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Q310150

Stewart Granger

War service and after 1940–43 & Stardom: Gainsborough melodramas 1943–46

and a bigger one in a comedy Thursday's Child (1943). He was in a stage production of Rebecca when he was asked to audition for the film that turned him into a star. Granger had been recommended by Donat, who most recently worked with Granger on stage in To Dream Again. Stardom: Gainsborough melodramas 1943–46 Granger's first starring film role was as the acid-tongued Rokeby in the Gainsborough Pictures period melodrama, The Man in Grey (1943), a film that helped to make him and his three co-stars – James Mason, Phyllis Calvert and Margaret Lockwood – into box office names

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 18, "sc": 267, "ep": 18, "ec": 858}

Q310150

Stewart Granger

Stardom: Gainsborough melodramas 1943–46

in Britain. Granger followed it with The Lamp Still Burns (1943) playing the love interest of nurse Rosamund John. More popular was another for Gainsborough Pictures, Fanny by Gaslight (1944), which reunited him with Calvert and Mason, and added Jean Kent. The New York Times reported that Granger "is a young man worth watching. The customers... like his dark looks and his dash; he puts them in mind, they say of Cary Grant." It was the second most popular film at the British box office in 1944. Another hit was Love Story (1944) where he plays a blind pilot who falls in

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 18, "sc": 858, "ep": 18, "ec": 1458}

Q310150

Stewart Granger

Stardom: Gainsborough melodramas 1943–46

love with terminally ill Margaret Lockwood, with Patricia Roc co-starring. Granger filmed this at the same time as Waterloo Road (1945), playing his first villain, a "spiv" who has run off with the wife of John Mills. This film was popular too, and it was one of Granger's favourites. Madonna of the Seven Moons (1945), with Calvert and Roc, was more Gainsborough melodrama, another hit. Also popular was Caesar and Cleopatra, supporting Claude Rains and Vivien Leigh; this film lost money because of its high production cost but was widely seen, and was the first of Granger's films to be a

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 18, "sc": 1458, "ep": 18, "ec": 2082}

Q310150

Stewart Granger

Stardom: Gainsborough melodramas 1943–46

hit in the USA. At the end of 1945 British exhibitors voted Granger the second-most popular British film star, and the ninth-most popular overall. The Times reported that "this six-foot black-visaged ex-soldier from the Black Watch is England's Number One pin up boy. Only Bing Crosby can match him for popularity." Caravan (1946), starring Granger and Kent, was the sixth most popular film at the British box office in 1946. Also well liked was The Magic Bow (1946), with Calvert and Kent, where Granger played Niccolò Paganini That year he was voted the third-most popular British star, and the sixth-most popular

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 18, "sc": 2082, "ep": 22, "ec": 572}

Q310150

Stewart Granger

Stardom: Gainsborough melodramas 1943–46 & Rank Organisation 1947–49

overall. Rank Organisation 1947–49 Granger went over to Rank, for whom he made a series of historical dramas: Captain Boycott (1947), set in Ireland, directed by Frank Launder; Blanche Fury (1948), with Valerie Hobson; and Saraband for Dead Lovers (1948), an Ealing Studios production. Granger was cast as the outsider, the handsome gambler Philip Christoph von Königsmarck who is perceived as 'not quite the ticket' by the established order, the Hanoverian court where the action is mostly set. Granger stated that this was one of his few films of which he was proud. However it was a disappointment at the

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Q310150

Stewart Granger

Rank Organisation 1947–49

box office, as was Blanche Fury. Granger wanted a change of pace and so appeared in Woman Hater (1948), a comedy with Edwige Feuillère. In 1949 Granger was reported as earning around £30,000 a year. That year Granger made Adam and Evelyne, starring with Jean Simmons. The story, about a much older man and a teenager whom he gradually realises is no longer a child but a young woman with mature emotions and sexuality, had obvious parallels to Granger's and Simmons' own lives. Granger had first met the very young Jean Simmons when they both worked on Gabriel Pascal's Caesar and Cleopatra

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 22, "sc": 1179, "ep": 22, "ec": 1776}

Q310150

Stewart Granger

Rank Organisation 1947–49

(1945). Three years on, Simmons had transformed from a promising newcomer into a star – and a very attractive young woman. They married the following year in a bizarre wedding ceremony organised by Howard Hughes – one of his private aircraft flew the couple to Tucson, Arizona, where they were married, mainly among strangers, with Michael Wilding as Granger's best man. Granger's stage production of Leo Tolstoy's The Power of Darkness (a venture he had intended as a vehicle for him to star with Jean Simmons) was very poorly received when it opened in London at the Lyric Theatre on 25

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Q310150

Stewart Granger

Rank Organisation 1947–49 & MGM 1950-1957

April 1949. (During the run two men attempted to cut some locks from Granger's hair.) The disappointment added to his dissatisfaction with the Rank Organisation, and his thoughts turned to Hollywood. MGM 1950-1957 In 1949 Granger made his move; MGM was looking for someone to play H. Rider Haggard's hero Allan Quatermain in a film version of King Solomon's Mines. Errol Flynn was offered the role but turned it down; Granger's signing was announced in August 1949. On the basis of the huge success of this film, released in 1950 and co-starring Deborah Kerr and Richard Carlson, he was offered a

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Q310150

Stewart Granger

MGM 1950-1957

seven-year contract by MGM. He signed it in May 1950, and MGM announced three vehicles for him: Robinson Crusoe, a remake of Scaramouche and an adaptations of Soldiers Three. His first film under the new arrangement was an action comedy Soldiers Three (1951). Granger followed it with location work for Constable Pedley in Canada. This was put on hold so Granger could make a light comedy, The Light Touch, in a role meant for Cary Grant. It was a box office disappointment. However filming resumed on Constable Pedley which became The Wild North (1953) and that was a big hit. In 1952,

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 26, "sc": 993, "ep": 26, "ec": 1588}

Q310150

Stewart Granger

MGM 1950-1957

Granger starred in Scaramouche in the role of Andre Moreau, the bastard son of a French nobleman, a part Ramón Novarro had played in the 1923 version of Rafael Sabatini's novel. Granger's co-star Eleanor Parker said Granger was the only actor she did not get along with during her entire career. "Everyone disliked this man.... Stewart Granger was a dreadful person, rude... just awful. Just being in his presence was bad. I thought at one point the crew was going to kill him." However the resulting film was a notable critical and commercial success. After this came the remake of The

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 26, "sc": 1588, "ep": 26, "ec": 2208}

Q310150

Stewart Granger

MGM 1950-1957

Prisoner of Zenda (1952), for which his theatrical voice, stature (6'2") and dignified profile made him a natural. It too was popular. In 1952 he and Jean Simmons sued Howard Hughes for $250,000 damages arising from an alleged breach of contract. The case was settled out of court. Columbia borrowed him to play the love interest of Rita Hayworth in Salome (1953), another big hit. Back at MGM he co-starred with his wife in Young Bess (1953), playing Thomas Seymour. The film was popular, though it did not recover its cost, and it remained a favourite of Granger's. He had a commercial success

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 26, "sc": 2208, "ep": 26, "ec": 2782}

Q310150

Stewart Granger

MGM 1950-1957

in All the Brothers Were Valiant (1953), playing a villain opposite Robert Taylor. Granger lost out on A Star Is Born, which went to James Mason instead. He had the title role in Beau Brummell (1954), opposite Elizabeth Taylor, and a box office disappointment. More successful was the adventure story Green Fire (1954), co starring Grace Kelly. Granger went to Britain to make a film with Simmons, Footsteps in the Fog (1955), for Columbia. Back at MGM he was in Moonfleet (1955), cast as an adventurer, Jeremy Fox, in the Dorset of 1757, a man who rules a gang of

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Q310150

Stewart Granger

MGM 1950-1957

cut-throat smugglers with an iron fist until he is softened by a 10-year-old boy who worships him and who believes only the best of him. The film was directed by Fritz Lang and produced by John Houseman, a former associate of Orson Welles. It was a flop. Granger and Taylor were reunited in The Last Hunt (1956), a Western, with Taylor playing the villain, and a box office disappointment. So too was Bhowani Junction (1956), adapted from a John Masters novel about colonial India on the verge of obtaining independence. Ava Gardner played an Anglo-Indian (mixed race) woman caught between the

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Q310150

Stewart Granger

MGM 1950-1957 & Leaving MGM 1957-60

two worlds of the British and the Indians, and Granger the British officer with whom (in a change from the novel) she ultimately fell in love. Gardner was in Granger's next film, The Little Hut (1957), a sex farce which proved a surprise smash at the box office. He followed it with a minor Western, Gun Glory (1957). It was his last film under his MGM contract which ended September 10, 1957. Granger had turned down the role of Messala in the 1959 film Ben-Hur, reportedly because he did not want to take second billing to Charlton Heston. Leaving MGM 1957-60

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 30, "sc": 0, "ep": 30, "ec": 581}

Q310150

Stewart Granger

Leaving MGM 1957-60

Granger had become a successful cattle rancher. He bought land in New Mexico and Arizona and introduced Charolais cattle to America. In order to finance this he kept acting. He played a professional adventurer in a film for 20th Century Fox, Harry Black (1958), partly shot in India. He went to Britain to be in a thriller The Whole Truth (1958) for Romulus, for whom he was to makde The Nightcomers but it was never filmed. He returned to Los Angeles to support John Wayne in a comic "northern", North to Alaska (1960). By now his marriage to Simmons had ended and

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 30, "sc": 581, "ep": 34, "ec": 478}

Q310150

Stewart Granger

Leaving MGM 1957-60 & Continental European career 1960-69

Granger decided to move to Europe. Continental European career 1960-69 In June 1960 Granger announced he would appear in The Leopard, then made two films for MGM in Britain, one of which was I Thank a Fool alongside Susan Hayward. He would follow it with Pontious Pilate for Hugo Fregonese and The Tumbled House for John Farrow. The role in The Leopard ended up going to Burt Lancaster, the one in I Thank a Fool to Peter Finch, and the Fregonese and Farrow films were never made. Granger did go to Britain to appear in a thriller The Secret Partner

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 34, "sc": 478, "ep": 34, "ec": 1064}

Q310150

Stewart Granger

Continental European career 1960-69

(1961) for MGM. He went to Italy and played Lot in Robert Aldrich's Sodom and Gomorrah (1962), filmed in Rome. When Sodom started filming Granger announced he had signed a three picture deal with MGM, which would include I Thank a Fool, Swordsman of Siena and a third film for Jacques Bar. He also announced he had reactivated his production company, Tracy Productions, who would make Dark Memory by Jonathan Latimer. Granger did not appear in I Thank a Fool and Dark Memory was not made. Instead Granger stayed in Italy to make Commando (1962), an action film and Swordsman of

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Q310150

Stewart Granger

Continental European career 1960-69

Siena (1963), a swashbuckler. Dark Memory was not made. Granger was in a war film The Secret Invasion (1964) for Roger Corman shot in Yugoslavia. In Germany, Granger acted in the role of Old Surehand in three Western films adapted from novels by German author Karl May, with French actor Pierre Brice (playing the fictional Indian chief Winnetou), in Among Vultures (1964), with Elke Sommer; The Oil Prince (1965) (Rampage at Apache Wells) (1965), shot in Yugoslavia; and Old Surehand (Flaming Frontier) (1965). He was teamed with Brice and Lex Barker, also a hero of Karl May films, in a

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 34, "sc": 1662, "ep": 34, "ec": 2286}

Q310150

Stewart Granger

Continental European career 1960-69

crime movie, Gern hab' ich die Frauen gekillt (Killer's Carnival) (1966). Granger starred in several Eurospy films such as Red Dragon (1965), a West Germany-Italian film shot in Hong Kong; and Requiem for a Secret Agent (1966). He did The Crooked Road (1965), with Robert Ryan under the direction of Don Chaffey in Yugoslavia; Target for Killing (1966), a crime movie with Karin Dor; The Trygon Factor (1966), a British co produced based on a novel by Edgar Wallace. Granger's last studio picture was The Last Safari (1967), shot in Africa and directed by Henry Hathaway. Granger was billed under Kaz Garas.

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Q310150

Stewart Granger

Continental European career 1960-69 & US television

He later called this "my last real film... the worst film ever made in Africa!" In 1970 he described his recent films as "movies not even I will talk about". He later estimated that he made more than $1.5 million in the 1960s but lost all of it. US television Granger returned to the US and made a TV film Any Second Now (1969). In 1970 he appeared as Colonial Mackenzie on the TV western series "The Men From Shiloh" in the episode titled Colonial Mackenzie Verses the West (S9Ep01). The Men From Shiloh was previously known as The Virginian. He subsequently

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Q310150

Stewart Granger

US television & Retirement

replaced actors Lee J. Cobb, Charles Bickford and John McIntire on NBC's The Virginian, as the new owner of the Shiloh ranch on prime-time TV for its ninth year (1971). Granger said he accepted the role for money and because it "seemed like it could be a lot of fun", but was disappointed by the lack of character development for his role. He played Sherlock Holmes in a poorly received 1972 TV film version of The Hound of the Baskervilles. Retirement In the 1970s Granger retired from acting and went to live in southern Spain, where he invested in real estate

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Q310150

Stewart Granger

Retirement

and resided in Estepona, Málaga. It was whilst living there that he became a friend and business partner of former barrister and television producer James Todesco (Eldorado TV series). Together they were involved in real estate investment and development. He appeared in The Wild Geese (1978) as an unscrupulous banker, who hires a unit of mercenary soldiers (Richard Burton, Roger Moore, Richard Harris and others) to stage a military coup in an African nation. His character then makes a deal with the existing government, and betrays the mercenaries. In 1980 he was diagnosed with lung cancer and told he had three months

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Q310150

Stewart Granger

Retirement & Return to acting

to live. Granger later said, "I was 67 and had smoked 60 cigarettes a day for 40 years, but the doctor said if I had an operation there might be a chance of two to four more years of life. So I said, "Who the hell needs that, but you better give me three months to put my house in order.'" Granger underwent the operation, had a lung and a rib removed, only to be informed he didn't have cancer after all – he had tuberculosis. Return to acting He returned to acting in 1981 with the publication of his

{"datasets_id": 162224, "wiki_id": "Q310150", "sp": 46, "sc": 57, "ep": 46, "ec": 675}

Q310150

Stewart Granger

Return to acting

autobiography Sparks Fly Upward, claiming he was bored. Granger spent the last decade of his life appearing on stage and television including playing Prince Philip in The Royal Romance of Charles and Diana(1982), a guest role in the TV series in The Fall Guy starring Lee Majors, and as a suspect in Murder She Wrote in 1985. He even starred in a German soap-opera called in Das Erbe der Guldenburgs (The Guldenburg Heritage) (1987). He moved to Pacific Palisades, California. One of his last roles was in the 1989–90 Broadway production of The Circle by W. Somerset Maugham, opposite Glynis Johns and

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Q310150

Stewart Granger

Return to acting & Appraisal

Rex Harrison in Harrison's final role. The production actually opened at Duke University for a three-week run, followed by performances in Baltimore and Boston before opening on 14 November 1989 on Broadway. Appraisal In 1970 Granger said "Stewart Granger was quite a successful film star, but I don't think he was an actor's actor." Among the films that Granger was announced to star in, but that ended up being made with other actors, were Ivanhoe (1952), Mogambo (1953), The King's Thief (1955) and Man of the West (1958).

{"datasets_id": 162225, "wiki_id": "Q672648", "sp": 2, "sc": 0, "ep": 6, "ec": 548}

Q672648

Sunrise Communications AG

Company history

Sunrise Communications AG Company history Sunrise was created out of the fusion between diAx and sunrise in 2001. diAx was founded in 1997, started operating in December 1998, and belonged to 40% of the American SBC Communications, 50% of Swiss energy suppliers and 10% of the Swiss companies Federal RWE AG. Sunrise then belonged mainly to the BT Group and the Danish Tele Danmark (TDC A/S), with Migros and the Swiss Federal Railways as junior partners. In 2000, the two companies wanted to prevent paying the bill for the UMTS licenses. Through the merger of diAx and sunrise, there were

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Q672648

Sunrise Communications AG

Company history

only four applicants registered for the four UMTS licenses. After the fusion, the new brand name sunrise and the new company TDC Switzerland AG became the 100% subsidiary of TDC A/S. At the end of January 2006, Nordic Telephone Company (NTC) acquired 88.2% of the shares of TDC A/S, Sunrise's parent company. On 4 October 2007, the name of the company was changed to Sunrise Communications AG and the brand name Sunrise was capitalized. As a new logo, the "Sunrise" label is written in the Frutiger font style, which is intended to underline the Swiss anchorage of the company. In addition,

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Q672648

Sunrise Communications AG

Company history

its new motto is "Brave. Vital. Honest. Easy." On 29 September, 2008, Sunrise announced the acquisition of the competitor Tele2 Switzerland. Tele2, which had more than 491,000 customers, initially remained a brand and the employees were taken over. As of 1 November 2011, however, license rights expired on the name "Tele2", and it was changed to "Tele4U". In November 2009, France Télécom and TDC announced the intention to merge their Swiss subsidiaries Orange Communications and Sunrise. At the new company, France Télécom should hold 75% of shares and TDC 25%. Combined, the new company would have a market share of around 38%

{"datasets_id": 162225, "wiki_id": "Q672648", "sp": 6, "sc": 1794, "ep": 6, "ec": 2470}

Q672648

Sunrise Communications AG

Company history

for mobile communications and around 13% for broadband connections. On 22 April 2010, the Competition Commission (WEKO) prohibited the merger. The reason for this was the market dominance in the mobile market of the merged company together with Swisscom. In addition, the most active network operator in the market would be excluded from the market. In September 2010, TDC A/S and the Luxembourg-based private equity firm CVC Capital Partners, announced that they had reached an agreement to purchase Sunrise through CVC for CHF3.3 billion. The transaction was executed after approval by the Swiss competition and regulatory authorities on 28 October 2010. In

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Q672648

Sunrise Communications AG

Company history

2015 Sunrise went on the stock exchange. The German telecommunication provider Freenet has been the main shareholder since 2016. In February 2019, Sunrise agreed on the acquisition of UPC Switzerland from Liberty Global for CHF6.3 billion, pending financing and approval of the Swiss trade commission.

{"datasets_id": 162226, "wiki_id": "Q4115113", "sp": 2, "sc": 0, "ep": 6, "ec": 275}

Q4115113

Superseded theories in science

Superseded theories

Superseded theories in science Superseded theories Scientific theories are testable and make falsifiable predictions. Thus, it is a mark of good science if a discipline has a growing list of superseded theories, and conversely, a lack of superseded theories can indicate problems in following the use of the scientific method.

{"datasets_id": 162227, "wiki_id": "Q39274", "sp": 2, "sc": 0, "ep": 4, "ec": 595}

Q39274

Sverdrup

Sverdrup In oceanography, a sverdrup (symbol: Sv) is a non-SI unit of flow, with 1 Sv equal to 1,000,000 cubic metres per second (264,000,000 USgal/s); it is equivalent to the SI derived unit cubic hectometer per second (symbol: hm³/s or hm³⋅s⁻¹). It is used almost exclusively in oceanography to measure the volumetric rate of transport of ocean currents. It is named after Harald Sverdrup. It is distinct from the SI unit sievert or the non-SI svedberg, which use the same symbol. In the context of ocean currents, one million cubic meters per second may be most easily imagined as a "slice" of

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Q39274

Sverdrup

Examples

ocean, 1 km wide x 1 km long x 1 m thick. At this scale, these units can be more easily compared in terms of width of the current (several km), depth (hundreds of meters), and current speed (as meters per second). Thus, a hypothetical current 50 km wide, 500 m (0.5 km) deep, and moving at 2 m/s would transport 50 Sv of water. Examples The water transport in the Gulf Stream gradually increases from 30 Sv in the Florida Current to a maximum of 150 Sv south of Newfoundland at 55°W longitude. The Antarctic Circumpolar Current, at approximately 125 Sv, is the largest ocean current. The entire

{"datasets_id": 162227, "wiki_id": "Q39274", "sp": 8, "sc": 273, "ep": 8, "ec": 352}

Q39274

Sverdrup

Examples

global input of fresh water from rivers to the ocean is equal to about 1.2 Sv.

{"datasets_id": 162228, "wiki_id": "Q691448", "sp": 2, "sc": 0, "ep": 6, "ec": 681}

Q691448

Tâmpa, Brașov

Etymology

Tâmpa, Brașov Etymology The etymology of the word Tâmpa, a name shared by several mountains, has been much discussed among Romanian linguists. Nicolae Drăganu started from the observation that Albanian and southern Italian dialects as well as Catalan have very similar words meaning "boulder", "hillock" or "rocky incline". He then proposed a pre-Roman, Thracian origin (*timpa), meaning "strait, mountain valley" and "mountain, rocky mountain". He was unclear as to whether the word entered Romanian directly or through Latin. Constantin Diculescu accepted the theory without important changes, pointing out that τὑμφα means "hillock" in Doric Greek. However, Drăganu's theory was contested. Ovid

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Q691448

Tâmpa, Brașov

Etymology

Densusianu raised phonetic objections as to the link between Tâmpa and the Catalan timpes. Gustav Weigand declared that the toponym simply derived from the adjective tâmp, a word of Old Bulgarian origin signifying "worn down, leveled". Somewhat earlier, Alexandru Philippide had expressed the same opinion ("In reality Tâmpa is probably the adjective tâmp). Drăganu published a new article defending his thesis, bringing in new facts. Iorgu Iordan was hesitant to embrace one hypothesis: he noted that the physical nature of the places called Tâmpa, which tend to be sharp mountains, favors Drăganu, as does the striking phonetic and semantic resemblance between

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Q691448

Tâmpa, Brașov

Etymology & History

the Romanian term and those in other languages. He notes, too, the existence of a noun, tâmpă, meaning "a very extensive mountainside, rocky and with a very abrupt descent"; also appearing as tâmp, it can mean "a hill or mountain abruptly rising to a great distance above flat land". However, he notes the difficulty of making assumptions about the obscure languages spoken prior to the Roman conquest of Dacia. He also points out that mountains are often named after particular characteristics, a fact that generally points to an origin in the adjective tâmp. History The oldest human traces on Tâmpa

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Q691448

Tâmpa, Brașov

History

date to the time of the Dacians. On Tâmpa, archeologists have discovered a bone pit from that period, indicating that a pagan cult was practiced there. Through the years, Tâmpa has been relatively safe from natural disasters like mudslides or earthquakes. The most severe damage has been caused by fires, particularly those of 1689, 1731, 1860, 1880 and 1946. Brașovia Citadel was one of the seven castles that provided the German name for Transylvania: Siebenbürgen. The building, located between the peak and the crest of Tâmpa, is presumed to have been raised in the time of the Teutonic Knights (1212–1218), or if

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Q691448

Tâmpa, Brașov

History

not, was certainly fortified then. In 1241, several Brașov families were able to shelter themselves there from Tatar raids. In 1397, before the war against the Turks began, Mircea I of Wallachia placed his family safe in the citadel. In 1421, the people of Brașov took refuge in the citadel, threatened as they were by Sultan Murad II. That year, the citadel was given as surety to the sultan, as the Turks dominated the city from on high. Thus, the fortification became dangerous for Brașov's inhabitants and for the entire area. After succeeding in taking it back, with the help

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Q691448

Tâmpa, Brașov

History

of John Hunyadi, the inhabitants decided to demolish it. Its stones were used to fortify the citadel in the valley, then just being built. The citadel was made of stone, with a small polygonal tower on the west side, on Tâmpa's peak. Along the walls were found small towers for defence. Within the southern walls, traces of small rooms have been discovered. There was also a deep well and a chapel inside. As the fortification was surrounded by precipices on three sides and was well-defended on its fourth, it was one of the most difficult to capture in Transylvania (indeed in

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Q691448

Tâmpa, Brașov

History

all of Europe), and was in fact never occupied by force, only being handed over through treaties. Provisions were brought to it by people from a narrow valley called Cutun, to which it was linked by Drumul Cavalerilor (the Knights' Road). Around 1910, Costantin Lacea wrote that "even today the Romanian populace, especially the Costeni (inhabitants of Coastei and Costiței Streets), led by Junii Curcani ("the Young Turkeys"), go out the day after Pentecost up to the Citadel on Tâmpa, near the Cross of Cutun, and celebrate there. The old people tell how when they were young they used to

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Q691448

Tâmpa, Brașov

History

play up in the Citadel on Tâmpa". In the 15th century, two watchtowers were built at the base of Tâmpa, linked to the citadel through a series of walls, which, taken together, extended from the towers to the peak of the mountain. Probably left to decay after the introduction of firearms, the two towers were demolished in the 18th century (two engravings from that century show Tâmpa first with, then without them). Turnul Cuţitarilor (the Knife-Makers' Tower), located to the right of Bastionul Ţesătorilor (the Weavers' Bastion), offered an open view toward the valley (Şchei). No trace of it exists today.

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Q691448

Tâmpa, Brașov

History

Turnul Cizmarilor (the Boot-Makers' Tower), located above Bastionul Postăvarilor (the Drapers' Bastion), dominated Blumăna and Curmătura (the area between Tâmpa and Dealul Melcilor - "the Hill of Snails"). Today, the tower's platform, as well as a good part of the base of the linking wall built on the mountain, still remain. On the map prepared by Giovanni Morando Visconti in 1699, one can see a cross above Braşov, on the peak of Tâmpa. The Saxon author Thomas Tartler confirms this; he wrote, "there was a cross as big as a crucifix, as the Papists have called Tâmpa the Hill of the

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Q691448

Tâmpa, Brașov

History

Cross (Kreutzberg)". The cross belonged to the Romanians from Şchei, who would raise (with or without the citadel authorities' approval) crosses all through the valley, sometimes even at very short distances from the city walls. One chronicle states that the Tâmpa cross was built on August 2, 1696, attributing it to the carpenters of Emperor Hussein. Around 1714 (according to other sources 1696 or 1718), the Brașov senator Johann Draudt, having converted to Catholicism, raised a chapel on Tâmpa, dedicated to Saint Leonard. After this was built, in stages, thieves or Lutherans robbed or desecrated the house of worship. On June

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Q691448

Tâmpa, Brașov

History

10, 1737, the day after Pentecost, at three in the afternoon, "lightning struck the chapel, in front of the altar, hitting a Papist German tailor and his wife, who had taken shelter there... Their dog was also struck". In time, only ruins were left of the chapel. For a long time afterward, Tâmpa was called Chapel Hill (Kapellenberg in German). Often, the Romanians of Șchei were blamed for the chapel's destruction: one writer said that they broke its door, hurled it into the valley, and stole several objects from within. In 1849, after the Imperial Russian intervention in support of the

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Q691448

Tâmpa, Brașov

History

Austrian Monarchy (see Hungarian Revolution of 1848), Tâmpa became home to a pyramid-shaped monument, raised on the initiative of Lieutenant General von Hassfort and bearing the inscription Rusia et Austria unitæ MDXXXIL ("Russia and Austria united 1849"). Heavily damaged by either natural causes or, according to George Bariţ, human intervention ("adverse hands"), the pyramid was ultimately removed by Austro-Hungarian authorities on April 7, 1869. After 1865, Tâmpa housed the Schützenhaus (the "Shooting range"), soon a favorite with the city's male population. Aside from fire practice, the location had a bowling lane and a restaurant; it was decorated with numerous hunting

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Q691448

Tâmpa, Brașov

History

trophies and mannequins dressed in plate armors. The building was badly damaged by a 1916 fire, and for a long time remained derelict. Ultimately, the Dr. Nicolae Rucăreanu High School of Silviculture was raised on the location — the plot remains disputed between the Evangelical Church and the city of Braşov. In 1896, upon celebrating the 1000th anniversary of Magyar tribes settling in Pannonia under the leadership of Árpád (see Pannonian basin before Hungary), seven commemorative statues were raised throughout the Hungarian Kingdom. On this occasion, a monumental column topped by the statue of a Magyar archer — popularly identified with

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Q691448

Tâmpa, Brașov

History

Árpád himself —, was erected on Tâmpa, causing controversy inside the Romanian community. Stone used for the monument had been transported up the slope by a funicular, and the completed monument featured a lightning rod; overall, it cost 22,585 florins to build. The new monument was first damaged by a bomb placed at its base, an attack carried out by two terrorists against Hungarian rule (Ilie Cătărău and Timofei Kirilov) in September, 1913. In December of the same year, the monument was heavily damaged by a thunderstorm: the "Árpád statue" fell from atop the column and shattered into pieces. In

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Q691448

Tâmpa, Brașov

History

1916, the remaining parts were detonated by the Romanian Army during its World War I advance into Transylvania (see Romanian Campaign). The statue's debris was removed by Communist Romanian authorities in 1966, and the head is preserved by the Parish House of the Reformed Church in Braşov. Tâmpa still houses the base of the monument. Around 1890, the mountain became home to a restaurant and public house, owned by the patrons of the Schützenhaus and named Béthlen (or Béthlen Grotto) in 1891, in honour of a Hungarian minister who had visited the city during that year. Supplied every day by the

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Q691448

Tâmpa, Brașov

History

tenant, who led his donkey up 25 serpentine windings, it became a regular spot for city residents who were attracted by the panoramic scenery of Brașov at nighttime; in 1905, it was equipped with a terrace reaching over the steep slope. The restaurant's name was changed to Cabana-restaurant "Tâmpa" ("The Tâmpa Cabin-Restaurant") in 1948. On March 23, 1977, the entire building burned down following an accident. The terrace and stone recipients for beer are still in place; in 2001, the Braşov County Council erected a marble cross on the perimeter; the lit sign bearing the name Braşov was restored in

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Q691448

Tâmpa, Brașov

History

2006. Also in 1891-1892, the Brașov Aqueduct was erected on the Tâmpa ridge, under the direction of engineer Christian Kertsch (best remembered for his Kertsch House in downtown Brașov). Water was carried through ceramic pipes over a great distance, from springs on the other side of Tâmpa. Pipe deterioration eventually forced Braşov authorities to provide the aqueduct with water from the city area (popular myth still has it that water running through the aqueduct is spring water, and, occasionally, people still supply themselves directly from that location). Shards of ceramic pipes and a memorial plaque to the engineer P. Bartusch are

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Q691448

Tâmpa, Brașov

History

still visible on the way to Râpa Dracului (going around the mountain). Casa Pădurarului ("the Woodman's House") is a rustic restaurant located at the base of Tâmpa, about halfway along the pedestrian road there. Built at the beginning of the 20th century, it served as a place of rest for the residents of Braşov who would walk along the promenade below Tâmpa. Near this restaurant, rebuilt in the 2000s after suffering a fire, the cable car starts its course, taking passengers in less than three minutes to the Panoramic restaurant, located atop the mountain. In 1968-1969, a television tower as well as

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Q691448

Tâmpa, Brașov

History

a restaurant and a cable car were built on Tâmpa's crest. Today, the tower receives a signal from Postăvaru and transmits it to the city below (initially with 10 kW, but today with just 2 kW), while the Panoramic restaurant, situated in a favourable location, offers excellent views of the city from its dining hall. The Aro-Palace society owns the restaurant. The cable car terminus is also located beneath the tower. Before 1989, when tourists exited the cable car, they were met by an enormous stuffed brown bear, standing menacingly on two feet. At the same time as this complex was built,

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Q691448

Tâmpa, Brașov

History & The tunnels and the lake

a short distance away, a flagpole was built. In 2004, the Brașov County Council guaranteed festive lighting for it, installing a powerful laser reflector that lights up the sky a good part of every evening. The tunnels and the lake A story has it that there was a tunnel connecting Casa Sfatului with a cave under Șaua Tâmpei, in which German prisoners of war were held during World War I, with both ends of the tunnel blocked. At the beginning on the 1940s, there was a proposal to dig a tunnel under Mount Tâmpa, to connect the Old City

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Q691448

Tâmpa, Brașov

The tunnels and the lake

with Valea Cetății neighborhood. After Romania entered World War II, the project was abandoned. During the Communist period, when massive construction projects were undertaken in Răcădău, with over 10,000 apartments built, the plans for the tunnel were resurrected. One such plan, drafted in 1979, envisioned an East-West tunnel, with a length of 842 m, width of 9.8 m, and height of 7.65 m. The construction would have involved excavating 100,000 m³ of rock, at a cost (in 1984) of 163 million lei. Another estimate, done in 2003 by the Braşov County Council, put the cost of building the tunnel

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Q691448

Tâmpa, Brașov

The tunnels and the lake

ar near 11 million euros. A long-held belief is that there is a big lake inside the mountain. Drilling the tunnel may lead to flooding the city. Yet no concrete evidence of such a lake has ever been found. What is known for sure is that there are three or four tunnels under Tâmpa, only one of which is usable at present. This tunnel connects Casa Sfatului with one of the towers of the old citadel (Turnul Cuțitarilor or Bastionul Postăvarilor). Due to the danger of cave-ins the tunnels pose, they are all shut with metal grates. It is said

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Q691448

Tâmpa, Brașov

The tunnels and the lake & The stone bench

that during the bombing of Romania in World War II, one of the tunnels was blocked by debris, burying alive those people who had taken refuge in there. The stone bench At the foot of Tâmpa, along the southeast side of the old fortress walls, there is a tree-lined path—a favorite strolling spot for the inhabitants. Among the wooden benches lining the path, there lies a small bench carved from a rock. It is said that the rock fell from the mountain, burying two lovers that were embracing on that place. A document from 1817 mentions the story,

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Q691448

Tâmpa, Brașov

The stone bench & Orașul Stalin

giving the name of the woman killed by the rock as Ana Maria. Orașul Stalin On August 19, 1946, there was a big fire on Tâmpa, that burned out parts of the forest covering the mountain. In the early 1950s, after Braşov was renamed Orașul Stalin (see List of places named after Stalin), the authorities started planting fir trees, so that the word "STALIN" would be clearly visible from the city. Over the years, vegetation has blurred the word made out by the trees. Yet, to this day (especially in the winter), one may still distinguish the marking "ALIN" when

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Q691448

Tâmpa, Brașov

Orașul Stalin & In popular culture

coming on the road from the Burzenland. In popular culture The soccer team FC Braşov is nicknamed Diavolii de sub Tâmpa (The Tâmpa Devils).

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Q7668277

T. Gwynn Jones

Personal life & Career

T. Gwynn Jones Personal life Born Thomas Jones at 'Y Gwyndy Uchaf' in Betws-yn-Rhos, Denbighshire, Wales, the eldest son of Isaac Jones and Jane Roberts. He was educated in Denbigh and Abergele. In 1899 he married Margaret Jane Davies, the daughter of Thomas Davies of Denbigh, by whom he had three children. Career In 1890 he was a sub-editor on the Welsh-language newspaper Baner ac Amserau Cymru (Y Faner). He wrote a famous biography of the great Liberal publisher Thomas Gee, whose work influenced Jones throughout his life. After many years as a journalist, Jones worked at the National

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Q7668277

T. Gwynn Jones

Career

Library of Wales, Aberystwyth, and later as a lecturer in the Welsh department at the University College of Wales, Aberystwyth, where he became a professor in 1919. He won the Chair at the National Eisteddfod of Wales in Bangor in 1902 for his ode, 'Ymadawiad Arthur'. His major work was an edition of the fifteenth-century poet, Tudur Aled. A strong opponent of the First World War , Jones walked out of the Tabernacle Chapel in Aberystwyth when the minister offered a prayer for a British victory in the war. He later wrote "If there’s anything I understand from the New Testament,

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Q7668277

T. Gwynn Jones

Career

it is that Jesus Christ is not a militaristic person. He is the Saviour of the world, he is the Prince of Peace. Therefore those who say they are Christians, followers of Christ must reject war totally." Jones was a supporter of Irish independence and in a letter to Saunders Lewis (in the Irish language) he wrote "I hope...Ireland will have freedom without delay. There is no country in the world I love like Ireland - it was and will always be in my mind, and day and night I think of it". He was awarded CBE in the 1937 Coronation

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Q7668277

T. Gwynn Jones

Career & Influence

Honours. Influence T. Gwynn Jones' writings had a significant influence on Robert Graves in his mythopoeic study The White Goddess. Graves developed his suggestion of a distinction between the restricted poetry of the official Welsh bards, and the more expansive and fanciful unofficial Welsh writings: "The tales and Romances, on the other hand, are full of colour and incident; even characterzation is not absent from them...imagination".

{"datasets_id": 162230, "wiki_id": "Q65697917", "sp": 2, "sc": 0, "ep": 6, "ec": 570}

Q65697917

Talviyö

Background and recording

Talviyö Background and recording The album was produced by the band and Mikko Tegelman, a producer they already wanted for their previous album, The Ninth Hour, but was unavailable due to scheduling conflicts. According to vocalist, additional keyboardist and main songwriter Tony Kakko, the band had been willing to create an album with a more "live" sound, but could never properly do it on their own. In order to make sure Tegelman would be able to work with them, Kakko had all songs ready before they went into studio. In the album's promotional material, Kakko said "the idea was to create

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Q65697917

Talviyö

Background and recording

an album that is musically in line with at least the previous two albums". In June and July 2018, he showed some demos of songs he had written earlier that year to the rest of the band and by the time they entered the studio, they already knew what to do. Under Tegelman's guidance, Tommy Portimo (drummer) and Pasi Kauppinnen (bassist) played their instruments together, which, according to Kakko, "give the whole rhythm section a whole organic feel and that gave it a much stronger foundation for the album and made it much easier to develop the album". He ultimately called

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Q65697917

Talviyö

Background and recording & Title

it "a really pleasant album to make songwriting-wise". The recordings started in September 2018 and the album was mixed and mastered in May 2019. Title The title of the album is a Finnish word for "winter night". According to Kakko, he was looking for a simple name and started searching for translations of "night" in other languages via Google Translator. Eventually, he came back to his own mother tongue and suggested the title "Talvi". The other members considered it "boring" and he jokingly suggested "Talviyö", an expression that he felt most people outside of Finland would struggle to pronounce. The other

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Q65697917

Talviyö

Title & Cover & Song information

members laughed and they realized "that's what it should be called". Cover The cover photograph is by Onni Wiljami. The original picture was edited by Wiljami) so as to depict a nighttime situation, among other changes. Song information Kakko explained that the album is not a concept one, but admitted that the songs are somehow connected, thematically speaking. He considers it a natural continuation of the albums the band has been releasing since Stones Grow Her Name. He also sees it the third album of the band's third age. Kakko admitted that the opening track "Message From the Sun" could be

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Q65697917

Talviyö

Song information

"misleading" because "it's more of the power metal side of Sonata Arctica for all our power metal fans." The song talks about the mythology behind the northern lights. "Whirlwind" includes sounds and words by Kakko's son; those were originally recorded in the background of the song's demo and after listening to that recording many times, the band felt that removing them would make the song look like it was missing something. "Cold" received a video, which was released on 23 August 2019. It was filmed in Tampere and directed by Patric Ullaeus. "Storm the Armada" and "Who Failed the Most" discuss environmental

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Q65697917

Talviyö

Song information

concerns, with the latter addressing it in a political manner by asking whether humankind is choosing the right leaders, environment-wise. The so-called Caleb saga, which started on Silence's "The End of This Chapter" and was continued on Reckoning Night's "Don't Say a Word", Unia's "Caleb", The Days of Grays's "Juliet" and The Ninth Hour's "Til Death's Done Us Apart"; is continued on the album with "The Last of the Lambs". "Ismo's Got Good Reactors" is an instrumental track with musical references to several places around the World, including Japan. The title of the track is a comment a child made during a

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Q65697917

Talviyö

Song information

boat trip with a friend of Kakko. According to him, the outboard engine was about to fall but he managed to grab it and place it back, and the child said "Ismo's got good reactors!". The friend was actually named Mikko and the child actually meant "reactions". "Demon's Cage" is a follow-up to The Ninth's Hour's "Fairytale" and "The Garden" is a "thank you" song for spouses in general. "A Little Less Understanding" was the first song to be revealed, along with the album's title, cover and release date. According to Kakko, it is "lyrically somewhat of a follow up for 'I

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Q65697917

Talviyö

Song information

Have a Right' (from Stones Grow Her Name) and talks about the difficulty of making the right choices with the upbringing of a new human being". About selecting it as the album's first single, Kakko said he thinks it is "nowhere near the best song on the album", but the band had no idea which song to release first, so they ended up accepting advice from their manager, who though it "would function as a ramp towards the album being the most simple song on the album." Kakko was initially unsure whether the longest song "The Raven Still Flies" would make

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Q65697917

Talviyö

Song information

it to the album, because he considered it "too complex and weird", but his bandmates approved it as soon as he showed it to them. The lyrics deal with the feeling of loss of a parent towards a missing child.

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Q1642438

Telmessos (Caria)

Telmessos (Caria) Telmessos or Telmessus, also Telmissos (Ancient Greek: Τελμησσός or Τελμισσός), was a town in ancient Caria. It was called Telebehi in the Lycian language. Its site is tentatively located at the remains near Görece in Asiatic Turkey. There was a shrine dedicated to Daphne in Telmessos.

{"datasets_id": 162232, "wiki_id": "Q1978477", "sp": 2, "sc": 0, "ep": 4, "ec": 568}

Q1978477

The Book of Nestor the Priest

The Book of Nestor the Priest The Book of Nestor the Priest, originally titled Account of the Disputation of the Priest (Qissat Mujadalat al-Asquf Arabic: قصة مجادلة الأسقف‎) or its Hebrew textual avatar Sefer Nestor Ha-Komer (written c. 900 CE) is thought to be the earliest surviving anti-Christian Jewish polemic. The original version of the book was written in Juedo-Arabic (Arabic written in Hebrew script with religious terms in their original Hebrew.) and also a translation to Hebrew which confused an opening quote from Nestorius with the name of the author of the book, who is actually

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Q1978477

The Book of Nestor the Priest

unknown. It cites extensively and critically from New Testament and Church sources. The title komer (כומר) describes a Christian priest (in modern Hebrew the word is used both for Catholic or Orthodox priests and for Protestant ministers), rather than a kohen or Jewish priest. The text is written as the story of a Christian priest (wrongly named Nestor in the Hebrew translation) who converted to Judaism and wrote a critical account of the fundamental Christian doctrine regarding the nature of Jesus and the Trinity. The text uses the spelling Yeshu (ישו) for Jesus. A modern edition פולמוס נסתור הכומר The

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Q1978477

The Book of Nestor the Priest

Polemic of Nestor the Priest by Daniel J. Lasker and Sarah Stroumsa was published by the Ben-Zvi Institute for the Study of Jewish Communities in the East, 1996.

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Q7737445

The Grail & the Lotus

Release and reception

The Grail & the Lotus Release and reception The album was produced by Ed Denson. Richie Unterberger of Allmusic gave the album four and a half out of five stars, stating that The Grail & the Lotus is "a fine, innovative album" Despite never being individually issued on Compact Disc, The Grail & the Lotus can be found in its entirety on the Guitar Soli compilation album.

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Q644351

The Legend of Bhagat Singh

Development

The Legend of Bhagat Singh Development In 1998, the film director Rajkumar Santoshi read several books on the socialist revolutionary, Bhagat Singh, and felt that a biopic would help revive interest in him. Although Manoj Kumar made a film about Bhagat in 1965, titled Shaheed, Santoshi felt that despite being "a great source of inspiration on the lyrics and music front", it did not "dwell on Bhagat Singh's ideology and vision". In August 2000, the screenwriter Anjum Rajabali mentioned to Santoshi about his work on Har Dayal, whose revolutionary activities inspired Udham Singh. Santoshi then persuaded Rajabali to draft a

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Q644351

The Legend of Bhagat Singh

Development

script based on Bhagat's life as he was inspired by Udham Singh. Santoshi gave Rajabali a copy of Shaheed Bhagat Singh, K. K. Khullar's biography of the revolutionary. Rajabali said that reading the book "created an intense curiosity in me about the mind of this man. I definitely wanted to know more about him." His interest in Bhagat intensified after he read The Martyr: Bhagat Singh Experiments in Revolution (2000) by journalist Kuldip Nayar. The following month, Rajabali formally began his research on Bhagat while admitting to Santoshi that it was "a difficult task". Gurpal Singh, a Film and Television Institute

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Q644351

The Legend of Bhagat Singh

Development

of India graduate, and internet blogger Sagar Pandya assisted him. Santoshi received input from Kultar Singh, Bhagat's younger brother, who told the director he would have his full co-operation if the film accurately depicted Bhagat's ideologies. Rajabali wanted to "recreate the world that Bhagat Singh lived in", and his research required him to "not only understand the man, but also the influences on him, the politics of that era". In a 2000 interview with Sharmila Taliculam of Rediff.com, Rajabali said that the film would "deal with Bhagat Singh, the man, rather than the freedom fighter". Many aspects of Bhagat's life, including

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Q644351

The Legend of Bhagat Singh

Development

his relationship with fiancée Mannewali, were derived from Piyush Mishra's 1994 play Gagan Damama Bajyo; Mishra was subsequently credited with writing the film's dialogues. A. G. Noorani's 1996 book, The Trial of Bhagat Singh: Politics of Justice, provided the basis for the trial sequences. Gurpal obtained additional information from 750 newspaper clippings of The Tribune dated from 1928 to 1931, and from Bhagat's prison notebooks. These gave Rajabali "an idea of what had appealed to the man, the literary and intellectual influences that impacted him in that period". By the end of 2000, Santoshi and Rajabali completed work on the script

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Q644351

The Legend of Bhagat Singh

Development & Casting

and showed it to Kumar and Ramesh Taurani of Tips Industries; both were impressed by it. The Taurani brothers agreed to produce the film under their banner and commence filming after Santoshi had finished his work on Lajja (2001). Casting Sunny Deol was initially cast as Bhagat, but he left the project owing to schedule conflicts and differences with Santoshi over his remuneration. Santoshi then preferred to cast new faces instead of established actors but was not pleased with the performers who auditioned. Ajay Devgn (then known as Ajay Devgan) was finally chosen for the lead character because Santoshi felt

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The Legend of Bhagat Singh

Casting

he had "the eyes of a revolutionary. His introvert nature conveys loud and clear signals that there is a volcano inside him ready to burst." After Devgn performed a screen test dressed as Bhagat, Santoshi was "pleasantly surprised" to see Devgn's face closely resemble Singh's and cast him in the part. The Legend of Bhagat Singh marked Devgn's second collaboration with Santoshi after Lajja. Devgn called the film "the most challenging assignment" in his career. He had not watched Shaheed before signing up for the project. To prepare for the role, Devgn studied all the references Santoshi and Rajabali had

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Casting

procured to develop the film's script. He also lost weight to more closely resemble Bhagat. Whatever we have read in school and learnt in history is not even 1% of the kind of person he [Bhagat] was. I don't think he got his due ... When Rajkumar Santoshi narrated the script to me, I was taken aback because this man had done so much and his motive was not just independence of India. He had predicted the challenges that we face in our country today. From riots to corruption, he had predicted that and he wanted to fight that. —  Devgn on his

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The Legend of Bhagat Singh

Casting

perception of Bhagat Santoshi chose Akhilendra Mishra to play Azad as he also resembled his character. In addition to reading Shiv Verma's Sansmritiyan, Mishra read Bhagwan Das Mahore's and Sadashiv Rao Malkapurkar's accounts of the revolutionary. Because of his astrological beliefs, he even obtained Azad's horoscope to determine his personality. In an interview with Rediff.com's Lata Khubchandani, Mishra mentioned that while informing his father about his role of Azad, he revealed to him that they originally hailed from Kanpur, the same place where Azad's ancestors were from. This piece of information encouraged Mishra to play Azad. Sushant Singh and D. Santosh (in

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The Legend of Bhagat Singh

Casting

his cinematic debut) were cast as Bhagat's friends and fellow members of the Hindustan Republican Association, Sukhdev Thapar and Shivaram Rajguru. Santoshi believed their faces resembled those of the two revolutionaries. To learn about their characters, Sushant, like Mishra, read Sansmritiyan while Santosh visited Rajguru's family members. The actors were also chosen according to their characters' backgrounds. This was true in the case of Santosh and also Amitabh Bhattacharjee, who played Jatin Das, the man who devised the bomb for Bhagat and Batukeshwar Dutt. Santosh and Bhattacharjee were from Maharashtra and West Bengal like Rajguru and Das. Raj Babbar and

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The Legend of Bhagat Singh

Casting & Filming

Farida Jalal were cast as Bhagat's parents, Kishen Singh and Vidyawati Singh, while Amrita Rao played Mannewali, Bhagat's fiancée. Filming Principal photography began in January 2002 and was completed in May. The first schedule of filming took place in Agra and Manali following which the unit moved to the Film City studio in Mumbai. According to the film's cinematographer, K. V. Anand, around 85 sets were constructed at Film City by Nitin Chandrakant Desai who was in charge of the production design, and "99 percent of the background" featured in the film was sets. Desai used sepia tint throughout the

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The Legend of Bhagat Singh

Filming

film to create a period feel. Additional scenes depicting the massacre of 1919 were filmed at Jallianwala Bagh; some of them were shot between 9 pm and 6 am. The scenes at Jallianwala Bagh and other surrounding locations in Amritsar at the beginning of the film feature Nakshdeep Singh as the younger Bhagat. Santoshi selected Nakshdeep after receiving photographs of the boy from his father, Komal Singh, who played Mannewali's father. Kultar stayed with the production unit for seven days during the outdoor location shooting in Pune. Both Santoshi and Devgn appreciated the interactions they had with Kultar, noting that he provided "deep insights

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The Legend of Bhagat Singh

Filming & Release

into his brother's life". Kultar was pleased with the sincerity of the cast and crew and shared private letters written by Bhagat with them. The song "Pagdi Sambhal Jatta" was the last part to be filmed. A sequence in the song featuring Devgn appearing between two factions of backup Bhangra dancers took three takes to be completed. The Legend of Bhagat Singh was made on a budget of ₹200 – 250 million (about US$4.15 – 5.18 million in 2002). Release The Legend of Bhagat Singh was released on 7 June 2002 coinciding with the release of Sanjay Gadhvi's romance, Mere Yaar Ki Shaadi Hai,

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The Legend of Bhagat Singh

Release

and another film based on Bhagat, 23rd March 1931: Shaheed, which featured Bobby Deol as the revolutionary. A week before the film's release, Article 51 A Forum, a non-governmental organisation in Delhi, believed The Legend of Bhagat Singh to be historically inaccurate, criticising the inclusion of Mannewali as Bhagat's widow, and stating the films were made "without any research or devotion" and the filmmakers were just looking at the box-office prospects to "make spicy films based on imaginary episodes". Kumar Taurani defended his film saying that he did not add Rao "for ornamental value", noting he would have opted for an

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The Legend of Bhagat Singh

Release

established actress instead if that were the case. A press statement issued by Tips Industries said: "This girl from Manawale village loved Bhagat Singh so totally that she remained unmarried till death and was known as Bhagat Singh's widow." The chief operating officer of Tips Industries, Raju Hingorani, pointed out that Kultar had authenticated the film, stating: "With his backing, why must we be afraid of other allegations?" On 29 May 2002, a 14-page petition was filed by Paramjit Kaur, the daughter of Bhagat's youngest brother, Rajinder Singh, at the Punjab and Haryana High Court to stay the release of both

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The Legend of Bhagat Singh

Release & Critical response

The Legend of Bhagat Singh and 23rd March 1931: Shaheed, alleging that they "contained distorted versions" of the freedom fighter's life. Kaur's lawyer, Sandeep Bhansal, argued that Bhagat singing a duet with Mannewali and wearing garlands were "untrue and amounted to distortion of historical facts". Two days later, the petition came up for hearing before the judges J. L. Gupta and N. K. Sud; both refused to stay the films' release, observing that the petition was moved "too late and it would not be proper to stop the screening of the films". Critical response The Legend of Bhagat Singh received

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The Legend of Bhagat Singh

Critical response

generally positive critical feedback, with praise for its direction, story, screenplay, cinematography, production design and the performances of Devgn and Sushant. Chitra Mahesh praised Santoshi's direction, noting in her review for The Hindu that he "shows some restraint in handling the narrative". She appreciated the film's technical aspects and Devgn's rendition, calling his interpretation of Bhagat "powerful, without being strident". Writing for The Times of India, Dominic Ferrao commended Devgn, Sushant, Babbar and Mishra, saying that they all come "off with flying colours". A review carried by Sify labelled the film "slick and commendable"; it also termed Devgn's portrayal of

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The Legend of Bhagat Singh

Critical response

Bhagat as "fabulous" but felt he "overrides" the character and that "the supporting characters make more impact than him." In a comparative analysis of The Legend of Bhagat Singh with 23rd March 1931: Shaheed, Ziya Us Salam of The Hindu found the former to be a better film because of the "clearly etched out" supporting characters, while opining Devgn was more "restrained and credible" than Bobby Deol. Salam admired Sushant's performance, opining that he has "a fine screen presence, good timing and an ability to hold his own in front of more celebrated actors". In a more mixed comparison, Rediff.com's Amberish

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The Legend of Bhagat Singh

Critical response

K. Diwanji, despite finding The Legend of Bhagat Singh and Devgn to be the better film and actor like Salam, criticised the "constant shouting and mouthing of dialogues". He responded negatively to the inclusion of Bhagat's fiancée, pointing out the film took liberties in using this "slim" piece of information "just to have a girl sing." Diwanji, however, commended the narrative structure of The Legend of Bhagat Singh, saying that the film captured the revolutionary's life and journey well, thereby making it "worth watching and give[ing] it relevant historical background." Among overseas reviewers, Dave Kehr of The New York Times complimented

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The Legend of Bhagat Singh

Critical response

the placement of the film's song sequences, especially that of "Sarfaroshi Ki Tamanna" and "Mere Rang De Basanti". Kehr called Devgn's interpretation of Bhagat "glowering" while praising Sushant's "urbane and unpredictable" rendition of Sukhdev. Although Variety's Derek Elley found The Legend of Bhagat Singh to be "drawn with more warmth" and approved of Devgn's and Sushant's performances, he was not pleased with the "choppy" screenplay in the film's first half. He concluded his review by saying that the film "has a stronger lead [thespian] and richer gallery of characters that triumph over often unsubtle direction". Some of the criticism was also

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The Legend of Bhagat Singh

Critical response

directed towards the treatment of Gandhi. Mahesh notes that he "appears in rather poor light" and was depicted as making "little effort" to secure a pardon for Bhagat, Sukhdev and Rajguru. Diwanji concurs with Mahesh while also saying that the Gandhi–Irwin Pact as seen in the film would make the audience think that Gandhi "condemned the trio to be hanged by inking the agreement" while pointing out the agreement itself "had a different history and context." Kehr believed the film's depiction of Gandhi was its "most interesting aspect". He described Surendra Rajan's version of Gandhi as "a faintly ridiculous poseur,

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The Legend of Bhagat Singh

Critical response & Box office

whose policies play directly into the hands of the British" and in that aspect, he was very different from "the serene sage" portrayed by Ben Kingsley in Richard Attenborough's Gandhi (1982). Like Diwanji, Elley also notes how the film denounces Gandhi by blaming him "for not trying very hard" to prevent Bhagat's execution. Box office The Legend of Bhagat Singh had an average opening in its first week, grossing ₹57.1 million (US$1.18 million in 2002) worldwide, with ₹33 million (US$684,221 in 2002) in India alone. The film failed to cover its budget thus underperforming at the box office, collecting only ₹129.35 million (US$2.68 million in

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The Legend of Bhagat Singh

Box office & Legacy

2002) by the end of its theatrical run. Shubhra Gupta of Business Line attributed the film's commercial failure to its release on the same day as 23rd March 1931: Shaheed, opining that "the two Bhagats ate into each other's business". Legacy Since its release, The Legend of Bhagat Singh has been considered as one of Santoshi's best works. Devgan said in December 2014 that The Legend of Bhagat Singh along with Zakhm (1998) were the best films he ever worked on in his career. He also revealed he had not seen such a good script since. In 2016, the film

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The Legend of Bhagat Singh

Legacy

was included in Hindustan Times's list of "Bollywood's Top 5 Biopics". The Legend of Bhagat Singh was added in both the SpotBoyE and The Free Press Journal lists of Bollywood films that can be watched to celebrate India's Independence Day in 2018. The following year, Daily News and Analysis and Zee News also listed it among the films to watch on Republic Day.