hayward as Victoria. [293] Reception [ edit] Box office [ edit] Cats is a commercial blockbuster. Its worldwide gross of over US$2 billion by 1994 made it the highest grossing musical in history at the time. [294] In 2012, the New York Post reported that the musical's grosses had reached $3. 5 billion. [295] Critical reception [ edit] The original London production received mostly rave reviews, with critics hailing it as a watershed moment in British musical theatre. [296] Michael Billington of The Guardian lauded Cats as "an exhilarating piece of total theatre". Billington praised the show's "strong framework" and the ease in which the poems were integrated. He was also very impressed by Lloyd Webber's fitting compositions, Napier's environmental set, Lynne's effective and at times brilliant choreography, and Nunn's "dazzling staging" that makes use of the entire auditorium. [297] The show received similarly glowing reviews from The Sunday Times ' Derek Jewell and The Stage ' s Peter Hepple. Jewell proclaimed it to be "among the most exhilarating and innovative musicals ever staged", [296] while Hepple declared that with Cats, "the British musical has taken a giant leap forward, surpassing in ingenuity and invention anything Broadway has sent us". [298] There were a few lukewarm reviews, most notably from Irving Wardle of The Times. Wardle enjoyed Lloyd Webber's compositions but found the visual spectacle too overwhelming. [296] Robert Cushman's review for The Observer concluded that Cats was flawed but unmissable. [299] The reviews for the 2014 and 2015 London revivals were positive as well, with critics giving both productions an average of 4 out of 5 stars. [300] [301] Critics generally found the revivals to be enjoyable and invigorating, though Mark Shenton was disappointed that the new staging lacked the immersiveness of the original. [300] [302] Reactions to the original Broadway production were mixed. [303] In his review for The New York Times, Frank Rich noted that the main draw of the show was that it "transports the audience into a complete fantasy world that could only exist in the theater". He attributed much of this "wondrous spectacle" to Nunn's direction, Napier's set and costume designs, as well as the talented cast. Rich found many of Lloyd Webber's songs to be "cleverly and appropriately" pastiche, and was impressed with how Lynne and Nunn distinguished each character through personalised movement. However, he panned Lynne's choreography and felt that the musical failed in its vague attempt to tell a story. Overall, he wished that the show had more "feeling to go with its most inventive stagecraft. " [304] Clive Barnes of the New York Post concluded his review saying: "Its importance lies in its wholeheartedness. It is a statement of musical theater that cannot be ignored, should prove controversial and will never be forgotten. " [305] The 2016 Broadway revival received a similarly mixed review by Charles Isherwood of The New York Times. Isherwood concluded that the revival was "fundamentally the Cats you knew and loved when you were first bit by the musical-theater bug. Or it's the Cats you knew and snickered at when you first encountered it. " [306] Awards and nominations [ edit] Cats has received many international awards and nominations. The original London production was nominated for six Laurence Olivier Awards in 1981, winning two awards including Best New Musical. [307] Two years later, the original Broadway production won seven Tony Awards, including Best Musical, out of eleven nominations. [308] The London and Broadway cast recordings were nominated for the Grammy Award for Best Musical Theater Album, which the latter won. [309] [310] In 2015, the London revival was nominated for — but did not win — two Olivier Awards, including Best Musical Revival. [311] Legacy and cultural impact [ edit] This is how they divide history: BC — Before Cats  — and AD — Andrew Dominant. Despite mixed reviews when Cats opened in New York in 1982, critics agreed that it was innovative and visually spectacular in ways that Broadway had never seen before. [305] The musical became a cultural phenomenon and has had a profound influence on the medium. [313] Cats established musical theatre as a global commodity, [314] [315] marking the beginning of a new era in the industry that is characterised by huge global stakes for potentially even huger global profits. [314] It led the shift in the Broadway market towards big-budget blockbusters and shows that appeal to families and tourists, [89] [316] which in turn left smaller productions struggling to compete. [315] Cats also ushered in a " golden age of British musicals" which saw West End exports dominate the industry for nearly two decades. [317] [318] Musical theatre historian Vagelis Siropoulos asserted that in terms of impact, the "seminal Broadway opening" of Cats was "comparable only to Rodgers and Hammerstein 's Oklahoma! thirty nine years ago. " [314] Ultimately, critics are polarized on whether Cats has changed musical theatre for the better or for the worse. William Grimes wrote of its detractors: "There are more than a few who see the Cats phenomenon as the theatrical equivalent of the rise of the megabudget Hollywood action film. For them, Cats is a soulless money machine. " [305] Influence and innovations [ edit] As the "first true megamusical ", [319] Cats pioneered a genre of musical theatre that is produced on a grand and global scale. It paved the way for later megamusicals — including Les Misérables (1985), The Phantom of the Opera (1986) and Miss Saigon (1989) — that have dominated the industry since. [320] Siropoulos explained: Cats is considered the quintessential megamusical, because it reconceived, like no other show before, theatrical space as an immense affective encompasser, that transforms the viewing experience into a hypercharged thrill-ride and the spectator into an explorer of new and challenging aural and visual sensations. Its unprecedented success paved the way for even bolder hyperspatial configurations, made the set designer a proper environment builder and raised light and sound design into the status of art in their own right. It also paved the way for the constant revolutionization of stage technology. [321] The cat's-eyes logo and the "now and forever" slogan were used to advertise the musical at the New London Theatre (1999). Cats introduced a marketing strategy that set the template for subsequent megamusicals. Early advertisements for the musical did not feature traditional pull quotes (despite many positive reviews) or any of the cast, instead branding the show itself as the star. It did this by adopting — and then aggressively promoting — a single recognisable image (the cat's-eyes logo) as the face of the show. [322] The cat's-eyes logo was the first globally marketed logo in musical theatre history, [89] and was paired with a tagline ("now and forever") to create what The Daily Telegraph called "one of musical theatre's greatest posters". [323] Such branding emblems proved equally effective for later megamusicals, as seen with the waif Cosette for Les Misérables and the Phantom's mask for The Phantom of the Opera. This advertising method had the additional effect of diminishing the importance of critical reviews, popularising the so-called "critic-proof" status of megamusicals. [322] Additionally, Cats was the first Broadway and West End show to capitalise on merchandising as a major revenue stream. Stalls were set up in the theatre lobbies to sell souvenirs ranging from toys and watches to coffee mugs, all of which were emblazoned with the cat's-eyes logo. The official Cats t-shirt became the second-best-selling t-shirt in the world in the 1980s, second only to the Hard Rock Cafe t-shirt. Merchandising has since become an important source of income for the industry. [314] [324] Beyond the megamusical, Cats also led the Broadway trend for musicals aimed at families and tourists, which later took the form of the Disney Theatrical Productions and jukebox musicals. [316] [325] The marketing campaigns for the musical targeted family audiences at a time when this demographic was not a consideration in the industry. [325] Composer Joe Raposo said of family musicals in 1986: " Cats is a wonderful proof of what an audience is out there, untapped. People do want a theatrical experience for their children. " [326] Thanks to its easily accessible spectacle, the original Broadway production also tapped into the then-burgeoning tourist boom in New York and its audience shifted increasingly towards foreign visitors in its later years. [322] [315] Billington also specifically traces the rise of the jukebox musical genre back to Cats, citing the latter's disregard for dramatic text in favour of an all-encompassing theatrical experience. [327] Radio microphones have become the norm in live theatre since Cats. [328] The musical's fantasy setting and disregard for verisimilitude allowed for groundbreaking experimentations in lighting and audio technology. The original London and Broadway productions featured David Hersey 's pioneering use of automated lighting to produce kaleidoscopic landscapes and complicated optical effects. Hersey also used light in an "architectural manner", with fast-changing configurations to spotlight different performers in rapid succession. This dynamic shifting of the audience's perspective created an effect similar to that of fast cutting in film editing. [16] The original London production of Cats was also the first known instance in which an entire cast was individually outfitted with radio microphones. [328] The departure from shared ambient microphones meant that the show did not have to depend on the acoustics and architectural design of the theatrical venue, and enabled the sound designer to achieve cinematic levels of sound amplification and studio-quality audio in live theatre. [329] This practice transformed sound design and has since become the norm in live theatre. [328] Cats opened new regional, touring and international markets that the industry continues to capitalise on. [315] Recognising the global potential of his show, Mackintosh replicated the original production worldwide with an unprecedented degree of standardisation. [314] Paraphrasing theatre historian Alan Filewod, Marla Carlson wrote: Cats began the progressive transformation of "Broadway" from a specific location into a delocalized "moment of reception" that can be experienced anywhere and everywhere, even while continuing to depend upon the stamp of approval that box-office success in an actual Broadway theater bestows. [330] In the 1980s, the success of local productions of Cats in Tokyo, [160] Sydney, [331] Vienna, Hamburg, [171] and Toronto were turning points that established these cities (and their respective countries) as major commercial markets in the global theatrical circuit. [332] The musical was also a boon for the Broadway touring industry. In 1997, The New York Times credited the regional and touring productions of Cats with "almost single-handedly reviv[ing] the sagging road business". [333] Cats revolutionised the touring business by introducing the now commonplace practice of extended touring engagements that can last several weeks or months in a single city, as opposed to the typical one-week or ten-day tour stop. Mackintosh's insistence that all touring productions of Cats replicate the Broadway production also resulted in the expansion and upgrading of regional theatre venues to accommodate the musical's demanding logistical requirements, as local theatre owners did not want to miss out on the opportunity to host the lucrative show. [334] "Memory" [ edit] "Memory" is the standout hit song from Cats. By 2002, the song had been played over two million times on radio and television stations in the US. [100] It was the most requested song at piano bars and lounges in the 1980s, and was an equally popular choice at weddings, concerts and other gatherings. As of 2006, the song had been recorded around 600 times by artists such as Barbra Streisand, Barry Manilow, Judy Collins, and Johnny Mathis, in covers ranging from easy listening to techno. [335] According to Sternfeld, it is "by some estimations the most successful song ever from a musical. " [319] Creators [ edit] Cats was the ground-breaking show for all of us... The success of it gave us all the freedom to go on and do other shows. —  Mackintosh [317] Despite moderate hits with Jesus Christ Superstar and Evita, Lloyd Webber was still relatively unknown to the general public before Cats, especially in the US. With Cats, he became a big celebrity in his own right. [319] The musical also established the theatrical careers of the original creative and production team. Following Cats, they collaborated on other global blockbusters including Starlight Express (composed by Lloyd Webber, directed by Nunn and designed by Napier), Les Misérables (directed by Nunn, designed by Napier and produced by Mackintosh), and The Phantom of the Opera (composed by Lloyd Webber, choreographed by Lynne and produced by Mackintosh). [1] [336] The New London Theatre, where the original London production of Cats played for 21 years, was officially renamed the Gillian Lynne Theatre in 2018. This made Lynne the first non-royal woman to have a West End theatre named after her. [337] By 2012, the royalty payments from Cats to the Eliot estate had totaled an estimated $100 million. [295] Valerie Eliot used a portion of this money to establish the literary charity Old Possum's Practical Trust, and to set up the T. Eliot Prize which has since become "the most coveted award in poetry". [338] [339] Cats also turned things around for the independent British publishing house Faber and Faber. As the publisher of Old Possum's Book of Practical Cats, royalties of up to £1 million annually [317] kept the then-struggling Faber afloat during the 1980s. [340] Moreover, the musical led to a surge in the sales of Eliot's book. [1] The success of Cats led Faber to turn another of their literary properties, Ted Hughes ' The Iron Man, into a 1989 musical of the same name. [341] In popular culture [ edit] Cats has been referenced many times on screen; from the films Six Degrees of Separation [294] and Team America: World Police, [342] to the sketch comedy Saturday Night Live, and animated series like Family Guy, The Simpsons and BoJack Horseman, [343] as well as live action comedies including The Golden Girls, Caroline in the City, Glee and Unbreakable Kimmy Schmidt. [344] [345] An episode of the musical television series Crazy Ex-Girlfriend, titled "I Need Some Balance", parodied Cats by having all the songs sung by anthropomorphic cats who "introduce [themselves] over '80s Broadway beats". [346] Stage parodies of the musical have also been mounted in the West End and Off-Broadway. CAT – (THE PLAY!!! ), a one-man show written by Jamie Beamish and Richard Hardwick, is a dark comedy about the fictitious life of Dave, a cat who was fired from the original London production of Cats on opening night. Starring Gerard McCarthy as Dave and with choreography by Arlene Phillips, the musical premiered at the 2014 Edinburgh Fringe Festival; [347] it performed at various regional venues before making its West End debut at the Ambassadors Theatre in April 2017. [348] Katdashians! Break the Musical!, a parody mashup of Keeping Up with the Kardashians and Cats by Bob and Tobly McSmith, premiered Off-Broadway at the Elektra Theatre in June 2016. [349] All the song parodies of Cats were later removed after accusations of copyright infringement from Lloyd Webber's representatives, who claimed the songs were being used "to parody another subject matter entirely". [350] Other stage shows that satirise Cats include Six Degrees of Separation, [345] Angels in America, [294] and The Musical of Musicals (The Musical! ). [351] Madame Tussauds New York features wax figures of several characters from the musical, including one of Grizabella that sings "Memory" through the use of projection mapping technology. [352] Similarly, a wax figure of Rumpleteazer is displayed at the Panoptikum wax museum in Hamburg, Germany. [353] A Cats postage stamp was issued by the United States Postal Service in 2000 as part of its Celebrate the Century series. The musical was chosen as one of fifteen "outstanding artifacts, events and activities" from the 1980s to be commemorated with its own stamp design. [354] Beginning in March 2019, the Rinkai Line in Tokyo, Japan, uses two songs from the musical for its train departure melodies at the Ōimachi Station; the train to Ōsaki Station uses a jingle of "Memory", while the train to Shin-Kiba Station uses a jingle of "Skimbleshanks: The Railway Cat". [355] Recordings and music video [ edit] Cast recordings [ edit] Music video [ edit] Title Year Director(s) Details Ref. "The Rum Tum Tugger" 1985 Jeff Lee Starring original Broadway cast member Terrence Mann as Rum Tum Tugger, the musical number was re-arranged and re-staged for a music video. It was the first music video created to promote a Broadway show. [387] [388] Revisions and cut material [ edit] The stage production of Cats has undergone several revisions since its London opening. When the show transferred to Broadway, several cuts and rewrites were made with the intention of appealing more to an American audience. [389] Additionally, a song entitled " Cat Morgan Introduces Himself " was cut during initial development. Lloyd Webber performed this song at the show's 6, 138th Broadway performance, when it broke the record to become the longest-running Broadway show. [105] "Growltiger's Last Stand" [ edit] The "Growltiger's Last Stand" sequence has been changed multiple times over the course of the show's history. In the original London production, the "last duet" for Growltiger and Griddlebone was a setting for an unpublished Eliot poem, "The Ballad of Billy M'Caw". For the original Broadway production, the Ballad was replaced with "In Una Tepida Notte", a parody of Italian opera with more slapstick humour. [96] [390] This new version was eventually incorporated into all other productions of Cats. [96] "Growltiger's Last Stand" has been criticised as being racially offensive. The original lyrics, taken directly from the Eliot poem it is based on, included the ethnic slur " Chinks " and this was later replaced with the word " Siamese ". [31] The number also originally involved the cast putting on "Asian accents" to portray the Siamese cats. [306] In the 1998 video version, the entire scene featuring Growltiger was cut. [391] By 2016, "Growltiger's Last Stand" had been removed completely from the US and UK productions of the show. [31] Mungojerrie and Rumpleteazer [ edit] In the original London production, Mungojerrie and Rumpleteazer were characters in their own right and sang their eponymous song themselves as a singsong-style duet. When the show transferred to Broadway, the song was instead sung in the third-person, with Mungojerrie and Rumpleteazer as puppets being magically controlled by Mr. Mistoffelees. Their number was also rewritten to be faster and more upbeat, alternating between vaudeville -style verses and a "manic patter " section. Eventually, the Broadway version of the song was rewritten to allow Mungojerrie and Rumpleteazer to once again sing their own song as full characters. [392] Rum Tum Tugger [ edit] The 2014 London revival introduced several modernizations to the show. Rum Tum Tugger was reworked from a ladies-man rockstar to a breakdancing street cat. His eponymous musical number was also turned into a rap. [393] [394] The 2015 Australian tour and 2015 Paris production also used the new version of the character; however, the 2016 Broadway revival did not. The 2016 Broadway revival featured new choreography by Andy Blankenbuehler, who introduced more hip hop and cool jazz elements to the movements and dances. [55] Blankenbuehler's choreography for the ensemble numbers did not differ too much from the original by Lynne, but significant changes were made in several solo numbers, including "The Rum Tum Tugger" and "Mr. Mistoffelees". 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Retrieved 18 April 2019. ^ "Cats: Hoogtepunten uit de Nederlandse cast versie 2006–2007" (in Dutch). Muziekweb. Retrieved 29 April 2019. ^ "In vendita il cd del musical 'Cats' in italiano! " (in Italian). 25 January 2010. Retrieved 1 May 2019. ^ "劇団四季ミュージカル『キャッツ』＜メモリアルエディション＞ 全曲試聴映像公開! 豪華BOX商品写真公開! " [Shiki Theatre Company Musical 'Cats' (Memorial Edition) All songs preview video released! Luxurious BOX product photo release! ] (in Japanese). Universal Music Japan. 26 March 2019. Retrieved 26 March 2019. ^ Kaplan, Peter W. (10 November 1984). "TV NOTES; BROADWAY FIRST: 'CATS' DOES ROCK VIDEO TURN". Archived from the original on 1 May 2019. Retrieved 1 May 2019. ^ Dupler, Steve (8 December 1984). "A Broadway First: 'Cats' Vidclip Gets Digital Sound". Vol. 96 no. 50. pp. 32–33. ISSN   0006-2510. ^ Lloyd Webber 2018, p. 375 ^ Lloyd Webber 2018, pp. 384–385 ^ Marks, Peter (1 November 1998). "Broadway's 'Cats': Restaged for Eternity (And We Thought They Were Kidding! )". Archived from the original on 5 April 2019. Retrieved 5 April 2019. ^ McLamore 2017, pp. 416–418 ^ Singh, Anita (7 July 2014). "Cats: classic musical to feature a rapping cat". Retrieved 19 March 2016. ^ Terry, Alexa (11 November 2016). "REVIEW: Cats, New Wimbledon Theatre".. Retrieved 15 May 2019. Bibliography [ edit] Allain, Paul; Harvie, Jen (2014). The Routledge Companion to Theatre and Performance: 2nd Edition. Routledge. ISBN   978-0415636315. Atsuko, Kimura (1991). "Japanese Corporations and Popular Music". Popular Music. 10 (3): 317–326. doi: 10. 1017/S0261143000004670. ISSN   0261-1430. Burston, Jonathan (1998). "Theatre Space as Virtual Place: Audio Technology, the Reconfigured Singing Body, and the Megamusical". 17 (2): 205–218. 1017/S026114300000060X. JSTOR   853456. Carlson, Marla (2018). "Performing as Animals". Affect, Animals, and Autists. University of Michigan Press. ISBN   978-0-472-12393-3. Dietz, Dan (2016). The Complete Book of 1980s Broadway Musicals. Rowman & Littlefield. ISBN   978-1442260917. Donnelly, Kevin J. (2017). Contemporary Musical Film. Edinburgh University Press. ISBN   978-1474413121. Eliot, T. ; Eliot, Valerie; Lloyd Webber, Andrew; Nunn, Trevor; Lynne, Gillian; Napier, John (1983). Cats: The Book of the Musical. Harvest Books. ISBN   978-0156155823. Everett, William A. ; Laird, Paul R. (2015). Historical Dictionary of the Broadway Musical. ISBN   978-1442256682. Gordon, Robert; Jubin, Olaf (2016). The Oxford Handbook of the British Musical. Oxford University Press. ISBN   978-0199988747. Greenfield, Thomas A. (2009). Broadway: An Encyclopedia of Theater and American Culture. ABC-CLIO. ISBN   978-0313342646. Kawamata, Keiko (1998). "事例 研 究 ：劇 団 四季 一文化 とマ ー ケ テ ィ ング の融 合 一". Journal of Cultural Economics Japan (in Japanese). 1 (1): 55–62. ISSN   1344-1442 – via J-Stage. Koskoff, Ellen (2000). The United States and Canada (Garland Encyclopedia of World Music, Volume 3) 1st Edition. ISBN   978-0824049447. Leonard, John A. (2001). Theatre Sound. ISBN   978-0878301164. Lloyd Webber, Andrew (2018). Unmasked: A Memoir. Harper. ISBN   978-0062424204. McLamore, Alyson (2017). Musical Theater: An Appreciation (Second Edition). ISBN   978-1138678682. Menze, Jonas (2018). Musical Backstages: Die Rahmenbedingungen und Produktionsprozesse des deutschsprachigen Musicals [ Musical Backstages: The Framework Conditions and Production Processes of German-Language Musicals] (in German). Waxmann Verlag. ISBN   978-3830938163. Pollatsek, Shura (2016). Unbuttoned: The Art and Artists of Theatrical Costume Design. CRC Press. ISBN   9781317420088. Poppenhäger, Annette (2000). "Cats don't cry" (PDF). Die Deutsche Bühne (in German) (7): 44–47. ISSN   0011-975X. Siropoulos, Vagelis (2008). The Ideology and Aesthetics of Andrew Lloyd Webber's Musicals: From Broadway Musical to the British Megamusical (PDF) (PhD thesis). Aristotle University of Thessaloniki. Siropoulos, Vagelis (2010). "Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical". Image & Narrative. 11 (3): 128–145. ISSN   1780-678X. Snelson, John (2004). Andrew Lloyd Webber. Yale University Press. ISBN   978-0300104592. Sternfeld, Jessica (2006). The Megamusical. Indiana University Press. ISBN   978-0-253-34793-0. Stewart, John (2014). "128. Cats". Broadway Musicals, 1943–2004, (2 volume set). McFarland & Company. ISBN   978-0786495658. Wollman, Elizabeth (2017). A Critical Companion to the American Stage Musical. New York, NY: Bloomsbury Publishing. ISBN   978-1472513250. External links [ edit] Official website Cats at the Internet Broadway Database Awards for Cats v t e Laurence Olivier Award for Best New Musical 1976-2000 A Chorus Line (1976) The Comedy of Errors (1977) Evita (1978) Songbook (1979) Sweeney Todd (1980) Cats (1981) Poppy (1982) Blood Brothers (1983) 42nd Street (1984) Me and My Girl (1985) The Phantom of the Opera (1986) Follies (1987) Candide (1988) Return to the Forbidden Planet (1989/1990) Sunday in the Park with George (1991) Carmen Jones (1992) Crazy for You (1993) City of Angels (1994) Once on This Island (1995) Jolson (1996) Martin Guerre (1997) Beauty and the Beast (1998) Kat and the Kings (1999) Honk! (2000) 2001-present Merrily We Roll Along (2001) Our House (2003) Jerry Springer: The Opera (2004) The Producers (2005) Billy Elliot (2006) Caroline, or Change (2007) Hairspray (2008) Jersey Boys (2009) Spring Awakening (2010) Legally Blonde (2011) Matilda the Musical (2012) Top Hat (2013) The Book of Mormon (2014) Sunny Afternoon (2015) Kinky Boots (2016) Groundhog Day (2017) Hamilton (2018) Come from Away (2019) v t e Tony Award for Best Musical 1949–1975 Kiss Me, Kate (1949) South Pacific (1950) Guys and Dolls (1951) The King and I (1952) Wonderful Town (1953) Kismet (1954) The Pajama Game (1955) Damn Yankees (1956) My Fair Lady (1957) The Music Man (1958) Redhead (1959) The Sound of Music / Fiorello! (1960) Bye Bye Birdie (1961) How to Succeed in Business Without Really Trying (1962) A Funny Thing Happened on the Way to the Forum (1963) Hello, Dolly! (1964) Fiddler on the Roof (1965) Man of La Mancha (1966) Cabaret (1967) Hallelujah, Baby! (1968) 1776 (1969) Applause (1970) Company (1971) Two Gentlemen of Verona (1972) A Little Night Music (1973) Raisin (1974) The Wiz (1975) 1976–2000 Annie (1977) Ain't Misbehavin' (1978) Sweeney Todd: The Demon Barber of Fleet Street (1979) Evita (1980) 42nd Street (1981) Nine (1982) Cats (1983) La Cage aux Folles (1984) Big River (1985) Drood (1986) Les Misérables (1987) The Phantom of the Opera (1988) Jerome Robbins' Broadway (1989) City of Angels (1990) The Will Rogers Follies (1991) Crazy for You (1992) Kiss of the Spider Woman (1993) Passion (1994) Sunset Boulevard (1995) Rent (1996) Titanic (1997) The Lion King (1998) Fosse (1999) Contact (2000) 2001–present The Producers (2001) Thoroughly Modern Millie (2002) Hairspray (2003) Avenue Q (2004) Monty Python's Spamalot (2005) Jersey Boys (2006) Spring Awakening (2007) In the Heights (2008) Billy Elliot the Musical (2009) Memphis (2010) The Book of Mormon (2011) Once (2012) Kinky Boots (2013) A Gentleman's Guide to Love and Murder (2014) Fun Home (2015) Hamilton (2016) Dear Evan Hansen (2017) The Band's Visit (2018) Hadestown (2019) v t e Tony Award for Best Book of a Musical 1950–1975 South Pacific by Oscar Hammerstein II and Joshua Logan (1950) Hello, Dolly! by Michael Stewart (1964) Fiddler on the Roof by Joseph Stein (1965) Company by George Furth (1971) Two Gentlemen of Verona by John Guare and Mel Shapiro (1972) A Little Night Music by Hugh Wheeler (1973) Candide by Hugh Wheeler (1974) Shenandoah by James Lee Barrett, Peter Udell and Philip Rose (1975) A Chorus Line by James Kirkwood Jr. and Nicholas Dante (1976) Annie by Thomas Meehan (1977) On the Twentieth Century by Betty Comden and Adolph Green (1978) Sweeney Todd by Hugh Wheeler (1979) Evita by Tim Rice (1980) Woman of the Year by Peter Stone (1981) Dreamgirls by Tom Eyen (1982) Cats by T. Eliot (1983) La Cage aux Folles by Harvey Fierstein (1984) Big River by William Hauptman (1985) Drood by Rupert Holmes (1986) Les Misérables by Alain Boublil and Claude-Michel Schönberg (1987) Into the Woods by James Lapine (1988) No Award (1989) City of Angels by Larry Gelbart (1990) The Secret Garden by Marsha Norman (1991) Falsettos by William Finn and James Lapine (1992) Kiss of the Spider Woman by Terrence McNally (1993) Passion by James Lapine (1994) Sunset Boulevard by Don Black and Christopher Hampton (1995) Rent by Jonathan Larson (1996) Titanic by Peter Stone (1997) Ragtime by Terrence McNally (1998) Parade by Alfred Uhry (1999) James Joyce's The Dead by Richard Nelson (2000) The Producers by Mel Brooks and Thomas Meehan (2001) Urinetown by Greg Kotis (2002) Hairspray by Thomas Meehan and Mark O'Donnell (2003) Avenue Q by Jeff Whitty (2004) The 25th Annual Putnam County Spelling Bee by Rachel Sheinkin (2005) The Drowsy Chaperone by Bob Martin and Don McKellar (2006) Spring Awakening by Steven Sater (2007) Passing Strange by Stew (2008) Billy Elliot the Musical by Lee Hall (2009) Memphis by Joe DiPietro (2010) The Book of Mormon by Trey Parker, Robert Lopez and Matt Stone (2011) Once by Enda Walsh (2012) Matilda the Musical by Dennis Kelly (2013) A Gentleman's Guide to Love and Murder by Robert L. Freedman (2014) Fun Home by Lisa Kron (2015) Hamilton by Lin-Manuel Miranda (2016) Dear Evan Hansen by Steven Levenson (2017) The Band's Visit by Itamar Moses (2018) Tootsie by Robert Horn (2019) v t e Tony Award for Best Original Score 1947–1975 Street Scene by Kurt Weill (1947) Kiss Me, Kate by Cole Porter (1949) South Pacific by Richard Rodgers (1950) Call Me Madam by Irving Berlin (1951) No Strings by Richard Rodgers (1962) Oliver! by Lionel Bart (1963) Hello, Dolly! by Jerry Herman (1964) Fiddler on the Roof by Jerry Bock and Sheldon Harnick (1965) Man of La Mancha by Mitch Leigh and Joe Darion (1966) Cabaret by John Kander and Fred Ebb (1967) Hallelujah, Baby! by Jule Styne, Betty Comden, and Adolph Green (1968) Company by Stephen Sondheim (1971) Follies by Stephen Sondheim (1972) A Little Night Music by Stephen Sondheim (1973) Gigi by Frederick Loewe and Alan Jay Lerner (1974) The Wiz by Charlie Smalls (1975) A Chorus Line by Marvin Hamlisch and Edward Kleban (1976) Annie by Charles Strouse and Martin Charnin (1977) On the Twentieth Century by Cy Coleman, Betty Comden, and Adolph Green (1978) Sweeney Todd by Stephen Sondheim (1979) Evita by Andrew Lloyd Webber and Tim Rice (1980) Woman of the Year by John Kander and Fred Ebb (1981) Nine by Maury Yeston (1982) Cats by Andrew Lloyd Webber and T. Eliot (1983) La Cage aux Folles by Jerry Herman (1984) Big River by Roger Miller (1985) Les Misérables by Claude-Michel Schönberg, Herbert Kretzmer, and Alain Boublil (1987) Into the Woods by Stephen Sondheim (1988) City of Angels by Cy Coleman and David Zippel (1990) The Will Rogers Follies by Cy Coleman, Betty Comden, and Adolph Green (1991) Falsettos by William Finn (1992) Kiss of the Spider Woman by John Kander and Fred Ebb / The Who's Tommy by Pete Townshend (1993) Passion by Stephen Sondheim (1994) Sunset Boulevard by Andrew Lloyd Webber, Don Black, and Christopher Hampton (1995) Titanic by Maury Yeston (1997) Ragtime by Stephen Flaherty and Lynn Ahrens (1998) Parade by Jason Robert Brown (1999) Aida by Elton John and Tim Rice (2000) The Producers by Mel Brooks (2001) Urinetown by Mark Hollmann and Greg Kotis (2002) Hairspray by Marc Shaiman and Scott Wittman (2003) Avenue Q by Robert Lopez and Jeff Marx (2004) The Light in the Piazza by Adam Guettel (2005) The Drowsy Chaperone by Lisa Lambert and Greg Morrison (2006) Spring Awakening by Duncan Sheik and Steven Sater (2007) In the Heights by Lin-Manuel Miranda (2008) Next to Normal by Tom Kitt and Brian Yorkey (2009) Memphis by David Bryan and Joe DiPietro (2010) Newsies by Alan Menken and Jack Feldman (2012) Kinky Boots by Cyndi Lauper (2013) The Bridges of Madison County by Jason Robert Brown (2014) Fun Home by Jeanine Tesori and Lisa Kron (2015) Dear Evan Hansen by Benj Pasek and Justin Paul (2017) The Band's Visit by David Yazbek (2018) Hadestown by Anaïs Mitchell (2019).

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Notebook veoh mask c3 a1k reviews. Egyszer se röhögtem. Notebook veoh mask c3 a1k 2016. Mér félnek az ukorkától. Notebook veoh MacskÃk.k. De tényleg vajon a macskák miért félnek az uborkátol. Notebook veoh MacskÃk.h. Macska leucosis (FeLV) A macska leucosis vírusa (FeLV) egy macskákat megbetegíto kórokozó, amely az állat sejtjeibe jutva azok osztódási folyamatát károsítja. A FeLV vírus világszerte jelen van, macskáról macskára terjed. Fontos tudni, hogy az embert vagy más állatfajt nem képes megfertozni. A vírus macskáról macskára nyállal (tisztálkodás, harapás), vizelettel, ill. egyéb testnedvekkel (pl. szem- és orrváladék) terjed. A fertozodéshez mindenképen szükség van egy másik macskával történo (lehetoleg tartós) kontaktusra, ezért a lakásban egyedül tartott egyedek nem fognak fertozodni. Velük ellentétben a kóborló és verekedo, nem ivartalanított macskák sokkal jelentosebb kockázatnak vannak kitéve! A vemhes állatoktól az utódok is fertozodnek már az anyaméhben vagy szoptatáskor a tejjel. Megeshet, hogy a fertozött magzatokat az anyaállat elvetéli vagy a kölykök röviddel megszületésük után pusztulnak el. Ritkán a fertozött kölyök megéri a kifejlett kort és hordozni fogja a betegséget. Bizonyos egyedek évekig élhetnek tünetmentesen, míg másokban komoly, sokszor végzetes betegség fejlodik ki a fertozés hatására. Tünetek: Az esetek egy részében a fertozött macskák semmilyen tünetet nem mutatnak, de a társaikat mégis képesek megfertozni. A betegség nagyon változatos tünetekben mutatkozik meg: súlyveszteség, gyengeség, láz, felso légúti gyulladás, kötohártya-gyulladás, hasmenés, szájbeli fekélyek, boralatti tályogok és nyirokcsomó-megnagyobbodás, vérszegénység, az immunrendszer legyengülése, daganatos kórképek. A beteg macska fogékonnyá válik egyéb vírusos, bakteriális, egysejtu élosködok vagy gombák okozta fertozésekre is. Mindezek miatt a betegség sokszor végzetes. Diagnosztika: Többféle diagnosztikai teszt áll rendelkezésre, amivel a fertozés igazolható. Azonban ezek egyike sem 100%-ig megbízható, ezért kérdéses esetekben javasolt többféle teszttel megerosíteni a diagnózist. Lehetséges, hogy a teszt negatív lesz, habár az állat fertozött, de még a korai szakaszban van, így nem mutatható ki. Ezért ha egy macska a betegség tüneteit mutatja és a tesztje negatív lesz, érdemes azt pár hónap múlva megismételni. Gyógykezelés: A betegség gyógyítására jelenleg még nincs biztos mód, foként csak tünetileg kezelheto (antibiotikum, vitaminok). Optimizmusra adnak okot a különbözo vírusellenes szerek, ám ezek alkalmazása költséges és még a segítségükkel sem biztos a gyógyulás. A betegség prognózisa kedvezotlen, gyakorta végzetes, emiatt a legfontosabb a megelozés. A leucosis okozta daganatos kórképek esetén kedvezo tapasztalatok vannak a kemoterápiával. Megelozés: A lakásban tartott macskák vagy azok, amelyek kisebb eséllyel találkoznak ismeretlen macskákkal (pl. : az ivartalanítottak) sokkal kisebb kockázatnak vannak kitéve. A legbiztosabb védelmet a vakcinázás jelenti. A kölyköket 8-12 hetes korukban kell vakcinázni, majd 4 hét múlva, késobb pedig évente megismételni azt. Ha egy állat leucosis pozitív, el kell különíteni a többi macskától; közös etetot, itatót vagy almot sem szabad használni. A többi egyedet tesztelni kell és ha negatívnak bizonyulnak, be kell oltani macska leucosis ellen. Mindezek miatt minden kijáró macska leucosis elleni oltását javasoljuk. A macska leucosis halálos betegség, védjük meg tole kedvenceinket! FIV Világszerte elterjedt macskabetegség, amely lesoványodással, a nyirokcsomók duzzanatával és vérszegénységgel jár. Ismertebb neve „macska AIDS”. Csak a macskákat betegíti meg, az ember nem fertozodhet! A leucosishoz (FeLV) hasonlóan leggyakrabban a kóborló kandúrok betegednek meg. Elsosorban nyállal terjed (kandúrok marakodása), de nemi úton is fertoz. A fertozött egyedek vírushordozókká válnak, de nem mindegyikük betegszik meg és mutat tüneteket. A tünetek a leucosishoz hasonlóan itt is nagyon változatosak: lesoványodás, étvágytalanság, elesettség, szájgyulladás, fogínygyulladás, fekélyek, orrhurut, kötohártya-gyulladás, hasmenés, borgyulladás, nyirokcsomó-duzzanat, az immunrendszer gyengült állapota („macska AIDS”). Mindezek miatt a betegség sokszor végzetes, foként leucosissal szövodve. Többféle vérteszt elérheto. A gyógykezelés ebben az esetben is csak tüneti, illetve a szövodmények megelozésére szolgál (antibiotikum, immunerosítok) és csupán az állat életének meghosszabbítása érheto el vele Védekezés: A kijáró macskákat még az ivarérettség elérése elott ajánlott ivartalanítani, így kevesebbet fognak más, esetleg fertozött állatokkal érintkezni (kevesebb a verekedés, nincs párosodás). Ahol több macskát tartanak együtt, a fertozött egyedeket érdemes elkülöníteni (külön edények, külön alom). Védooltás jelenleg nem áll rendelkezésre. FIP A Feline infectious peritonitis (FIP), azaz macskák fertozo hashártyagyulladása a macskák egyik halálos, gyógyíthatatlan betegsége.  A kórfejlodése rendkívül bonyolult, mivel a FIP vírusa a normál (enterális) macska coronavírus (FECV) mutációja folytán jön létre. A mutáns vírus ezután a beteg macska immunrendszerét folyamatos ellenanyag-termelésre ösztönzi, a nagy mennyiségu ellenanyag kicsapódik a vérbol tönkretéve a különbözo szerveket (ún. immunkomplex betegség). A vírus nagyon gyakori, különösen ahol sok macskát tartanak együtt (tenyészetek, menhelyek stb. ) A vírus közvetlen érintkezéssel, közös tárgyak használatával terjed. A gyakori elofordulása ellenére a legtöbb fertozött macskában nem jelenik meg a FIP, ugyanis önmagában a vírus csak eros hasmenést okoz. Tünetmentes macskák is lehetnek hordozók és továbbadhatják más egyedeknek a vírust. Fontos tudni, hogy bármely normál coronavírussal fertozött macskában megtörténhet, hogy a normál vírus FIP-pé mutálódik. Két fo formája van a FIP-nek: a nedves és a száraz változat. Noha mindketto  halálos, a nedves gyakoribb (az esetek kb. kétharmada tartozik ide) és gyorsabb lefolyású. Nedves változat: A hasban és a mellüregben folyadék gyulik fel, amitol a has megnagyobbodik, körte formájú lesz, az állat nehezen lélegzik. Ezenkívül étvágytalanság, láz, fogyás, hasmenés és sárgaság is kialakulhat. Száraz változat: A száraz FIP hasonló tünetekkel jár, de nem gyulik fel folyadék a testüregekben. A száraz FIP-es macskák inkább a szem- és idegrendszeri tüneteket mutatnak. Például kontrolálatlan mozgás, bénulás, a látás elvesztése. A FIP tünetei nem elég jellegzetesek, ami a diagnózist nagyon megnehezíti. Jelenleg még nincs biztos teszt a FIP kimutatására, ha az állat pozitív, az lehet sima coronavírus-fertozés miatt is. A jellegzetes tünetek, gyors lefolyás, a kitelt hasból nyert, sárgás, mézszeru tartalom általában egyértelmu bizonyíték. Kezelés: Jelenleg a FIP nem kezelheto, csak tünetileg. A folyadék leszívása a has-és mellüregbol, szteroidok adása, az immunrendszer erosítése pár héttel meghosszabbíthatja az állat életét. Karantén nem szükséges, mivel a FIP közvetlenül nem fertozo betegség. Sajnos jelenleg semmilyen vakcina nem áll rendelkezésre. Az orron át történo vakcinázás semmilyen védettséget nem nyújt, ezért azt nem javasoljuk.

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Ratings=7,5 / 10 star. Creator=Brad Copeland. reviews=When the world's best spy is turned into a pigeon, he must rely on his nerdy tech officer to save the world. 1 H, 42 minutes. 4400 vote.

Spies in disguise putlockers. Just starting watching it and I f*cken love it. Spies in disguise. YouTube. Spies in disguise مترجم. One of my favorites was Bond. Hydrogen bond. It's even better given that Tom Holland has expressed his desire to play James Bond. Spies in disguise twice knock knock. Spies in disguise rating. Spies in disguise online cz. Spies in disguise online. Spies in disguise full movie 2019 in english. Find the best for your family See what's streaming, limit strong violence or language, and find picks your kids will love with Common Sense Media Plus. Join now Odd-couple spy/buddy comedy is wacky fun; lots of action. Get it now Searching for streaming and purchasing options... Common Sense is a nonprofit organization. Your purchase helps us remain independent and ad-free. Get it now on Searching for streaming and purchasing options... Your purchase helps us remain independent and ad-free. We think this movie stands out for: A lot or a little? The parents' guide to what's in this movie. Viewers will learn a lot about pigeon anatomy and physiology (like the fact that the birds have 360-degree vision and have a single orifice, called the cloaca, for doing "number one and number two"). Promotes nonviolent (or at least nonlethal) means of negotiating and stopping criminals. Also focuses on need for teamwork and accepting that others' skills and talents can help, not hurt, you. Walter and Lance's growing partnership shows that co-workers and friends don't need to be alike to get along or work well together. Positive Role Models & Representations Lance is brash, arrogant, quick to get rid of opponents, but learns to be more cautious, think of others, try to stop the villain from hurting anyone. Walter is kind, courageous, concerned with helping. Lots of action sequences and weapons-based violence between Lance and his targets. A frightening villain plans to kill all agents. People are shot at, captured, knocked unconscious; some life-or-death scenes in which it looks like all is (almost) lost. Physical comedy. A parent dies (off-screen, but the emotional impact is felt). Lots of flirting from Walter's pet pigeon, Lovey, to Lance (in pigeon form). She keeps fluffing up her feathers and sidling up to him; he responds by pushing her away or saying "Not now, girl. " Nonsexual nudity: Kimura's naked backside is visible and shown for a while when he emerges from the bath. Lance looks down into his pants as he starts shrinking into a bird and shrieks. "Weird" and "weirdo" are often used to insult Walter. Nothing on-screen, but a few tie-ins off-screen, including a video game. Drinking, Drugs & Smoking Gangsters shown drinking. What parents need to know Parents need to know that Spies in Disguise is an animated buddy comedy featuring the voices of Will Smith as Lance Sterling, a Bond-like American superspy, and Tom Holland as Walter Beckett, a gadget-happy inventor. After Lance accidentally drinks Walter's invisibility concoction and is turned into a pigeon, the odd-couple duo must work together to save the world from a frightening villain who's using Lance's face to commit criminal acts. There are lots of action sequences involving spy gear and weapons, as well as some life-or-death scenes in which it looks like all is (almost) lost. One character loses a parent; it happens off screen, and no details are discussed, but the emotional impact is felt. The physical comedy includes some rude humor (jokes about bird genitalia, for example), and there's a long scene in which a large, tattooed villain's naked behind is visible a few times. A female pigeon frequently flirts with Lance in his bird form. The chemistry between the voice actors is great, and the film has worthy messages about teamwork and accepting help from others. And for all the action, the movie also clearly promotes nonviolent (or at least nonlethal) means of negotiating with and stopping criminals. Stay up to date on new reviews. Get full reviews, ratings, and advice delivered weekly to your inbox. Subscribe User Reviews Parent of a 5-year-old Written by Kellany December 21, 2019 Cute, funny but nudity? This movie is really cute and full of laughs. The intro credits are very James Bond. And I love James Bond. Also a nerdy scientist who was bullied as a kid beli... Continue reading Adult Written by SEAparent December 29, 2019 Too violent for kids If your kids insist on seeing this movie, wait until it comes out and rent don’t. It is a kids’ movie, but it’s incredibly violent: knife to the throat,... Continue reading Kid, 11 years old January 26, 2020 What's the story? SPIES IN DISGUISE is an animated spy thriller about two very different men. Suave master spy Lance Sterling (voiced by  Will Smith) is known for not mussing his tuxedo while taking down international criminals, while awkward Walter Beckett ( Tom Holland) is a young, brilliant inventor who creates spy gear. When a mysterious terrorist is able to use tech to disguise himself as Agent Sterling while committing violent crimes, Lance turns to Walter for help and unexpectedly drinks a newly perfected serum that looks like water. But the invisibility concoction doesn't make Sterling disappear: Instead, it turns him into a pigeon. While in bird form, Lance must team up with Walter as his new/unlikely partner in order to take down the face-stealing mastermind. Is it any good? Smith and Holland have great buddy-comedy chemistry and give this weird-in-a-good-way animated adventure a charming, crowd-pleasing vibe. Blue Sky Animation has an impressive track record with animal-focused comedies (four Ice Age films and two Rio movies), and Spies in Disguise continues the studio's streak with the wacky twist of Smith's smooth-talking agent turning into a talking blue pigeon (complete with a tiny tuxedo bow-tie tattoo). Some of the humor may go over very young viewers' heads, but tweens will appreciate the pigeon anatomy jokes, as well as the dark, drone-obsessed adversary ( Ben Mendelsohn, who's quite comfortable playing villains and can sound quite chilling). Although the two leads work mostly as a duo, the talented supporting cast includes Reba McEntire as Sterling's unit director, Rashida Jones as an internal affairs investigator (who believes Sterling has turned traitor), and Karen Gillan and DJ Khaled as her well-intentioned but misguided team. The Mark Ronson-produced soundtrack prominently features Rob Base's "It Takes Two" (for the Gen X parents), "Rocket Fuel" by DJ Shadow and De La Soul, "Fly" by Lucky Daye, and other high-energy tracks. But what really elevates this story is Walter's insistence on nonviolence (or at least nonlethal violence), creating gadgets and tech that focus on distracting and humanizing enemies with glitter-and-kitten bombs and other adorable innovations. The movie's sweet, heartwarming message of peace and understanding is one everyone could use. Talk to your kids about... Families can talk about the positive messages in Spies in Disguise. What does Lance learn about peaceful negotiation thanks to Walter? Why is it important not to be casually OK with  violence, even if it's for government reasons? Which characters do you consider  role models in the movie? What are their character strengths? What are your favorite buddy movies? Why do you think the genre works, particularly in action/adventure? What are some of your favorite examples? Why are the buddies usually "odd couples" with very different personalities, strengths, and styles? Do you think there's potential for a sequel to this movie? If so, what would you like to see more of in the story? Character Strengths Our editors recommend Terrific, action-packed superhero sequel was worth the wait. Just the right combination of fantasy and comedy. Super-dog adventure is fun, age-appropriate for kids. This animated WWII story may not engage all kids. Sweet story about compassion, nonviolence has a few scares. Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners. See how we rate.

2:00 thank me later. 1:27 Walter: this is official business *rides uncarefully, the motorcycle's frontflip and explodes* Me: slaps my forehead by using a hand* XD. Spies in disguise knock knock. Spies in disguise 2019. Spies in disguise soundtrack. Released December 25, 2019 PG, 1 hr 42 min Action/Adventure Animated 35MM Digital 3D Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Spies in Disguise near you. ENTER CITY, STATE OR ZIP CODE GO Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Spies in Disguise: Trailer - Super Secret 1 of 8 Spies in Disguise: Trailer 3 Spies in Disguise: Trailer 2 Spies in Disguise: Trailer 1 Spies in Disguise: Exclusive Movie Clip - Physics Problem Weekend Ticket: Little Women, 1917, Spies in Disguise Five highly-anticipated movies are hitting theaters Christmas Day, so you are sure to find a flick for the whole family to enjoy! Will you see 'Little Women', '1917', 'Spies in Disguise', 'Uncut Gems', or 'Just Mercy' in theaters this weekend? Spies in Disguise: Exclusive Interview Masi Oka and directors Nick Bruno & Troy Quane share the inspiration behind the spy-science-pigeon crossover, why the pigeon is the perfect spy, and what it means to be a hero in this interview for 'Spies in Disguise'! Weekend Ticket: 2019 Holiday Preview 'Tis the season for theaters full of hit movies that are sure to bring us good cheer, like 'Star Wars: Episode IX', 'Cats', 'Jumanji: The Next Level', and many more! What will you see? This is your 2019 Weekend Ticket Holiday Preview!

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Spies in disguise trailer in hindi. Spies in disguise csfd. Spies in disguise box office. Without Registering Spies in Disguise Hd-720p Watch.( Watch"Spies"in"Disguise"full"movie"with"english"subtitles. Spies in Disguise Theatrical release poster Directed by Troy Quane Nick Bruno Produced by Peter Chernin Jenno Topping Michael J. Travers [1] Screenplay by Brad Copeland Lloyd Taylor [1] Story by Cindy Davis [1] Based on Pigeon: Impossible by Lucas Martell Starring Will Smith Tom Holland Rashida Jones Ben Mendelsohn Reba McEntire Rachel Brosnahan Karen Gillan DJ Khaled Masi Oka Music by Theodore Shapiro [2] Cinematography Renato Falcão Edited by Randy Trager Christopher Campbell [3] Production companies Blue Sky Studios [4] 20th Century Fox Animation [4] Chernin Entertainment [5] Distributed by 20th Century Fox Release date December 4, 2019 ( El Capitan Theatre) December 25, 2019 (United States) Running time 102 minutes [6] Country United States Language English Budget $100 million [7] Box office $157. 3 million [8] Spies in Disguise is a 2019 American computer-animated spy comedy film produced by Blue Sky Studios and distributed by 20th Century Fox. Loosely based on the 2009 animated short Pigeon: Impossible by Lucas Martell, the film is directed by Troy Quane and Nick Bruno (in their feature directorial debuts) from a screenplay by Brad Copeland and Lloyd Taylor, and a story by Cindy Davis. It stars the voices of Will Smith and Tom Holland, alongside Rashida Jones, Ben Mendelsohn, Reba McEntire, Rachel Brosnahan, Karen Gillan, DJ Khaled, and Masi Oka in supporting roles. The plot follows a secret agent (Smith) who is accidentally transformed into a pigeon by an intelligent young scientist (Holland); the two must then work together to stop a revenge-seeking cybernetic terrorist, and return the agent to his human form. The film premiered at the El Capitan Theatre on December 4, 2019, and was theatrically released in the United States on December 25, 2019. It has grossed $157 million worldwide and it received generally positive reviews from critics. Plot [ edit] Lance Sterling, a cocky secret agent of H. T. U. V. (Honor, Trust, Unity and Valor), is sent to recover an attack drone from Japanese arms dealer Katsu Kimura in Japan. As soon as the buyer, cybernetically enhanced terrorist Killian, arrives, Sterling breaks in against the orders of H. director Joy Jenkins, defeats Kimura and his gang, and manages to escape with the briefcase containing the drone. Sterling returns to H. headquarters to confront Walter Beckett, a socially inept MIT graduate and outcast young scientist, for equipping nonlethal weapons into his suit. Walter tries to convince Sterling that there is a more peaceful way to save the world, but Sterling fires him before he can explain his latest invention: "biodynamic concealment". Sterling discovers the briefcase to be empty and is confronted by Marcy Kappel, a security forces agent, who reveals footage of Sterling (actually Killian in a holographic disguise) leaving with the drone, labeling him as a traitor. Sterling escapes the H. and decides to track down Walter to help him disappear. Meanwhile, Killian breaks into the H. weapons facility. While searching Walter's home for his invention, Sterling unknowingly ingests the concoction and transforms into a pigeon. Before Walter can start making an antidote to change him back, Marcy and other H. agents chase the duo through the city, but they escape in Sterling's spy car. The two track down Kimura to a resort in Playa del Carmen, Mexico. There, they learn of Killian's whereabouts in Venice, Italy before Marcy and the H. can capture them again. On their way to Venice, Walter attempts to make the antidote, but fails. Arriving in Venice, Walter is confronted by the H. V., who are unaware of Sterling's condition. Revealing that she knows about Wendy, Walter's mother who was a police officer who died on duty, Marcy tries to convince him to help turn Sterling in, but Walter refuses. Suddenly, a drone distracts the H. and allows Walter and Sterling to escape. The two discover the drone carrying the H. agent database, and Walter manages to retrieve it. However, Killian shows up, takes the database, and prepares to kill Walter. With help from hundreds of pigeons in the surrounding area, they distract Killian and flee. Disguised as Sterling once more, Killian escapes the H. V., shaking Marcy's suspicions of Sterling upon her seeing him with a robot hand. Whilst underwater in a submarine, Walter reveals he planted a tracking device on Killian and locates him at the weapons facility. Walter manages to perfect the antidote and successfully turns Sterling human again. Reaching Killian's hideout, Sterling is concerned about Walter's safety and sends him away in the submarine. Once inside, Sterling confronts Killian, but is defeated and captured as Killian reveals he has mass produced hundreds of drones to target everyone at the agency using the database as revenge for killing his crew in a past mission led by Sterling. Noticing Walter returning in the submarine, Killian destroys it; unbeknownst to them, Walter survives with the help of one of his inventions, the inflatable hug. Once Walter frees Sterling, the two escape and contact Marcy for support as the drones approach H. headquarters in Washington D. C. Walter attempts to hack into Killian's bionic arm. When Killian realizes this, he tries to flee via air with a drone, but Walter catches up. Walter risks his life by trapping Killian in one of his protective gadgets and deactivates the villain's arm as Walter himself falls, but Sterling, who has turned himself back into a pigeon, successfully flies for the first time and carries him to safety with help from other pigeons, while Killian is found and arrested. Despite saving the world, Sterling, back in his human form (except for his right hand, which is temporarily remaining tiny), and Walter are fired for disobedience. However, they are quickly reinstated by the H. as the agency could learn from Walter's more peaceful ways of handling villainy. Voice cast [ edit] Will Smith as Lance Sterling, "the world's most awesome spy, " who is accidentally turned into a pigeon. [9] Tom Holland as Walter Beckett, a socially inept scientific genius who graduated from MIT at age 15 and designs gadgets. He inadvertently turns Sterling into a pigeon with a new invention of his and must now help Sterling change back to his human form. Jarrett Bruno portrays a younger Walter. Rashida Jones as Marcy Kappel, a security forces agent of internal affairs who is in pursuit of Lance Sterling. Ben Mendelsohn as Killian, a powerful technology-based terrorist mastermind with a left bionic arm which controls an array of weaponized drones that threatens the world. Killian is Sterling's arch-enemy and his main mission objective. Killian is never identified at any point in the film, with the protagonists casually referring to him as "Robo-Hand". Reba McEntire as Joy Jenkins, the director of H. (short for Honor, Trust, Unity and Valor) and Sterling's superior. [10] Rachel Brosnahan as Wendy Beckett, a police officer and Walter's late mother. [10] Karen Gillan as Eyes, an H. specialist in spectral analysis and quantum optical thermography who is paired with Ears. [11] DJ Khaled as Ears, an H. specialist in communications who is paired with Eyes. [11] Masi Oka as Katsu Kimura, a Japanese arms dealer and an associate to Killian. Carla Jimenez as Geraldine [12] Olly Murs as Junior Agent #1 (Uncredited) [13] Bex Marsh as Italian Tourist Stefania Spampinato as Italian Woman Eddie Mujica as Agency Accountant and Male Tourist Emily Altman as Lead Agency Lab Tech, Scooter Girl Claire Crosby as Unity Randy Trager as Terrance Mark Ronson as Agency Control Room Technician Matthew J. Munn as Weapons Lab Soldier Kimberly Brooks as Lance Sterling's Car ( Audi RSQ e-tron) Krizia Bajos as Receptionist Reggie De Leon as Weapons Lab Tech Casey Roberts as Launch Control Voice Agency employees are voiced by Tawny Newsome, JB Blanc, Adrian Gonzalez, William Christopher Stephens, Bex Marsh, Peter S. Kim, Gabriel Conte, Jess Conte, Nick Bruno, and Troy Quane. Marcy's Agents are voiced by JB Blanc, Christopher Campbell, Adrian Gonzalez, Peter S. Kim, and William Christopher Stephens. Pigeon voices are provided by Jarrett Bruno, Nick Bruno, Randy Thom, and Randy Trager. South Korean voice actress So Youn  [ ko] and voice actor Jang Min-hyuck respectively provided the voices of Soo-min and Joon, the protagonists in a South Korean television drama which Walter Beckett is a fan of. Jang also voiced Lance Sterling in the Korean version. Production [ edit] On October 9, 2017, it was announced that development was underway on a film based on the animated short Pigeon: Impossible (2009), with Will Smith and Tom Holland set to voice the lead characters. [14] In October 2018, new additions to the voice cast included Ben Mendelsohn, Karen Gillan, Rashida Jones, DJ Khaled and Masi Oka. [15] In July 2019, Reba McEntire and Rachel Brosnahan joined the cast, [10] and in September 2019, Carla Jimenez was added as well. [12] Music [ edit] Score [ edit] On June 12, 2018, it was reported that Theodore Shapiro was set to compose the film's score. [2] The film's score album was released by Hollywood Records and Fox Music on December 27, 2019. EP soundtrack [ edit] Mark Ronson Presents the Music of Spies in Disguise EP and soundtrack album by various artists Released December 13, 2019 Label RCA Records Singles from Mark Ronson Presents the Music of Spies in Disguise "Then There Were Two" Released: November 22, 2019 "Fly" Released: December 2, 2019 On June 11, 2019, it was announced that Mark Ronson would be the film's executive music producer. [16] Head of Fox Music Danielle Diego expresssed excitement at working with Ronson, stating that "his unique blend of vintage soul and funk exceptionally captures the soul of [the] film. " [16] On November 22, 2019, an original song for the film entitled "Then There Were Two, " performed by Ronson and Anderson, was released. [17] Two days later, an extended play album was announced, titled Mark Ronson Presents the Music of Spies in Disguise and featuring five new songs written for the film, as well Rob Base & DJ E-Z Rock 's " It Takes Two ". [18] The EP was released digitally on December 13, 2019 by RCA Records. [18] Track listing [ edit] No. Title Artist(s) Length 1. "Freak of Nature" Mark Ronson & Dodgr 3:27 2. "Then There Were Two" Ronson & Anderson Paak 2:32 3. "Fly" Lucky Daye 2:43 4. "They Gotta Go" Lil Jon 3:18 5. "Rocket Fuel" DJ Shadow featuring De La Soul 3:14 6. " It Takes Two " Rob Base & DJ E-Z Rock 5:00 7. "KNOCK KNOCK" TWICE 3:16 8. "Bye Bye Bye" NSYNC 3:20 9. "Boom" NCT Dream 3:15 10. "Follow" Monsta X 3:33 Total length: 23:30 Release [ edit] The film was originally scheduled for release on January 18, 2019, by 20th Century Fox. [9] The release date was delayed to April 19, 2019, and then to September 13, 2019. [19] On May 10, the date was delayed once more, to December 25, 2019. [20] Spies in Disguise is the first release by Blue Sky Studios as a unit of The Walt Disney Company, after Disney's purchase of Fox. This allows ticket purchases to be eligible for Disney Movie Insiders points in the United States. [21] The film had its world premiere at the El Capitan Theatre in Hollywood, on December 4, 2019. [22] Marketing [ edit] The first trailer and teaser poster were released on November 1, 2018. [23] The second trailer was released on July 1, 2019 and the final trailer was released on September 27, 2019, though a "super secret" trailer was released on November 18. Reception [ edit] Box office [ edit] As of February 2, 2020, Spies in Disguise has grossed $63. 6 million in the United States and Canada, and $93. 7 million in other territories, for a worldwide total of $157. 3 million. [8] In the United States and Canada, the film was released on Wednesday, December 25, alongside Little Women and the expansion of Uncut Gems, and was projected to gross $19–23 million from 3, 502 theatres over in its five-day opening weekend. [24] The film made $4. 8 million on Christmas Day and $4. 1 million on its second day. [25] It went on to make $13. 2 million during its opening weekend, for a total of $22. 1 million over the five-day Christmas frame, finishing fifth. [26] [7] In its second weekend the film made $10. 1 million, finishing sixth. [27] In its third weekend, it grossed $5. 1 million, dropping 50. 9% from the previous weekend and finishing at the 10th position. [28] Critical response [ edit] On review aggregator website Rotten Tomatoes, the film holds an approval rating of 76% based on 111 reviews and an average rating of 6. 46/10. The site's critical consensus reads, "A cheerfully undemanding animated adventure that's elevated by its voice cast, Spies in Disguise is funny, fast-paced, and family-friendly enough to satisfy. " [29] Metacritic gave the film a weighted average score of 54 out of 100, based on 22 critics, indicating "mixed or average reviews. " [30] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while those at PostTrak gave it an average 3. 5 out of 5 stars. [26] Peter Bradshaw of The Guardian gave the film three out of five stars, calling it an "entertaining family adventure, " and praising the vocal work of Smith and Holland. [31] Accolades [ edit] References [ edit] ^ a b c "Denali Publishing Announces Spies in Disguise: Agents on the Run" (Press release). November 13, 2019. Retrieved November 13, 2019 – via Gamasutra. ^ a b "Theodore Shapiro to Score Blue Sky Studios' 'Spies in Disguise' & Karyn Kusama's 'Destroyer ' ". Film Music Reporter. June 12, 2018. Retrieved October 28, 2018. ^ "Spies in Disguise reviews". The Hollywood Reporter. Retrieved December 16, 2019. ^ a b "Film releases". Variety Insight. Retrieved August 28, 2018. ^ Vary, Adam B. (January 17, 2020). "Disney and Chernin Entertainment Parting Ways". Variety. Retrieved January 21, 2020. ^ "Spies in Disguise". British Board of Film Classification. Retrieved January 11, 2020. ^ a b Brueggemann, Tom (December 29, 2019). " ' Little Women' Is the Top Box Office Newcomer; 'Skywalker' May Fall $100 Million Short of 'Jedi ' ". IndieWire. Retrieved December 31, 2019. ^ a b "Spies in Disguise (2019)". Box Office Mojo. Retrieved February 2, 2020. ^ a b "Spies in Disguise Teams Will Smith and Tom Holland". Slashfilm. October 10, 2017. Retrieved October 11, 2017. ^ a b c Galuppo, Mia (July 23, 2019). "Reba McEntire, Rachel Brosnahan Join Will Smith in 'Spies in Disguise' (Exclusive)". Retrieved July 23, 2019. ^ a b Romano, Nick (November 1, 2018). "Will Smith, Tom Holland are a secret agent team in 'Spies in Disguise' trailer". Entertainment Weekly. Meredith Corporation. Retrieved November 1, 2018. ^ a b Sun, Rebecca (September 9, 2019). "Rep Sheet Roundup: CAA China Signs Matt William Knowles". Retrieved September 9, 2019. ^ Chilton, Louis (December 16, 2019). "Olly Murs joins Will Smith and Tom Holland in Spies In Disguise". Radio Times. Retrieved January 11, 2020. ^ Lang, Brent (October 9, 2017). "Will Smith, Tom Holland to Star in Animated Movie 'Spies in Disguise' (EXCLUSIVE)". Retrieved October 11, 2017. ^ Wiseman, Andreas (October 29, 2018). "Ben Mendelsohn, Karen Gillan, Rashida Jones, DJ Khaled and Masi Oka Join Voice Cast Of Fox Animation 'Spies In Disguise ' ". Deadline Hollywood. Retrieved November 22, 2019. ^ a b "Mark Ronson joins animated film, "Spies in Disguise, " as exec music producer".. June 11, 2019. ^ Heath, Paul (November 22, 2019). "Music Video For Mark Ronson & Anderson 's 'Spies In Disguise' Track Drops". Retrieved November 24, 2019. ^ a b "Mark Ronson's Songs from 'Spies in Disguise' to Be Released". November 24, 2019. ^ Haring, Bruce (June 22, 2018). "20th Century Fox Sets Dates For Untitled James Mangold Ferrari Project, Kenneth Branagh's 'Death On The Nile ' ". Retrieved July 10, 2018. ^ D'Alessandro, Anthony (May 7, 2019). "Disney-Fox Updates Release Schedule: Sets Three Untitled 'Star Wars' Movies, 'Avatar' Franchise To Kick Off In 2021 & More". Retrieved May 7, 2019. ^ @Disney_Insiders (October 17, 2019). "This Christmas they're saving the world on the fly. And guess what Insiders? #SpiesInDisguise will be eligible for Disney Movie Insiders points! " (Tweet). Retrieved October 20, 2019 – via Twitter. ^ Jackson, Angelique (December 5, 2019). "Tom Holland on Spider-Man, James Bond and Meeting 'Spies in Disguise' Co-Star Will Smith in an Escape Room". Retrieved December 5, 2019. ^ "Spies in Disguise, Official Trailer". 20th Century FOX. November 1, 2018. ^ D'Alessandro, Anthony (December 25, 2019). " ' Rise Of Skywalker' Eyes $35M Merry Christmas With 2nd Best Ever For Holiday; 'Little Women' $7M; 'Spies In Disguise' $5M". Retrieved December 26, 2019. ^ McClintock, Pamela (December 25, 2019). "Box Office: 'Star Wars: Rise of Skywalker' Unwraps Huge $32M on Christmas Day". Retrieved December 26, 2019. ^ a b D'Alessandro, Anthony (December 29, 2019). " ' Star Wars: Rise Of Skywalker' Counts $362M Through 10 Days, -2% Behind 'Last Jedi'; 'Little Women' All Grown Up With $29M 5-Day". Retrieved December 29, 2019. ^ D'Alessandro, Anthony (January 5, 2020). " ' Star Wars: Rise Of Skywalker' Dips To $34M+ Third Weekend; 'Grudge' Doesn't Scream With $11M+ & 'F' CinemaScore". Retrieved January 5, 2020. ^ D'Alessandro, Anthony (January 12, 2020). " ' 1917' Strong With $36M+, But 'Like A Boss' & 'Just Mercy' Fighting Over 4th With $10M; Why Kristen Stewart's 'Underwater' Went Kerplunk With $7M". Retrieved January 12, 2020. ^ "Spies in Disguise (2019)". Rotten Tomatoes. Fandango. Retrieved January 3, 2020. ^ "Spies in Disguise Reviews". Metacritic. Retrieved December 30, 2019. ^ "Movie Review: Spies in Disguise – Will Smith brings pecks appeal to animated caper". The Guardian. Retrieved December 16, 2019. ^ "Motion Picture Sound Editors Unveil 67th Annual Golden Reel Nominations". Retrieved December 27, 2019. ^ "47th Annie Awards" (Press release). Annie Awards. December 4, 2019. Retrieved December 4, 2019. External links [ edit] Official website Spies in Disguise on IMDb Spies in Disguise at Rotten Tomatoes Spies in Disguise at Box Office Mojo.

Spies in disguise marcy. Spies in disguise jess and gabriel. Spies in disguise game. BUST DOWN. That Skyfall reference. 😎. Spies in disguise trailer. Spies in disguise poster. Just noticed Mario doesn't go full on Mushroom Kingdom so that he can protect Luigi from the real world. He let his brother live the dream but he can't do the same all the way. He has to make sure he's there for him. That's both sad and beautiful.

Spies in disguise clip. After several duds of recent years for Will Smith I got dragged along to this film expecting another tedious overblown ego effort only aimed at children this time.
Surprisingly I found this film to be quite amiable. Amusing and entertaining with a half decent script that everyone seemed to enjoy. It has nods to some other films, Men in Black and Mission Impossible in particular plus Tom Hollands voice casting works well with a couple of cryptic Spider-man saga nods thrown in for good measure.
All in all this was quite watchable all round and just the right length. The animation is excellent too and Will Smith gently mocks his own ego to boot. A nice antidote to the overlong, overblown and over serious films currently doing the rounds.

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SeSpies in disguise på bio. Spies in disguise rotten tomatoes. Spies in disguise movie times. I kinda just wanna go watch this just for the sake of Tom Holland and Chris Pratt being in it. Spies in disguise 3d. 1:36 did he just. Spies in disguise showtimes. Spies in disguise movie trailer. Spies in disguise cast. I'm so excited to see Klaus! To see how 2D animation is having a small comeback!❤️. Spies in disguise trailer cz. Who else noticed Walters googles are similar to speedo. Spies in disguise walter. Spies in disguise full movie online free.

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Bravo! Excellent remix! You made the song so much more fun to listen to. “There are those that speak The language The language of love Burnt in backrooms Sun lite caravans Waiting Lingering Disappearing into the shadows “ Rip Michael Hutchence❤️✌️😎. Inxs: baby live at wembley stadium watch full length movie. No Weaving And Cigarrete Lights, Please. Yeah, sure. What a perfect and sad sad song. how I feel it deep inside of me... it touches. Inxs: baby live at wembley stadium watch full length 2. Inxs: baby live at wembley stadium watch full length hair. Lyrics hit harder with age, I was so clueless back then... When Australia rocked the world. Inxs: baby live at wembley stadium watch full length tv. Inxs: baby live at wembley stadium watch full length movies.

Always loved this song. And my favourite at this concert. Over the last 22 years Ive often popped the DVD on just for this song. Just want to see MH pass me on the stairs ❤️. Inxs: baby live at wembley stadium watch full length episodes. What an incredible loss. Inxs 3a baby live at wembley stadium watch full length cake. Wow, whoever remastered it, what a great job. Inxs: baby live at wembley stadium watch full length video. Inxs 3a baby live at wembley stadium watch full length.

 

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Best band in the world I adore oasis never got to see them so what. LIVE FOREVER. People, this is how it's done. Absolute titan of a band. Jesus they were great. INXS: Baby Live at Wembly Stadium Watch Full length. Inxs 3a baby live at wembley stadium watch full length photo. Inxs: baby live at wembley stadium watch full length 1. Inxs: baby live at wembley stadium watch full length 2017. INXS: Baby Live at Wembly Stadium Watch Full lengths. Inxs 3a baby live at wembley stadium watch full length remix. Quem viveu jamais esquece show eterno. Love this song. The lyrics are beautifull.

 

≡Part 1≡ INXS: Baby Live at Wembly Stadium Watch Full Length

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≡Part 1≡ INXS: Baby Live at Wembly Stadium Watch Full Length

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• Writer: erminia chilà

 

1. 
2. genre=Crime
3. Directors=Corneliu Porumboiu
4. writer=Corneliu Porumboiu
5. audience Score=1259 Votes
6. user Ratings=6,9 of 10 stars

Ha 27shorkim youtube. Hashorkawamot lotif sorkar pala gaan. Save more by booking your flight + hotel together! Earn up to 10% back with the Orbitz Rewards Visa Card. #1 Jeep Tour of La Gomera Island with Ferry Ride & Lunch All aboard for a scenic ferry ride to La Gomera that's followed by a jeep ride over miles of rugged island terrain. Mountainous landscapes and impressive vol... Duration 9h 30m Free Cancellation Free Cancellation 4. 8 of 5 (2 reviews) The price now is $103 per adult Jeep Tour of La Gomera Island with Ferry Ride & Lunch #2 La Gomera Full-Day Tour lunch in Mirador de Abrante Take a look back in time with a visit to La Gomera, where you can find a beautiful and fascinating unspoiled island. This full-day excursion shows you the na... Duration 10h 30m Free Cancellation Free Cancellation 4. 1 of 5 (16 reviews) The price now is $74 per adult La Gomera Full-Day Tour lunch in Mirador de Abrante #3 Walking Historic & Cultural San Sebastian Tour Enjoy a walk through the most emblematic areas of the city. Get to know San Sebastian and do not miss the details of all the secrets hidden in this charming... Duration 2h Free Cancellation Free Cancellation 5 of 5 (1 review) The price now is $21 per traveler Walking Historic & Cultural San Sebastian Tour #4 Small Group - Discover San Sebastians cliffs on a yacht We'll explore the San Sebastian coast and it's amazing cliffs on board my exclusive Yacht called Getari. She's 10m long 3. 5m, so get ready to feel the speed,... Duration 2h Free Cancellation Free Cancellation The price now is $87 per traveler Small Group - Discover San Sebastians cliffs on a yacht Top La Gomera points of interest Top destinations in Spain ^Savings based on all package bookings with Flight + Hotel made on from January 1, 2018 to December 31, 2018 as compared to the price of the same components booked separately. Savings will vary based on origin/destination, length of trip, stay dates and selected travel supplier(s). Savings not available on all packages. *Price based on the lowest price found within past 24 hours and based upon one night stay for two adults over the next thirty days. Prices and availability subject to change. Additional terms may apply.

 

First Hit: I was, and even a day later, confused by this story and film.
We're really introduced to Cristi (Vlad Ivanov) and Gilda (Catrinel Marlon) when Gilda walks up to Cristi and asks to speak with him in his apartment. Cristi whispers into her ear that he apartment is bugged, so she kisses him and tells him she'll play the part of a hooker, and they can whisper her request, which is to help her by getting a criminal, Zsolt, out of prison.
In an early scene, Cristi is on a ferry heading to an island where the ancient people use to communicate by whistling. Cristi is part of a plot working with other criminals to free Zsolt and to do this he has to learn the whistling language.
The language breaks vowels and consonants into seven whistling sounds. This lesson in this language was the most exciting part of the film. I was fascinated with Cristi learning how to whistle and wanted to practice, along with him, right in the theater.
As the film develops, some parts led me to believe that the story in the movie was pre-planned, and I missed something as the film progressed. At other times, I felt as though Cristi and Gilda were planning the ending along the way because they'd fallen for each other.
As an undercover detective, Cristi works for an unnamed woman place by Rodica Lazar, who is trying to play both ends of this story.
The result is a film that has the appearance of a storyline running at two different levels, but in the end, the person sitting next to me asked if he missed something about how the ending worked out, I said "I don't know, and I still don't.
Ivanov was quietly compelling as the detective who was also on the take. Marlon was excellent as the woman who seemed totally in control of story behind the plot. Lazar was strong as the head of the investigation and also susceptible to corruption. Corneliu Porumboiu wrote and directed this quizzical story that left me hanging.
Overall: I either missed a critical section of this Romanian film or the story was attempting to be too elusive.

Ha 27shorkim meaning. Thank you ! just booked my ticket to Tenerife. 1. 0. 1-full for Android The description of Senderos La Gomera Walking the footpaths of La Gomera means reliving its long history. A history of people who adapted to the difficulties of broken terrain. The Gomerans wove a network of paths extending all over de island, which you can walk now, enjoying the rich landscapes, heritage and biodiversity offered by the island of La Gomera. The majority of these tracks still remain and are maintained, making up a intricate, continuous network of paths allowing a unlimited choice of routes. This app offers you all the information about the hiking trails of La Gomera. In addition, you can help us maintain and improve our path network through the incident reporting service. Senderos La Gomera 1. 1-full Update 2019-03-22 Improve APP quality Add Tags By adding tag words that describe for Games&Apps, you're helping to make these Games and Apps be more discoverable by other APKPure users. V1. 1-full 15. 1 MB APK Senderos La Gomera Senderos La Gomera 1. 1-full (11) Update on: 2019-03-22 Requires Android: Android 5. 1+ (Lollipop MR1, API 22) Signature: 6fd1061a9a35f82436469d089140b8ec0540b878 Screen DPI: 120-640dpi Architecture: arm64-v8a, armeabi-v7a, x86, x86_64 File SHA1: be95a190804cb1913edbf7a158d269aaeb27c16f File Size: 15. 1 MB What's new: Download V1. 0-full 2019-02-06 Senderos La Gomera 1. 0-full (10) Update on: 2019-02-06 File SHA1: bd749af9f081858c62388d608085e58e0d30698d V0. 6-full 2019-01-24 Senderos La Gomera 0. 6-full (6) Update on: 2019-01-24 File SHA1: 3a9773a34276edcdc7bf41a40b9ac9ea7fa87749 Download.

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Ha 27shorkim 2. Ha 27shorkim 2016. Toller Bericht - sehr sympathisch! Kenne die Insel sehr gut und habe vieles wiedererkannt. Man:Whistles* Woman:Slaps man* STOP CAT CALLING turns out he said:Good Morning.

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