Entrepreneurship is the process of designing and running a new business, initially a small business. The people who create these businesses are called entrepreneurs. Entrepreneurship has been described as the "capacity and willingness to develop and manage a business venture along with any of its risks in order to make a profit". While definitions of entrepreneurship focus on the launching and running of businesses, due to the high risks involved in launching a start-up, a significant proportion of start-up businesses have to close due to "lack of funding, bad business decisions, an economic crisis, lack of market demand—or a combination of all of these. A broader definition of the term is sometimes used in the field of economics. In this usage, an Entrepreneur is an entity which has the ability to find and act upon opportunities to translate inventions or technology into new products: "The entrepreneur is able to recognize the commercial potential of the invention and organize the capital and other resources that turn an invention into a commercially viable innovation."
In this sense, the term "Entrepreneurship" captures innovative activities on the part of established firms, in addition to similar activities on the part of new businesses. Entrepreneurship is the act of being an entrepreneur, or "the owner or manager of a business enterprise who, by risk and initiative, attempts to make profits". Entrepreneurs oversee the launch and growth of an enterprise. Entrepreneurship is the process by which either an individual or a team identifies a business opportunity and acquires and deploys the necessary resources required for its exploitation. Early-19th-century French economist Jean-Baptiste Say provided a broad definition of entrepreneurship, saying that it "shifts economic resources out of an area of lower and into an area of higher productivity and greater yield". Entrepreneurs create something new, something different—they change or transmute values. Regardless of the firm size, big or small, they can partake in entrepreneurship opportunities; the opportunity to become an entrepreneur requires four criteria.
First, there must be situations to recombine resources to generate profit. Second, entrepreneurship requires differences between people, such as preferential access to certain individuals or the ability to recognize information about opportunities. Third, taking on risk is a necessity. Fourth, the entrepreneurial process requires the organization of resources; the entrepreneur is a factor in and the study of entrepreneurship reaches back to the work of Richard Cantillon and Adam Smith in the late 17th and early 18th centuries. However, entrepreneurship was ignored theoretically until the late 19th and early 20th centuries and empirically until a profound resurgence in business and economics since the late 1970s. In the 20th century, the understanding of entrepreneurship owes much to the work of economist Joseph Schumpeter in the 1930s and other Austrian economists such as Carl Menger, Ludwig von Mises and Friedrich von Hayek. According to Schumpeter, an entrepreneur is a person, willing and able to convert a new idea or invention into a successful innovation.
Entrepreneurship employs what Schumpeter called "the gale of creative destruction" to replace in whole or in part inferior innovations across markets and industries creating new products including new business models. In this way, creative destruction is responsible for the dynamism of industries and long-run economic growth; the supposition that entrepreneurship leads to economic growth is an interpretation of the residual in endogenous growth theory and as such is hotly debated in academic economics. An alternative description posited by Israel Kirzner suggests that the majority of innovations may be much more incremental improvements such as the replacement of paper with plastic in the making of drinking straws; the exploitation of entrepreneurial opportunities may include: Developing a business plan Hiring the human resources Acquiring financial and material resources Providing leadership Being responsible for both the venture's success or failure Risk aversionEconomist Joseph Schumpeter saw the role of the entrepreneur in the economy as "creative destruction" – launching innovations that destroy old industries while ushering in new industries and approaches.
For Schumpeter, the changes and "dynamic disequilibrium brought on by the innovating entrepreneur the norm of a healthy economy". While entrepreneurship is associated with new, for-profit start-ups, entrepreneurial behavior can be seen in small-, medium- and large-sized firms and established firms and in for-profit and not-for-profit organizations, including voluntary-sector groups, charitable organizations and government. Entrepreneurship may operate within an entrepreneurship ecosystem which includes: Government programs and services that promote entrepreneurship and support entrepreneurs and start-ups Non-governmental organizations such as small-business associations and organizations that offer advice and mentoring to entrepreneurs Small-business advocacy organizations that lobby governments for increased support for entrepreneurship programs and more small business-friendly laws and regulations Entrepreneurship resources and facilities Entrepreneurship education and training programs offered by schools and universities Financing In the 2000s, usage of the term "entrepreneurship" expanded to include how and why some individuals ide
Miles Dewey Davis III was an American jazz trumpeter and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz. Born and raised in Illinois, Davis left his studies at the Juilliard School in New York City and made his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Miles Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album'Round About Midnight, it was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s.
During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish-influenced Sketches of Spain, band recordings, such as Milestones and Kind of Blue. The latter recording remains one of the most popular jazz albums of all time, having sold over four million copies in the U. S. Davis made several line-up changes while recording Someday My Prince Will Come, his 1961 Blackhawk concerts, Seven Steps to Heaven, another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings composed by the band members, helping pioneer the post-bop genre with albums such as E. S. P and Miles Smiles, before transitioning into his electric period. During the 1970s, he experimented with rock, African rhythms, emerging electronic music technology, an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, guitarist John McLaughlin.
This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn and Tutu. Critics were unreceptive but the decade garnered the trumpeter his highest level of commercial recognition, he performed sold-out concerts worldwide while branching out into visual arts and television work, before his death in 1991 from the combined effects of a stroke and respiratory failure. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz." Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.
Miles Dewey Davis III was born on May 26, 1926, to an affluent African-American family in Alton, fifteen miles north of St. Louis, he had an older sister, Dorothy Mae, a younger brother, Vernon. His mother, Cleota Mae Henry of Arkansas, was a music teacher and violinist, his father, Miles Dewey Davis Jr. of Arkansas, was a dentist. They owned a 200-acre estate near Arkansas with a profitable pig farm. In Pine Bluff, he and his siblings fished and rode horses. In 1927, the family moved to Illinois, they lived on the second floor of a commercial building behind a dental office in a predominantly white neighborhood. From 1932 to 1934, Davis attended John Robinson Elementary School, an all-black school Crispus Attucks, where he performed well in mathematics and sports. At an early age he liked music blues, big bands, gospel. In 1935, Davis received his first trumpet as a gift from a friend of his father, he took lessons from Elwood Buchanan, a teacher and musician, a patient of his father. His mother wanted him to play violin instead.
Against the fashion of the time, Buchanan stressed the importance of playing without vibrato and encouraged him to use a clear, mid-range tone. Davis said. In years Davis said, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can't get that sound I can't play anything." In 1939, the family moved to 1701 Kansas Avenue in East St. Louis. On his thirteenth birthday his father bought him a new trumpet, Davis began to play in local bands, he took additional trumpet lessons from Joseph Gustat, principal trumpeter of the St. Louis Symphony Orchestra. In 1941, the 15-year-old attended East St. Louis Lincoln High School, where he joined the marching band directed by Buchanan and entered music competitions. Years Davis said that if he lost a contest, it was because of racism, but he added that these experiences made him a better musician; when a drummer asked him to play a certain passage of music, he couldn't do it, he began to learn music theory.
"I went and got everything, every book I could get to learn
Mel Brooks is an American filmmaker, actor and composer. He is known as a creator of comedic parodies. Brooks began his career as a comic and a writer for the early TV variety show Your Show of Shows, he created, with Buck Henry, the hit television comedy series Get Smart, which ran from 1965 to 1970. In middle age, Brooks became one of the most successful film directors of the 1970s, with many of his films being among the top 10 moneymakers of the year they were released, his best-known films include The Producers, The Twelve Chairs, Blazing Saddles, Young Frankenstein, Silent Movie, High Anxiety, History of the World, Part I, Spaceballs and Robin Hood: Men in Tights. A musical adaptation of his first film, The Producers, ran on Broadway, from 2001 to 2007. In 2001, having won an Emmy, a Grammy and an Oscar, he joined a small list of EGOT winners with his Tony Award for The Producers, he received a Kennedy Center Honor in 2009, a Hollywood Walk of Fame star in 2010, the 41st AFI Life Achievement Award in June 2013, a British Film Institute Fellowship in March 2015, a National Medal of Arts in September 2016, a BAFTA Fellowship in February 2017.
Three of his films ranked in the American Film Institute's list of the top 100 comedy films of the past 100 years, all of which ranked in the top 15 of the list: Blazing Saddles at number 6, The Producers at number 11, Young Frankenstein at number 13. Brooks was married to the actress Anne Bancroft from 1964 until her death in 2005, their son Max Brooks is an actor and author, known for his novel World War Z: An Oral History of the Zombie War. Brooks was born Melvin Kaminsky on June 28, 1926, in Brooklyn, New York, to Max and Kate Kaminsky, grew up in Williamsburg, his father's family were German Jews from Danzig. He had three older brothers: Irving and Bernie. Brooks' father died of kidney disease at 34, he has said of his father's death, "There's an outrage there. I may be angry at God, or at the world, for that, and I'm sure a lot of my comedy is based on hostility. Growing up in Williamsburg, I learned to clothe it in comedy to spare myself problems—like a punch in the face."Brooks was a small, sickly boy, bullied and teased by his classmates because of his size.
He grew up in tenement housing. At age 9, Brooks went to a Broadway show with his uncle Joe—a taxi driver who would drive the Broadway doormen back to Brooklyn for free and was given the tickets in gratitude—and saw Anything Goes with William Gaxton, Ethel Merman and Victor Moore at the Alvin Theater. After the show, he told his uncle that he was not going to work in the garment district like everyone else but was going into show business; when Brooks was 14 he gained employment as a pool tummler. Brooks kept his guests amused with his crazy antics. In a Playboy interview Brooks explained that one day he stood at the edge of a diving board wearing a large overcoat and 2 suitcases full of rocks who announced: "Business is terrible! I can't go on!" before jumping clothed into the pool. He was taught by Buddy Rich how to play the drums and started to earn money as a musician when he was 14. During Brooks' time as a drummer he was given his first opportunity as a comedian at the age of 16 following an ill emcee.
During his teens, Melvin Kaminsky changed his name to Mel Brooks. After being confused with the trumpeter Max Kaminsky. After attending Abraham Lincoln High School for a year, Brooks graduated from Eastern District High School with the intention of studying at Brooklyn College as a psychology major. However, Brooks was drafted into the army in 1944, where he tested into the elite Army Specialized Training Program and was sent to the Virginia Military Institute to be taught skills such as military engineering; when the ASTP was disbanded in May, 1944, Brooks underwent basic training at Oklahoma. He served in the United States Army as a corporal in the 1104 Engineer Combat Battalion, 78th Infantry Division, defusing land mines as the allies advanced into Germany during World War II; as World War II came to an end Mel Brooks took part in organizing shows for Germans and for American soldiers. After the war, Brooks started working in various Borscht Belt resorts and nightclubs in the Catskill Mountains as a drummer and pianist.
After a regular comic at one of the nightclubs was too sick to perform one night, Brooks started working as a stand-up comic, telling jokes and doing movie-star impressions. He began acting in summer stock in Red Bank, New Jersey, did some radio work, he worked his way up to the comically aggressive job of tummler at Grossinger's, one of the Borscht Belt's most famous resorts. Brooks found more rewarding work behind the scenes. In 1949 his friend Sid Caesar hired Brooks to write jokes for the NBC series The Admiral Broadway Revue, paying him $50 a week. In 1950 Caesar created the revolutionary variety comedy series Your Show of Shows and hired Brooks as a writer along with Carl Reiner, Neil Simon, Danny Simon, head writer Mel Tolkin; the show was an immediate hit and has been influential to all variety and sketch-comedy TV shows since. Reiner, as creator of The Dick Van Dyke Show, based Morey Amsterdam's character Buddy Sorell on Brooks; the film My Favorite Year is loosely based on Brooks' experiences as a writer on
Home Service is a British folk rock group, formed in late 1980 from a nucleus of musicians, playing in Ashley Hutchings' Albion Band. Their career is agreed to have peaked with the album Alright Jack, has had an influence on work. John Tams and several other members of the band, have worked in other projects. In 2016 John Kirkpatrick replaced Tams as main singer in Home Service, will feature as such on their next album. Home Service was formed out of members of the Albion Band who had participated in what is said to be the group's most successful album in its long history, Rise Up Like the Sun, their establishment was out of the confusion caused by line-up changes when the Albion Band were playing as, in effect, a house band in Bill Bryden's National Theatre productions in the late 1970s and early 1980s, including Lark Rise to Candleford. Members of the group took part in an adaptation of Michael Herr's Dispatches without band leader Ashley Hutchings. In late 1980 eight members began to rehearse together in Southwark and had soon splintered off from the parent band.
The original line-up was: John Tams, Bill Caddick, Graeme Taylor, Michael Gregory, Roger Williams, Howard Evans, Colin Rae and Malcolm Bennett. The large group was somewhat unwieldy and complicated by other projects, including the fact that both Evans and Williams were members of Brass Monkey. Rae soon left and the remaining members chose the name'The First Eleven' and switched to Home Service, which had both associations of Britishness/Englishness and of a bygone world in the defunct BBC Home Service radio station. In 1982 two tracks from what was intended as a demo session were released as a single, "Doing The Inglish", with the B-side "Bramsley", designed to accompany the group's appearance at the Cambridge Folk Festival and their transmission on the BBC TV programme A Little Night Music. Bass player Malcolm Bennett left the band to work as Musical Director of the National Theatre's production of Aeschylus' Oresteia and was replaced by Jon Davie. Further recording was delayed by their return to the National Theatre as a supporting band.
Having been joined by keyboard player Steve King while recording, among considerable expectations, they released their eponymous first album in 1984. The album made good use of their two experienced songwriters and Caddick, the arranging talents in the group for a mixture of original songs and traditional tunes; the result was favourably reviewed, but suffered in retrospect from the fragmented nature of the recording process among their busy schedules, leading to a lack of spontaneity. Theatre productions continued to dominate the group's existence Brydon’s trilogy based on the Wakefield cycle of mystery plays known as The Mysteries. Augmented by other musicians, including Linda Thompson on vocals and Andy Findon on saxophone and flutes, they released a selection of the music as The Mysteries in 1985. Findon joined the band as a full member, but Bill Caddick, unhappy with the lack of live work, left the group soon after the end of the play's London run. With this line up the band began working on their third album, attempting to use their considerable talents to the full and overcome the problems that had limited their previous work.
The result, Alright Jack, was built around an arrangement of six folk songs by Percy Grainger. There were three other traditional tunes, but the most striking element of the album were Tams' compositions, which bracketed the traditional material on both sides, including the title track, the apocalyptic and uplifting "Sorrow/Babylon" and the haunting "Scarecrow". Alright Jack was the group's greatest achievement and their last. Tams left soon after and the remaining members moved on to other projects, they reunited, without Tams, in 1991 to contribute to the charity compilation All Through the Year and with Caddick toured the UK, recordings of which were released as Wild Life, but they disbanded soon after. In 2011 it was announced; the reunion is taking place to promote a forthcoming album of unheard live recordings from 1986. Current members: John Kirkpatrick - vocals, guitar Graeme Taylor - electric guitar Rory McFarlane - bass guitar, vocals Andy Findon - saxophone and flutes Steve King – keyboards, vocals Michael Gregory - drums, percussion Paul Archibald – trumpet, flugelhorn Nigel Barr - trombone, tubaPast members: Bill Caddick - vocals, guitar Howard Evans – trumpet Malcolm Bennett – bass guitar Colin Rae - trumpet John Tams - vocals, guitar Jon Davie - bass guitar, vocals Roger Williams - trombone, tuba Studio albums: The Home Service The Mysteries Alright Jack A New Ground Live albums: Wild Life Live 1986 Collaborations: All Through the Year Official website
Pentangle are a British folk-jazz band with an eclectic mix of folk, jazz and folk rock influences. The original band was active in the late 1960s and early 1970s, a version has been active since the early 1980s; the original line-up, unchanged throughout the band's first incarnation, was: Jacqui McShee. The name Pentangle was chosen to represent the five members of the band, is the device on Sir Gawain's shield in the Middle English poem Sir Gawain and the Green Knight which held a fascination for Renbourn. In 2007, the original members of the band were reunited to receive a Lifetime Achievement award at the BBC Radio 2 Folk Awards and to record a short concert, broadcast on BBC radio; the following June, all five original members embarked on a twelve-date UK tour. The original group formed in 1967. Renbourn and Jansch were popular musicians on the British folk scene, with several solo albums each and a duet LP, Bert and John, their use of complex inter-dependent guitar parts, referred to as "folk baroque", had become a distinctive characteristic of their music.
They shared a house in St John's Wood, London. Jacqui McShee had begun as an "floor singer" in several of the London folk clubs, by 1965, ran a folk club at the Red Lion in Sutton, establishing a friendship with Jansch and Renbourn when they played there, she sang on Renbourn's Another Monday album and performed with him as a duo, debuting at Les Cousins club in August 1966. Thompson and Cox had played together in Alexis Korner's band. By 1966, they were both part of Duffy Power's Nucleus. Thompson was well-known to Renbourn through appearances at Les Cousins and working with him on a project for television. In 1967, the Scottish entrepreneur Bruce Dunnet, who had organised a tour for Jansch, set up a Sunday night club for him and Renbourn at the Horseshoe Hotel in Tottenham Court Road. McShee began to join them as a vocalist and, by March of that year and Cox were being billed as part of the band. Renbourn claims to be the "catalyst" that brought the band together but credits Jansch with the idea "to get the band to play in a regular place, to knock it into shape".
Although nominally a ` folk' group, the members influences. McShee had a grounding in traditional music and Thompson a love of jazz, Renbourn a growing interest in early music, Jansch a taste for blues and contemporaries such as Bob Dylan; the first public concert by Pentangle was a sell-out performance at the Royal Festival Hall, on 27 May 1967. That year, they undertook a short tour of Denmark — in which they were disastrously billed as a rock'n'roll band — and a short UK tour, organised by Nathan Joseph of Transatlantic Records. By this stage, their association with Bruce Dunnett had ended and, early in 1968, they acquired Jo Lustig as a manager. With his influence, they graduated from clubs to concert halls and from on, as Colin Harper puts it, "the ramshackle, happy-go-lucky progress of the Pentangle was going to be a streamlined machine of purpose and efficiency". Pentangle signed up with Transatlantic Records and their eponymous debut LP was released in May 1968; this all-acoustic album was produced by Shel Talmy, who has claimed to have employed an innovative approach to recording acoustic guitars to deliver a bright "bell-like" sound.
On 29 June of that year they performed at London's Royal Festival Hall. Recordings from that concert formed part of their second album, Sweet Child, a double LP comprising live and studio recordings. Basket of Light, which followed in mid-1969, was their greatest commercial success, thanks to a surprise hit single, "Light Flight" which became popular through its use as theme music for the television series Take Three Girls for which the band provided incidental music; the album went all the way to number five in the charts. By 1970, they were at the peak of their popularity, recording a soundtrack for the film Tam Lin, making at least 12 television appearances, undertaking tours of the UK and America. However, their fourth album, Cruel Sister, released in October 1970, was a commercial disaster; this was an album of traditional songs that included a 20-minute-long version of "Jack Orion", a song that Jansch and Renbourn had recorded as a duo. It failed to go higher than number 51 in the charts.
The band returned to a mix of traditional and original material on Reflection, recorded in March 1971. This was received without enthusiasm by the music press. By this time, the strains of touring and of working together as a band were apparent. Bill Leader, who produced the album, said "It seems to me, in retrospect, that each day a different member of the group had decided that this was it:'Sod this for a game of soldiers, I'm leaving the group!'" Pentangle withdrew in a bitter dispute with Joseph regarding royalties. Transatlantic had concluded that they were within their contractual rights to withhold royalty payments from the Pentangle albums. Joseph pointed out that his company had covered all the costs, such as recording costs, entailed in making the albums. Jo Lustig, their manager, who had agreed to the Transatlantic contract, made it clear that their contract with him included a clause that they could not sue him "for anything under any circumstances." In order to make some money out of
84 Charing Cross Road (film)
84 Charing Cross Road is a 1987 British-American drama film directed by David Jones. The screenplay by Hugh Whitemore is based on a play by James Roose-Evans, which itself was an adaptation of the 1970 epistolary memoir of the same name by Helene Hanff, a compilation of letters between herself and Frank Doel dating from 1949 to 1968; the play has only two characters, but the dramatis personae for the film were expanded to include Hanff's Manhattan friends, the bookshop staff and Doel's wife Nora. In 1949, Helene Hanff is in search of obscure classics and British literature titles that she has been unable to find in New York City, she notices an ad in the Saturday Review of Literature placed by antiquarian booksellers Marks & Co, located at the titular address in London. She contacts the shop, where manager Frank Doel fulfills her requests. A long-distance friendship develops over time between the two and between Hanff and other staff members, as well, including birthday gifts, holiday packages and food parcels to compensate for post–World War II food shortages in Britain.
Their correspondence includes discussions about topics as diverse as the sermons of John Donne, how to make Yorkshire pudding, the Brooklyn Dodgers and the coronation of Elizabeth II. Hanff postpones visiting her English friends until too late: Doel dies in December 1968 and the bookshop closes, she visits Charing Cross Road and the vacant shop in the summer of 1971. Anne Bancroft as Helene Hanff Anthony Hopkins as Frank Doel Judi Dench as Nora Doel Maurice Denham as George Martin Eleanor David as Cecily Farr Mercedes Ruehl as Kay Daniel Gerroll as Brian Wendy Morgan as Megan Wells Ian McNeice as Bill Humphries J. Smith-Cameron as Ginny Connie Booth as the Lady from Delaware Tony Todd as Demolition Worker The film was shot on location in London and New York City. London settings include Buckingham Palace, Soho Square, Trafalgar Square, St James's, White Hart Lane in Tottenham and suburban Richmond. Manhattan settings include Central Park, Madison Avenue, Saint Thomas Church. Interiors were filmed at Lee International Shepperton Studios in Surrey.
In his review in The New York Times, Vincent Canby called it "a movie guaranteed to put all teeth on edge... a movie of such unrelieved genteelness that it makes one long to head for Schrafft's for a double-gin martini, straight up, a stack of cinnamon toast from which the crusts have been removed."Variety described it as "an appealing film on several counts, one of the most notable being Anne Bancroft's fantastic performance in the leading role... brings Helene Hanff alive in all her dimensions, in the process creating one of her most memorable characterizations."Roger Ebert of the Chicago Sun-Times observed, "The film is based on a hit London and New York play, based on a best-selling book. Given the thin and unlikely subject matter, a series of miracles, and yet there are people. I should know. I read the book and I saw the play and now I am reviewing the movie, I still don't think the basic idea is sound... Miss Fiske... was the librarian at the Urbana Free Library when I was growing up...
She never had to talk to me about the love of books because she exuded it and I absorbed it. She would have loved this movie. Sitting next to her, I suspect, too, but Miss Fiske is gone now, I found it pretty slow-going on my own."Gene Siskel, in his review for The Chicago Tribune, wrote: "Years ago, 84 Charing Cross Road would have been called a'woman's picture' or a'perfect matinee.' But it's more. It should be irresistible to anyone able to appreciate the goodness of its spirit and its spirited characters." In its opening weekend in the U. S. the film grossed $24,350 at one theater. The total U. S. box office was $1,083,486. Anne Bancroft won the BAFTA Award for Best Actress in a Leading Role. Judi Dench was nominated for the BAFTA Award for Best Actress in a Supporting Role, Hugh Whitemore for BAFTA Award for Best Adapted Screenplay. At the 15th Moscow International Film Festival, Anthony Hopkins was named Best Actor, David Hugh Jones was nominated for the Golden Prize for his direction. Whitemore and Helene Hanff shared the first USC Scripter Award for their contributions to the screenplay.
84 Charing Cross Road on IMDb 84 Charing Cross Road at Rotten Tomatoes