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This new exhibition uses iconic artworks to combine them with modern subjects and different themes. Beautiful examples of how iconic works of art can be adapted to the present and reflect modern issues can be seen at the exhibition. This issues are mainly race, class or gender. It is a very different way of conveying today's current problems, which many of them can be examined the aspect of mobility, through art and getting attention. Here we can see the permanence and effects of art even if time and its problems change. This can be a good example to apply to examine the mobility and dynamism of this art.
https://www.bbc.com/culture/article/20200624-what-makes-an-iconic-work-of-art

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I Tagli - by Lucio Fontana #art #movement #disrupture

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I Tagli - by Lucio Fontana #art #movement #disrupture

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This set of artworks produced by Lucio Fontana between 1958 and 1968 can be related to an apparently distant concept like "mobility". These artworks, indeed, represent a deep form of disruption, creating a sudden change of perspective (both mental and physical), like all forms of movements.

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Si qualificano con questo nome le opere pittoriche che presentano uno o più tagli, netti e regolari, operati con l'intento di oltrepassare la superficie della tela di supporto. I primi quadri di questa categoria hanno la superficie ricoperta quasi sempre da aniline, successivamente invece la maggioranza di queste opere verrà caratterizzata dall'uso di idropittura. I "Tagli" all'inizio si presentano in fitte sequenze, poi tendono a ridursi a pochi o ad essere addirittura unici e netti, dove una garza nera ne chiude sul retro la luce. Anche in questa serie, si ritrova il titolo "Concetto spaziale" e "Attesa" che può variare al singolare o al plurale in base alla quantità di tagli realizzati dall'autore.

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Si qualificano con questo nome le opere pittoriche che presentano uno o più tagli, netti e regolari, operati con l'intento di oltrepassare la superficie della tela di supporto. I primi quadri di questa categoria hanno la superficie ricoperta quasi sempre da aniline, successivamente invece la maggioranza di queste opere verrà caratterizzata dall'uso di idropittura.

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Ithaka

BY C. P. CAVAFY

TRANSLATED BY EDMUND KEELEY

As you set out for Ithaka

hope your road is a long one,

full of adventure, full of discovery.

Laistrygonians, Cyclops,

angry Poseidon—don’t be afraid of them:

you’ll never find things like that on your way

as long as you keep your thoughts raised high,

as long as a rare excitement

stirs your spirit and your body.

Laistrygonians, Cyclops,

wild Poseidon—you won’t encounter them

unless you bring them along inside your soul,

unless your soul sets them up in front of you.

Hope your road is a long one.

May there be many summer mornings when,

with what pleasure, what joy,

you enter harbors you’re seeing for the first time;

may you stop at Phoenician trading stations

to buy fine things,

mother of pearl and coral, amber and ebony,

sensual perfume of every kind—

as many sensual perfumes as you can;

and may you visit many Egyptian cities

to learn and go on learning from their scholars.

Keep Ithaka always in your mind.

Arriving there is what you’re destined for.

But don’t hurry the journey at all.

Better if it lasts for years,

so you’re old by the time you reach the island,

wealthy with all you’ve gained on the way,

not expecting Ithaka to make you rich.

Ithaka gave you the marvelous journey.

Without her you wouldn't have set out.

She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you.

Wise as you will have become, so full of experience,

you’ll have understood by then what these Ithakas mean.

* This poem is a representation of mobility, used as a metaphor for the "journey of life". In other words, the poem could be summarised in the quote "the journey, not the destination matters". Mobility is represented as a necessary and important factor in someone's life, as a synonym of adventure and as a liberating but also enriching experience that everyone should try. Because what is important is not the destination itself, but the experience of mobility.

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Lyrics: "Let us be lovers, we'll marry our fortunes together
I've got some real estate here in my bag"
So we bought a pack of cigarettes and Mrs. Wagner pies
And walked off to look for America"Kathy", I said as we boarded a Greyhound in Pittsburgh
"Michigan seems like a dream to me now"
It took me four days to hitchhike from Saginaw
I've gone to look for AmericaLaughing on the bus
Playing games with the faces
She said the man in the gabardine suit was a spy
I said "Be careful, his bowtie is really a camera""Toss me a cigarette, I think there's one in my raincoat"
"We smoked the last one an hour ago"
So I looked at the scenery, she read her magazine
And the moon rose over an open field "Kathy, I'm lost", I said, though I knew she was sleeping
I'm empty and aching and I don't know why
Counting the cars on the New Jersey Turnpike
They've all come to look for America
All come to look for America
All come to look for America

Analysis: Mobility is examined in this song in many ways. Simon & Garfunkel are two American artists representative of Folk music during the 60s and 70s in the United States, a time in which the culture was focused on expanding perspectives and "freedom" of self. The lyrics depict a story of a couple taking a road trip across the United States. Simon & Garfunkel use many different types of transportation, to depict the variety of mobile vehicles at the time. They mention: Greyhound (bus company), hitchhike, bus, walking, and cars. These words evocate a feeling of possibility, giving listeners a reminder that there are multiple methods of transport in which we can be mobile. Time is also used frequently: dream, four days, an hour ago, the moon rose, counting. All of these "time stamps" give listeners an opportunity to understand how mobility exists through time and how it transports us to the future. Also, places are mentioned frequently so as to demonstrate the lengths that mobility provides. We have "real estate" which evokes an image of land/ownership, an important pillar of "Americanness". We also have Pittsburgh, Michigan, Saginaw, and the New Jersey Turnpike. These places give us a finite location in which we can imagine individuals moving to and from.

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Easy Rider #travel #motorcycles #freedom

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Easy Rider #travel #motorcycles #freedom

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Probably the best movie ever (1969) to describe what mobility really means, especially highlighting its strong relation with the notion of "freedom".
With P. Fonda, D.Hooper, and J. Nicholson.

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Easy Rider is a 1969 American independent road drama film written by Peter Fonda, Dennis Hopper, and Terry Southern, produced by Fonda, and directed by Hopper. Fonda and Hopper play two bikers who travel through the American Southwest and South, carrying the proceeds from a cocaine deal. The success of Easy Rider helped spark the New Hollywood era of filmmaking during the early 1970s.

A landmark counterculture film, and a "touchstone for a generation" that "captured the national imagination," Easy Rider explores the societal landscape, issues, and tensions in the United States during the 1960s, such as the rise of the hippie movement, drug use, and communal lifestyle. Real drugs were used in scenes showing the use of marijuana and other substances.

Easy Rider was released by Columbia Pictures on July 14, 1969, grossing $60 million worldwide from a filming budget of no more than $400,000. Critics have praised the performances, directing, writing, soundtrack, and visuals. Hopper, Fonda and Southern were nominated for an Academy Award for Best Original Screenplay later on.

Easy Rider was added to the Library of Congress National Film Registry in 1998.

Wyatt ( Peter Fonda) and Billy ( Dennis Hopper) are freewheeling motorcyclists. After smuggling cocaine from Mexico to Los Angeles, they sell their haul and receive a large sum of money. With the cash stuffed into a plastic tube hidden inside the Stars & Stripes-painted fuel tank of Wyatt's California-style chopper, they ride eastward aiming to reach New Orleans, Louisiana, in time for the Mardi Gras festival.

During their trip, Wyatt and Billy stop to repair a flat tire on Wyatt's bike at a farmstead in Arizona and have a meal with the farmer and his family. Later, Wyatt picks up a hippie hitch-hiker, and he invites them to visit his commune, where they stay for the rest of the day. The notion of " free love" appears to be practiced, with two of the women, Lisa and Sarah, seemingly sharing the affections of the hitch-hiking commune member before turning their attention to Wyatt and Billy. As the bikers leave, the hitch-hiker gives Wyatt some LSD for him to share with "the right people".

Later, while riding along with a parade in New Mexico, the pair are arrested for "parading without a permit" and thrown in jail. There, they befriend lawyer George Hanson ( Jack Nicholson), who has spent the night in jail after overindulging in alcohol. After the mention of having done work for the ACLU along with other conversation, George helps them get out of jail and decides to travel with Wyatt and Billy to New Orleans. As they camp that night, Wyatt and Billy introduce George to marijuana. As an alcoholic and a "square", George is reluctant to try it due to his fear of becoming " hooked" and it leading to worse drugs but quickly relents.

Stopping to eat at a small-town Louisiana diner, the trio attracts the attention of the locals. The girls in the restaurant think they are exciting, but the local men and a police officer make denigrating comments and taunts. Wyatt, Billy, and George decide to leave without any fuss. They make camp outside town. In the middle of the night, a group of locals attack the sleeping trio, beating them with clubs. Billy screams and brandishes a knife, and the attackers leave. Wyatt and Billy suffer minor injuries, but George has been bludgeoned to death. Wyatt and Billy wrap George's body in his sleeping bag, gather his belongings, and vow to return the items to his family.

They continue to New Orleans and find a brothel George had told them about. Taking prostitutes Karen ( Karen Black) and Mary ( Toni Basil) with them, Wyatt and Billy wander the parade-filled streets of the Mardi Gras celebration. They end up in a French Quarter cemetery, where all four ingest the LSD the hitch-hiker had given to Wyatt and experience a bad trip.

The next morning, as they are overtaken on a two-lane country road by two local men in an older pickup truck, the passenger in the truck reaches for a shotgun, saying he will scare them. As they pass Billy, the passenger fires, and Billy has a lowside crash. The truck passes Wyatt who has stopped, and Wyatt rides back to Billy, finding him lying flat on the side of the road and covered in blood. Wyatt tells Billy he's going to get help and covers Billy's wound with his own leather jacket. Wyatt then rides down the road toward the pickup as it makes a U-turn.

Passing in the opposite direction, the passenger fires the shotgun again, this time through the driver's-side window. Wyatt's riderless motorcycle flies through the air and comes apart before landing and becoming engulfed in flames.

Hopper and Fonda's first collaboration was in (1967), written by Jack Nicholson, which had themes and characters similar to those of Easy Rider. Peter Fonda had become "an icon of the counterculture" in The Wild Angels (1966), where he established "a persona he would develop further in The Trip and Easy Rider." The Trip also popularized LSD, while Easy Rider went on to "celebrate '60s counterculture" but does so "stripped of its innocence." Author Katie Mills wrote that The Trip is a way point along the "metamorphosis of the rebel road story from a Beat relic into its hippie reincarnation as Easy Rider", and connected Peter Fonda's characters in those two films, along with his character in The Wild Angels, deviating from the "formulaic biker" persona and critiquing "commodity-oriented filmmakers appropriating avant-garde film techniques." It was also a step in the transition from independent film into Hollywood's mainstream, and while The Trip was criticized as a faux, popularized underground film made by Hollywood insiders, Easy Rider "interrogates" the attitude that underground film must "remain strictly segregated from Hollywood." Mills also wrote that the famous acid trip scene in Easy Rider "clearly derives from their first tentative explorations as filmmakers in The Trip." The Trip and The Wild Angels had been low-budget films released by American International Pictures and were both successful. Fonda took Easy Rider to AIP however, as it was Hopper's first film as director, they wanted to be able to replace him if the film went overbudget so Fonda took the film to Burt Schneider at Columbia Pictures instead.

When seeing a still of himself and Bruce Dern in The Wild Angels, Peter Fonda had the idea of a modern Western, involving two bikers travelling around the country and eventually getting shot by hillbillies. He called Dennis Hopper, and the two decided to turn that into a movie, The Loners, with Hopper directing, Fonda producing, and both starring and writing. They brought in screenwriter Terry Southern, who came up with the title Easy Rider. The film was mostly shot without a screenplay, with ad-libbed lines, and production started with only the outline and the names of the protagonists. Keeping the Western theme, Wyatt was named after Wyatt Earp and Billy after Billy the Kid. However, Southern disputed that Hopper wrote much of the script. In an interview published in 2016 [Southern died in 1995] he said, "You know if Den Hopper improvises a dozen lines and six of them survive the cutting room floor he'll put in for screenplay credit. Now it would be almost impossible to exaggerate his contribution to the film-but, by George, he manages to do it every time." According to Southern, Fonda was under contract to produce a motorcycle film with A.I.P., which Fonda had agreed to allow Hopper to direct. According to Southern, Fonda and Hopper didn't seek screenplay credit until after the first screenings of the film, which required Southern's agreement due to writers guild policies. Southern says he agreed out of a sense of camaraderie, and that Hopper later took credit for the entire script.

According to Terry Southern's biographer, Lee Hill, the part of George Hanson had been written for Southern's friend, actor Rip Torn. When Torn met with Hopper and Fonda at a New York restaurant in early 1968 to discuss the role, Hopper began ranting about the " rednecks" he had encountered on his scouting trip to the South. Torn, a Texan, took exception to some of Hopper's remarks, and the two almost came to blows, as a result of which Torn withdrew from the project. Torn was replaced by Jack Nicholson, whom Hopper had recently appeared with in (along with another Easy Rider co-star, Toni Basil). In 1994, Jay Leno interviewed Hopper about Easy Rider on The Tonight Show, and during the interview, Hopper alleged that Torn had pulled a knife on him during the altercation, prompting Torn to sue Hopper successfully for defamation.

The filming budget of Easy Rider was $360,000 to $400,000. Peter Fonda said that on top of this, he personally paid for the costs of travel and lodging for the crew, saying, "Everybody was taking my credit cards and would pay for all the hotels, the food, the gas, everything with Diner's Club". Laszlo Kovacs said that an additional $1 million, "about three times the budget for shooting the rest of the film" was spent licensing music that was added during the editing.

According to Bill Hayward, the associate producer of the film, in interviews included as part of the bonus DVD feature, Shaking the Cage, Hopper was difficult on set. During test shooting on location in New Orleans, Hopper fought with the production's ad hoc crew for control. At one point he entered into a physical confrontation with photographer Barry Feinstein, who was one of the camera operators for the shoot. After this turmoil, Hopper and Fonda decided to assemble a proper crew for the rest of the film.

Allegedly, the characters of Wyatt and Billy were respectively based on Roger McGuinn and David Crosby of the Byrds.

The hippie commune was recreated from pictures and shot at a site overlooking Malibu Canyon, since the New Buffalo commune in Arroyo Hondo near Taos, New Mexico, did not permit shooting there.

A short clip near the beginning of the film shows Wyatt and Billy on Route 66 in Flagstaff, Arizona, passing a large figure of a lumberjack. That lumberjack statue-once situated in front of the Lumberjack Cafe-remains in Flagstaff, but now stands inside the J. Lawrence Walkup Skydome on the campus of Northern Arizona University. A second, very similar statue was also moved from the Lumberjack Cafe to the exterior of the Skydome.

Most of the film is shot outside with natural lighting. Hopper said all the outdoor shooting was an intentional choice on his part, because "God is a great gaffer." The production used two five-ton trucks, one for the equipment and one for the motorcycles, with the cast and crew in a motor home. One of the locations was Monument Valley.

The restaurant scenes with Fonda, Hopper, and Nicholson were shot in Morganza, Louisiana. The men and girls in that scene were all Morganza locals. In order to inspire more vitriolic commentary from the local men, Hopper told them the characters of Billy, Wyatt, and George had raped and killed a girl outside of town. The scene in which Billy and Wyatt were shot was filmed on Louisiana Highway 105 North, just outside Krotz Springs, and the two other men in the scene-Johnny David and D.C. Billodeau-were Krotz Springs locals.

While shooting the cemetery scene, Hopper tried to convince Fonda to talk to the statue of the Madonna as though it were Fonda's mother (who had committed suicide when he was 10 years old) and ask her why she left him. Although Fonda was reluctant, he eventually complied. Later Fonda used the inclusion of this scene, along with the concluding scene, as leverage to persuade Bob Dylan to allow the use of Roger McGuinn's cover of " It's Alright, Ma (I'm Only Bleeding).

Despite being filmed in the first half of 1968, roughly between Mardi Gras and the assassination of Robert F. Kennedy, with production starting on February 22, the film did not have a U.S. premiere until July 1969, after having won an award at the Cannes film festival in May. The delay was partially due to a protracted editing process. Inspired by 2001: A Space Odyssey, one of Hopper's proposed cuts was 220 minutes long, including extensive use of the " flash-forward" narrative device, wherein scenes from later in the movie are inserted into the current scene. Only one flash-forward survives in the final edit: when Wyatt in the New Orleans brothel has a premonition of the final scene. At the request of Bob Rafelson and Bert Schneider, Henry Jaglom was brought in to edit the film into its current form, while Schneider purchased a trip to Taos for Hopper so he wouldn't interfere with the recut. Upon seeing the final cut, Hopper was originally displeased, saying that his movie was "turned into a TV show," but he eventually accepted, claiming that Jaglom had crafted the film the way Hopper had originally intended. Despite the large part he played in shaping the film, Jaglom only received credit as an "Editorial Consultant."

It is unclear what the exact running time of original rough cut of the movie was: four hours, four and a half hours or five hours. In 1992 the film's producers, Schneider and Rafelson, sued Columbia Pictures over missing negatives, edit footage and damaged prints holding them negligent concerning these assets. Some of the scenes which were in the original cut but were deleted are:

the original opening showing Wyatt and Billy performing in a Los Angeles stunt show (their real jobs)

Wyatt and Billy being ripped off by the promoter

Wyatt and Billy getting in a biker fight

Wyatt and Billy picking up women at a drive-in

Wyatt and Billy cruising to and escaping from Mexico to score the cocaine they sell

an elaborate police and helicopter chase that took place at the beginning after the dope deal with police chasing Wyatt and Billy over mountains and across the Mexican border

the road trip out of L.A. edited to the full length of Steppenwolf's "Born to Be Wild" with billboards along the way offering wry commentary

Wyatt and Billy being pulled over by a cop while riding their motorcycles across a highway

Wyatt and Billy encountering a black motorcycle gang

ten additional minutes for the volatile café scene in Louisiana where George deftly keeps the peace

Wyatt and Billy checking into a hotel before going over to Madam Tinkertoy's

an extended and much longer Madam Tinkertoy sequence

extended versions of all the campfire scenes, including the enigmatic finale in which Wyatt says, "We blew it, Billy."

Easy Rider's style - the jump cuts, time shifts, flash forwards, flashbacks, jerky hand-held cameras, fractured narrative and improvised acting - can be seen as a cinematic translation of the psychedelic experience. Peter Biskind, author of Easy Riders, Raging Bulls wrote: "LSD did create a frame of mind that fractured experience and that LSD experience had an effect on films like Easy Rider."

The motorcycles for the film, based on hardtail frames and panhead engines, were designed and built by two chopper builders - Cliff Vaughs and Ben Hardy - following ideas of Peter Fonda, and handled by Tex Hall and Dan Haggerty during shooting.

In total, four former police bikes were used in the film. The 1949, 1950 and 1952 Harley-Davidson Hydra-Glide bikes were purchased at an auction for $500, equivalent to about $3700 in 2020. Each bike had a backup to make sure that shooting could continue in case one of the old machines failed or got wrecked accidentally. One "Captain America" was demolished in the final scene, while the other three were stolen and probably taken apart before their significance as movie props became known. The demolished bike was rebuilt by Dan Haggerty and offered for auction in October 2014 by Profiles in History, a Calabasas, CA-based auction house with an estimated value of $1-1.2 million. The provenance of existing Captain America motorcycles is unclear, and has been the subject of much litigation. A motorcycle on display at the EMP Museum in Seattle, Washington is identified by that organization as the original rebuilt movie prop. A replica resides at the National Motorcycle Museum in Anamosa, Iowa. Many other replicas have been built since the film's release.

Hopper and Fonda hosted a wrap party for the movie and then realized they had not yet shot the final campfire scene. Thus, it was shot after the bikes had already been stolen, which is why they are not visible in the background as in the other campfire scenes.

Hopper received the First Film Award ( Prix de la première œuvre) at the 1969 Cannes Film Festival. At the 42nd Academy Awards, Jack Nicholson was nominated for Best Actor in a Supporting Role, and the film was also nominated for Best Original Screenplay. Nicholson had also received nominations for Best Supporting Actor at the 27th Golden Globe Awards and the 23rd British Academy Film Awards.

The film appears at number 88 on the American Film Institute's list of 100 Years, 100 Movies. In 1998, Easy Rider was added to the United States National Film Registry, having been deemed "culturally, historically, or aesthetically significant." In April 2019, a restored version of the film was selected to be shown in the Cannes Classics section at the 2019 Cannes Film Festival.

Vincent Canby of The New York Times called it "pretty but lower case cinema" despite the "upper case" "pious statement about our society which is sick". He was mildly impressed by the photography, rock score and Nicholson's performance. Penelope Gilliatt in The New Yorker said that it "speaks tersely and aptly for this American age, that is both the best of times and the worst of times."

Roger Ebert added Easy Rider to his "Great Movies" list in 2004.

The film opened on Monday, 14 July 1969 at the Beekman theater in New York City and grossed a house record $40,422 in its first week. It grossed even more the following week with $46,609. In its fourteenth week of release, it was the number one film at the US box office and was there for three weeks. It was the fourth highest-grossing film of 1969, with a worldwide gross $60 million, including $41.7 million domestically in the US and Canada.

Along with Bonnie and Clyde and The Graduate, Easy Rider helped kick-start the New Hollywood era during the late 1960s and 1970s. The major studios realized that money could be made from low-budget films made by avant-garde directors. Heavily influenced by the French New Wave, the films of the so-called "post-classical Hollywood" came to represent a counterculture generation increasingly disillusioned with its government as well as the government's effects on the world at large and the establishment in general. Although Jack Nicholson appears only as a supporting actor and in the last half of the film, the standout performance signaled his arrival as a movie star, along with his subsequent film Five Easy Pieces in which he had the lead role. Vice President Spiro Agnew criticized Easy Rider, along with the band Jefferson Airplane, as examples of the permissiveness of the 1960s counterculture.

The film's success, and the new era of Hollywood that it helped usher in, gave Hopper the chance to direct again with complete artistic control. The result was 1971's The Last Movie, which was a notable box office and critical failure, effectively ending Hopper's career as a director for well over a decade.[citation needed ]

It also gave Fonda the chance to direct with The Hired Hand although he rarely produced again.

The movie's "groundbreaking" soundtrack featured The Band, The Byrds, The Jimi Hendrix Experience and Steppenwolf. Editor Donn Cambern used various music from his own record collection to make watching hours of bike footage more interesting during editing. Most of Cambern's music was used, with licensing costs of $1 million, triple the film's budget. The film's extensive use of pop and rock music for the soundtrack was similar to what had recently been used for 1967's The Graduate.

Bob Dylan was asked to contribute music, but was reluctant to use his own recording of " It's Alright, Ma (I'm Only Bleeding)", so a version performed by Byrds frontman Roger McGuinn was used instead. Also, instead of writing an entirely new song for the film, Dylan simply wrote out the first verse of " Ballad of Easy Rider" and told the filmmakers, "Give this to McGuinn, he'll know what to do with it." McGuinn completed the song and performed it in the film.

Originally, Peter Fonda had intended the band Crosby, Stills, Nash, & Young to write an entirely original soundtrack for the film, but this failed to materialize for two reasons. For one, cutter Donn Cambern edited the footage much more closely to what were only meant as temporary tracks than was customary at the time, which led to everyone involved finding them much more suited to the material than they had originally thought. Also, upon watching a screening of the film with Cambern's edits, the group felt they could not improve on the music that was used. On the other hand, Hopper increasingly got control over every aspect over the course of the project and decided to throw CSNY out behind Fonda's back, telling the band as an excuse, "Look, you guys are really good musicians, but honestly, anybody who rides in a limo can't comprehend my movie, so I'm gonna have to say no to this, and if you guys try to get in the studio again, I may have to cause you some bodily harm."

Inspired by the movie, Hendrix later wrote a song " Ezy Ryder", with lyrics reflecting film's themes.

The film was released by The Criterion Collection in November 2010 as part of the box set America Lost and Found: The BBS Story. It included two audio commentaries, one featuring actor-director-writer Dennis Hopper, the other with Hopper, actor-writer Peter Fonda, and production manager Paul Lewis; two documentaries about the making and history of the film, Born to Be Wild (1995) and Easy Rider: Shaking the Cage (1999); television excerpts showing Hopper and Fonda at the Cannes Film Festival; and a new video interview with BBS co-founder Stephen Blauner.

In 2012, a sequel to the movie was released titled Easy Rider: The Ride Back, directed by Dustin Rikert. The film is about the family of Wyatt "Captain America" Williams from the 1940s to the present day. No members of the original cast or crew were involved with the film, which was produced and written by amateur filmmaker Phil Pitzer, who had purchased the sequel rights to Easy Rider. Pitzer also pursued legal action against Bob Rafelson and Bert Schneider in order to block them from reclaiming the rights to the film.

Bibliography

Further reading

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Easy Rider is a 1969 American independent road drama film written by Peter Fonda, Dennis Hopper, and Terry Southern, produced by Fonda, and directed by Hopper. Fonda and Hopper play two bikers who travel through the American Southwest and South, carrying the proceeds from a cocaine deal.

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The film is based on a road trip between a black customer and a white driver across South America. The "Green Book" is a guide book lists places where local blacks can eat and sleep, because many hotels and restaurants are restricted to whites only. Two people of completely different identities, different classes, and even prejudices towards each other. The friendship they established during this perilous but interesting journey not only crosses the racial barriers, but also explains how we should truly face ourselves in life.

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Green Book is a 2018 American biographical comedy-drama film directed by Peter Farrelly. Set in 1962, the film is inspired by the true story of a tour of the Deep South by African American classical and jazz pianist Don Shirley and Italian American bouncer Frank "Tony Lip" Vallelonga who served as Shirley's driver and bodyguard. The film was written by Farrelly, Brian Hayes Currie and Vallelonga's son, Nick Vallelonga, based on interviews with his father and Shirley, as well as letters his father wrote to his mother. The film is named after The Negro Motorist Green Book, a mid-20th century guidebook for African-American travelers written by Victor Hugo Green.

Green Book had its world premiere at the Toronto International Film Festival on September 11, 2018, where it won the People's Choice Award. It was then theatrically released in the United States on November 16, 2018, by Universal Pictures, and grossed $321 million worldwide. The film received positive reviews from critics, with praise for Viggo Mortensen and Mahershala Ali's performances, although it also drew some criticism of its depiction of both race and Shirley.

Green Book received numerous accolades and nominations. It won the Academy Award for Best Picture, at the 91st Academy Awards, in addition to winning Best Original Screenplay and Best Supporting Actor for Ali. The film also won the Producers Guild of America Award for Best Theatrical Motion Picture, the Golden Globe Award for Best Motion Picture - Musical or Comedy, the National Board of Review award for the best film of 2018, and was chosen as one of the top 10 films of the year by the American Film Institute. Ali also won the Golden Globe, Screen Actors Guild, and BAFTA awards for Best Supporting Actor.

In 1962 New York City, bouncer Tony Lip searches for new employment while the Copacabana is closed for renovations. He is invited to an interview with Dr. Don Shirley, a black pianist in need of a driver for his eight-week concert tour through the Midwest and Deep South. Don hires Tony on the strength of his references. They embark with plans to return to New York City on Christmas Eve. Don's record label gives Tony a copy of the , a guide for African-American travelers to find motels, restaurants, and filling stations that would serve them.

They begin the tour in the Midwest before eventually heading farther south. Tony and Don initially clash as Tony feels uncomfortable being asked to act with more refinement, while haughty Don is displeased by Tony's habits. As the tour progresses, Tony is impressed with Don's talent on the piano and is increasingly appalled by the discriminatory treatment which Don receives from his hosts and the general public when he is not on stage. One night during the tour, a group of white men beat Don and threaten his life in a bar and Tony rescues him. He instructs Don not to go out without him for the rest of the tour.

Throughout the journey, Don helps Tony write letters to his wife, which deeply move her. Tony encourages Don to get in touch with his own estranged brother, but Don is hesitant, observing that he has become isolated by his professional life and achievements. In the south, Don is found in a gay encounter with a white man at a pool, and Tony bribes the officers to prevent the musician's arrest. Later, the two are arrested after a police officer pulls them over late at night in a sundown town; Tony punches the officer after being insulted. While they are incarcerated, Don asks to call his lawyer and uses the opportunity to reach Attorney General Robert F. Kennedy, who pressures the governor and subsequently the station officers to release them.

On the night of the final performance on tour in Birmingham, Alabama, Don is refused entry into the whites-only dining room of the country club where he has been hired to perform. Tony threatens the owner, and Don refuses to play since they refuse to serve him in the room with his audience. Tony and Don leave the venue and instead have dinner at a predominantly black blues club where Don joins the band on the piano, after playing Chopin's Étude in A minor. Tony and Don head back north to try to make it home by Christmas Eve. Tony invites Don to have dinner with his family, but he declines and returns to his own home. Sitting alone in his home, Don decides to go back to Tony's home, where he is surprisingly but warmly greeted by Tony's extended family.

The end title cards show real-life photos of the characters and state that Don continued to tour, compose and record songs, while Tony went back to his work at Copacabana. It also states that Tony and Don remained friends until they died within months of each other, in 2013.

In addition, Tony and Dolores Vallelonga's son, Frank Jr., appears as his own uncle, Rudy (Rodolfo) Vallelonga (who says, "I'm just saying, we're an arty family"), while their younger son (and the film's co-producer and co-screenwriter), Nick, appears as Augie, the Mafioso who offers Tony a job doing "things" while the Copacabana is under renovation. The real Rodolfo Vallelonga appears as his own father, Grandpa Nicola Vallelonga, while the real Louis Venere appears as his own father, Grandpa Anthony Venere. Another co-producer and co-screenwriter, Brian Currie, plays the Maryland State Trooper who helps out in the snow storm. Actor Daniel Greene, who frequently appears in films directed by the Farrelly brothers, portrays Macon Cop #1.

Viggo Mortensen began negotiations to star in the film in May 2017 and was required to gain 40-50 pounds (18-23 kg) for the role. Peter Farrelly was set to direct from a screenplay written by Nick Vallelonga (Tony Lip's son), Brian Currie, and himself.

On November 30, 2017, the lead cast was set with Mortensen, Mahershala Ali, Linda Cardellini and Iqbal Theba confirmed to star. Production began that week in New Orleans. Sebastian Maniscalco was announced as part of the cast in January 2018. Score composer Kris Bowers also taught Ali basic piano skills and was the stand-in when closeups of hands playing were required.

The script was written by Vallelonga's son Nick Vallelonga, as well as Brian Hayes Currie and Peter Farrelly, in consultation with the Shirley family and estate.

For the film's soundtrack, Farrelly incorporated an original score by composer Kris Bowers and one of Shirley's own recordings. The soundtrack also includes rarities from 1950s and 1960s American music recommended to him by singer Robert Plant, who was dating a friend of Farrelly's wife at the time he had finished the film's script. During dinner on a double date, his wife and her friend stepped outside to smoke and the director asked Plant for advice on picking songs for the film that would be relatively unknown to contemporary audiences. This prompted Plant to play Farrelly songs via YouTube, including Sonny Boy Williamson II's "Pretty 'Lil Thing" and Robert Mosley's "Goodbye, My Lover, Goodbye."[citation needed ]

In an interview with , the director explained that the soundtrack ended up not only avoiding rote nostalgia, "but also those songs were really inexpensive and I did not have a huge budget so I was able to come up with some sensational pop songs from the time that were long forgotten." The music played at the black blues club toward the end of the film featured the piano performance of Étude Op. 25, No. 11 (Chopin), known as the Winter Wind etude by Chopin, was not included in the soundtrack release.

A soundtrack album was released on November 30, 2018, by Milan Records, featuring Bowers' score, songs from the plot's era, and a piano recording by Shirley. According to the label, it was streamed approximately 10,000 times per day during January 2019. This rate doubled the next month as the album surpassed one million streams worldwide and became the highest-streamed jazz soundtrack in Milan's history.

Green Book began a limited release in the United States, in 20 cities, on November 16, 2018, and expanded wide on November 21, 2018. The film was previously scheduled to begin its release on the 21st. The studio spent an estimated $37.5 million on prints and advertisements for the film.

The film had its world premiere at the Toronto International Film Festival on September 11, 2018. It also opened the 29th New Orleans Film Festival on October 17, 2018, screened at AFI Fest on November 9, 2018 and was programmed as the surprise film at the BFI London Film Festival.

On November 7, 2018, during a promotional panel discussion, Mortensen said the word " nigger". He prefaced the sentence with, "I don't like saying this word", and went on to compare dialogue "that's no longer common in conversation" to the period in which the film is set. Mortensen apologized the next day, saying that "my intention was to speak strongly against racism" and that he was "very sorry that I did use the full word last night, and will not utter it again".

Green Book was released on DVD and Blu-ray on March 12, 2019. The film was made available for purchase on streaming video in digital HD from Amazon Video and iTunes on February 19, 2019.

Green Book grossed $85.1 million in the United States and Canada, and $236.7 million in other territories, for a total worldwide gross of $321.8 million, against a production budget of $23 million. Deadline Hollywood calculated the net profit of the film to be $106 million, when factoring together all expenses and revenues.

The film made $312,000 from 25 theaters in its opening weekend, an average of $12,480 per venue, which Deadline Hollywood called "not good at all", although said it was a "successful start," and noted strong word-of-mouth would likely help it going into its wide release. The film had its wide expansion alongside the openings of Ralph Breaks the Internet, and , and was projected to gross around $7-9 million over the five-day weekend, November 21 to 25. It made $908,000 on its first day of wide release and $1 million on its second. It grossed $5.4 million over the three-day weekend (and $7.4 million over the five), finishing ninth. Deadline wrote that the opening was "far from where [it needed] to be to be considered a success," and that strong audience word of mouth and impending award nominations would be needed in order to help the film develop box office legs. Rival studios argued that Universal went too wide too fast: from 25 theaters to 1,063 in less than a week.

In its second weekend the film made $3.9 million, falling just 29% and leading some industry insiders to think it would achieve $50 million during awards season. In its third weekend of wide release, following its Golden Globe nominations, it dropped 0% and again made $3.9 million, then made $2.8 million the following weekend. In its eighth weekend, the film made $1.8 million (continuing to hold well, dropping just 3% from the previous week). It then made $2.1 million in its ninth weekend (up 18%) and $2.1 million in its 10th. In the film's 11th week of release, following the announcement of its five Oscar nominations, it was added to 1,518 theaters (for a total of 2,430) and made $5.4 million, an increase of 150% from the previous weekend and finishing sixth at the box office. The weekend following its Best Picture win, the film was added to 1,388 theaters (for a total of 2,641) and made $4.7 million, finishing fifth at the box office. It marked a 121% increase from the previous week, as well as one of the best post-Best Picture win bumps ever[clarification needed ], and largest since The King's Speech in 2011.

Green Book was a surprise success overseas, especially in China where it debuted to a much higher-than-expected $17.3 million, immediately becoming the second highest-grossing Best Picture winner in the country behind (1997). As of March 7, 2019, the largest international markets for the film were China ($26.7 million), France ($10.7 million), the United Kingdom ($10 million), Australia ($7.8 million) and Italy ($8.6 million). By March 13, China's total had grown to $44.5 million. On March 31 the film passed $300 million at the global box office, including $219 million from overseas territories. Its largest markets to-date were China ($70.7 million), Japan ($14.6 million), France ($14 million) Germany ($13.5 million) and the UK ($12.9 million).

On review aggregator Rotten Tomatoes, the film holds an approval rating of 77% based on 358 reviews, with an average rating of 7.2/10. The website's critical consensus reads: " Green Book takes audiences on an excessively smooth ride through bumpy subject matter, although Mahershala Ali and Viggo Mortensen's performances add necessary depth." On Metacritic the film has a weighted average score of 69 out of 100, based on 52 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film a rare average grade of "A+" on an A+ to F scale, while PostTrak reported filmgoers gave it a 91% positive score, with 80% saying they would definitely recommend it.

Writing for The San Francisco Chronicle, Mick LaSalle praised Ali and Mortensen and said: "...there's something so deeply right about this movie, so true to the time depicted and so welcome in this moment; so light in its touch, so properly respectful of its characters, and so big in its spirit, that the movie acquires a glow. It achieves that glow slowly, but by the middle and certainly by the end, it's there, the sense of something magical happening, on screen and within the audience." Steve Pond of wrote, "The movie gets darker as the journey goes further South, and as the myriad indignities and humiliations mount. But our investment in the characters rarely flags, thanks to Mortensen and Ali and a director who is interested in cleanly and efficiently delivering a story worth hearing."

Jazz artist Quincy Jones said to a crowd after a screening: "I had the pleasure of being acquainted with Don Shirley while I was working as an arranger in New York in the '50s, and he was without question one of America's greatest pianists ... as skilled a musician as Leonard Bernstein or Van Cliburn ... So it is wonderful that his story is finally being told and celebrated. Mahershala, you did an absolutely fantastic job playing him, and I think yours and Viggo's performances will go down as one of the great friendships captured on film."

Green Book has received numerous award nominations. In addition to winning the People's Choice Award at the Toronto International Film Festival in September 2018, Green Book was nominated for five awards at the 91st Academy Awards, winning three awards for Best Picture, Best Original Screenplay and Best Supporting Actor for Mahershala Ali. Green Book was the fifth film to win Best Picture without a Best Director nomination. Green Book had five nominations at the 76th Golden Globe Awards, with the film winning Best Motion Picture - Musical or Comedy. The National Board of Review awarded it Best Film, and it was also recognized as one of the Top 10 films of the year by the American Film Institute.

Shirley's relatives condemned the film, stating that they were not contacted by studio representatives until after development, and that it misrepresented Shirley's relationship with his family. Don's brother Maurice Shirley said, "My brother never considered Tony to be his 'friend'; he was an employee, his chauffeur (who resented wearing a uniform and cap). This is why context and nuance are so important. The fact that a successful, well-to-do black artist would employ domestics that did NOT look like him, should not be lost in translation." Some of Maurice Shirley's statements contradict an audio recording from "Lost Bohemia", which featured interviews with Don Shirley and Vallelonga. In one of them, Shirley said that "I trusted him implicitly. You see, Tony got to be, not only was he my driver. We never had an employer/employee relationship". The interviews also support other events depicted in the film.

Mahershala Ali responded with an apology to Shirley's nephew Edwin Shirley III, saying that "I did the best I could with the material I had" and that he was not aware that there were "close relatives with whom I could have consulted to add some nuance to the character". Writer-director Peter Farrelly said that he was under the impression that there "weren't a lot of family members" still alive, that they did not take major liberties with the story, and that relatives of whom he was aware had been invited to a private screening for friends and family. Nick Vallelonga, the film's co-writer and Tony Vallelonga's son, acknowledged that members of the Shirley family were hurt that he did not speak to them and that he was sorry they were offended. He told Variety that "Don Shirley himself told me not to speak to anyone" and that Shirley "approved what I put in and didn't put in."

The film has been criticized for advancing a white savior narrative in film that perpetuates stereotypes. said the film combines "the white savior trope with the story of a bigot's redemption". Peter Farrelly told Entertainment Weekly that he was aware of the white savior trope before filming and sought to avoid it. He said he had long discussions with the actors and producers on the point, and believes that it was not advanced by the film, saying it is "about two guys who were complete opposites and found a common ground, and it's not one guy saving the other. It's both saving each other and pulling each other into some place where they could bond and form a lifetime friendship."

New York Times writer Wesley Morris characterized Green Book as being a "racial reconciliation fantasy". Morris argues that the film represents a specific style of racial storytelling "in which the wheels of interracial friendship are greased by employment, in which prolonged exposure to the black half of the duo enhances the humanity of his white, frequently racist counterpart". Writing a positive appreciation in The Hollywood Reporter, Kareem Abdul-Jabbar noted that "filmmakers are history's interpreters, not its chroniclers."

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Green Book is a 2018 American biographical comedy-drama film directed by Peter Farrelly. Set in 1962, the film is inspired by the true story of a tour of the Deep South by African American classical and jazz pianist Don Shirley and Italian American bouncer Frank "Tony Lip" Vallelonga who served as Shirley's driver and bodyguard.

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Blow | Colombian 🤬 in US through airplanes

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Blow | Colombian 🤬 in US through airplanes

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Blow (2001) is a biographical film about the 🤬 smuggler George Jung, part of the Medellin Cartel and linked to Pablo Escobar.
The film starts with George as a kid in the US East coast and his decision to move to the West as a young man to seek his fortune (California as a dream, a topos).
After starting with dealing weed, he found a way to import drugs (🤬 was emerging in US market) from Colombia with airplanes. In this case the airplane has a strong symbolic meaning of freedom and barrier-crossing. The air route between US and South American is a central element of many films.

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In this movie we see Forrest Gump growth (both physical growing and character growing) which can represent us the mobility of human in time.
And then Forrest Gump start running and being in different places.
I think these movements cause the growth of Forrest character. as he learnt from others and environments and his adventures.

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Forrest Gump is a 1994 American comedy-drama film directed by Robert Zemeckis and written by Eric Roth. It is based on the 1986 novel of the same name by Winston Groom and stars Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson and Sally Field. The film follows several decades in the life of a slow-witted and kindhearted Alabama man named Forrest Gump (Hanks) and his experiences in the 20th-century United States. The film differs substantially from the novel.

Principal photography took place between August and December 1993, mainly in Georgia, North Carolina and South Carolina. Extensive visual effects were used to incorporate Hanks into archived footage and to develop other scenes. The soundtrack features songs reflecting the different periods seen in the film.

Forrest Gump was released in the United States on July 6, 1994, and received critical acclaim for Zemeckis's direction, performances (particularly those of Hanks and Sinise), visual effects, music, and screenplay. The film was an enormous success at the box office; it became the top-grossing film in America released that year and earned over US$678.2million worldwide during its theatrical run, making it the second-highest-grossing film of 1994, behind The Lion King. The soundtrack sold over 12 million copies. Forrest Gump won six Academy Awards: Best Picture, Best Director, Best Actor for Hanks, Best Adapted Screenplay, Best Visual Effects, and Best Film Editing. It received many award nominations, including Golden Globes, British Academy Film Awards and Screen Actors Guild Awards.

Various interpretations have been made of the protagonist and the film's political symbolism. In 2011, the Library of Congress selected the film for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant".

In 1981, at a bus stop in Savannah, a man named Forrest Gump recounts his life story to strangers who happen to sit next to him on the bench. As a boy in 1956, Forrest has an IQ of 75 and is fitted with leg braces to correct a curved spine. He lives in Greenbow, Alabama with his mother, who runs a boarding house and encourages him to live beyond his disabilities. Among their temporary tenants is a young Elvis Presley, who plays the guitar for Forrest and incorporates the boy's jerky dance movements into his performances. On his first day of school, Forrest meets a girl named Jenny Curran, and the two become best friends.

Bullied because of his leg braces and dimwittedness, Forrest flees from a group of children, but when his braces break off, he is revealed to be a fast runner. With this talent, he receives a football scholarship at the University of Alabama in 1962, where he is coached by Bear Bryant, becomes a top kick returner, is named to the All-American team, and meets President John F. Kennedy at the White House. In his first year at college, he witnesses Governor George Wallace's Stand in the Schoolhouse Door and returns a dropped book to Vivian Malone Jones, one of the students admitted over state resistance.

After graduating college in 1966, Forrest enlists in the U.S. Army. During basic training, he befriends a fellow soldier named Benjamin Buford Blue (nicknamed "Bubba"), who convinces Forrest to go into the shrimping business with him after their service. Later that year, they are sent to Vietnam, serving with the 9th Infantry Division in the Mekong Delta region under Lieutenant Dan Taylor. After months of routine operations, their platoon is ambushed while on patrol, and Bubba is killed in action. Forrest saves several wounded platoonmates and Lieutenant Dan, who loses both his legs. Taylor is embittered to have been saved by Forrest; he would rather have died in combat like his ancestors before him, but he is returned to the United States. Forrest is awarded the Medal of Honor for his heroism by President Lyndon B. Johnson.

At an anti-war March on the Pentagon rally, Forrest meets Abbie Hoffman and briefly reunites with Jenny, who has become a drug-addicted hippie and anti-war activist. He also develops a talent for ping-pong, and becomes a sports celebrity competing against Chinese teams in ping-pong diplomacy, earning him an interview alongside John Lennon on The Dick Cavett Show. He appears to influence Lennon's song, "Imagine". Forrest spends 1972 New Year's Eve in New York City with Lieutenant Dan, who has become an alcoholic, still bitter about his disability and the government's apathy towards Vietnam veterans. Forrest's ping-pong success eventually leads to a meeting with President Richard Nixon. He is given a room in the Watergate complex, where he unwittingly exposes the Watergate scandal.

Discharged from the army, Forrest returns to Greenbow and endorses a company that makes ping-pong paddles. He uses the earnings to buy a shrimping boat in Bayou La Batre, fulfilling his promise to Bubba. Lieutenant Dan joins Forrest in 1974, and they initially have little success. After their boat becomes the only one to survive Hurricane Carmen, they pull in huge amounts of shrimp and create the profitable Bubba Gump Shrimp Company. Lieutenant Dan finally thanks Forrest for saving his life. Dan invests in early Apple stock, which Forrest thinks is "some kind of fruit company", and the two become millionaires. Forrest gives half of his earnings to Bubba's family for having inspired the shrimping venture. Forrest returns home to his mother and cares for her during her terminal illness from cancer.

In 1976, Jenny - recovering from years of drugs and abuse - returns to visit Forrest. He proposes to her, and that night she tells Forrest she loves him and the two make love, though she leaves the next morning. Heartbroken, Forrest goes running "for no particular reason" and spends the next three years in a relentless cross-country marathon, becoming famous for another feat before returning to Greenbow. In 1981, Forrest reveals that he is waiting at the bus stop because he received a letter from Jenny, who asked him to visit her. Forrest is finally reunited with Jenny, who introduces him to their young son, whom she named Forrest Gump Jr. Jenny tells Forrest she is sick with an "unknown virus". The three move back to Greenbow and Jenny and Forrest finally marry, but she dies a year later. The film ends with Forrest sending his son off on his first day of school.

Tom Hanks as Forrest Gump: At an early age, Forrest is deemed to have a below-average IQ of 75. He has an endearing character and shows devotion to his loved ones and duties, character traits that bring him into many life-changing situations. Along the way, he encounters many historical figures and events throughout his life.
Michael Conner Humphreys as young Forrest Gump: Hanks revealed in interviews that instead of having Michael copy his accent, he copied Michael's unique accented drawl into the older character's accent.

Robin Wright as Jenny Curran: Forrest's childhood friend with whom he immediately falls in love, and never stops loving throughout his life. A victim of child sexual abuse at the hands of her bitterly widowed father, Jenny embarks on a different path from Forrest, leading a self-destructive life and becoming part of the hippie movement in California in the 1960s and the following Me Decade's sex and drug culture of the 1970s. She re-enters Forrest's life at various times in adulthood. Jenny eventually becomes a waitress in Savannah, Georgia, where she lives in an apartment with her (and Forrest's) son, Forrest Jr. They eventually get married, but soon afterward she dies from complications due to an unnamed disease. This unknown disease was intended by Winston Groom, the author of the original novel, to be Hepatitis C, itself an "unknown virus" until defined in April 1989, although some of the makers of the film have said that they intended for the unknown disease to have been HIV/AIDS.

Gary Sinise as Lieutenant Dan Taylor: Forrest and Bubba Blue's platoon leader during the Vietnam War, whose ancestors have died in every U.S. war and who regards it as his destiny to do the same. After losing his legs in an ambush and being rescued against his will by Forrest, he is initially bitter and antagonistic toward Forrest for leaving him a "cripple" and denying him his family's destiny, falling into a deep depression. He later serves as Forrest's first mate at the Bubba Gump Shrimp Company, gives most of the orders, becoming wealthy with Forrest, and regains his will to live. He ultimately forgives and thanks Forrest for saving his life. By the end of the film, he is engaged to be married to his fiancée Susan and is sporting "magic legs" - titanium alloy prosthetics that allow him to walk again.

Mykelti Williamson as Benjamin Buford "Bubba" Blue: Bubba was originally supposed to be the senior partner in the Bubba Gump Shrimp Company, but due to his death in Vietnam, their platoon leader, Dan Taylor, took his place. The company posthumously carried his name. Forrest later gave Bubba's mother Bubba's share of the business. Throughout filming, Williamson wore a lip attachment to create Bubba's protruding lip.

Sally Field as Mrs. Gump: Forrest's mother. Field reflected on the character, "She's a woman who loves her son unconditionally. ... A lot of her dialogue sounds like slogans, and that's just what she intends."

Haley Joel Osment as Forrest Gump Jr.: Osment was cast in the film after the casting director noticed him in a Pizza Hut commercial. It was his debut feature film role.

Peter Dobson as Elvis Presley: Although Kurt Russell was uncredited, he provided the voice for Elvis in the scene.

Dick Cavett as himself: Cavett played a de-aged version of himself in the 1970s, with makeup applied to make him appear younger. Consequently, Cavett is the only well-known figure in the film to play a cameo role rather than be represented through the use of archival footage like John Lennon or President John F. Kennedy.

Sam Anderson as Principal Hancock: Forrest's elementary school principal.

Geoffrey Blake as Wesley: A member of the SDS group and Jenny's abusive boyfriend

Siobhan Fallon Hogan as Dorothy Harris: The school bus driver who drives Forrest, and later his son, to school

Sonny Shroyer as Coach Paul "Bear" Bryant

Grand L. Bush, Michael Jace, Conor Kennelly, and Teddy Lane Jr. as the Black Panthers

Richard D'Alessandro as Abbie Hoffman

Tiffany Salerno and Marla Sucharetza as "Cunning" Carla and "Long-Limbs" Lenore: a couple of prostitutes that Forrest and Dan spend a New Year's evening with and later turn away

"The writer, Eric Roth, departed substantially from the book. We flipped the two elements of the book, making the love story primary and the fantastic adventures secondary. Also, the book was cynical and colder than the movie. In the movie, Gump is a completely decent character, always true to his word. He has no agenda and no opinion about anything except Jenny, his mother and God."

The film is based on the 1986 novel by Winston Groom. Both center on the character of Forrest Gump. However, the film primarily focuses on the first eleven chapters of the novel before skipping ahead to the end of the novel with the founding of Bubba Gump Shrimp Co. and the meeting with Forrest Jr. In addition to skipping some parts of the novel, the film adds several aspects to Gump's life that do not occur in the novel, such as his needing leg braces as a child and his run across the United States.

Gump's core character and personality are also changed from the novel; among other things, his film character is less of a savant-in the novel, while playing football at the university, he fails craft and gym but receives a perfect score in an advanced physics class he is enrolled in by his coach to satisfy his college requirements. The novel also features Gump as an astronaut, a professional wrestler, and a chess player.

Two directors were offered the opportunity to direct the film before Robert Zemeckis was selected. Terry Gilliam turned down the offer. Barry Sonnenfeld was attached to the film, but left to direct Addams Family Values.

John Travolta was the original choice to play the title role and says passing on the role was a mistake. Bill Murray and Chevy Chase were also considered for the role. Sean Penn stated in an interview having been second choice for the role. Hanks revealed that he signed on to the film after an hour and a half of reading the script. He initially wanted to ease Forrest's pronounced Southern accent but was eventually persuaded by director Robert Zemeckis to portray the heavy accent stressed in the novel. Hanks also said it took him three days to learn how to play the role, and footage from that time could not be included. Winston Groom, who wrote the original novel, describes the film as having taken the "rough edges" off the character whom he had envisioned being played by John Goodman. Additionally, Tom's younger brother Jim Hanks is his acting double in the movie for the scenes when Forrest runs across the U.S. Tom's daughter Elizabeth Hanks appears in the movie as the girl on the school bus who refuses to let young Forrest ( Michael Conner Humphreys) sit next to her. Joe Pesci was considered for the role of Lieutenant Dan Taylor, which was eventually given to Gary Sinise. David Alan Grier, Ice Cube and Dave Chappelle were offered the role of Benjamin Buford Blue, but all three turned it down. Chappelle, who said he believed the film would be unsuccessful, has been reported as saying that he regrets not taking the role. Hanks was aware of Chappelle's disappointment in missing out on the part and agreed to work with him in a future movie. Four years later he suggested to director Nora Ephron that Chappelle play Hank's best friend in You've Got Mail. Ephron agreed and Chappelle was cast as compensation in that film for missing out on Bubba. Rapper Tupac Shakur also auditioned.

Filming began in August 1993 and ended in December of that year. Although most of the film is set in Alabama, filming took place mainly in and around Beaufort, South Carolina, as well as parts of coastal Virginia and North Carolina, including a running shot on the Blue Ridge Parkway. Downtown portions of the fictional town of Greenbow were filmed in Varnville, South Carolina. The scene of Forrest running through Vietnam while under fire was filmed on Hunting Island State Park and Fripp Island, South Carolina. Additional filming took place on the Biltmore Estate in Asheville, North Carolina and along the Blue Ridge Parkway near Boone, North Carolina. The most notable place was Grandfather Mountain where a part of the road subsequently became known as "Forrest Gump Curve".

The Gump family home set was built along the Combahee River near Yemassee, South Carolina, and the nearby land was used to film Curran's home as well as some of the Vietnam scenes. Over 20 palmetto trees were planted to improve the Vietnam scenes. Forrest Gump narrated his life's story at the northern edge of Chippewa Square in Savannah, Georgia as he sat at a bus stop bench. There were other scenes filmed in and around the Savannah area as well, including a running shot on the Richard V. Woods Memorial Bridge in Beaufort while he was being interviewed by the press, and on West Bay Street in Savannah. Most of the college campus scenes were filmed in Los Angeles at the University of Southern California. The lighthouse that Forrest runs across to reach the Atlantic Ocean the first time is the Marshall Point Lighthouse in Port Clyde, Maine. Additional scenes were filmed in Arizona, Utah's Monument Valley, and Montana's Glacier National Park.

Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it.

In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI.

The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support.

The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people.

Produced on a budget of $55 million, Forrest Gump opened in 1,595 theaters in the United States and Canada grossing $24,450,602 in its opening weekend. Motion picture business consultant and screenwriter Jeffrey Hilton suggested to producer Wendy Finerman to double the P&A (film marketing budget) based on his viewing of an early print of the film. The budget was immediately increased, in line with his advice. In its opening weekend, the film placed first at the US box office, narrowly beating The Lion King, which was in its fourth week of release. For the first twelve weeks of release, the film was in the top 3 at the US box office, topping the list 5 times, including in its tenth week of release. Paramount removed the film from release in the United States when its gross hit $300 million in January 1995, and it was the second-highest-grossing film of the year behind The Lion King with $305 million. The film was reissued on February 17, 1995, after the Academy Awards nominations were announced. After the reissue in 1,100 theaters, the film grossed an additional $29 million in the United States and Canada, bringing its total to $329.7 million, making it the third-highest-grossing film at that time behind only E.T. the Extra-Terrestrial and Jurassic Park, and was Paramount's biggest, surpassing Raiders of the Lost Ark. Forrest Gump held the record for being the highest-grossing Paramount film until it was taken by three years later in 1997. For 12 years, it remained as the highest-grossing film starring Tom Hanks until 2006 when it was surpassed by The Da Vinci Code. Box Office Mojo estimates that the film sold over 78.5 million tickets in the US and Canada in its initial theatrical run.

The film took 66 days to surpass $250 million and was the fastest grossing Paramount film to pass $100 million, $200 million, and $300 million in box office receipts (at the time of its release). After reissues, the film has gross receipts of $330,252,182 in the U.S. and Canada and $347,693,217 in international markets for a total of $677,945,399 worldwide. Even with such revenue, the film was known as a "successful failure"-due to distributors' and exhibitors' high fees, Paramount's "losses" clocked in at $62 million, leaving executives realizing the necessity of better deals. This has also been associated with Hollywood accounting, where expenses are inflated in order to minimize profit sharing. It is Robert Zemeckis' highest-grossing film to date.[citation needed ]

On the review aggregator website Rotten Tomatoes, 71% of 106 critics' reviews are positive, with an average rating of 7.5/10. The website's consensus reads, " Forrest Gump may be an overly sentimental film with a somewhat problematic message, but its sweetness and charm are usually enough to approximate true depth and grace." At the website Metacritic, the film earned a rating of 82 out of 100 based on 20 reviews by mainstream critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film a rare "A+" grade.

The story was commended by several critics. Roger Ebert of the Chicago Sun-Times wrote, "I've never met anyone like Forrest Gump in a movie before, and for that matter I've never seen a movie quite like 'Forrest Gump.' Any attempt to describe him will risk making the movie seem more conventional than it is, but let me try. It's a comedy, I guess. Or maybe a drama. Or a dream. The screenplay by Eric Roth has the complexity of modern fiction...The performance is a breathtaking balancing act between comedy and sadness, in a story rich in big laughs and quiet truths...What a magical movie." Todd McCarthy of wrote that the film "has been very well worked out on all levels, and manages the difficult feat of being an intimate, even delicate tale played with an appealingly light touch against an epic backdrop." In contrast, Anthony Lane of The New Yorker called the film "Warm, wise, and wearisome as hell." Owen Gleiberman of Entertainment Weekly said that the film was "glib, shallow, and monotonous" and "reduces the tumult of the last few decades to a virtual-reality theme park: a baby-boomer version of Disney's America."

Gump garnered comparisons to fictional character Huckleberry Finn, as well as U.S. politicians Ronald Reagan, Pat Buchanan and Bill Clinton. Peter Chomo writes that Gump acts as a "social mediator and as an agent of redemption in divided times". Peter Travers of Rolling Stone called Gump "everything we admire in the American character - honest, brave, and loyal with a heart of gold." The New York Times reviewer Janet Maslin called Gump a "hollow man" who is "self-congratulatory in his blissful ignorance, warmly embraced as the embodiment of absolutely nothing." Marc Vincenti of Palo Alto Weekly called the character "a pitiful stooge taking the pie of life in the face, thoughtfully licking his fingers." Bruce Kawin and Gerald Mast's textbook on film history notes that Forrest Gump's dimness was a metaphor for glamorized nostalgia in that he represented a blank slate onto which the Baby Boomer generation projected their memories of those events.

In the 21st century, the film became negatively re-evaluated. Writing in 2004, Entertainment Weekly said, "Nearly a decade after it earned gazillions and swept the Oscars, Robert Zemeckis's ode to 20th-century America still represents one of cinema's most clearly drawn lines in the sand. One half of folks see it as an artificial piece of pop melodrama, while everyone else raves that it's sweet as a box of chocolates." The film has been criticized for its perceived conservative politics. Writing for Indiewire in 2019, Eric Kohn said: "This no-nothing white man becomes a war hero and a wealthy man simply by chugging along, participating in a country that dictates his every move. He never comprehends racism or the complexities of Vietnam; the movie portrays political activism and hippy culture as a giant cartoon beyond Forrest's understanding, while presenting his apolitical stance as the height of all virtue." Furthermore, in a 2014 article for CNN discussing the film's reassessment, Brandon Griggs wrote of possible readings against the film "Forrest, as played by Tom Hanks, is the epitome of wholesome decency: a God-fearing, All-American football player and war hero who has no use for the counterculture movements of the late '60s. Despite an IQ of 75, he achieves fame and financial success. He's even from red-state Alabama!"

In a 2014 retrospective for the film's 20th anniversary re-release, Amy Nicholson criticized the film for being apolitical, writing "Forrest doesn't kill anyone. He doesn't get PTSD. He doesn't even have a clue why he's in Vietnam. The film is so afraid to dredge up debate that when Abbie Hoffman hands Forrest the microphone at an antiwar rally, someone unplugs the speakers so we can't hear him - fitting for a movie with nothing to say." LGBTQ+ critics have criticized the "shallow" portrayal of the AIDS epidemic, one that "sidesteps the significance of the disease by erasing its mere mention". In 2015, The Hollywood Reporter polled hundreds of academy members, asking them to re-vote on past controversial decisions. Academy members said that, given a second chance, they would award the 1994 Oscar for Best Picture to The Shawshank Redemption instead.

Winston Groom was paid $350,000 for the screenplay rights to his novel Forrest Gump and was contracted for a 3 percent share of the film's net profits. However, Paramount and the film's producers did not pay him the percentage, using Hollywood accounting to posit that the blockbuster film lost money. Tom Hanks, by contrast, contracted for a percent share of the film's gross receipts instead of a salary, and he and director Zemeckis each received $40 million. In addition, Groom was not mentioned once in any of the film's six Oscar-winner speeches.

Groom's dispute with Paramount was later effectively resolved after Groom declared he was satisfied with Paramount's explanation of their accounting, this coinciding with Groom receiving a seven-figure contract with Paramount for film rights to another of his books, This film was never made, remaining in development hell for at least a dozen years.

Forrest Gump was first released on VHS on April 27, 1995, and on Laserdisc the following day. The laserdisc was THX certified and released without chapters, requiring the film be watched start to finish. Film magazines of the period stated this was at the request of Zemeckis who wanted viewers to enjoy the film in its entirety. It became the best-selling adult sell-through video with sales of over 12 million. It was released in a two-disc DVD set on August 28, 2001. Special features included director and producer commentaries, production featurettes, and screen tests. The film was released on Blu-ray in November 2009. Paramount released the film on Ultra HD Blu-ray in June 2018. On May 7, 2019, Paramount Pictures released a newly remastered two-disc Blu-ray that contains bonus content.

Forrest Gump won Best Picture, Best Actor in a Leading Role (Hanks had won the previous year for Philadelphia), Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing at the 67th Academy Awards. The film was nominated for seven Golden Globe Awards, winning three of them: Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film).

In addition to the film's multiple awards and nominations, it has also been recognized by the American Film Institute on several of its lists. The film ranks 37th on 100 Years...100 Cheers, 71st on 100 Years...100 Movies, and 76th on 100 Years...100 Movies (10th Anniversary Edition). In addition, the quote "Mama always said life was like a box of chocolates. You never know what you're gonna get," was ranked 40th on 100 Years...100 Movie Quotes. The film also ranked at number 61 on 's list of the 100 Greatest Movies of All Time.

In December 2011, Forrest Gump was selected for preservation in the Library of Congress' National Film Registry. The Registry said that the film was "honored for its technological innovations (the digital insertion of Gump seamlessly into vintage archival footage), its resonance within the culture that has elevated Gump (and what he represents in terms of American innocence) to the status of folk hero, and its attempt to engage both playfully and seriously with contentious aspects of the era's traumatic history."

American Film Institute lists

"I don't want to sound like a bad version of 'the child within'. But the childlike innocence of Forrest Gump is what we all once had. It's an emotional journey. You laugh and cry. It does what movies are supposed to do: make you feel alive."

Various interpretations have been suggested for the feather present at the opening and conclusion of the film. Sarah Lyall of The New York Times noted several suggestions made about the feather: "Does the white feather symbolize The Unbearable Lightness of Being? Forrest Gump's impaired intellect? The randomness of experience?" Hanks interpreted the feather as: "Our destiny is only defined by how we deal with the chance elements to our life and that's kind of the embodiment of the feather as it comes in. Here is this thing that can land anywhere and that it lands at your feet. It has theological implications that are really huge." Sally Field compared the feather to fate, saying: "It blows in the wind and just touches down here or there. Was it planned or was it just perchance?" Visual effects supervisor Ken Ralston compared the feather to an abstract painting: "It can mean so many things to so many different people."

Hanks states that "the film is non-political and thus non-judgmental". Nevertheless, CNN's debated in 1994 whether the film promoted conservative values or was an indictment of the counterculture movement of the 1960s. Thomas Byers called it "an aggressively conservative film" in a Modern Fiction Studies article.

All over the political map, people have been calling Forrest their own. But, Forrest Gump isn't about politics or conservative values. It's about humanity, it's about respect, tolerance and unconditional love.

It has been noted that while Gump follows a very conservative lifestyle, Jenny's life is full of countercultural embrace, complete with drug use, promiscuity, and antiwar rallies, and that their eventual marriage might be a kind of reconciliation. Jennifer Hyland Wang argues in a Cinema Journal article that Jenny's death to an unnamed virus "symbolizes the death of liberal America and the death of the protests that defined a decade" in the 1960s. She also notes that the film's screenwriter, Eric Roth, developed the screenplay from the novel and transferred to Jenny "all of Gump's flaws and most of the excesses committed by Americans in the 1960s and 1970s".

Other commentators believe the film forecast the 1994 Republican Revolution and used the image of Forrest Gump to promote movement leader Newt Gingrich's traditional, conservative values. Jennifer Hyland Wang observes that the film idealizes the 1950s, as made evident by the lack of "Whites Only"-signs in Gump's Southern childhood, and envisions the 1960s as a period of social conflict and confusion. She argues that this sharp contrast between the decades criticizes the counterculture values and reaffirms conservatism. Wang argues that the film was used by Republican politicians to illustrate a "traditional version of recent history" to gear voters toward their ideology for the congressional elections. Presidential candidate Bob Dole stated that the film's message was "no matter how great the adversity, the American Dream is within everybody's reach".

In 1995, National Review included Forrest Gump in its list of the "Best 100 conservative Movies" of all time, and ranked it number four on its 25 Best conservative Movies of the Last 25 Years list. "Tom Hanks plays the title-character, an amiable dunce who is far too smart to embrace the lethal values of the 1960s. The love of his life, wonderfully played by Robin Wright Penn, chooses a different path; she becomes a drug-addled hippie, with disastrous results."

Professor James Burton at Salisbury University argues that conservatives claimed Forrest Gump as their own due less to the content of the film and more to the historical and cultural context of 1994. Burton claims that the film's content and advertising campaign were affected by the cultural climate of the 1990s, which emphasized family-values and American values, epitomized in the book Hollywood vs. America. He claims that this climate influenced the apolitical nature of the film, which allowed many different political interpretations.

Some commentators see the conservative readings of Forrest Gump as indicating the death of irony in American culture. Vivian Sobchack notes that the film's humor and irony rely on the assumption of the audience's historical knowledge.

The 32-song soundtrack from the film was released on July 6, 1994. With the exception of a lengthy suite from Alan Silvestri's score, all the songs are previously released; the soundtrack includes songs from Bob Dylan, Elvis Presley, Creedence Clearwater Revival, Aretha Franklin, Lynyrd Skynyrd, Three Dog Night, the Byrds, the Beach Boys, the Jimi Hendrix Experience, the Doors, the Mamas & the Papas, the Doobie Brothers, Simon & Garfunkel, Bob Seger, and Buffalo Springfield among others. Music producer Joel Sill reflected on compiling the soundtrack: "We wanted to have very recognizable material that would pinpoint time periods, yet we didn't want to interfere with what was happening cinematically." The two-disc album has a variety of music from the 1950s-1980s performed by American artists. According to Sill, this was due to Zemeckis' request, "All the material in there is American. Bob (Zemeckis) felt strongly about it. He felt that Forrest wouldn't buy anything but American."

The soundtrack reached a peak of number 2 on the Billboard album chart. The soundtrack went on to sell twelve million copies, and is one of the top selling albums in the United States. The Oscar-nominated score for the film was composed and conducted by Alan Silvestri and released on August 2, 1994.

The screenplay for the sequel was written by Eric Roth in 2001. It is based on the original novel's sequel, , written by Winston Groom in 1995. Roth's script begins with Forrest sitting on a bench waiting for his son to return from school. After the September 11 attacks, Roth, Zemeckis, and Hanks decided the story was no longer "relevant." In March 2007, however, it was reported Paramount producers took another look at the screenplay.

On the first page of the sequel novel, Forrest Gump tells readers "Don't never let nobody make a movie of your life's story," and "Whether they get it right or wrong, it doesn't matter." The first chapter of the book suggests the real-life events surrounding the film have been incorporated into Forrest's storyline, and that Forrest got a lot of media attention as a result of the film. During the course of the sequel novel, Gump runs into Tom Hanks and at the end of the novel in the film's release, includes Gump going on The David Letterman Show and attending the Academy Awards.

The Indian film, Laal Singh Chaddha, released in August 2022 and starring Aamir Khan in the title role, is an official remake of Forrest Gump. The film was directed by Advait Chandan and produced by Aamir Khan Productions, Viacom18 Studios and Paramount Pictures.

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5. ^ Polowy, Kevin (March 18, 2019). "The 'Forrest Gump' sequel that never was, from O.J. to Oklahoma City". Yahoo! Entertainment. Yahoo!. It [the Forrest Gump sequel] was gonna start with his little boy having AIDS. And people wouldn't go to class with him in Florida. We had a funny sequence where they were [desegregation] busing in Florida at the same time, so people were angry about either the busing, or [their] kids having to go to school with the kid who had AIDS. So there was a big conflict.

6. ^ Daly, Sean (September 15, 1997). "Mykelti Williamson later said the 'Forrest Gump' role nearly ruined his acting career". Jet. FindArticles. Archived from the original on October 6, 2009.

7. ^ "Tiffany Salerno - Rotten Tomatoes". Rotten Tomatoes.

8. ^ "Marla Sucharetza - Rotten Tomatoes". Rotten Tomatoes.

9. ^ Delarte, Alonso (February 2004). "Movies by the Book: Forrest Gump" (PDF). Bob's Poetry Magazine. p. 24. Archived from the original (PDF) on March 27, 2009.

10. ^ Forbes staff (February 25, 2009). "Star Misses - 4) Forrest Gump Starring ... John Travolta". Forbes. Archived from the original on July 22, 2010.

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12. ^ "Secrets behind the infamous 'Forrest Gump' running scene".

13. ^ "25 Facts About Forrest Gump".

14. ^ https://www.cheatsheet.com/entertainment/tupac-shakur-auditioned-for-an-iconic-movie-role-that-went-to-tom-hanks.html/

15. ^ McKenna, Kristine (December 19, 1993). "He's Serious About This One For Tom Hanks, it's been a long ride from 'Splash' to 'Philadelphia,' in which the likable comedy actor plays an AIDS patient who's fired from his job" (Fee required). Los Angeles Times. Archived from the original on January 11, 2012.

16. ^ Must-see sites abound along Blue Ridge Parkway - The Indiana Gazette Online: Indiana County Area News. Indianagazette.com (June 12, 2011). Retrieved on March 7, 2013.

17. ^ Film locations for Forrest Gump (1994) Archived August 6, 2019, at the Wayback Machine. Movie-locations.com. Retrieved on March 7, 2013.

18. ^ Smith, Katherine. "Island getaway is motion-picture perfect". St. Petersburg Times. Archived from the original on September 17, 2011.

19. ^ Grandfather Mountain audio tour

20. ^ D'Arc, James V. (2010). When Hollywood came to town: a history of moviemaking in Utah (1st ed.). Layton, Utah: Gibbs Smith. ISBN 9781423605874.

21. ^ Klady, Leonard (January 16, 1995). "'Dumber' still holds No. 1 spot at B.O.". Variety. p. 16.

22. ^ ""Titanic' cruises full speed ahead, overtaking "Gump'".

23. ^ "Tom Hanks' Biggest Film? Da Vinci Code!". June 18, 2006.

24. ^ McDonald, Paul, and Janet Wasko. The Contemporary Hollywood Film Industry. Malden: Blackwell, 2008. Pg:79 #

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26. ^ "Forrest Gump". Rotten Tomatoes. Fandango Media.

27. Ebert, Roger (July 6, 1994). "Forrest Gump". Chicago Sun-Times. Archived from the original on June 20, 2010.

28. ^ Lane, Anthony. "Forrest Gump". The New Yorker. Archived from the original on December 18, 2008.

29. ^ Albert, Tim (June 2017). "'The Ideas Made It, But I Didn't'". Politico. Archived from the original on June 29, 2021.

30. ^ Wang, Jennifer Hyland (Spring 2000). ""A Struggle of Contending Stories": Race, Gender, and Political Memory in Forrest Gump". Cinema Journal. 39 (3): 92-102. doi:10.1353/cj.2000.0009. JSTOR 1225535. ProQuest 222244908.

31. ^ Travers, Peter (December 8, 2000). "Forrest Gump". Rolling Stone. Archived from the original on June 22, 2008.

32. ^ Burr, Ty (June 20, 1994). "Loss of innocence: 'Forrest Gump' at 10". The Boston Globe. Archived from the original on January 13, 2012. Film critic Pauline Kael came out of retirement to bash the film on a book tour; by year's end, New York Times reviewer Janet Maslin had gone from mildly praising the film in her initial review to putting it on her worst of 1994 list, describing Forrest as a "hollow man" who's 'self-congratulatory in his blissful ignorance, warmly embraced as the embodiment of absolutely nothing.'

33. ^ Mast, Gerald (2007). A Short History of the Movies: 10th Edition. London: Longman.

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35. ^ "'Forrest Gump,' 25 Years Later: A Bad Movie That Gets Worse With Age". July 4, 2019.

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40. ^ "AFI's 100 Years... The Complete Lists". American Film Institute. Archived from the original on July 16, 2011.

41. Byers, Thomas B. (1996). "History Re-Membered: Forrest Gump, Postfeminist Masculinity, and the Burial of the Counterculture". Modern Fiction Studies. 42 (2): 419-444. doi:10.1353/mfs.1995.0102. S2CID 161822250.

42. Burton, James Amos (September 2007). Film, History and Cultural Memory: Cinematic Representations of Vietnam-Era America During the Culture Wars, 1987-1995 (PhD thesis).

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# data[].attributes.attachment_link.description
Forrest Gump is a 1994 American comedy-drama film directed by Robert Zemeckis and written by Eric Roth. It is based on the 1986 novel of the same name by Winston Groom and stars Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson and Sally Field.

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Written by Jules Verne
It represents a sudden long journey for a man living in solitude. The troubles man encounter in the path of his journey and how he deal with them. it shows both fun of traveling and troubles of it.

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In this song, the meaning of getting "on the road" so on the move, is a synonym to freedom, exploration, adventure and generally liberation of the body and mind. Mobility in this case is a choice and not a compulsion, and it gets a liberating meaning.

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Willie Nelson - On The Road Again (Official Audio)

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Folding Beijing-depicting the opposite of mobility-RRH

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Folding Beijing-depicting the opposite of mobility-RRH

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It is an award winning science fiction novelette by Hao Jingfang.
The plot is set up in the future, when Beijing was physically divided into three sections occupied by three different classes with out any overlap. Lao Dao, a waste processing worker of the third class, accepted a task to pass on a message from a student from second class  to a girl from the first class. Without any permission to travel, Lao Dao has to risk his life in oder to travel.

The physical division of the space represents the social immobility people faced nowadays. Mobility, in this case, Lao Dao's travel, is a metaphor of struggles made to have even a glimpse of people from other social strata.

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Mobility as a Heroic and Holy Adventure: Holy Diver

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Mobility as a Heroic and Holy Adventure: Holy Diver

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From the chivalry stories  to contemporary fantasy series, male protagonists are depicted as launching on an adventure, a mission during which they are transformed and matured physically and mentally. Following this tradition, famous American heavy metal band, Dio recorded their song "Holy Diver" which depicts its protagonist taking the road and going after freedom. Of course, again, there is a strong and positive connection between automobiles, highways, and masculinity. In addition, the song has a second symbolic meaning which marks the development of heavy metal culture in the United States. In a way, the song enhances the connection between mobility and masculinity as well as completing the mission of maturing heavy metal culture.

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This novel, written by Yann Martel in 2001, is an interesting example of dealing with the concept of "mobility" in an implicit way. By describing the struggle of the protagonist, Pi, the author makes us reflect about which different meanings a long journey (MOBILITY!) can get. Pi, indeed, living on a boat with a tiger for more than 200 days raises questions about the nature of reality and how it is perceived.

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Life of Pi is a Canadian philosophical novel by Yann Martel published in 2001. The protagonist is Piscine Molitor "Pi" Patel, an Indian boy from Pondicherry, India who explores issues of spirituality and metaphysics from an early age. He survives 227 days after a shipwreck while stranded on a lifeboat in the Pacific Ocean with a Bengal tiger which raises questions about the nature of reality and how it is perceived and told.

The novel has sold more than ten million copies worldwide. It was rejected by at least 5 London publishing houses before being accepted by Knopf Canada, which published it in September 2001. The UK edition won the Man Booker Prize the following year. It was also chosen for CBC Radio's Canada Reads 2003, where it was championed by author Nancy Lee.

The French translation L'Histoire de Pi was chosen in the French CBC version of the contest Le Combat des livres, where it was championed by Louise Forestier. The novel won the 2003 Boeke Prize, a South African novel award. In 2004, it won the Asian/Pacific American Award for Literature in Best Adult Fiction for years 2001-2003. In 2012 it was adapted into a feature film directed by Ang Lee with a screenplay by David Magee.

In 2022, the novel was included on the " Big Jubilee Read" list of 70 books by Commonwealth authors, selected to celebrate the Platinum Jubilee of Elizabeth II.

The book begins with a note from the author, which is an integral part of the novel. Unusually, the note describes mostly fictional events. It serves to establish and enforce one of the book's main themes: the relativity of truth.

In the 1960s, the narrator, Piscine Molitor Patel, grows up as the son of the manager of a zoo in Pondicherry. While later recounting his life there, he proffers insight on the antagonism of zoos and expresses his thoughts on why animals react less negatively than proponents of the idea suggest.

The narrator describes how he acquired his full name as a tribute to the swimming pool in France. After schoolmates tease him by transforming his first name into "Pissing", he establishes the short form of his name as " Pi" when he starts secondary school. The name, he says, pays tribute to the transcendental number which is the ratio of the circumference of a circle to its diameter.

In recounting his experiences, Pi describes several other unusual situations involving proper names: two visitors to the zoo, one a devout Muslim, and the other a committed atheist, bear identical names; and a 450-pound Bengal tiger at the zoo bears the name Richard Parker as the result of a clerical error which switched the tiger's name with the name of his human captor.

One day, Pi and his older brother Ravi are given an impromptu lesson on the dangers of the animals kept at the zoo. It opens with a goat being fed to another tiger, followed by a family tour of the zoo, during which his father explains the aggressive biological features of each animal.

Pi is raised as a Hindu and practices vegetarianism. At the age of fourteen, he investigates Christianity and Islam, and decides to become an adherent of all three religions, much to his parents' dismay (and his religious mentors' frustration), saying he "just wants to love God". He tries to understand God through the lens of each religion, and comes to recognize benefits in each.

A few years later in February 1976, during the period when Indian Prime Minister Indira Gandhi declares " The Emergency", Pi's father decides to sell the zoo and emigrate with his wife and sons to Canada.

The second part of the novel begins in July 1977 with Pi's family aboard the , a Japanese freighter that is transporting animals from their zoo to North America. A few days out of port from Manila, the ship encounters a storm and sinks. Pi manages to escape in a small lifeboat, only to learn that the boat also holds a spotted hyena, an injured Grant's zebra, and an orangutan named Orange Juice. Much to the boy's distress, the hyena kills the zebra and then Orange Juice. A tiger has been hiding under the boat's tarpaulin: it is Richard Parker, who had boarded the lifeboat with ambivalent assistance from Pi himself some time before the hyena attack. Suddenly emerging from his hideaway, Richard Parker kills and eats the hyena.

Frightened, Pi constructs a small raft out of rescue flotation devices, tethers it to the bow of the boat and makes it his place of retirement. He begins conditioning Richard Parker to take a submissive role by using food as a positive reinforcer, and seasickness as a punishment mechanism, while using a whistle for signals. Soon, Pi asserts himself as the alpha animal, and is eventually able to share the boat with his feline companion, admitting in the end that Richard Parker is the one who helped him survive his ordeal.

Pi recounts various events while adrift in the Pacific Ocean. At his lowest point, exposure renders him blind and unable to catch fish. In a state of delirium, he talks with a marine "echo", which he initially identifies as Richard Parker having gained the ability to speak, but it turns out to be another blind castaway, a Frenchman, who boards the lifeboat with the intention of killing and eating Pi, but is immediately killed by Richard Parker.

Some time later, Pi's boat comes ashore on a floating island network of algae inhabited by hundreds of thousands of meerkats. Soon, Pi and Richard Parker regain strength, but the boy's discovery of the carnivorous nature of the island's plant life forces him to return to the ocean.

Two hundred and twenty-seven days after the ship's sinking, the lifeboat washes onto a beach in Mexico, after which Richard Parker disappears into the nearby jungle without looking back, leaving Pi heartbroken at the abrupt departure without even a farewell.

The third part of the novel describes a conversation between Pi and two officials from the Japanese Ministry of Transport, who are conducting an inquiry into the shipwreck. They meet him at the hospital in Mexico where he is recovering. Pi tells them his tale, but the officials reject it as unbelievable. Pi then offers them a second story in which he is adrift on a lifeboat not with zoo animals, but with the ship's cook, a Taiwanese sailor with a broken leg, and his own mother. The cook amputates the sailor's leg for use as fishing bait, then kills the sailor as well as Pi's mother for food. Soon after, the cook is killed by Pi, who dines on him.

The investigators note parallels between the two stories. They soon conclude that the hyena symbolizes the cook, the zebra the sailor, the orangutan Pi's mother, and the tiger represents Pi. Pi points out that neither story can be proven and neither explains the cause of the shipwreck, so he asks the officials which story they prefer: the one without animals or the one with animals. They finally choose the story with the animals. Pi thanks them and says: "And so it goes with God." The investigators then leave and file a report expressing belief in the first story.

Martel has said that Life of Pi can be summarized in three statements: "Life is a story"; "You can choose your story"; "A story with God is the better story". Reviewer Gordon Houser suggests that there are two main themes of the book: "that all life is interdependent, and that we live and breathe via belief."

Martel said in a 2002 interview with PBS that he was "looking for a story... that would direct my life". He spoke of being lonely and needing direction in his life, and he found that writing the novel met this need.

The name Richard Parker for the tiger was inspired by a character in Edgar Allan Poe's nautical adventure novel The Narrative of Arthur Gordon Pym of Nantucket (1838). Richard Parker is a mutineer who is stranded and eventually cannibalized on the hull of an overturned ship, and there is a dog aboard who is named Tiger. Martel also had another occurrence in mind in the famous legal case R v Dudley and Stephens (1884), where a shipwreck again results in the cannibalism of a cabin boy named Richard Parker, this time in a lifeboat. A third Richard Parker drowned in the sinking of the Francis Spaight in 1846, described by author Jack London, and later the cabin boy was cannibalized. "So many victimized Richard Parkers had to mean something", Martel suggested.

Martel has mentioned that a book review of Brazilian author Moacyr Scliar's 1981 novella Max and the Cats accounts in part for his novel's premise. Scliar's story describes a Jewish-German refugee crossing the Atlantic Ocean with a jaguar in his boat. Scliar said that he was perplexed that Martel "used the idea without consulting or even informing me," and indicated that he was reviewing the situation before deciding whether to take any action in response. After talking with Martel, Scliar elected not to pursue the matter. A dedication to Scliar "for the spark of life" appears in the author's note of Life of Pi. Literary reviews have described the similarities as superficial between Life of Pi and Max and the Cats. Reviewer Peter Yan wrote: "Reading the two books side-by-side, one realizes how inadequate bald plot summaries are in conveying the unique imaginative impact of each book," and noted that Martel's distinctive narrative structure is not found in Scliar's novella. The themes of the books are also dissimilar, with Max and the Cats being a metaphor for Nazism. In Life of Pi, 211 of 354 pages are devoted to Pi's experience in the lifeboat, compared to 17 of 99 pages in Max and the Cats depicting time spent in a lifeboat.

Piscine Molitor "Pi" Patel

He acquires layer after layer of diverse spirituality and brilliantly synthesizes it into a personal belief system and devotional life that is breathtaking in its depth and scope. His youthful exploration into comparative religion culminates in a magnificent epiphany of sorts.

Piscine Molitor Patel, known to all as just "Pi", is the narrator and protagonist of the novel. He was named after a swimming pool in Paris, despite the fact that neither his mother nor his father particularly liked swimming. The story is told as a narrative from the perspective of a middle-aged Pi who, now married and having a family, is living in Canada. At the time of main events of the story, he was sixteen years old. He recounts the story of his life and his 227-day journey on a lifeboat when the ship he sailed sinks in the middle of the Pacific Ocean during a voyage to North America.

Richard Parker is an adult Bengal tiger who is stranded on the lifeboat with Pi when the ship sinks. Richard Parker lives on the lifeboat with Pi and is kept alive with the food and water Pi delivers. Richard Parker develops a relationship with Pi that allows them to coexist in their struggle.

In the novel, a hunter named Richard Parker is hired to kill a panther that has been terrorising the people of a small village in Bangladesh and thought to have killed seven people within two months. Instead, he accidentally immobilizes a female Bengal tiger with tranquilizer darts while her cub is caught hiding in a bush. Parker names the cub Thirsty after his enthusiasm when drinking from a nearby river. The paperwork that accompanies the shipment of the two tigers to Pi's family's zoo in Pondicherry states that the cub's name is "Richard Parker" and the hunter's given name is "Thirsty" and his surname is "None Given", due to a mix-up with the names. Pi's father finds the story so amusing that they continue to call the tiger "Richard Parker".

Brian Bethune of describes Life of Pi as a "head-scratching combination of dense religious allegory, zoological lore and enthralling adventure tale, written with warmth and grace". Master Plots suggested that the "central themes of Life of Pi concern religion and human faith in God". Reutter said, "So believable is Pi's story telling that readers will be amazed." Gregory Stephens added that it "achieves something more quietly spectacular." Smith stated that there was "no bamboozlement here." Gary Krist ofThe New York Times praised the book, but added that at times Martel "pushes the didactic agenda of his story too hard."

In 2010, U.S. President Barack Obama wrote a letter directly to Martel, describing Life of Pi as "an elegant proof of God, and the power of storytelling."

The first edition of Life of Pi was illustrated by Andy Bridge. In October 2005, a worldwide competition was launched to find an artist to illustrate Life of Pi. The competition was run by Scottish publisher Canongate Books and UK newspaper , as well as Australian newspaper and Canadian newspaper The Globe and Mail. Croatian artist Tomislav Torjanac was chosen as the illustrator for the new edition, which was published in September 2007.

A 2012 adaptation directed by Ang Lee and based on an adapted screenplay by David Magee was given a wide release in the United States on 21 November 2012. At the 85th Academy Awards, it won four awards from eleven nominations, including Best Director.

This novel has also been adapted as a play by Keith Robinson, artistic director of the youth-oriented Twisting Yarn Theatre Company. Andy Rashleigh wrote the adaptation, which was directed by Keith Robinson. The premier/original cast contained only six actors - Tony Hasnath (Pi), Taresh Solanki (Richard Parker), Melody Brown (Mother), Conor Alexander (Father), Sanjay Shalat (Brother) and Mark Pearce (Uncle). The play was produced at the Alhambra Theatre in Bradford, England, in 2003. The company toured England and Ireland with the play in 2004 and 2007.

Keith Robinson also directed a second version of the play. He brought some of his company to work with students of the BA (Hons) Drama, Applied Theatre and Education Course at the Central School of Speech and Drama. The joint production was performed at the Minack Theatre, in Cornwall, England, in late June 2008.

A new adaptation by Lolita Chakrabarti premiered at the Crucible Theatre, Sheffield, in June 2019. It was directed by Max Webster, with puppetry and movement directed by Finn Caldwell. Unanimously well received by critics, the play opened in November 2021 at Wyndham's Theatre, West End. In 2022, the production won 5 Olivier Awards including Best New Play, and subsequently extended to October 2022.

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Life of Pi is a Canadian philosophical novel by Yann Martel published in 2001. The protagonist is Piscine Molitor "Pi" Patel, an Indian boy from Pondicherry, India who explores issues of spirituality and metaphysics from an early age.

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The American movie Thelma and Louise was directed by Ridley Scott (1991) and became a masterpiece of feminist art.
Indeed, it represents a road trip embarked by two women whose struggle for self-affirmation and freedom brings to dramatic consequences. In the epic final scene the two women 'keep on going', and prefer to leap into the void with their car rather than give up their freedom.

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On the road | The Beat generation and the American landscapes of movement

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On the road | The Beat generation and the American landscapes of movement

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The novel On the road by Jack Kerouac represents the connection between the Beat generation and the 'landscapes of movement'. Published in 1957, it represents a milestone of the American culture after the second world war.
The novel portrays the USA from 1947 to 1950, and starts from the adventures and journeys (often hitchhiking) across the country of Kerouac himself. It is the voice of a generation and has become a movie by Walter Salles in 2012. Here's the trailer that will help you enter the mood of the narration through a series of 'mobile framings' representing cars, car-only environments, roads, and landscapes as seen from the car-windows.

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IFC Films & Sundance Selects present an MK2 and American Zoetrope Production: ON THE ROAD, Jack Kerouac's generation defining classic. After his father's death in the late 1940s, 24-year-old aspiring writer Sal Paradise meets 20-year-old ex-jailbird Dan Moriarty and his beautiful wife Marylou in New York.

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The avant-garde used to represent objects like the car or the airplane to emphasise the sense of speed, the advancement of technology, and thus glorify modern progress. The industrial city was often co-protagonist of this sense of 'moving forward' through motion that was celebrated in Italy by the futurists.
See for example:

Luigi Russolo, Dinamismo di un'automobile, 1913

Tullio Crali, Le forze della curva, 1930

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The sound of automobilities | Death Cab for Cutie

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The sound of automobilities | Death Cab for Cutie

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In the North-American culture automobility covers a symbolic value often connected to a sense of freedom. Cars are far more than transport means, and represent a means for self-affirmation, a symbolic access to adulthood, and the possibility of liberation from the chains of social constraints. In its music the American alternative rock band Death Cab for Cutie often comes back to these cultural values, telling automobilities from the perspective of both the passenger and the driver, like many other musicians.

Passenger seat | Transatlanticism | 2003:

I roll the window down
And then begin to breathe in
The darkest country road
And the strong scent of evergreen
From the passenger seat as
You are driving me home
Then looking upwards
I strain my eyes and try
To tell the difference between
Shooting stars and satellites
From the passenger seat as
You are driving me home
Do they collide?
I ask and you smile.
With my feet on the dash,
The world doesn't matter.

When we drive | Thank you for today | :

When we drive (x2)
You and I were born in motion
Never in one place for too long a time
And now it's the only way we know to survive
I like the way your hair tangles
The way your sun tan's only on one side
We always keep the windows open wide
When we drive (x4)
Climb into the back seat and close your eyes
I've got the wheel
Dream of all the places only we will find

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Death Cab for Cutie performing "When We Drive" live on KCRW

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Cosmopolis | Post-car futures in literary automobilities

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Cosmopolis | Post-car futures in literary automobilities

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The novel "Cosmopolis" by American the writer Don DeLillo was published in 2003. It became a movie by David Cronenberg in 2012. Through retracing a one-day car journey of the protagonist Eric Packer in New York, the novel narrativises the experience of automobility discussing a series of topics: automathisation, auto-mobility and privatisation of movement in public space, detachment from the urban environment, virtual spaces and mobilities. The white limousine by Eric Packer represents a symbol of late capitalism and the prediction of a 'post-car world'.

He stood in the street. There was nothing to do [...]. There was nowhere he wanted to go, nothing to think about, no one waiting. How could he take a step in any direction if all directions were the same?

Image: book cover of the italian edition