Theme from Mission: Impossible
"Theme from Mission: Impossible" is the theme tune of the TV series Mission: Impossible. The theme was written and composed by Argentine composer Lalo Schifrin and has since gone on to appear in several other works of the Mission: Impossible franchise, including the 1988 TV series, the film series and the video game series; the theme is written in a 54 time signature which Schifrin has jokingly explained as being "for people who have five legs". However, it should be noted that Schifrin started from the Morse Code for M. I., "_ _..". The original single release peaked at No. 41 on the Billboard Hot 100 and 19 on the magazine's Adult Contemporary chart in 1967. In 2010, a fictionalized account of Lalo Schifrin's creation of the Mission: Impossible tune was featured in a Lipton TV commercial aired in a number of countries around the world. 7" SingleSide A: "Mission: Impossible" - 2:31Side B: "Jim on the Move" - 3:12 In 1996, the theme was remade by U2 members Adam Clayton and Larry Mullen, Jr. for the soundtrack to the film.
The duo recorded two versions of the song, the main theme and another subtitled "Mission Accomplished". Both appeared in the film, with the former appearing during the opening credits, while the latter was played during the end credits; the instrumental became a hit in the United States, peaking at number seven on the Billboard Hot 100 and receiving a gold certification, selling 500,000 copies there. It peaked at number one in Finland and Iceland, number two in Australia and Ireland, number seven on the UK Singles Chart; the Gavin Report wrote about the song: "Those not familiar with this piece of music A) are under five years of age, B) have been living with Theodore Kaczynski for the past 25 years, or C) are not aware of television. This interpretation by half of U2 will be heard by millions of moviegoers expected to see what's been anticipated as the film of the summer. Try cranking this up and driving around the hills of San Francisco! Cool." CD Single One cover version was recorded by French No Wave artist Lizzy Mercier Descloux on her 1979 album, Press Color.
The theme's melodies form the basis of Limp Bizkit's 2000 single "Take a Look Around", recorded for the soundtrack of the second film. Russian ethnic band Bugotak recorded a Russian-language rap song with ethnic Siberian instruments based on "Take a Look Around", the theme and "Empty Spaces" by Pink Floyd, entitled "Missiya Maadai-kara nevypolnima". American rapper Kanye West and producer Jon Brion, created a remix version at the end credits of the third film. Brave Combo covered the theme as a "deep groove cumbia" on their 2008 album, The Exotic Rocking Life. Tiësto created a dance remix version of the theme to promote the fourth film in the series Mission: Impossible – Ghost Protocol. In January 2013, violinist and dancer Lindsey Stirling and The Piano Guys, Steven Sharp Nelson and Jon Schmidt, released their interpretation of the "Theme from Mission: Impossible"; the arrangement is true to the Lalo Schifrin original, but employs a passage with a liberal use of the Piano Sonato in C by Wolfgang Amadeus Mozart K. 545 first movement and a self-composed passage to end the piece.
The arrangement was introduced with a music video having a comedic dagger theme. Two official copies of the video have garnered nearly 5 million views on Lindsey Stirling's YouTube channel and over 10 million views on The Piano Guys YouTube channel as of August 2015. For the promotion of the fifth film Mission: Impossible – Rogue Nation Japanese guitarist MIYAVI covered the theme
Jews or Jewish people are an ethnoreligious group and a nation, originating from the Israelites and Hebrews of historical Israel and Judah. Jewish ethnicity and religion are interrelated, as Judaism is the traditional faith of the Jewish people, while its observance varies from strict observance to complete nonobservance. Jews originated as an ethnic and religious group in the Middle East during the second millennium BCE, in the part of the Levant known as the Land of Israel; the Merneptah Stele appears to confirm the existence of a people of Israel somewhere in Canaan as far back as the 13th century BCE. The Israelites, as an outgrowth of the Canaanite population, consolidated their hold with the emergence of the kingdoms of Israel and Judah; some consider that these Canaanite sedentary Israelites melded with incoming nomadic groups known as'Hebrews'. Though few sources mention the exilic periods in detail, the experience of diaspora life, from the Ancient Egyptian rule over the Levant, to Assyrian captivity and exile, to Babylonian captivity and exile, to Seleucid Imperial rule, to the Roman occupation and exile, the historical relations between Jews and their homeland thereafter, became a major feature of Jewish history and memory.
Prior to World War II, the worldwide Jewish population reached a peak of 16.7 million, representing around 0.7% of the world population at that time. 6 million Jews were systematically murdered during the Holocaust. Since the population has risen again, as of 2016 was estimated at 14.4 million by the Berman Jewish DataBank, less than 0.2% of the total world population. The modern State of Israel is the only country, it defines itself as a Jewish and democratic state in the Basic Laws, Human Dignity and Liberty in particular, based on the Declaration of Independence. Israel's Law of Return grants the right of citizenship to Jews who have expressed their desire to settle in Israel. Despite their small percentage of the world's population, Jews have influenced and contributed to human progress in many fields, both and in modern times, including philosophy, literature, business, fine arts and architecture, music and cinema, science and technology, as well as religion. Jews have played a significant role in the development of Western Civilization.
The English word "Jew" continues Iewe. These terms derive from Old French giu, earlier juieu, which through elision had dropped the letter "d" from the Medieval Latin Iudaeus, like the New Testament Greek term Ioudaios, meant both "Jew" and "Judean" / "of Judea"; the Greek term was a loan from Aramaic Y'hūdāi, corresponding to Hebrew יְהוּדִי Yehudi the term for a member of the tribe of Judah or the people of the kingdom of Judah. According to the Hebrew Bible, the name of both the tribe and kingdom derive from Judah, the fourth son of Jacob. Genesis 29:35 and 49:8 connect the name "Judah" with the verb yada, meaning "praise", but scholars agree that the name of both the patriarch and the kingdom instead have a geographic origin—possibly referring to the gorges and ravines of the region; the Hebrew word for "Jew" is יְהוּדִי Yehudi, with the plural יְהוּדִים Yehudim. Endonyms in other Jewish languages include the Yiddish ייִד Yid; the etymological equivalent is in use in other languages, e.g. يَهُودِيّ yahūdī, al-yahūd, in Arabic, "Jude" in German, "judeu" in Portuguese, "Juif" /"Juive" in French, "jøde" in Danish and Norwegian, "judío/a" in Spanish, "jood" in Dutch, "żyd" in Polish etc. but derivations of the word "Hebrew" are in use to describe a Jew, e.g. in Italian, in Persian and Russian.
The German word "Jude" is pronounced, the corresponding adjective "jüdisch" is the origin of the word "Yiddish". According to The American Heritage Dictionary of the English Language, fourth edition, It is recognized that the attributive use of the noun Jew, in phrases such as Jew lawyer or Jew ethics, is both vulgar and offensive. In such contexts Jewish is the only acceptable possibility; some people, have become so wary of this construction that they have extended the stigma to any use of Jew as a noun, a practice that carries risks of its own. In a sentence such as There are now several Jews on the council, unobjectionable, the substitution of a circumlocution like Jewish people or persons of Jewish background may in itself cause offense for seeming to imply that Jew has a negative connotation when used as a noun. Judaism shares some of the characteristics of a nation, an ethnicity, a religion, a culture, making the definition of, a Jew vary depending on whether a religious or national approach to identity is used.
In modern secular usage Jews include three groups: people who were born to a Jewish family regardless of whether or not they follow the religion, those who have some Jewish ancestral background or lineage, people without any Jewish ancestral background or lineage who have formally converted to Judaism and therefore are followers of the religion. Historical definitions of Jewish identity have traditionally been based on halakhic definitions of matrilineal descent, halakhic conversions; these definitions of, a Jew date back to the codification of the Oral
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Buenos Aires is the capital and largest city of Argentina. The city is located on the western shore of the estuary of the Río de la Plata, on the South American continent's southeastern coast. "Buenos Aires" can be translated as "fair winds" or "good airs", but the former was the meaning intended by the founders in the 16th century, by the use of the original name "Real de Nuestra Señora Santa María del Buen Ayre". The Greater Buenos Aires conurbation, which includes several Buenos Aires Province districts, constitutes the fourth-most populous metropolitan area in the Americas, with a population of around 15.6 million. The city of Buenos Aires is the Province's capital. In 1880, after decades of political infighting, Buenos Aires was federalized and removed from Buenos Aires Province; the city limits were enlarged to include the towns of Flores. The 1994 constitutional amendment granted the city autonomy, hence its formal name: Autonomous City of Buenos Aires, its citizens first elected a chief of government in 1996.
Buenos Aires is considered an'alpha city' by the study GaWC5. Buenos Aires' quality of life was ranked 91st in the world, being one of the best in Latin America in 2018, it is the most visited city in South America, the second-most visited city of Latin America. Buenos Aires is a top tourist destination, is known for its preserved Eclectic European architecture and rich cultural life. Buenos Aires held the 1st Pan American Games in 1951 as well as hosting two venues in the 1978 FIFA World Cup. Buenos Aires hosted the 2018 the 2018 G20 summit. Buenos Aires is a multicultural city, being home to multiple religious groups. Several languages are spoken in the city in addition to Spanish, contributing to its culture and the dialect spoken in the city and in some other parts of the country; this is because in the last 150 years the city, the country in general, has been a major recipient of millions of immigrants from all over the world, making it a melting pot where several ethnic groups live together and being considered one of the most diverse cities of the Americas.
It is recorded under the archives of Aragonese that Catalan missionaries and Jesuits arriving in Cagliari under the Crown of Aragon, after its capture from the Pisans in 1324 established their headquarters on top of a hill that overlooked the city. The hill was known to them as Bonaira, as it was free of the foul smell prevalent in the old city, adjacent to swampland. During the siege of Cagliari, the Catalans built a sanctuary to the Virgin Mary on top of the hill. In 1335, King Alfonso the Gentle donated the church to the Mercedarians, who built an abbey that stands to this day. In the years after that, a story circulated, claiming that a statue of the Virgin Mary was retrieved from the sea after it miraculously helped to calm a storm in the Mediterranean Sea; the statue was placed in the abbey. Spanish sailors Andalusians, venerated this image and invoked the "Fair Winds" to aid them in their navigation and prevent shipwrecks. A sanctuary to the Virgin of Buen Ayre would be erected in Seville.
In the first foundation of Buenos Aires, Spanish sailors arrived thankfully in the Río de la Plata by the blessings of the "Santa Maria de los Buenos Aires", the "Holy Virgin Mary of the Good Winds", said to have given them the good winds to reach the coast of what is today the modern city of Buenos Aires. Pedro de Mendoza called the city "Holy Mary of the Fair Winds", a name suggested by the chaplain of Mendoza's expedition – a devotee of the Virgin of Buen Ayre – after the Sardinian Madonna de Bonaria. Mendoza's settlement soon came under attack by indigenous people, was abandoned in 1541. For many years, the name was attributed to a Sancho del Campo, said to have exclaimed: How fair are the winds of this land!, as he arrived. But Eduardo Madero, in 1882 after conducting extensive research in Spanish archives concluded that the name was indeed linked with the devotion of the sailors to Our Lady of Buen Ayre. A second settlement was established in 1580 by Juan de Garay, who sailed down the Paraná River from Asunción.
Garay preserved the name chosen by Mendoza, calling the city Ciudad de la Santísima Trinidad y Puerto de Santa María del Buen Aire. The short form "Buenos Aires" became the common usage during the 17th century; the usual abbreviation for Buenos Aires in Spanish is Bs. As, it is common as well to refer to it as "B. A." or "BA". While "BA" is used more by expats residing in the city, the locals more use the abbreviation "Baires", in one word. Seaman Juan Díaz de Solís, navigating in the name of Spain, was the first European to reach the Río de la Plata in 1516, his expedition was cut short when he was killed during an attack by the native Charrúa tribe in what is now Uruguay. The city of Buenos Aires was first established as Ciudad de Nuestra Señora Santa María del Buen Ayre after Our Lady of Bonaria on 2 February 1536 by a Spanish expedition led by Pedro de Mendoza; the settlement founded by Mendoza was located in what is today the San Telmo district of Buenos Aires, south of the city centre. More attacks by the indigenous
John Towner Williams is an American composer and pianist. With a career spanning over six decades, he has composed some of the most popular and critically acclaimed film scores in cinematic history, including those of the Star Wars series, Close Encounters of the Third Kind, Superman, E. T. the Extra-Terrestrial, the Indiana Jones series, the first two Home Alone films, the first two Jurassic Park films, Schindler's List, the first three Harry Potter films. Williams has been associated with director Steven Spielberg since 1974, composing music for all but four of his feature films––Duel, The Color Purple, Bridge of Spies, Ready Player One. Other works by Williams include theme music for the 1984 Summer Olympic Games, NBC Sunday Night Football, "The Mission" theme used by NBC News and Seven News in Australia, the television series Lost in Space and Land of the Giants, the incidental music for the first season of Gilligan's Island. Williams has composed numerous classical concertos and other works for orchestral ensembles and solo instruments.
He served as the Boston Pops's principal conductor from 1980 to 1993, is the orchestra's laureate conductor. Williams has won 24 Grammy Awards, seven British Academy Film Awards, five Academy Awards, four Golden Globe Awards. With 51 Academy Award nominations, Williams is the second most-nominated individual, after Walt Disney. In 2005, the American Film Institute selected Williams's score to 1977's Star Wars as the greatest American film score of all time; the soundtrack to Star Wars was additionally preserved by the Library of Congress into the National Recording Registry for being "culturally or aesthetically significant". Williams was inducted into the Hollywood Bowl's Hall of Fame in 2000, was a recipient of the Kennedy Center Honors in 2004 and the AFI Life Achievement Award in 2016. Williams composed the score for eight of the top 20 highest-grossing films at the U. S. box office. John Towner Williams was born on February 8, 1932 in Floral Park, New York, to Esther and Johnny Williams, a jazz percussionist who played with the Raymond Scott Quintet.
Williams has said of his lineage, "My father was a Maine man—we were close. My mother was from Boston. My father's parents ran a department store in Bangor, my mother's father was a cabinetmaker. People with those roots are not inclined to be lazy."In 1948, the Williams family moved to Los Angeles where John attended North Hollywood High School, graduating in 1950. He attended the University of California, Los Angeles, studied with the Italian composer Mario Castelnuovo-Tedesco. Williams attended Los Angeles City College for one semester as the school had a Studio Jazz Band. In 1952, Williams was drafted into the U. S. Air Force, where he played the piano and conducted and arranged music for The U. S. Air Force Band as part of his assignments. In a 2016 interview with the US Air Force band, he recounted having attended basic Air Force training at Lackland base, after which he served as a pianist and brass player, with secondary duties of making arrangements for three years, he attended music courses at the University of Arizona as part of his service.
In 1955, following his Air Force service, Williams moved to New York City and entered the Juilliard School, where he studied piano with Rosina Lhévinne. During this time Williams worked as a jazz pianist in the city's many jazz clubs. After moving to Los Angeles, he began working as a session musician, most notably for composer Henry Mancini, he worked with Mancini on the Peter Gunn soundtrack, along with guitarist Bob Bain, bassist Rolly Bundock, drummer Jack Sperling, many of whom were featured on the Mr. Lucky television series. Known as "Johnny" during the 1950s and early 1960s, Williams composed the music for many television programs, served as music arranger and bandleader for a series of popular music albums with the singer Frankie Laine. While skilled in a variety of 20th-century compositional idioms, Williams's most familiar style may be described as a form of neoromanticism, inspired by the late 19th century's large-scale orchestral music—in the style of Tchaikovsky or Richard Wagner and their concept of leitmotif—that inspired his film music predecessors.
After his studies at Juilliard and the Eastman School of Music, Williams returned to Los Angeles, where he began working as an orchestrator at film studios. Among other composers, Williams worked with Franz Waxman, Bernard Herrmann, Alfred Newman, with his fellow orchestrators Conrad Salinger and Bob Franklyn. Williams was a studio pianist, performing on film scores by composers such as Jerry Goldsmith, Elmer Bernstein, Henry Mancini. With Mancini Williams recorded the scores of 1959's Peter Gunn, 1962's Days of Wine and Roses, 1963's Charade. Williams composed music for various television programs in the 1960s: the pilot episode of Gilligan's Island, Bachelor Father, the Kraft Suspense Theatre, Lost in Space, The Time Tunnel, Land of the Giants. Williams's first film composition was for the 1958 B movie Daddy-O, his first screen credit came two years in Because They're Young, he soon gained notice in Hollywood for his versatility in composing jazz and symphonic music. Williams received his first Academy Award nomination for his score for 1967's Valley of the Dolls, was nominated again for
MGM Records was a record label started by the Metro-Goldwyn-Mayer film studio in 1946 for the purpose of releasing soundtrack albums of their musical films. It soon transitioned to a pop music label; the company released soundtrack albums of the music for some of their non-musical films as well, on rare occasions, cast albums of off-Broadway musicals such as The Fantasticks and the 1954 revival of The Threepenny Opera. In one instance, it released the successful soundtrack album of a film made by a rival studio, Columbia Pictures's Born Free, their first soundtrack was of Till the Clouds Roll By, a 1946 film based on the life of composer Jerome Kern. It was the first soundtrack album of a live-action film; the album was issued as a set of four 10-inch 78-rpm records. As in many early MGM soundtrack albums, only eight selections from the film were included on the original version of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation; this was before tape existed, so the record producer needed to copy segments from the playback discs used on set copy and re-copy them from one disc to another, adding transitions and cross-fades until the final master was created.
Needless to say, it was several generations removed from the original and the sound quality suffered for it. The playback recordings were purposely recorded "dry" otherwise it would come across as too hollow sounding in large movie theatres; this made these albums boxy. MGM Records called these "original cast albums" in the style of Decca's Broadway show cast albums, they coined the phrase "recorded directly from the soundtrack". Over the years the term "soundtrack" began to be applied to any recording from a film, whether taken from the actual film soundtrack or re-recorded in studio; the phrase is sometimes incorrectly used for Broadway cast recordings. While it is correct to call a "soundtrack" a "cast recording" it is never correct to call a "cast recording" a "soundtrack". Among MGM's most successful soundtrack albums were those of the films Good News, Easter Parade, Annie Get Your Gun, Singin' in the Rain, Show Boat, The Band Wagon, Seven Brides for Seven Brothers, Gigi; when the 1939 film The Wizard of Oz was first shown on television in 1956, the label issued a soundtrack album of songs and dialog excerpts recorded directly from the film, as they had done with their LP of music and dialog from Quo Vadis in 1951.
By 1950, magnetic tape had been perfected for recording use. This markedly improved the sound quality on long play albums from 1951 forward. MGM Records issued albums of film scores, including Ben-Hur, King of Kings, Doctor Zhivago, How the West Was Won, the 1967 fake-stereo 70mm re-release of Gone With the Wind, 2001: A Space Odyssey; the Ben-Hur and King of Kings albums were studio recreations of the scores, but done with the original orchestrations. MGM Records released a second soundtrack album of Quo Vadis, this one containing only music from the film. Beginning in the 1990s, authentic soundtrack albums of the musical scores to Ben-Hur and King of Kings became available; the Rhino Records editions of these albums featured the entire scores, including outtakes. Rhino released a full-length two-disc album of the score of Gone With the Wind, recorded from the soundtrack in the original mono; as in the case of the non-musical films, Rhino Records, which obtained the rights to the MGM soundtracks in the 1990s, issued longer versions of their movie musical albums, containing all of the songs and music.
Rhino's license expired at the end of 2011 and the albums Rhino issued are now out of print. Warner Bros. now owns the MGM soundtracks first issued by MGM Records and Warner Bros' WaterTower Music unit now has the rights to release the MGM soundtracks. MGM operated their own record manufacturing plant at Bloomfield, New Jersey, from 1947 until 1972. For several years in the late 1940s-early 1950s, MGM operated a radio syndication business, producing The MGM Theater of the Air and a variety of other series based on inactive movie properties such as Dr. Kildare, Andy Hardy and Crime Does Not Pay; the MGM record pressing plant manufactured the electrical transcriptions used to distribute the shows to local stations. The record manufacturing division was closed. There was a short-lived Metro-Goldwyn-Mayer Records of 1928, which produced recordings of music featured in MGM movies, not sold to the general public but made to be played in movie theater lobbies; these Metro-Goldwyn-Mayer records were manufactured under contract with the studio by Columbia Records.
In the early 1950s, MGM Records was considered one of the "major" record companies due to owning its own manufacturing facilities. Subsidiary Cub Records was launched in the late 1950s and Verve Records was acquired from Norman Granz in December 1960. Other MGM subsidiaries and distributed labels included: Kama Sutra, Heritage and Metro, Leo Hickory, MGM South, Pride, CoBurt, L&R, Lionel. MGM moved into the rock a
The Exorcist (film)
The Exorcist is a 1973 American supernatural horror film adapted by William Peter Blatty from his 1971 novel of the same name, directed by William Friedkin, starring Ellen Burstyn, Linda Blair, Max von Sydow, Jason Miller. It is the first film in the Exorcist series, it follows the demonic possession of a 12-year-old girl, her mother's attempts to win her back through an exorcism conducted by two priests. Although the book had been a bestseller, who produced, Friedkin, his choice for director, had difficulty casting the film. After turning down, or being turned down by, major stars of the era, they cast in the lead roles the little-known Burstyn, the unknown Blair, Miller, the author of a hit play who had never acted in movies before, casting choices that were vigorously opposed by studio executives at Warner Bros. Principal photography was difficult. Most of the set burned down, Blair and Burstyn suffered long-term injuries in accidents; the film took twice as long to shoot as scheduled and cost more than twice its initial budget.
On December 26, 1973, The Exorcist was released to 30 theaters in the U. S. and Canada. Audiences flocked to it, waiting on long lines in winter weather, many doing so more than once, despite mixed critical reviews; some viewers had adverse physical reactions fainting or vomiting, to scenes such as its protagonist undergoing a realistic cerebral angiography and masturbating with a crucifix. There were reports of heart miscarriages. Many children were taken to see the film, leading to charges that the MPAA ratings board had accommodated Warner by giving the film an R rating instead of the X they thought it deserved in order to ensure its commercial success; the cultural conversation around the film, which encompassed its treatment of Roman Catholicism, helped it become the first horror film to be nominated for the Academy Award for Best Picture, one of ten Oscars it was nominated for, with Blatty's script and the film's sound winning their categories. It has remained high in critical esteem and commercial success since, becoming one of the highest-grossing films in history with a $441 million take as of 2019.
For many years after its release it remained the top grosser in the supernatural horror and R-rated horror subcategories, as well. The film has had a significant influence on popular culture, several publications have regarded it one of the greatest horror films of all time. Prominent film critic Mark Kermode named it as his "favorite film of all time". In 2010, the Library of Congress selected the film to be preserved as part of its National Film Registry as being "culturally or aesthetically significant". Lankester Merrin, a veteran Catholic priest who performed an exorcism in the 1950s, is on an archaeological dig in the ancient city of Hatra in Iraq. There he finds an amulet that resembles a statue of Pazuzu, a demon of ancient origins with whose history Merrin is familiar. In Georgetown, actress Chris MacNeil is living on location with her 12-year-old daughter Regan. After playing with a Ouija board and contacting a imaginary friend who she calls Captain Howdy, Regan begins acting strangely, including making mysterious noises, stealing using obscene language and exhibiting abnormal strength.
Chris hosts a party, during which Regan comes downstairs unannounced, tells one of the guests—an astronaut—that he will die in space and urinates on the floor. Regan's bed begins to shake violently, adding further to her mother's horror. Chris consults a number of physicians, but Dr. Klein and his associates find nothing physiologically wrong with her daughter, despite Regan undergoing a battery of diagnostic tests. One night when Chris is out, Burke Dennings is babysitting a sedated Regan. Chris returns to hear. Although this is assumed to have been an accident given Burke's history of heavy drinking, his death is investigated by Lieutenant William Kinderman. Kinderman interviews Chris, he consults psychiatrist Father Damien Karras shaken after the death of his frail mother. The doctors, thinking that Regan's aberrations are psychological in origin, recommend an exorcism be performed, reasoning that believing oneself to be possessed can sometimes be cured by believing that exorcism works. Chris arranges a meeting with Karras.
After Regan speaks backward, in different voices, exhibits scars in the form of the words "Help Me" on her stomach, Karras is convinced that Regan is possessed. Believing her soul is in danger, he decides to perform an exorcism; the experienced Merrin is selected for performing the actual exorcism with Karras assisting. Both priests witness Regan perform a series of vulgar acts, they attempt to exorcise the demon, but the stubborn entity toys with them Karras. Karras is dismissed by Merrin, who attempts the exorcism alone. Karras enters the room and discovers Merrin has died of a heart attack. After failing to revive Merrin, the enraged Karras confronts the mocking, laughing spirit, wrestles Regan's body to the ground. At Karras' invitation, it possesses Karras. In a moment of self-sacrifice, the priest throws himself out of the window before being compelled to harm Regan, he is mortally injured. Father Dyer, an old friend of Karras, happens upon the scene and administers the last rites to his friend.
A few days Regan