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Mudrarakshasa
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Mudrarakshasa
Author
Vishakhadatta
Language
Sanskrit
The Mudrarakshasa (The Signet of the Minister) is a historical play in Sanskrit by Vishakhadatta that narrates the ascent of the king Chandragupta Maurya (r. c. 324 – c. 297 BCE) to power in India. It is dated variously from the late 4th century[1] to the 8th century.[2]
Contents
[hide]
1 Plot
2 Characters
3 Commentary
4 Adaptations
5 Editions
6 References
6.1 Citations
6.2 Sources
Plot[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message)
Chanakya and Chandragupta defeat the king Nanda, in an alliance with another king Parvateshvara (or Parvata).
Parvata and Chandragupta plan to divide up the old possessions of the Nanda Empire. Next, Parvata dies poisoned by a Visha Kanya and his son Malayaketu succeeds him. Malayaketu, together with Rakshasa, the last minister of Nanda, demands the inheritance of all the old territories of the Nanda. Rakshasa, has also vowed to avenge the murder of his master Nanda and kill Chandragupta for that crime. He plans an attack on his capital with the help of Malayaketu.
The challenge before Chanakya is to somehow bring Rakshasa to accept the office of the Prime minister of Chandragupta. He cannot do it by force for the fear of harming Rakshasa. No inducement can work either. So he employs the strategy of isolating Rakshasa from his allies. This he does by fabricating evidence to show that Rakshasa is willing to sacrifice Malayaketu and join Chandragupta's camp. Malayaketu falls for this deceit and debunks Rakshasa. The second part of Chanakya's strategy is to force Rakshasa to surrender and accept Chandragupta's ministership. This he achieves by announcing death penalty for Chandanadasa, an old friend of Rakshasa. Circumstances bring Rakshasa to the city of Pataliputra where his friend is about to be put to the gallows. Rakshasa obtains his release by surrendering himself and agreeing to become the Prime minister to Chandragupta.
The title of the play is explained as 'the play in which Rakshasa is caught with the help of a ring.' Rakshasa's official signet ring plays a very significant role in Chanakya's overall strategy to discredit Rakshasa in Malayaketu's eyes. A chance discovery of Rakshsa's official ring by Chanakya's spy helps Chanakya to prepare and authenticate a fake letter purportedly addressed by Rakshasa to Chandragupta. His seal then seals his fate.
The historical basis of the Mudrarakshasa is somewhat supported by the description of this period of history in Classical Hellenistic sources: the violent rule of the Nanda, the usurpation of Chandragupta, the formation of the Maurya Empire.
Characters[edit]
According to the Sanskrit play Mudrarakshasa, Malayaketu was the king of a kingdom in Punjab located between the Jhelum and the Chenab (Greek: the Hydaspes and the Acesines) and dominions extending to Hyphasis.[3][not in citation given] Mudrarakshasa states that army of Malayaketu included people from Khasas, Magadha, Gandhara, Yavana, Saka, Chedi and Huna.[4]
Commentary[edit]
Dhundiraja, the author of Jataka Bharanam, had written a commentary on Mudrarakshasa.
Adaptations[edit]
There is a Tamil version based on the Sanskrit play[5] and Keshavlal Dhruv translated the original into Gujarati as Mel ni Mudrika (1889).
The later episodes of the TV series Chanakya were based mostly on the Mudrarakshasa. A film in Sanskrit was made in 2006 by Manish K. Mokshagundam, using the same plot as the play but in a modern setting.[6]
Editions[edit]
Antonio Marazzi (1871), Teatro scelto indiano tr. dal sanscrito (Italian translation), D. Salvi e c.
Kashinath Trimbak Telang (1884), Mudrarakshasa With the Commentary of Dhundiraja (written in 1713 CE) edited with Sanskrit text, critical and explanatory notes, introduction and various readings, Tukârâm Javajī . Second edition 1893, Fifth edition 1915. Sixth edition 1918, reprinted 1976 and by Motilal Banarsidass, 2000.
Ludwig Fritze (1886), Mudrarakschasa: oder, Des kanzlers siegelring (German translation), P. Reclam jun.
Victor Henry (1888), Le sceau de Râkchasa: (Moudrârâkchasa) drame sanscrit en sept actes et un prologue (French translation), Maisonneuve & C. Leclerc
Moreshvar Ramchandra Kāle (1900), The Mudrárákshasa: with the commentary of Dhundirája, son of Lakshmana (and a complete English translation)
K. H. Dhruva (1923), Mudrārākshasa or the signet ring: a Sanskrit drama in seven acts by Viśākhadatta (with complete English translation) (2 ed.), Poona Oriental Series (Volume 25) . Reprint 2004, ISBN 81-8220-009-1 First edition 1900
Vasudeva Abhyankar Shastri; Kashinath Vasudeva Abhyanker (1916), Mudraraksasam: a complete text; with exhaustive, critical grammatical and explanatory notes, complete translation, and introduction, Ahmedabad
Ananta Paṇḍita (1945), Dasharatha Sharma (critical introduction), ed., Mudrarakshasapurvasamkathanaka of Anantasarman (with an anonymous prose narrative), Bikaner: Anup Sanskrit Library
P. Lal (1964), Great Sanskrit Plays, in Modern Translation, New Directions Publishing, ISBN 978-0-8112-0079-0
J. A. B. van Buitenen (1968), Two plays of ancient India: The little clay cart, The minister's seal, Columbia University Press Review
Sri Nelaturi Ramadasayyangaar (1972), Mudra Rakshasam, Andhra Pradesh Sahitya Academy (In Telugu script, with Telugu introduction and commentary) Another version
Michael Coulson (2005), Rākṣasa's ring (translation), NYU Press, ISBN 978-0-8147-1661-8 . Originally published as part of Three Sanskrit plays (1981, Penguin Classics).
References[edit]
Citations[edit]
Jump up ^ Manohar Laxman Varadpande (1 September 2005). History Of Indian Theatre. Abhinav Publications. pp. 223–. ISBN 978-81-7017-430-1. Retrieved 6 June 2012.
Jump up ^ Upinder Singh (1 September 2008). A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century. Pearson Education India. pp. 30–. ISBN 978-81-317-1120-0. Retrieved 6 June 2012.
Jump up ^ Arrian Anabasis of Alexander, V.29.2
Jump up ^ Mookerji 1988, p. 27.
Jump up ^ Viśākhadatta; S. M. Natesa Sastri (1885), Mudrarakshasam: A tale in Tamil founded on the Sanskrit drama, Madras School Book and Vernacular Literature Society
Jump up ^ Film promo
Sources[edit]
Mookerji, Radha Kumud (1988) [first published in 1966], Chandragupta Maurya and his times (4th ed.), Motilal Banarsidass, ISBN 81-208-0433-3
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Government of India Act 1858
From Wikipedia, the free encyclopedia
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Government of India Act 1858[1]
Parliament of the United Kingdom
Long title
An Act for the better Government of India
Citation
21 & 22 Vict. c. 106
Dates
Royal assent
2 August 1858
Commencement
1 November 1858
The Government of India Act 1858 was an Act of the Parliament of the United Kingdom (21 & 22 Vict. c. 106) passed on August 2, 1858. Its provisions called for the liquidation of the British East India Company (who had up to this point been ruling British India under the auspices of Parliament) and the transference of its functions to the British Crown.[2] Lord Palmerston, then-Prime Minister of the United Kingdom, introduced a bill for the transfer of control of the Government of India from the East India Company to the Crown, referring to the grave defects in the existing system of the government of India. However, before this bill was to be passed, Palmerston was forced to resign on another issue. Later Edward Henry Stanley, 15th Earl of Derby (who would later become the first Secretary of State for India) introduced another bill which was originally titled as “An Act for the Better Government of India” and it was passed on August 2, 1858. This act provided that India was to be governed directly and in the name of the Crown.
Contents
[hide]
1 History
2 Provisions of the bill
3 See also
4 References
5 External links
History[edit]
The proclamation to the "Princes, Chiefs, and People of India," issued by Queen Victoria on November 1, 1858.
The Indian Rebellion of 1857 forced the British Government to pass the Act. The Act was followed a few months later by Queen Victoria's proclamation to the "Princes, Chiefs, and People of India," which, among other things, stated, ""We hold ourselves bound to the natives of our Indian territories by the same obligation of duty which bind us to all our other subjects." (p. 2)
Provisions of the bill[edit]
The Company's territories in India were to be vested in the Queen, the Company ceasing to exercise its power and control over these territories. India was to be governed in the Queen's name.
The Queen's Principal Secretary of State received the powers and duties of the Company's Court of Directors. A council of fifteen members was appointed to assist the Secretary of State for India. The council became an advisory body in India affairs. For all the communications between Britain and India, the Secretary of State became the real channel.
The Secretary of State for India was empowered to send some secret despatches to India directly without consulting the Council. He was also authorised to constitute special committees of his Council.
The Crown was empowered to appoint a Governor-General and the Governors of the Presidencies.
An Indian Civil Service was to be created under the control of the Secretary of State.
Hereto all the property and other assets of the East India Company were transferred to the Crown. The Crown also assumed the responsibilities of the Company as they related to treaties, contracts, and so forth.[3]
The Act ushered in a new period of Indian history, bringing about the end of Company rule in India. The era of the new British Raj would last until Partition of India in August 1947, at which time all of the territory of the British Raj was granted dominion status within the Dominion of Pakistan and the Union of India.[3]
See also[edit]
East India Stock Dividend Redemption Act 1873
British India
British rule
Secretary of State for India
India Office
Governor-General of India
Indian Councils Act 1909
Government of India Act 1935
History of Bangladesh
History of India
History of Pakistan
References[edit]
Jump up ^ This short title was conferred on the Act by the Short Titles Act 1896, s. 1
Jump up ^ Wolpert, Stanley (1989). A New History of India (3d ed.), pp. 239–40. Oxford University Press. ISBN 0-19-505637-X.
^ Jump up to: a b "Official, India". World Digital Library. 1890–1923. Retrieved 2013-05-30.
External links[edit]
One Scholar's Bibliography
Government of India Act 1858
Government of India Act, 1858 (21 & 22 Vict. c. 106)
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In the Heat of the Night (film)
From Wikipedia, the free encyclopedia
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In the Heat of the Night
Theatrical release poster
Directed by
Norman Jewison
Produced by
Walter Mirisch
Screenplay by
Stirling Silliphant
Based on
a novel by John Ball
Starring
Sidney Poitier
Rod Steiger
Music by
Quincy Jones
Cinematography
Haskell Wexler
Edited by
Hal Ashby
Production
company
The Mirisch Corporation
Distributed by
United Artists
Release date
August 2, 1967 (1967-08-02)
Running time
109 minutes[1]
Country
United States
Language
English
Budget
$2 million[2]
Box office
$24.3 million[3]
In the Heat of the Night is a 1967 American mystery drama film directed by Norman Jewison. It is based on John Ball's 1965 novel of the same name and tells the story of Virgil Tibbs, a black police detective from Philadelphia, who becomes involved in a murder investigation in a small town in Mississippi. The movie changes various details found in the book from relatively minor ones (in the book, Tibbs is a police officer in California) to more major (basic details of the murder, including the victim, are different). It stars Sidney Poitier and Rod Steiger, and was produced by Walter Mirisch. The screenplay was by Stirling Silliphant.
The film won five Academy Awards, including the 1967 awards for Best Picture and Rod Steiger for Best Actor.
The film was followed by two sequels, They Call Me Mister Tibbs! in 1970, and The Organization in 1971. In 1988, it also became the basis of a television series adaptation of the same name.
Although the film was set in the fictional Mississippi town of Sparta (with supposedly no connection to the real Sparta, Mississippi), most of the movie was filmed in Sparta, Illinois, where many of the film's landmarks can still be seen. The quote "They call me Mister Tibbs!" was listed as number 16 on the American Film Institute's 100 Years...100 Movie Quotes, a list of top film quotes. In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Contents
[hide]
1 Plot
2 Cast
3 Song credit
4 Production
5 Reception
6 Evaluation in film guides
7 Home media
8 Other appearances
9 Preservation
10 Gallery
11 Accolades
12 See also
13 Sources
14 References
15 External links
Plot[edit]
Phillip Colbert, a wealthy industrialist from Chicago, is constructing a factory in Sparta, Mississippi. One night in September 1966, when driving back into town after a meeting at the plantation home of one of Sparta's leading citizens, Eric Endicott, he is murdered. His body is found on the pavement at the front of an alley's entrance onto Main Street by Police Officer Sam Wood at about 3:30 a.m.
Police Chief Bill Gillespie arrives on the scene where the body has been discovered and takes direct charge of the investigation. A local undertaker and a freelance photographer have been summoned to the scene to assist the police with their investigation. The undertaker tells Gillespie that it is his immediate guess that the death occurred no more than a couple of hours earlier than the time of Wood’s discovery of the body, around 3:00 a.m.
Gillespie, speculating that the crime may have been committed by a transient, orders Wood to verify that the pool hall is closed (its hours had it open until 1:00 a.m.), the streets and alleyways are clear, and that the train and bus depots are clear as well.
At the town train depot, Wood finds a black man, Virgil Tibbs, sitting quietly with his luggage in a business suit after 3:00 a.m., waiting for what seems to be no specified train. Officer Wood immediately arrests him (at gunpoint), cursorily searches him, and finds more than $200 in cash in his wallet.
Wood takes him into the Sparta police station, where he presents him to Gillespie. Prejudiced against blacks, Gillespie jumps to the conclusion that he has his culprit and attempts to get Tibbs to confess. However, he is embarrassed to learn that Tibbs is a police officer from Philadelphia, Pennsylvania who happens to make more money in a week than Gillespie does in a month.
Gillespie phones Tibbs' chief to confirm the story. The chief informs Gillespie that Tibbs is his top homicide investigator and recommends that Tibbs stay and assist the investigation. Tibbs wants nothing more than to leave as quickly as possible, and Gillespie politely tells the chief that Tibbs' assistance won't be necessary. But as Tibbs prepares to head back to the train station, Gillespie swallows his pride and asks for help. Tibbs relents.
Leslie Colbert, the victim's widow, already frustrated by the ineptitude of the local police, is impressed by Tibbs' expertise when he clears another wrongly accused suspect whom Gillespie has arrested on circumstantial evidence. She threatens to stop construction on the much needed factory unless Tibbs leads the investigation. Unwilling to accept help, but under orders from the town's mayor, Gillespie talks a reluctant Tibbs into working on the case.
Despite the rocky start to their relationship, the two policemen are compelled to respect each other as they are forced to work together to solve the crime. Tibbs initially suspects wealthy plantation owner Eric Endicott, a racist who publicly opposes the new factory, as its workforce will consist primarily of black people. When Tibbs attempts to interrogate Endicott about Colbert, Endicott slaps him in the face, but Tibbs instantly slaps him back ("the slap heard round the world"), which leads to Endicott sending a gang of hooligans after Tibbs. Gillespie rescues him from the fight and orders him to leave town for his own safety, but Tibbs is convinced he is on the trail of the murderer, and refuses to leave until he has solved the case.
Tibbs' examination of Colbert's body has already placed the murder much earlier in the night than either Gillespie or the Sparta police had initially thought. He examines Colbert's car, and deduces that it was used to drive the dead man's body back from an as yet unknown location where Colbert was actually killed. Tibbs asks Wood to retrace his steps from his patrol on the night of the murder. Tibbs knows that an earlier time of death for Colbert means that Colbert's body was driven around Sparta and dumped into an alley while Wood was on patrol.
Tibbs and Gillespie accompany Wood on his patrol route, stopping at a diner where the counterman, Ralph Henshaw, refuses to serve Tibbs. When Tibbs notices that Wood has deliberately changed his route, Gillespie starts suspecting Wood of the crime. Tibbs indicates that he knows why Sam has changed his route but will not disclose the reason to Gillespie.
When Gillespie discovers that Wood made a sizable deposit into his bank account the day after the murder (which Wood claims is gambling winnings) and Lloyd Purdy, a local, files charges against Wood for getting his 16-year-old sister Delores pregnant, Gillespie arrests Wood for the murder, despite Tibbs' protests. Purdy is offended that Tibbs, a black man, was present for his sister's interrogation about her sexual encounter with Wood, and he gathers a mob to get his revenge on Tibbs.
Tibbs is able to clear Wood by finding the original murder scene, the site where Colbert's factory will be built, and pointing out that Sam would not have been able to drive his police patrol car and the victim's car at the same time. Tibbs also admits that he knew immediately that Wood changed his route not to hide being a murderer, but to hide being a peeping Tom (peeping on Delores Purdy, who herself is an exhibitionist), and declined to publicly reveal this in order to spare Wood embarrassment.
Acting on a hunch, Tibbs tracks down the local back-room abortionist, who reveals that someone had paid for Delores to have an abortion. When Delores arrives, Tibbs pursues her outside, where he is confronted by the murderer, Henshaw. Purdy's mob has tracked down Tibbs and is holding him at gunpoint when he proves to Purdy that it was Henshaw, not Wood, who got Delores pregnant.
Henshaw shoots Purdy dead before being disarmed by Tibbs. Henshaw is arrested and confesses to the murder of Colbert. He had robbed Colbert to gain money to pay for Delores's abortion but had accidentally killed him in the process.
His job done, Tibbs finally boards the Gulf, Mobile & Ohio train out of town, after being bid farewell by a now respectful Gillespie, "Virgil, . . you take care, . . you hear."
Cast[edit]
Sidney Poitier as Detective Virgil Tibbs
Rod Steiger as Police Chief Bill Gillespie
Warren Oates as Sergeant (Patrolman) Sam Wood
Lee Grant as Mrs. Leslie Colbert
Larry Gates as Eric Endicott
William Schallert as Mayor Webb Schubert
James Patterson as Lloyd Purdy
Beah Richards as Mama Caleba (Mrs. Bellamy)
Peter Whitney as CPL. George Courtney
Kermit Murdock as H.E. Henderson
Larry D. Mann as Watkins
Arthur Malet as Ted Ulam
Fred Stewart as Dr. Stuart
Scott Wilson as Harvey Oberst
Quentin Dean as Delores Purdy
Anthony James as Ralph Henshaw
Timothy Scott as Officer "Shagbag" Martin
William C. Watson as McNeil
Matt Clark as Packy Harrison
Eldon Quick as Charles Hawthorne
Stuart Nisbet as Shuie
Peter Masterson as Fryer
Jester Hairston as Henry, Endicott's butler
Phil Adams as 1st tough
Nikita Knatz as 2nd tough
Sam Reese as clerk
Dean Stanton (uncredited) as policeman
Khalil Bezaleel (uncredited) as Jess, the mechanic
Jazan Winona Wallace (uncredited) as Viola, Jess's wife
Jimmy Anderson (uncredited) as Jess and Viola's son
Michelle Rowell (uncredited) as the little girl in the yard when Tibbs is dropped off
Stuart Eugene Wallace (uncredited) as the little kid playing with the stick in the yard when Tibbs is dropped off
Michael Gates (uncredited) as Evan
Clegg Hoyt (uncredited) as policeman; his last film or television role
Song credit[edit]
"In the Heat of the Night" sung by Ray Charles
Song lyrics by Alan & Marilyn Bergman
Production[edit]
The film contains a famous scene in which Tibbs and Gillespie visit the home of Eric Endicott to question him, following Tibbs' discovery of trace evidence in the murder victim's car (a piece of osmunda). Upon realizing that Tibbs is suggesting he murdered Colbert, Endicott slaps Tibbs, whereupon Tibbs slaps him back. Reportedly, Tibbs's action was originally omitted from the screenplay, which stayed true to the novel with Tibbs not reacting to the slap. However, when Poitier read the script, he was purportedly uncomfortable with that reaction, as it was not true to the values his parents instilled in him. He requested that the producers alter the scene to Tibbs slapping Endicott back. This was important because of the ongoing battle for civil rights, which was still raging in 1967, despite the passage of the Civil Rights Act of 1964. This was one of the first times in any major motion picture when a black man reacted to provocation from a white man in such a way.
Referring to the scene Poitier said, "[The scene] was almost not there. I said, 'I'll tell you what, I'll make this movie for you if you give me your absolute guarantee when he slaps me I slap him right back and you guarantee that it will play in every version of this movie.' I try not to do things that are against nature." However, Poitier's version of the story is contradicted by Mark Harris in his book, Pictures at a Revolution. Harris states that copies of the original draft of the screenplay that he obtained clearly contain the scene as filmed, which is backed up by Jewison and Silliphant.
The film is also important for being the first major Hollywood film in color that was lit with proper consideration for a person of African descent. Haskell Wexler recognized that standard strong lighting used in filming tended to produce too much glare on that kind of dark complexion and rendered the features indistinct. Accordingly, Wexler toned it down to feature Poitier with better photographic results.[4]
Reception[edit]
In contrast to films like The Chase and Hurry Sundown, which offered confused visions of the South, In the Heat of the Night offered a tough, edgy vision of a Southern town that seemed to hate outsiders more than itself, a theme reflecting the uncertain mood of the time as the Civil Rights Movement attempted to take hold. On this count, the film became an overnight hit.
In a San Francisco pre-screening, Jewison was concerned when the young audience was laughing at the film as if it were a comedy. The audience's stunned reaction to the famous slapping scene convinced Jewison that the film was effective as drama.[5] That scene helped make the film so popular for audiences, finally seeing the top black film actor physically strike back against bigotry, that the film earned the nickname,Super-spade Versus the Rednecks.[6] During the film's initial run, Steiger and Poitier occasionally went to the Capitol Theatre in New York to amuse themselves seeing how many black and white audience members there were, which could be immediately ascertained by listening to the former cheering Tibbs's retaliatory slap and the latter whispering "Oh!" in astonishment.[7]
Canadian director Jewison wanted to tell a story of a white man and a black man working together in spite of difficulties. He also hated the way black Americans were treated by the white establishment at the time. Jewison, Poitier, and Steiger worked together and got along well during the filming, but Jewison had problems with the Southern authorities, and Poitier had reservations about coming south of the Mason–Dixon Line for filming. However, despite their reservations, Jewison decided to film part of the film in Dyersburg (Endicott's house) and Union City, Tennessee, anyway while the rest was filmed in Sparta, Chester (Harvey Oberst chase scene), and Freeburg (Compton's diner), Illinois.
Jewison said that this film proved a conviction he had held for a long time: "It's you against the world. It's like going to war. Everybody is trying to tell you something different and they are always putting obstacles in your way."
Then-freshman critic Roger Ebert in 1967 gave In the Heat of the Night a positive review and placed it at number ten on his top ten list of 1967 films.[8][9] AD Murphy of Variety magazine felt it was a good but uneven film.[10]
With the release of the film in the United States in August, Poitier was starring in two movies simultaneously at the box office, as To Sir, with Love had been released the previous June.
The film, as of July 2017, holds a 96% "Certified Fresh" rating on the review aggregate website Rotten Tomatoes, out of 44 reviews collected with an average rating of 8.2 out of 10. It's consensus states, "Tense, funny, and thought-provoking all at once, and lifted by strong performances from Sydney Poitier and Rod Steiger.[11]
Evaluation in film guides[edit]
Steven H. Scheuer's Movies on TV (1972–73 edition) gives In the Heat of the Night its highest rating of 4 stars, recommending it as an "[E]xciting, superbly acted and directed film about prejudice, manners and morals in a small Mississippi town", with the concluding sentences stating, "[D]irector Norman Jewison does an outstanding job in creating the subsurface tension of life in a 'sleepy' Southern town, and the supporting performances are uniformly fine. A first-rate film in all respects." Leonard Maltin's TV Movies & Video Guide (1989 edition) follows Scheuer's example with its own highest rating of 4 stars, concluding that "[M]arvelous social thriller hasn't dated one bit—tough, funny, and atmospheric, with unbeatable acting and splendid Quincy Jones score. Five Oscars include Best Picture..."
Mick Martin's & Marsha Porter's DVD & Video Guide (2007 edition) also puts its rating high, at 4 stars (out of 5), finding it "[A] rousing murder mystery elevated by the excellent acting of Rod Steiger and Sidney Poitier."
British references likewise show high regard for the film, with David Shipman in his 1984 The Good Film and Video Guide giving 3 (out of 4) stars, noting that "[A]s mystery or detective story this film is only fair but it has enormous tension. Within its given framework, it is good on the colour question. There is tension in the eyes of the black (Sidney Poitier), who happens to be a homicide officer, and malevolence in those of the local police chief (Rod Steiger). These are two remarkable performances, well supported by Warren Oates, Lee Grant and Larry Gates."
Home media[edit]
In the Heat of the Night was first released on DVD in 2001. In 2010, the film was digitized in High Definition (1080i) and broadcast on MGM HD.
In 2014, MGM released the film on Blu-ray.
Other appearances[edit]
In episode 6 of Doctor Who's "Web of Fear", a poster for this film is shown in the background, with the movie title replaced by the words 'Block-Busters', presumably for copyright reasons.
Preservation[edit]
The Academy Film Archive preserved In the Heat of the Night in 1997.[12]
Gallery[edit]
Accolades[edit]
In the Heat of the Night was nominated for seven Academy Awards, winning five. They are as follows:[13]
Academy Award wins
Academy Award for Best Picture — Walter Mirisch
Academy Award for Best Actor — Rod Steiger
Academy Award for Best Film Editing — Hal Ashby
Academy Award for Best Sound — Samuel Goldwyn Studios
Academy Award for Best Screenplay Based on Material from Another Medium — Stirling Silliphant
Academy Award nominations
Academy Award for Best Directing — Norman Jewison
Academy Award for Best Sound Effects — James Richard
Other awards
Golden Globe Award for Best Motion Picture – Drama
Golden Globe Award for Best Actor – Motion Picture Drama—Rod Steiger
Golden Globe Award for Best Screenplay—Stirling Silliphant
BAFTA Award for Best Foreign Actor—Rod Steiger
BAFTA UN Award—Walter Mirisch
Edgar Award—Best Motion Picture Screenplay—Stirling Silliphant (Ball's book also received an Edgar, for Best First Novel)
New York Film Critics Circle Awards for Best Picture Walter Mirisch
American Film Institute recognition
AFI's 100 Years... 100 Movies (10th Anniversary Edition): #75
AFI's 100 Years...100 Heroes and Villains: Virgil Tibbs #19 Hero
AFI's 100 Years...100 Movie Quotes:
Virgil Tibbs: "They call me Mister Tibbs!": #16
AFI's 100 Years...100 Cheers: # 21
Other nominations
BAFTA Award for Best Foreign Actor—Sidney Poitier
BAFTA Award for Best Film from any Source—Norman Jewison
Directors Guild of America for Outstanding Directorial Achievement in Motion Pictures—Norman Jewison
Golden Globe Award for Best Motion Picture Director—Norman Jewison
Golden Globe Award for Best Motion Picture Actor—Drama—Sidney Poitier
Golden Globe Award for Best Supporting Actress—Lee Grant
Golden Globe Award for Best Supporting Actress—Quentin Dean
Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media—Quincy Jones
Writers Guild of America for Best Written American Drama—Stirling Silliphant
See also[edit]
List of American films of 1967
Sources[edit]
DuBose, James (2008). Searching for Sparta: A 40-year Retrospective on the Movie In the Heat of the Night (2nd ed.). lulu.com.
References[edit]
Jump up ^ "IN THE HEAT OF THE NIGHT (A)". British Board of Film Classification. July 17, 1967. Retrieved November 13, 2014.
Jump up ^ Tino Balio, United Artists: The Company that Changed the Film Industry, Uni of Wisconsin Press, 1987 p 187
Jump up ^ "In the Heat of the Night, Box Office Information". The Numbers. Retrieved March 8, 2012.
Jump up ^ Harris, Mark. Pictures at a Revolution: Five Films and the Birth of a New Hollywood. Penguin Press, 2008, p. 221.
Jump up ^ Harris, pp. 288–90.
Jump up ^ Harris, p. 336.
Jump up ^ Harris, pp. 335–6
Jump up ^ Ebert's 10 Best Lists: 1967 to Present. Roger Ebert of The Chicago Sun-Times via the Internet Archive. Retrieved October 18, 2016.
Jump up ^ The Best 10 Movies of 1967. Roger Ebert of The Chicago Sun-Times. Retrieved October 18, 2016.
Jump up ^ Later, Poitier did the sequels They Call Me MISTER Tibbs and The Organization, but both films failed at the box office.Variety review, 1967
Jump up ^ "In the Heat of the Night, Movie Reviews". Rotten Tomatoes. Retrieved March 9, 2012.
Jump up ^ "Preserved Projects". Academy Film Archive.
Jump up ^ "The 40th Academy Awards (1968) Nominees and Winners". oscars.org. Retrieved 2011-08-25.
External links[edit]
Wikiquote has quotations related to: In the Heat of the Night (film)
In the Heat of the Night on IMDb
In the Heat of the Night at the TCM Movie Database
In the Heat of the Night at AllMovie
In the Heat of the Night at the American Film Institute Catalog
In the Heat of the Night at Box Office Mojo
In the Heat of the Night at Rotten Tomatoes
[show]
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40 Pounds of Trouble (1962)
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The Cincinnati Kid (1965)
The Russians Are Coming, the Russians Are Coming (1966)
In the Heat of the Night (1967)
The Thomas Crown Affair (1968)
Gaily, Gaily (1969)
Fiddler on the Roof (1971)
Jesus Christ Superstar (1973)
Rollerball (1975)
F.I.S.T. (1978)
...And Justice for All (1979)
Best Friends (1982)
A Soldier's Story (1984)
Agnes of God (1985)
Moonstruck (1987)
In Country (1989)
Other People's Money (1991)
Only You (1994)
Bogus (1996)
The Hurricane (1999)
Dinner with Friends (2001)
The Statement (2003)
[show]
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It Happened One Night (1934)
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You Can't Take It with You (1938)
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Rebecca (1940)
How Green Was My Valley (1941)
Mrs. Miniver (1942)
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The Best Years of Our Lives (1946)
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On the Waterfront (1954)
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Around the World in 80 Days (1956)
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Gigi (1958)
Ben-Hur (1959)
The Apartment (1960)
West Side Story (1961)
Lawrence of Arabia (1962)
Tom Jones (1963)
My Fair Lady (1964)
The Sound of Music (1965)
A Man for All Seasons (1966)
In the Heat of the Night (1967)
Oliver! (1968)
Midnight Cowboy (1969)
Patton (1970)
The French Connection (1971)
The Godfather (1972)
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One Flew Over the Cuckoo's Nest (1975)
1976–2000
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Amadeus (1984)
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Rain Man (1988)
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Unforgiven (1992)
Schindler's List (1993)
Forrest Gump (1994)
Braveheart (1995)
The English Patient (1996)
Titanic (1997)
Shakespeare in Love (1998)
American Beauty (1999)
Gladiator (2000)
2001–present
A Beautiful Mind (2001)
Chicago (2002)
The Lord of the Rings: The Return of the King (2003)
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Birdman or (The Unexpected Virtue of Ignorance) (2014)
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A Place in the Sun (1951)
The Greatest Show on Earth (1952)
On the Waterfront (1954)
East of Eden (1955)
Around the World in 80 Days (1956)
The Bridge on the River Kwai (1957)
The Defiant Ones (1958)
Ben-Hur (1959)
Spartacus (1960)
The Guns of Navarone (1961)
Lawrence of Arabia (1962)
The Cardinal (1963)
Becket (1964)
Doctor Zhivago (1965)
A Man for All Seasons (1966)
In the Heat of the Night (1967)
The Lion in Winter (1968)
Anne of the Thousand Days (1969)
Love Story (1970)
The French Connection (1971)
The Godfather (1972)
The Exorcist (1973)
Chinatown (1974)
One Flew Over the Cuckoo's Nest (1975)
Rocky (1976)
The Turning Point (1977)
Midnight Express (1978)
Kramer vs. Kramer (1979)
Ordinary People (1980)
On Golden Pond (1981)
E.T. the Extra-Terrestrial (1982)
Terms of Endearment (1983)
Amadeus (1984)
Out of Africa (1985)
Platoon (1986)
The Last Emperor (1987)
Rain Man (1988)
Born on the Fourth of July (1989)
Dances with Wolves (1990)
Bugsy (1991)
Scent of a Woman (1992)
Schindler's List (1993)
Forrest Gump (1994)
Sense and Sensibility (1995)
The English Patient (1996)
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[show]
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Virgil Tibbs
Novel
In the Heat of the Night by John Ball
Films
In the Heat of the Night
They Call Me Mister Tibbs!
The Organization
TV series
In the Heat of the Night (episodes)
Retrieved from "https://en.wikipedia.org/w/index.php?title=In_the_Heat_of_the_Night_(film)&oldid=800566126"
Categories:
1967 films
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Christ Church Anglo-Indian Higher Secondary School
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Christ Church Anglo-Indian Higher Secondary School / Sacred Heart School / Church Park Convent
CCAIHSS
Location
Anna Salai, Chennai, Tamil Nadu
India
Information
Type
Co-educational
Motto
"Do your Best"
Established
1842
Headmistress
Mrs. Helen Devadas
Staff
100
Grades
1 to Grade 12
Number of students
2000+
Campus size
very large
Campus type
School building [3 floors + hall], church, ground, KG ground, canteen, office, a/c hall .
Color(s)
Red, blue, green, yellow
Affiliation
Anglo-Indian School Leaving Certificate (A.I.S.L.C) For classes 1 to 10.
Christ Church Anglo-Indian higher Secondary School is located in Anna Salai, Chennai, India.
Contents
[hide]
1 History
2 School construction
3 Facilities
4 School Houses
5 Information
6 External links
7 References
History[edit]
The first of the congregations is that of Christ Church and its school. It had its beginnings in 1842 when the East Indians who lived and worked in neighbouring Narasingapuram, Chintadripet, Pudupet and Royapettah sought a church and school close to them.[1]
In a reference to its East Indian congregation, a footnote to a brief history of the Church says, "At the beginning of the 19th Century, they were called Indo-Britons, in the second and third quarters of the century they were known as East Indians, in the fourth quarter they were known as Eurasians, and they are now (early 20th Century) called Anglo-Indians. These changes were made at their request".
School construction[edit]
The Mount Road congregation first met in 1842 in a building loaned them by Thomas Parker Waller, an Englishman whose livery stables the property originally was. A school was established in another building in the property and the children had to compete for space in the campus with horses, coaches, farriers and grooms. A few years later, Waller donated to both the area the congregation and the school were using in order that they could raise a church and better school buildings, which they could separate from the stables.
The land and buildings Waller gifted the parishioners were estimated to be worth Rs. 12,000. Work began in 1850 on Christ Church, to a design by John Law. The tall-steeple Anglican Church, which was consecrated in 1852, cost Rs. 37,000 - and that included raising the building, developing the compound, and the solid wooden furniture, (made by Deschamps,[2] one of the better-known furniture makers of Madras of the time).
Attention then turned to building a block for the school. Additional buildings have been added for a growing school and the church has been renovated.
Facilities[edit]
The school enrolls children from kindergarten to class 10 (Anglo Indian system) and the Tamil Nadu State Board for classes 11 and 12.
School Houses[edit]
The students are divided into four houses for the competitions and sports activities held in the school. The four houses Charter, Eton, Harrow and Rugby were named after schools in England.
House
House colour
Charter
Rugby
Harrow
Eton
Information[edit]
On 24 July 2009, The Christ Church (1985 batch) alumni students celebrated their re-union after a span of 25 years.
External links[edit]
References[edit]
Jump up ^ The Article From Hindu Newspaper
Jump up ^ The News Article on Deschamps in Hindu Newspaper
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Lashon hara
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
The related terms "hotzaat shem ra"/"hotzaat diba",[1] "motzi shem ra",[2] and "rekhilut"[3] all redirect here.
No lashon hara sign in the Mea Shearim quarter of Jerusalem
The Hebrew term lashon hara (or loshon horo) (Hebrew לשון הרע; "evil tongue") is the halakhic term for derogatory speech about another person.[4] Lashon hara differs from defamation in that its focus is on the use of true speech for a wrongful purpose, rather than falsehood and harm arising.
Speech is considered to be lashon hara (detraction) if it says something negative about a person or party, is not seriously intended to correct or improve a negative situation, and is true. Statements that fit this description are considered to be lashon hara, regardless of the method of communication that is used, whether it is through face-to-face conversation, a letter, telephone, or email, or even body language.
Lashon hara (lit. "evil tongue") is considered to be a very serious sin in the Jewish tradition. The communicator of Lashon Hara (and rechilut) violates the prohibition of "Lo telech rachil b'ameicha (Leviticus 19:16)."[5]
By contrast, hotzaat shem ra ("spreading a bad name"), also called hotzaat diba, or motzi shem ra (lit. "putting out a bad name") consists of untrue remarks, and is best translated as "slander" or "defamation" (calumny). Hotzaat shem ra is worse, and consequentially an even graver sin, than lashon hara.[4] And the act of gossiping is called rechilut, and is also forbidden by halakha.[4]
Contents
1 Etymology
2 Sources
3 Chafetz Chaim
4 Baalei Lashon Hara
5 Exceptions
6 See also
7 References
8 External links
Etymology[edit]
The noun lashon, "tongue", followed by the definite article ha and the adjective ra, "evil". The Hebrew noun lashon means "tongue", and as in many languages, "speech" or "language". The phrase is generally translated as "evil speech". The term corresponds to the idea of an evil tongue in other cultures, such as the Latin mala lingua,[6] the French mauvaise langue,[7][8] and the Spanish mala lengua.[9][10][11]
Sources[edit]
The term lashon hara is not mentioned in the Tanakh, but "keep thy tongue from evil" (נְצֹר לְשֹׁונְךָ מֵרָע) occurs in Psalm 34:14.[12] The Torah contains a general injunction against rekhilut (gossip): "Thou shalt not go up and down as a talebearer among thy people; neither shalt thou stand idly by the blood of thy neighbour: I am the LORD" (Leviticus 19:16).[13] In addition, the words "ye shall not wrong one another" (Leviticus 25:17) according to tradition refer to wronging a person with one's speech.[14]
The Talmud (Arakhin 15b) lists lashon hara as one of the causes of the Biblical malady of tzaraath. In Sotah 42a, the Talmud declares that habitual speakers of lashon hara are not tolerated in God's presence. Similar strong denouncements can be found in various places in Jewish literature.[15]
In Numbers chapter 12, Miriam gossips with her brother Aaron, questioning why Moses is more qualified to lead the Jewish people than anyone else. God hears and strikes her down with tzaraath. Miriam had to stay outside of the camp for a week due to the tzaraath. During this time, all of Israel waited for her.
Chafetz Chaim[edit]
Rabbi Yisrael Meir Kagan wrote two major halakhic works on the evil tongue: Chafetz Chaim ("Desirer of Life", Psalms 34:13-14) and Shmirat HaLashon ("Guarding the tongue"), both 1873. The Chafetz Chaim lists 31 speech-related commandments mentioned in the Torah. An English adaptation, Guard Your Tongue, (2002) anthologizes the teachings of these two books.[16]
Baalei Lashon Hara[edit]
The expression Baalei Lashon Hara literally means "masters of evil tongue", and it refers to habitual speakers of Lashon Hara. The serious prohibition of communicating lashon harah relates foremost to somebody who incidentally did so. Someone who makes it his habit to talk lashon harah about others ("did you hear ...", "do you already know ...", etc.) is called a ba'al lashon hara. By repeatedly communicating so, lashon hara became an integral part of this person, and his/her sins are far more severe, because this person regularly creates a Chillul Hashem, meaning a "desecration of the name of HaShem" (Leviticus 22:32). Lashon Hara and also Rechilut and Motzi Shem Ra are not accepted social tools in Judaism because such behavior cuts the person who does in this manner off from many good things in the world around them. It is often phrased that one should stay away from people who communicate Lashon Hara because any day, one will almost certainly become an object of derogatory communication by the same people.[5]
Exceptions[edit]
There are times when a person is permitted or even required to disclose information whether or not the information is disparaging. For instance, if a person’s intent in sharing negative information is for a to’elet, a positive, constructive, and beneficial purpose that may serve as a warning to prevent harm or injustice, the prohibition against lashon hara does not apply. Hotzaat shem ra, spouting lies and spreading disinformation, is always prohibited. It is important to note that even with positive intentions, there are many important limitations regarding when it is permitted to speak lashon hara.
See also[edit]
Chofetz Chaim
Public disclosure of private facts (legally recognized by many United States of America jurisdictions as constituting actionable injury)
References[edit]
Jump up ^ 'hotzaat shem ra' / 'hotzaat diba' - spreading a bad name
Jump up ^ 'motzi shem ra' - lit. putting out a bad name, see Tazria#Leviticus chapter 13, Metzora (parsha)#Leviticus chapter 14 2
Jump up ^ 'rechilut' - talebearing that incites hatred and resentment
^ Jump up to: a b c "Judaism 101: Speech and Lashon Ha-Ra". jewfaq.org. Retrieved 22 January 2015.
^ Jump up to: a b Morgenstern, Arthur B. "The Prohibition of Communicating Lashon Hara". Ethics of Speech - Shmiras ha-Lashon. Project Genesis Inc. Retrieved 20 March 2014.
Jump up ^ A Commentary on Catullus - Page 19 Robinson Ellis - 2010 re the Virgilian motto: " "baccare frontem cingite, ne vati noceat mala lingua futuro" .... would seem to show that the notion of witchcraft was originally that of the evil tongue (mala lingua) rather than the evil eye."
Jump up ^ John A. Lent -Third World mass media and their search for modernity Page 179 1977 "Lewis, writing about the features of West Indian society that make it more traditional than modern, delineated a number of interpersonal communications traits: Passion for intrigue; malicious gossip, the famous Trinidad mauvaise langue
Jump up ^ Caroline Sweetman Men and masculinity - Page 50 1997 "... to less acceptable but more aggressive methods of power enforcement such as spreading malicious rumours or mauvais langue".
Jump up ^ Cuban-American literature and art: negotiating identities - Page 24 Isabel Álvarez-Borland, Lynette M. F. Bosch - 2009 "The difference between the two organs is that whereas the diseased body is put in the care of medical specialists, responsibility for the ailing tongue, for la mala lengua, rests with the speaker alone. The only treatment available to ..."
Jump up ^ Cassell's Spanish dictionary: Spanish-English, English-Spanish Edgar Allison Peers - 1968
Jump up ^ Speaking for themselves: Neomexicano cultural identity Doris Meyer - 1996 "An article entitled "La lengua" [The tongue], appearing about the same time in El Nuevo Mundo [May 18, 1899], begins with the traditional equation between moral character and probity of speech. The image of a "mala lengua" [evil tongue]"
Jump up ^ "Psalms 34 / Hebrew - English Bible / Mechon-Mamre". mechon-mamre.org. Retrieved 22 January 2015.
Jump up ^ "Leviticus 19 / Hebrew - English Bible / Mechon-Mamre". mechon-mamre.org. Retrieved 22 January 2015.
Jump up ^ "Leviticus 25 / Hebrew - English Bible / Mechon-Mamre". mechon-mamre.org. Retrieved 22 January 2015.
Jump up ^ "Archived copy" (PDF). Archived from the original (PDF) on 2007-09-27. Retrieved 2007-03-27.
Jump up ^ Zelig Pliskin, Guard Your Tongue Bnay Yakov Publications (2002)
External links[edit]
Wikiquote has quotations related to: Lashon hara
Benjamin Brown, 'From Principles to Rules and from Musar to Halakhah - The Hafetz Hayim's Rulings on Libel and Gossip'
Translation of Sefer Shmiras HaLashon
Let Them Talk: The Mitzvah to Speak Lashon Hara by Rabbi Mark Dratch, JSafe
A primer on how to raise our children to look at the positive and speak well about others
31 mitzvot of speech
Hilchot Lashon Hara (L"H)
Negative Speech (Lashon Hora) | Chabad.org
Finding Your Zivug or Mate Loshon Hora and Information-Seeking in Shidduchim
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values: איסור לשון הרע – Hebrew

values: Злословие – Russian

values: לשון הרע – Yiddish

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