text:
Ungifted
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Ungifted
Author
Gordon Korman
Country
United States
Language
English
Genre
Children's fiction
Publisher
HarperCollins, Balzer + Bray
Publication date
18 February 2012
Media type
Paperback, Hardcover, Audiobook
Pages
288
ISBN
978-0061742675
Ungifted is a 2012 children's novel by Gordon Korman. The story is told with chapters of alternating perspectives. It is recommended for grades 5-8.
Contents
[hide]
1 Plot
2 Awards and Achievements
3 Reception
4 References
Plot[edit]
Donovan Curtis thinks he's ungifted. He is the ultimate prankster and trouble-maker. But one day, he goes too far in causing a commotion. With a stick, he strikes the statue of Atlas sending the world to roll into the gymnasium, where a basketball game is taking place. No one is injured, but the gym is completely demolished.
The district superintendent Dr. Schultz is watching the game. He catches Donovan red-handed. However, when he jots down Donovan's name, he writes it on the list of candidates for the Academy for Scholastic Distinction, a school for extremely gifted students.
Donovan knows he will be busted. However, he finds the academy as an interesting place for the time being. In the academy, he influences the students there, to be more "normal" .
Awards and Achievements[edit]
Winner of the 2014 Red Cedar Award (BC Young Readers' Choice)
Short-listed for the 2015 Pacific Northwest Library Association Young Readers' Choice
Short-listed for the 2013 Snow Willow Award (Saskatchewan Young Readers' Choice)
Short-listed for the 2013 Canadian Library Association Book of the Year For Children
Runner-up of the 2014 Manitoba Young Readers' Choice Award
Commended for the 2013 OLA Best Bets
Commended for the 2013 Best Books for Kids and Teens, Canadian Children's Book Centre[1]
Reception[edit]
Ungifted has received reviews from School Library Journal, Voice of Youth Advocates (VOYA), ALA Booklist, the National Post, Publishers Weekly, New York Times Book Review, the Horn Book Guide, Children's Literature, Junior Library Guild, and Kirkus Reviews. School Library Journal described the story as "unpretentious and universally appealing".[2] Booklist labelled the conclusion as "satisfying".[3] New York Times wrote that the novel is "brisk, heartfelt and timely". Children's Literature described the story as "unique" and the novel as "easily read", "nice" and "safe". Children's Lit also recommended it for "middle school students who don't feel they belong" and as an "ideal selection for classroom study" with "well-developed" characters and "many layers of 'drama'". Voice Of Young Advocates praised the novel by describing Ungifted as "humorous", "quirky", and "feel-good". The novel was also praised as "a gem for readers looking for a story", and the plot as "touching, without being overly sentimental". VOYA recommended Ungifted for "middle school readers who are looking for a funny and quick read".
References[edit]
Jump up ^ "Scholastic: Ungifted". scholastic.ca. Scholastic Canada Ltd. Retrieved 28 March 2015.
Jump up ^ "Bookverdict: Ungifted by john fisher". bookverdict.com. Media Source Book Verdict. Retrieved 15 March 2015.
Jump up ^ "Booklist review: Ungifted". Booklist Publications. Retrieved 28 March 2015.
Children's literature portal
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ungifted&oldid=805379283"
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text:
M&M's
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the candy. For other uses, see M&M.
M&M's
Owner
Mars, Incorporated
Country
United States
Introduced
February 28, 1941; 76 years ago (1941-02-28)
Related brands
Minstrels, Revels, Treets
Markets
Worldwide (over 100 countries)[1]
Website
www.mms.com
M&M's are "colorful button-shaped chocolates", each of which has the letter "m" printed in lower case on one side, surrounds a filling which varies depending upon the variety of M&M's. The original candy had a milk chocolate filling which, upon introducing other variations, was branded as the "plain" variety. "Peanut" M&M's, which feature a peanut coated in milk chocolate, and finally a candy shell, were the first variation to be introduced, and they remain a regular variety. Numerous other variations have been introduced, some of which are regular widespread varieties (such as "peanut butter", "almond", "pretzel", "crispy", "dark chocolate", and "caramel") while others are limited in duration or geographic availability.
M&M's originated in the United States in 1940,[2] and are sold in over 100 countries, since 2003.[1] More than 400 million individual M&M's are produced every day in the United States.[3][4] They are produced in different colors, some of which have changed over the years. The candy-coated chocolate concept was inspired by a method used to allow soldiers to carry chocolate without having it melt. The company's longest-lasting slogan reflects this: "Melts in your mouth, not in your hand."
A traditional milk chocolate M&M weighs about 0.91 grams / 0.032 ounces[5] and has about 4.7 kilocalories (kcal) of food energy (1.7 kcal from fat).[6]
Contents
[hide]
1 History
1.1 1941–1979
1.2 1980s
1.3 1990s
1.4 2000s
1.5 2010s
2 Varieties
3 Marketing
3.1 E.T.: The Extra-Terrestrial
3.2 Marketing campaigns
3.3 Joint marketing campaigns
3.4 Related brands
4 M&M's characters
5 Color changes in chocolate M&M's
6 Health concerns
7 See also
8 References
9 External links
History[edit]
1941–1979[edit]
Plain/Milk Chocolate M&M's were introduced in 1941.
Forrest Mars, Sr., son of the Mars Company founder, Frank C. Mars, copied the idea for the candy in the 1930s during the Spanish Civil War when he saw soldiers eating British made Smarties, chocolate pellets with a colored shell of what confectioners call hard panning (essentially hardened sugar syrup) surrounding the outside, preventing the candies from melting. Mars received a patent for his own process on March 3, 1941.[7] Production began in 1941 in a factory located at 285 Badger Avenue in Clinton Hill, Newark, New Jersey. When the company was founded it was M&M Limited.[8] The two "Ms" represent the names of Forrest E. Mars Sr., the founder of Newark Company, and Bruce Murrie, son of Hershey Chocolate's president William F. R. Murrie, who had a 20 percent share in the product.[9] The arrangement allowed the candies to be made with Hershey chocolate, as Hershey had control of the rationed chocolate at the time.[10]
M&M's chocolate candy in cross-section with millimeter ruler for scale. Shows layers of hard panned coating.
The demand for the candies during World War II caused an increase in production and its factory moved to bigger quarters at 200 North 12th Street in Newark, New Jersey, where it remained until 1958 when it moved to a bigger factory at Hackettstown. During the war, the candies were exclusively sold to the military.[11]
Peanut M&M's were introduced in 1954.
In 1949, the brand released the tagline "Melts in your mouth, not in your hand."[12]
Peanut butter M&M's. (Not to be confused with Peanut M&Ms)
In 1950, a black "M" was imprinted on the candies giving them a unique trademark. It was changed to white in 1954.[8]
In the early 1950s, the Midwest Research Institute (now MRIGlobal) in Kansas City, Missouri, worked on behalf of M&M's to perfect a process whereby 3,300 pounds (1,500 kg) of chocolate centers could be coated every hour.[13]
Peanut M&M's were introduced in 1954 but first appeared[14] only in the color tan. In 1960, M&M's added the yellow, red, and green colors.
In 1976, orange was added to the M&M rainbow to replace red, which was discontinued due to the red dye scare over Red Dyes #2 and #4 having been evaluated to be carcinogenic in nature. In spite of the fact that M&M's had used the less controversial Red Dye #40, the public was wary of any food being dyed red. Red M&M's were re-introduced in 1987.
1980s[edit]
In the 1980s, M&M's were introduced internationally to Australia, Canada, Europe, Hong Kong, Japan, Malaysia, and the United Kingdom.[15]
Although they were marketed and then withdrawn in the 1960s, almond-centered M&M's were available again in 1988 in limited release, with appearances only during Christmas and Easter times; they became a standard part of the product line in 1992.
Also in 1986, M&M's launched Holidays Chocolate Candies for Easter and Christmas, with the Easter candies having bunny, chick, and egg symbols on pastel-colored shells, and the Christmas candies having pine tree, bell, and candle symbols on red and green shells; with the latter also having a special mint flavor. By 1993, the holiday symbols were replaced with the standard trademark "M".
1990s[edit]
In 1991, Peanut Butter M&M's were released. These candies have peanut butter inside the chocolate center and the same color scheme as the other varieties. As of at least 2013, the size of the peanut butter M&M has become slightly smaller.
In 1995, tan M&Ms were discontinued to be replaced by blue.[16]
In 1996, Mars introduced "M&M's Minis", smaller candies usually sold in plastic tubes instead of bags.[17]
In 1999, Crispy M&M's were released. They were slightly larger than the milk chocolate variety and also featured a crispy wafer center. They were discontinued in the United States in 2005 and remained available in Europe, and Southeast Asia. In January 2015, they returned to production in the United States.
2000s[edit]
In July 2001, Dulce de Leche M&M's were introduced in five markets with large Hispanic populations: Los Angeles, California; San Diego, California; Miami, Florida; Mcallen-Brownsville, Texas; and San Antonio, Texas.[18] The flavor never became popular with the Hispanic community, who preferred existing M&M's flavors, and it was discontinued in most areas by early 2003.[19]
2010s[edit]
In 2010, Pretzel M&M's were released. They contain a crunchy, salty pretzel center inside of the chocolate coating and are about the same size as the Peanut M&M's, but their shape tends to be more spherical.
In 2013, the M&M's chocolate bar was re-released. It was originally released in 2004 and named M-Azing.
In 2014, Mega M&M's were re-introduced. Before then, the 'Mega M&M's' had been released in 2007 promoting the Shrek Movies, being dubbed "Ogre-Sized M&M's".
In 2015, Crispy M&M's were re-introduced in the United States. They had remained available continuously in Europe and Australia.
In 2016, the M&M cookie was re-introduced in the United States.
Also in 2016, the M&M's flavor vote was created in which the fans could vote for either honey, coffee, or chili nut M&M's to go with peanut M&M's. Coffee Nuts was announced as the winner by VEEP's Tony Hale [20]
In April 2017, M&M's chocolate blocks went on sale in Australia. Six varieties (milk chocolate, strawberry, crispy, hazelnut, crispy mint and almond) are available.
Also in 2017, Caramel M&M's were released in the United States.[21]
Varieties[edit]
M&M's varieties have included the following sizes and fillings. Note that some have only been made available for a limited time, such as white cheesecake for Easter, pumpkin spice or white candy corn for Halloween, and White Strawberry Shortcake for Valentine's Day.
sizes: regular (in the following flavors), minis, mega (×3 the chocolate) and the "chocolate bar".
chocolate: milk chocolate, dark chocolate, white chocolate
nut: peanuts, almonds, peanut butter, dark chocolate peanut, strawberried peanut butter, strawberry nut
spice and herb: mint chocolate, cinnamon, pumpkin spice, white chocolate peppermint, holiday mint, gingerbread, mint crisp, pumpkin spice latte, mocha, coffee nut, honey nut, and chili nut.[22]
fruit: orange chocolate, cherry, raspberry, cherry cordial, pineapple, coconut, candy apple
dessert: pretzel, birthday cake, white chocolate candy corn, red velvet, dulce de leche, white chocolate carrot cake, vanilla shake, crispy, three milks (tres leches), pecan pie, and caramel.
colors: Easter regularly sees pastel-colored candies and Christmas bags have green and red only
Marketing[edit]
Over the years, marketing has helped build and expand the M&M's brand. Computer-animated graphics, personification of the candies as characters with cartoon-like storytelling, and various merchandising techniques including the introduction of new flavors, colors and customizable merchandise have helped to increase the brand's recognition as a candy icon.
E.T.: The Extra-Terrestrial[edit]
In 1982, the Mars candy bar company rejected the inclusion of M&M's in the new Steven Spielberg movie E.T.: The Extra-Terrestrial. Competitor Hershey, on the other hand, took a chance with their Reese's Pieces, which is similar to M&M's but contains a peanut butter filling, and with the blockbuster success, its candy sales dramatically increased, perhaps by as much as 300%.[23]
Marketing campaigns[edit]
In 1990, M&M's exhibited at New York's Erie County Fair a life-size fiberglass cow covered with 66,000 M&M candies—each adhered by hand with the "m" logo on each candy facing outward. According to a website run by the cow's designer, Michael Adams, the stunt earned M&M Mars $1 million in free publicity because it was reported on by Newsweek magazine, as well as the New York Post, UPI and WABC-TV, and Live with Regis.[24]
In 1995, the company ran the M&M's Color Campaign, a contest in which participants were given the choice of selecting purple, blue, or pink as the color of a new variety of M&M's. The announcement of the winning color (blue) was carried on most of the television networks' news programs as well as the talk shows of David Letterman and Jay Leno.[25] As part of the contest results, the company had the Empire State Building lighted in blue.[25] Although the financial details of these deals were not disclosed and neither was the campaign's effect on sales, one marketing book estimated that the company "collected millions" in free publicity and that the campaign "certainly" resulted in an increasing of the brand's awareness.[25]
In 1998, M&M's were styled as "The Official Candy of the New Millennium," as MM is the Roman numeral for 2000. This date was also the release of the rainbow M&M's, which are multi-colored and filled with a variety of different fillings.
In 2000, "Plain" M&M's (a name created in 1954 when "Peanut" M&M's were introduced) were renamed "Milk Chocolate" M&M's, and pictures of the candy pieces were added to the traditional brown and white packaging.[26]
Joint marketing campaigns[edit]
In 1990, Mars Snackfood US signed up to be a sponsor for NASCAR in the Sprint Cup Series. Drivers for the M&M's-sponsored car through the years have included Ernie Irvan (1999), Ken Schrader (2000–02), Eliott Sadler (2003–06), Ricky Rudd (2007), David Gilliland (2006–07), Kyle Busch (2008-current, won 2015 Sprint Cup Series Championship), and Michael McDowell.
The introduction of the blue M&M to Australia was promoted by the Australian Football League's Carlton Football Club, which wore sky-blue colored guernseys in one of its matches in 1997 instead of its traditional navy blue – a color which the successful and fiercely traditional club had worn since the 1870s.[27] In 2010, Mars Snackfood Australia described it as the most successful promotional campaign it had ever engaged in.[28]
In April 2005, M&M's ran the "mPire" promotion to tie in with the Star Wars: Episode III – Revenge of the Sith movie release. M&M's were offered in dark chocolate varieties (Regular and Peanut) for the first time after a string of Addams Family M&M's commercials.
M&M's World London
In May 2004, M&M's ran a Shrek 2 promotion to tie in with the movie's release. M&M's were offered "ogre-sized" (65% larger) in swamp/ogre colors. They were sold at many stores displayed in huge cardboard-cutout ogre displays.
In the summer of 2005, Mars added "Mega M&M's" to the lineup.[29] These candies, at 55% larger than the traditional M&M's, were a little smaller than the ogre-sized version. They were available in milk chocolate and peanut varieties. The colors for Mega M&M's were changed to less-bright colors, ostensibly to appeal to older consumers: teal (replacing green), beige (replacing orange), maroon (replacing red), gold (replacing yellow), blue-gray (replacing blue), and brown.
Outside of M&M's World in Times Square, New York City
In July 2006, Dark Chocolate M&M's reappeared in a purple package, followed in 2007 by Dark Chocolate Peanut M&M's. Also in 2006, the company piloted White Chocolate M&M's as a tie-in with their "Pirates of the Caribbean" promotion. The company also offered eight new flavors of M&M's via online sales, as well as at M&M's World locations: "All That Razz"; "Eat, Drink, & Be Cherry"; "A Day at the Peach"; "Orange-U-Glad"; "Mint Condition"; "AlmonDeeLicious"; "Nut What You Think"; and "Cookie Monster". Mars also released a "Crispy Mint" variety in Australia that year.
The M&M's sponsored NASCAR stock car driven by Kyle Busch
Also in 2006, M&M's became the official chocolate of NASCAR.
In 2007, M&M's introduced a limited-edition raspberry flavor called "M&M's Razzberry Chocolate Candies".
Also in 2007, M&M's produced a 50-foot, smiling Lady Liberty M&M statue to kick off a campaign encouraging Americans to create their own M&M characters at mms.com. The website allows for people to log in and create their own character from scratch. They can choose features such as the color, shape, hair, and accessories.
In 2008, two limited-edition varieties of the candy were introduced – "Wildly Cherry" M&M's, and, as a marketing tie-in with the film Indiana Jones and the Kingdom of the Crystal Skull, "Mint Crisp" M&M's.
M&M's also introduced another new product called "M&M's Premiums" in 2008. They come in five flavors – chocolate almond, mint chocolate, mocha, raspberry almond, and triple chocolate (milk, dark, and white chocolate), which are sold in small upright cartons with a plastic bag inside. M&M's Premiums do not have a candy shell but are coated with carnauba wax and color. Dark Chocolate was added in 2009, replacing Mocha.
During the summer of 2008, My M&M's launched 'Faces,' which allows consumers to print the faces of loved ones on M&M's chocolate candies at mymms.com.
In February 2009, M&M's launched the "M&M's Colour Break-Up" promotion in Australia where M&M's were sold in separate packs (one for each color): the packs included a code to win prizes.[30]
In Summer 2009, M&M's launched a limited-edition "Strawberried Peanut Butter" variant to tie in with the release of Transformers: Revenge of the Fallen. In addition, M&M's launched a limited edition "Coconut M&M's," which became a permanent item in 2010.
M&M's World on the Las Vegas Strip
In early 2010, M&M's Bare All were released as part of a competition in Australia and New Zealand.[31] M&M's Bare All winning packs were ordinary M&M's, but without colored shells. An official website was launched, along with television advertisements.[citation needed] In April 2010, M&M's launched a new pretzel variety.[32]
In November 2011, Mars released M&M's Cinnamon Milk Chocolate for Christmas.
About the time pretzel M&M's came out, the M&M's wrapper designs in the U.S. were redone, from the old design, used from 2004-early 2010.
In 2012, M&M's released two new Dark Chocolate flavors: Raspberry and Mint. Also that year, M&M's released a White Chocolate flavor for the Easter season. From May 30, 2012, onwards, M&M's will be launched in Macau. Its Macanese launch language is Portuguese. In 2012, Peanut M&M's were produced in the UK in a limited edition "Red, White and Blues only" pack, in connection with the country's Diamond Jubilee and 2012 Summer Olympics. The 'M' remains white on the white candies. The commercial advertising this promotional package had Yellow donning various outfits of British stereotypes to try to get into the limited edition pack. Similarly, to promote the 2014 FIFA World Cup, Peanut M&M's were produced in a pack that contained only green, yellow, and blue candies, dubbed "Brazilian M&M's" in reference to the colors of the flag of Brazil. "Brazilian M&M's" were re-released in 2016 to promote the 2016 Summer Olympics, but are now available in both Chocolate and Peanut.
In 2013, M&M's launched the "Better with M" campaign, which included cause-related marketing. The campaign worked with Habitat for Humanity and encouraged fans to use a Facebook app to volunteer at the various sites where the homes were being built.[33] The advertising campaign was one of the largest that Mars had ever executed.[33] The 2013 "America Better With M" initiative sough to provide money directly to Habitat for Humanity through offering limited versions of M&Ms in red, white and blue.
Related brands[edit]
Related candy brands from Mars include Minstrels, Revels, Skittles, and Treets.
M&M's World specialty shops have been established in some locations, including Las Vegas, Orlando, New York, London, and Shanghai.
Several M&Ms-themed video games have been created. The first was M&M's: The Lost Formulas, released on September 28, 2000.
M&M's characters[edit]
The six "spokescandies" for M&M's since 2012
Early black-and-white adverts for the candy in 1954 featured two talking, anthropomorphic M&M characters—one plain and one peanut—diving into a swimming pool full of chocolate.[34]
The first incarnation of the characters in CGI was a 1994 celebrity campaign which had the characters interacting with celebrities on which M&Ms candy color is their favorite. This campaign was created by Blue Sky Studios. Concurrent with 1995's blue M&M campaign, M&M's introduced second computer-animated "spokescandies" in their television commercials. The depiction and campaign of the M&M's were made by Will Vinton in 1995. Vinton previously created the clay-animation California Raisins in 1986. Around the time he worked on CGI projects, he made the depiction of the M&M's as more mature than most food mascots. These include the team of the cynical and sardonic Red (originally voiced by Jon Lovitz, thereafter Billy West[35]) who is the mascot for milk chocolate, peanut butter, and crispy M&M's, and the happy and gullible Yellow (originally voiced by John Goodman, thereafter J.K. Simmons), who is the mascot for peanut M&M's (he was originally known as "Peanut" when first introduced). Other mascots include the "cool one", Blue (voiced by Phil Hartman until his death in 1998, thereafter Robb Pruitt) who is the mascot for almond M&M's; the seductive Green (voiced by Cree Summer), who is the mascot for both dark chocolate mint and peanut butter M&M's, and the slightly neurotic Orange (voiced by Eric Kirchberger), who was introduced when Crispy M&M's were first released and returned when Pretzel M&M's debuted in 2010. Orange, upon his return, was joined by the second non-M&M mascot, Pretzel Guy, who "supports" him and offers helpful advice as he hates the idea of having a pretzel put inside his body.
Other mascots that were introduced, but no longer used, are Almond, the original green guy; Orange, a female peanut character, Chocolate Bar; the first non-M&M character that always gets foiled or outdone by Red and Yellow by being melted when M&M's can't, and the Swarmees for M&M's Minis candies, which are portrayed as destructive yet crafty troublemakers who Red and Yellow are always trying unsuccessfully to contain.
Female M&M's mascots were introduced in 1995. Green was the milk chocolate mascot and Tan was the peanut. Marketing discontinued Tan when they introduced the then-new Blue mascot. Green was the only female M&M's mascot from her introduction in 1995 until 2012 when M&M's unveiled a new additional spokescandy, the businesslike Ms. Brown (voiced by Miss America 1984 Vanessa Williams), the "Chief Chocolate Officer."[36] She made her debut in a Super Bowl XLVI advertisement, where several people at a party assume she is naked because her shell is the same color as her insides, which causes Red to remove his outer shell thinking "it's that kind of party", and start dancing to the LMFAO song "Sexy And I Know It."
Color
Character
Type
Voice actor
Red
Red Milk Chocolate, Dark Chocolate, Peanut Butter, and Crispy Jon Lovitz (1995–96)
Billy West (1996–present)
Yellow
Yellow Peanut, and Dark Chocolate Peanut John Goodman (1995–96)
J. K. Simmons (1996–present)
Blue
Blue Almond, Raspberry, and Dark Chocolate Phil Hartman (1995–98)
Robb Pruitt (1998–present)
Green
Green Dark Chocolate, Dark Chocolate Mint, and Peanut Butter Cree Summer
Orange
Crispy Crispy and Pretzel Eric Kirchberger
Brown
Ms. Brown Dark Chocolate and Milk Chocolate Vanessa Williams
Tan
Caramel (cube) Caramel David Cross
N/A Pretzel Pretzel Maurice LaMarche
Color changes in chocolate M&M's[edit]
Transparent chutes hold M&Ms of various colors.
The original color of M&M's candies are red, yellow, violet, green and orange.[12]
In 1976, the Food and drug Administrtion released a study that links red dye food coloring to cancer. Though Mars did not use this dye they decided to pull the red M&M's from the market to avoid possible misunderstandings. The red candy were reintroduced to the market ten years later.[12]
In early 1995, Mars ran a promotion in which consumers were invited to vote on which of blue, pink, or purple would replace the tan M&M's. Blue was the winner with 54% of the votes.[37] It replaced tan in late 1995. Consumers could vote by calling 1-800-FUN-COLOR. Ads for the new blue colors featured a plain and an almond blue M&M character as Red and Yellow take notice of trying to do takes in the commercial by painting themselves blue where they appear on stage with B.B. King singing the blues, but the filmmakers had to cut the scene as they were not the real blue M&M's; another featured Red and Yellow holding their breath to look like the new blue M&M's, where Steven Weber sees the three M&M's, Red, Yellow, and Blue; and one more featuring Weber talking to the blue M&M if he had dived into the chocolate pool, but did not.
In 2002, Mars solicited votes in their first ever "M&M's Global Color Vote" to add a new color from three choices: aqua (turquoise), pink, and purple. Purple won and was featured for a limited time. To help the colors get votes, Ken Schrader and his MB2 Motorsports team, who was sponsored by M&M's at the time, ran four paint schemes during the 2002 NASCAR Winston Cup Series season representing the promotion (one for aqua, one for pink, one for purple, and another one with all three colors on the car.) Specially marked packages of M&M's were released in Japan. Finding a bag of all purple M&M's entitled the customer to a prize of 100 million yen (equivalent to approximately USD $852,000).
On January 1, 2004, at the stroke of midnight, Mars removed all of the colors of M&M's and made them black-and-white on both their candies and the packaging. It coincided with a commercial parodying The Wizard of Oz where Dorothy is home in bed and looks out of the window and sees what the colors of the four M&M's were. The goal was to help the M&M's find their colors in black-and-white packages of M&M's, in this order: brown, orange, red, green, yellow, and blue. After all of the colors have been found, the colored packaging returned, and began carrying the theme "Chocolate is better in color".
Since 2004, M&M's have been available online in 17 colors, with personalized phrases on each candy on the opposite side from the "m".[38] Released around Christmas, these custom-printed M&M's were originally intended for holiday greetings, but are now available all year round.
For the 2008 Valentine's Day season, Mars introduced all-green bags of M&M's. This was due to common urban folklore that says green M&M's are an aphrodisiac.[39] They were brought back for 2009 alongside the "Ms. Green Heats Up Valentine's Day" contest.
In October 2011, Mars released M&M's White Chocolate Candy Corn exclusively in the United States for Halloween. These candies come in three candy corn inspired colors: white, bright yellow, and bright orange.
The following is a summary of the changes to the colors of the flagship (milk chocolate) flavor of M&M's, the only filling manufactured continuously since the beginning of the brand. From 1941 until 1969, each package contained M&M's in five different colors; when red M&M's were reintroduced in 1987, they were added as a sixth color instead of replacing any of the existing colors.
1940‒2010
Health concerns[edit]
Red candies were eliminated in 1976[40] because of health concerns over the dye amaranth (FD&C Red #2), which was a suspected carcinogen, and were replaced with orange-colored candies. This was done despite the fact that M&M's did not contain the dye; the action was purely to satisfy worried consumers. Red candies were reintroduced ten years later, but they also kept the orange colored M&M's. Paul Hethmon, then a student at University of Tennessee, started the campaign to bring back red M&M's as a joke that would eventually become a worldwide phenomenon.[41]
In Europe, red M&M's contain the red dye carmine (E120).[42] Carmine, also known as cochineal, has had some campaigns launched against its use in food, because it is made from crushed insects. Notably, Starbucks in the UK had a campaign launched against it for using carmine.[43]
See also[edit]
United States portal
Similar candies from other companies:
Smarties
Cadbury Gems
Reese's Pieces
Sixlets
Presidential M&M's
References[edit]
^ Jump up to: a b M&M's candy fades to black and white, a December Reuters article via USA Today
Jump up ^ Smith, Andrew F. (2002). Peanuts: The Illustrious History of the Goober Pea. University of Illinois Press. ISBN 9780252025532.
Jump up ^ "The Mars Family Net Worth". TheRichest. Retrieved 2015-11-22.
Jump up ^ "M&M's Mega -- with three times as much chocolate -- hits stores". latimes.com. Retrieved 2015-11-22.
Jump up ^ Per M&M/Mars FAQ, How many candies are in a bag?
Jump up ^ By calculation from M&M's nutrition info page.
Jump up ^ "Inventor of the Week: Archive". Web.mit.edu. 2005. Archived from the original on March 10, 2005. Retrieved 18 July 2016.
^ Jump up to: a b "Looking Back at Newark Origins of World-Famous M&M Chocolates - virtualnewarknj.com - Retrieved August 28, 2008". virtualnewarknj.com. April 12, 1981. Retrieved February 21, 2013.
Jump up ^ Murrie, William F.R.; 1873–1950 - hersheyarchives.com - Retrieved January 22, 2011
Jump up ^ "Inventor of the Week: Archive". Web.mit.edu. Retrieved January 15, 2010.
Jump up ^ "Looking Back at Newark Origins of World-Famous M&M Chocolates - virtualnewarknj.com - Retrieved August 28, 2008". virtual.com. April 12, 1981. Retrieved January 15, 2010.
^ Jump up to: a b c Smith, Andrew F. (2013-10-28). Food and Drink in American History: A "Full Course" Encyclopedia [3 Volumes]: A "Full Course" Encyclopedia. ABC-CLIO. ISBN 9781610692335.
Jump up ^ "MRI Breakthroughs". Mriresearch.org. September 11, 2001. Archived from the original on July 2, 2008. Retrieved January 15, 2010.
Jump up ^ Smith, Andrew F. (2012). Fast Food and Junk Food: An Encyclopedia of What We Love to Eat. ABC-CLIO. ISBN 9780313393938.
Jump up ^ "M&M'S® About M&MSŽ: History". Mms.com. 2010-10-06. Retrieved 2012-11-21.
Jump up ^ "M&M lovers pick purple - Jun. 20, 2002". money.cnn.com. Retrieved 2017-10-05.
Jump up ^ "M&M Minis". mms.com. Retrieved February 21, 2012.
Jump up ^ "M&M/MARS Woos Latinos With New "M&M's" Dulce de Leche-Caramel Chocolate Candies; New Flavor to Premiere in Markets With Highest Concentration of Latinos. | Food & Beverage > Food Industry from". AllBusiness.com. Archived from the original on August 14, 2011. Retrieved January 15, 2010.
Jump up ^ "Hot Seat ! Dulce de Leche M&M's Fail". Archived from the original on October 22, 2004.
Jump up ^ "This New M&M's Flavour Will Fuel Your Coffee Addiction". TIME. 2016-07-26. Retrieved 2016-09-09.
Jump up ^ Mars Chocolate North America (11 May 2017). "M&M'S® Launches New Soft Caramel-Filled Chocolate Candies". PR Newswire. Retrieved 17 May 2017.
Jump up ^ "REVIEW: Coffee Nut, Honey Nut, and Chili Nut M&M's (M&M's Flavor Vote)". The Impulsive Buy. 2016-04-04. Retrieved 2016-05-27.
Jump up ^ Snopes: Taking it E.T.
"Business by its very nature is cut-throat; competitors rarely aid one another because one company's success almost invariably comes at the expense of the other's vitality. When such leg-ups occur, they are often inadvertent — the result of one firm's having failed to take advantage of an opportunity that its competitor later cleaned up on. Such was the case when Mars, Inc. passed on the chance for its flagship product, M&Ms, to be the candy used in 1982 film E.T. the Extra-Terrestrial. Its turn-down cleared the way for Hershey Foods Corporation to make a remarkable splash for its Reese's Pieces."
Jump up ^ "Events - M&M Candy Cow". Behindthescenesmarketing.com. Retrieved January 15, 2010.
^ Jump up to: a b c William M. Luther (2001). The Marketing Plan: How to Prepare and Implement it (3rd ed.). AMACOM. p. 192. ISBN 978-0-8144-2615-9.
Jump up ^ Kane, Courtney (June 29, 2000). "THE MEDIA BUSINESS: ADVERTISING; M&M/Mars concludes, after 46 years, that 'Plain' does not do justice to the original M&M's candy". "The New York Times". Retrieved July 27, 2016.
Jump up ^ "The Candy Man comes to Carlton". Carlton Football Club. 25 August 2009. Retrieved 21 December 2014.
Jump up ^ Anderson, Jon (9 February 2010). "Mars backs Carlton Blues". Herald Sun. Retrieved 10 March 2012.
Jump up ^ "M&M's get mega-sized". CNNMoney.com. Time Warner. August 4, 2005. Retrieved June 14, 2008.
Jump up ^ "M&M'S Color Break Up". Mars. February 18, 2009. Retrieved February 18, 2009.
Jump up ^ [1] m-msbareall.com. Archived January 27, 2010, at the Wayback Machine.
Jump up ^ "About M&MS®: Products: Pretzel". Retrieved March 16, 2011.
^ Jump up to: a b "M&M'S Launching 'Better With M' Marketing Campaign". Retrieved March 22, 2016.
Jump up ^ Schultz, E J (9 May 2013). "Rewind: 1954 Ad Shows M&Ms Characters Go for a Chocolatey Swim". Ad Age. Retrieved 18 November 2015.
Jump up ^ "Behind The Voice Actors - M&M's - Voice of Red". Behind the Voice Actors. Retrieved April 26, 2012.
Jump up ^ Owen, Rob (2012-02-17). "TV Q&A: 'The Good Wife,' awards shows and 'The Little Couple'". Pittsburgh Post-Gazette. Retrieved 2012-02-17.
Jump up ^ Carr, David (2003). Candymaking in Canada: The History and Business of Canada's Confectionery Industry. Dundurn. ISBN 9781550023954.
Jump up ^ "Custom Printed MY M&M'S". mms.com. Mars, Incorporated. Retrieved February 6, 2012.
Jump up ^ "M&M'S Chocolate Candies go green just in time for Valentine's Day". PRNewswire. January 16, 2008. Retrieved August 14, 2008.
Jump up ^ "The Story of M&M'S Brand". mms.com. Mars, Incorporated. Archived from the original on April 9, 2008. Retrieved June 14, 2008.
Jump up ^ "The man who brought Red M&M's back to life". WBIR. 2014-10-31. Retrieved 2014-11-01.
Jump up ^ M&Ms Peanut Pouch Red M&Ms Tesco
Jump up ^ Starbucks red dye campaign What is carmine and why is Starbucks taking it out of its products?
External links[edit]
Wikimedia Commons has media related to M&M's.
Official website
The History of M&M's Chocolates from us.mms.com
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text:
Agile Unified Process
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Agile Unified Process (AUP) is a simplified version of the Rational Unified Process (RUP) developed by Scott Ambler.[1] It describes a simple, easy to understand approach to developing business application software using agile techniques and concepts yet still remaining true to the RUP. The AUP applies agile techniques including test-driven development (TDD), agile modeling (AM), agile change management, and database refactoring to improve productivity.
In 2011 the AUP accounted for one percent of all the agile methodologies used.[2] In 2012 the AUP was superseded by disciplined agile delivery (DAD). Since then work has ceased on evolving AUP.
Contents
[hide]
1 Discipline
2 Philosophies
3 Releases
4 See also
5 References
6 External links
Discipline[edit]
Unlike the RUP, the AUP has only seven disciplines[citation needed]:
Model. Understand the business of the organization, the problem domain being addressed by the project, and identify a viable solution to address the problem domain.
Implementation. Transform model(s) into executable code and perform a basic level of testing, in particular unit testing.
Test. Perform an objective evaluation to ensure quality. This includes finding defects, validating that the system works as designed, and verifying that the requirements are met.
Deployment. Plan for the delivery of the system and to execute the plan to make the system available to end users.
Configuration Management. Manage access to project artifacts. This includes not only tracking artifact versions over time but also controlling and managing changes to them.
Project Management. Direct the activities that take place within the project. This includes managing risks, directing people (assigning tasks, tracking progress, etc.), and coordinating with people and systems outside the scope of the project to be sure that it is delivered on time and within budget.
Environment. Support the rest of the effort by ensuring that the proper process, guidance (standards and guidelines), and tools (hardware, software, etc.) are available for the team as needed.
Philosophies[edit]
The Agile UP is based on the following philosophies ( Ambler, Scott. "The Agile Unified Process (AUP)". Ambysoft. Retrieved 21 December 2015. )
Your staff know what they're doing. People are not going to read detailed process documentation, but they will want some high-level guidance and/or training from time to time. The AUP product provides links to many of the details, if you are interested, but doesn't force them upon you.
Simplicity. Everything is described concisely using a handful of pages, not thousands of them.
Agility. The Agile UP conforms to the values and principles of the agile software development and the Agile Alliance.
Focus on high-value activities. The focus is on the activities which actually count, not every possible thing that could happen to you on a project.
Tool independence. You can use any toolset that you want with the Agile UP. The recommendation is that you use the tools which are best suited for the job, which are often simple tools.
You'll want to tailor the AUP to meet your own needs.
Releases[edit]
The Agile Unified Process distinguishes between two types of iterations. A development release iteration results in a deployment to the quality-assurance and/or demo area. A production release iteration results in a deployment to the production area. This is a significant refinement to the Rational Unified Process.
See also[edit]
Enterprise Unified Process
Unified Process
References[edit]
Jump up ^ Waters, John K (28 February 2008). "Agile lands role in games and business software". The Register. Retrieved 2009-08-03.
Jump up ^ State of Agile Development Survey Results, 2011. VersionOne
External links[edit]
AmbySoft Agile Unified Process page
Scott Amber's Dr Dobbs article "Where Did All the Positions Go?"
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A Fistful of Dollars
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A Fistful of Dollars
Italian theatrical release poster
Directed by
Sergio Leone
Produced by
Arrigo Colombo
Giorgio Papi[1]
Based on
Yojimbo
by Akira Kurosawa
Ryūzō Kikushima
(both uncredited)
Starring
Clint Eastwood
Marianne Koch
Josef Egger
Wolfgang Lukschy
John Wells
Daniel Martín
Carol Brown
Benito Stefanelli
Music by
Ennio Morricone
Cinematography
Massimo Dallamano[1]
Edited by
Roberto Cinquini[1]
Production
company
Jolly Film
Constantin Film
Ocean Films[1]
Distributed by
Unidis
Release date
12 September 1964 (1964-09-12) (Italy)
5 March 1965 (1965-03-05) (West Germany)
27 September 1965 (1965-09-27) (Spain)
[1]
Running time
99 minutes[1]
Country
Italy
Spain[1]
West Germany[1]
Budget
$200,000–225,000[2]
Box office
$14.5 million
A Fistful of Dollars (Italian: Per un pugno di dollari, lit. 'For a Fistful of Dollars'[1] titled on-screen as Fistful of Dollars) is a 1964 Spaghetti Western film directed by Sergio Leone and starring Clint Eastwood in his first leading role, alongside Gian Maria Volontè, Marianne Koch, Wolfgang Lukschy, Sieghardt Rupp, José Calvo, Antonio Prieto, and Joseph Egger.[3] The film, an international co-production between Italy, West Germany, and Spain, was filmed on a low budget (reported to be $200,000), and Eastwood was paid $15,000 for his role.[4]
Released in Italy in 1964 and then in the United States in 1967, it initiated the popularity of the Spaghetti Western genre. It was followed by For a Few Dollars More and The Good, the Bad and the Ugly, also starring Eastwood. Collectively, the films are known as the "Dollars Trilogy", or "The Man with No Name Trilogy". All three films were later released in sequence in the United States in 1967, catapulting Eastwood into stardom.[5] The film has been identified as an unofficial remake of the Akira Kurosawa film Yojimbo (1961), which resulted in a successful lawsuit by Toho, Yojimbo's production company. In the United States, the United Artists publicity campaign referred to Eastwood's character in all three films as the "Man with No Name".
As few Spaghetti Westerns had yet been released in the United States, many of the European cast and crew took on American-sounding stage names. These included Leone himself ("Bob Robertson"), Gian Maria Volontè ("Johnny Wels"), and composer Ennio Morricone ("Dan Savio"). A Fistful of Dollars was shot in Spain, mostly near Hoyo de Manzanares[6] close to Madrid, but also (like its two sequels) in the Tabernas Desert and in the Cabo de Gata-Níjar Natural Park, both in the province of Almería.
Contents
1 Plot
2 Cast
3 Development
4 Visual style
4.1 Title design
5 Soundtrack
6 Release and reception
7 Legal dispute
8 Digital restoration
9 Notes
10 References
11 External links
Plot[edit]
A stranger arrives at the little town of San Miguel. Silvanito, the town's innkeeper, tells the Stranger about a feud between two families vying to gain control of the town: the Rojo brothers: Don, Esteban and Ramón and that of the town sheriff, John Baxter. The Stranger decides to play each family against the other in order to make money, and proves his speed and accuracy with his gun to both sides by shooting with ease the four men who insulted him as he entered town.
The Stranger seizes his opportunity when he sees the Rojos massacre a detachment of Mexican soldiers who were escorting a chest of gold that they'd planned to exchange for a shipment of new rifles. He takes two of the dead bodies to a nearby cemetery and sells information to both sides, saying that two Mexican soldiers survived the attack. Both sides race to the cemetery; the Baxters to get the "survivors" to testify against the Rojos, and the Rojos to silence them. The factions engage in a gunfight, with Ramón managing to "kill" the "survivors" and Esteban capturing John Baxter's son, Antonio.
While the Rojos and the Baxters are fighting, the Stranger searches the Rojo hacienda for the gold. While he is searching he accidentally knocks out a woman, Marisol. He takes her to the Baxters, who, in turn, arrange to return her to the Rojos in exchange for Antonio. During the exchange, Marisol's son, Jesús, runs towards her, followed by her husband, Julio. While the family embraces, Ramón orders one of his men, Rubio, to kill her husband as he has already told him to leave town. Silvanito attempts to protect the family with a shotgun with the Stranger backing him up. Neither Ramón nor any of his men attempt to challenge the Stranger, knowing that he is too fast on the draw.
The Stranger then tells Marisol to go to Ramón and for Julio to take Jesús home. He learns from Silvanito that Ramón had framed Julio for cheating during a card game and taken Marisol as his prisoner, forcing her to live with him. That night, while the Rojos are celebrating, the Stranger rides out and frees Marisol, shooting the guards and wrecking the house in which she is being held, making it appear as though it were attacked by the Baxters. He gives Marisol some money and tells her family to leave the town. When the Rojos discover that he freed Marisol, they capture and torture him, but he escapes. Believing the Stranger to be protected by the Baxters, the Rojos set fire to the Baxter home and massacre the entire family as they run out of the burning building. Ramon kills John Baxter and Antonio after pretending to spare them. Consuelo, John Baxter's wife, appears and curses the Rojos for killing her unarmed husband and son. She is then shot and killed by Esteban.
With help from Piripero, the local coffin-maker, the Stranger escapes town by hiding in a coffin. The Stranger hides and convalesces in a nearby mine. When Piripero tells him that Silvanito has been captured, the Stranger returns to town to face the Rojos. With a steel chest-plate hidden beneath his poncho, he taunts Ramón to "aim for the heart" as Ramón's shots bounce off. Panicking, Ramón uses up all of the bullets in his Winchester. The Stranger shoots the rifle from Ramón's hand and kills the other Rojos standing nearby, including Don Miguel and Rubio. He then uses the last bullet in his gun to free Silvanito, tied hanging from a post. After challenging Ramón to reload his rifle faster than he can reload his own pistol, the Stranger shoots and kills Ramón. Esteban Rojo aims for the Stranger's back from a nearby building, but is shot dead by Silvanito. The Stranger bids farewell and rides away from the town.
Cast[edit]
Clint Eastwood as "Man with No Name"
John Wells as Ramón Rojo
Marianne Koch as Marisol
Jose Calvo as Silvanito
Joe Edger as Piripero
Antonio Prieto as Benito Rojo
S. Rupp as Esteban Rojo
W. Lukschy as Sheriff John Baxter
Margherita Lozano as Consuelo Baxter
Bruno Carotenuto as Antonio Baxter
Daniel Martín as Julio
Richard Stuyvesant as Chico
Benny Reeves as Rubio
Aldo Sambreli as Manolo
Development[edit]
A Fistful of Dollars was at first intended by Leone to reinvent the western genre in Italy. In his opinion, the American westerns of the mid- to late-1950s had become stagnant, overly preachy and not believable. Despite the fact that even Hollywood began to gear down production of such films, Leone knew that there was still a significant market in Europe for westerns. He observed that Italian audiences laughed at the stock conventions of both American westerns and the pastiche work of Italian directors working behind pseudonyms. His approach was to take the grammar of Italian film and to transpose it into a western setting.[citation needed]
The production and development of A Fistful of Dollars from ancedoes was described by Italian film historian Roberto Curti as both contradictory and difficult to decipher.[7] Following the release of Akira Kurosawa's Yojimbo in 1963 in Italy, Sergio Corbucci has claimed he told Leone to make the film after viewing the film with friends and suggesting it to Enzo Barboni.[7] Tonino Valerii alternatively said that Barboni and Stelvio Massi met Leone outside a theatre in Rome where they had seen Yojimbo, suggesting to Leone that it would make a good Western.[7] Actor and friend of Leone Mimmo Palmara told a similar story to Valerii, saying that Barboni had told about Yojimbo to him and he would see it the next day with Leone and his wife Carla.[7][8] Following their screening, they discussed how it could be applied into a Western setting.[8]
Bolzoni stated in 1978 that he had the idea of making Yojimbo into a Western and brought the idea to Franco Palaggi, who sent Bolzoni to watch the film and take notes on it with Duccio Tessari.[8] Bolzoni then said both him and Tessari wrote a first draft which then moved on to Leone noting that Tessari wrote the majority of the script.[8]
Fernando di Leo also claimed authorship to the script noting that both A Fistful of Dollars and For a Few Dollars More were written by himself and Tessari and not Luciano Vincenzoni.[8] Di Leo claimed that after Leone had the idea for the film, Tessari wrote the script and he gave him a hand.[8] Di Leo would repeat this story in a later interview saying that he was at the first meetings between Tessari and Leone discussing what kind of film to make from Yojimbo.[8] Di Leo noted that Leone did not like the first draft of the script which led to him drastically re-writing it with Tessari.[8] Production papers for the film credit Spanish and German writers, but these ere added on to play into co-production standards during this period in filmmaking in order to get more financing from the Spanish and West German companies.[8] Leone himself would suggest that he wrote the entire screenplay himself based on Tessari's treatment.[8]
Eastwood was not the first actor approached to play the main character. Originally, Sergio Leone intended Henry Fonda to play the "Man with No Name."[9] However, the production company could not afford to employ a major Hollywood star. Next, Leone offered Charles Bronson the part. He, too, declined, arguing that the script was bad. Both Fonda and Bronson would later star in Leone's Once Upon a Time in the West (1968). Other actors who turned the role down were Henry Silva, Rory Calhoun, Tony Russel,[10] Steve Reeves, Ty Hardin, and James Coburn.[11][12][13][14] Leone then turned his attention to Richard Harrison, an expatriate American actor who had recently starred in the very first Italian western, Duello nel Texas. Harrison, however, had not been impressed with his experience on that previous film and refused. The producers later presented a list of available, lesser-known American actors and asked Harrison for advice. Harrison suggested Eastwood, who he knew could play a cowboy convincingly.[15] Harrison later stated, "Maybe my greatest contribution to cinema was not doing A Fistful of Dollars and recommending Clint for the part."[16] Eastwood later spoke about transitioning from a television western to A Fistful of Dollars: "In Rawhide, I did get awfully tired of playing the conventional white hat ... the hero who kisses old ladies and dogs and was kind to everybody. I decided it was time to be an anti-hero."[17]
A Fistful of Dollars was an Italian/German/Spanish co-production, so there was a significant language barrier on set. Leone did not speak English,[18] and Eastwood communicated with the Italian cast and crew mostly through stuntman Benito Stefanelli, who also acted as an unlicensed interpreter for the production and would later appear in Leone's other pictures. Similar to other Italian films shot at the time, all footage was filmed silent, and the dialogue and sound effects were dubbed over in post-production.[19] For the Italian version of the film, Eastwood was dubbed by stage and screen actor Enrico Maria Salerno, whose "sinister" rendition of the Man with No Name's voice contrasted with Eastwood's cocksure and darkly humorous interpretation.[20]
Visual style[edit]
A Fistful of Dollars became the first film to exhibit Leone's famously distinctive style of visual direction. This was influenced by both John Ford's cinematic landscaping and the Japanese method of direction perfected by Akira Kurosawa. Leone wanted an operatic feel to his western, and so there are many examples of extreme close-ups on the faces of different characters, functioning like arias in a traditional opera. The rhythm, emotion, and communication within scenes can be attributed to Leone’s meticulous framing of his close-ups.[21] This is quite different from Hollywood's use of close-ups that used them as reaction shots, usually to a line of dialogue that had just been spoken. Leone's close-ups are more akin to portraits, often lit with Renaissance-type lighting effects, and are considered by some as pieces of design in their own right.[22]
Eastwood was instrumental in creating the Man with No Name's distinctive visual style. He bought black jeans from a sport shop on Hollywood Boulevard, the hat came from a Santa Monica wardrobe firm, and the trademark cigars from a Beverly Hills store.[23] He also brought props from Rawhide including a Cobra-handled Colt, a gunbelt, and spurs.[24] The poncho was acquired in Spain.[25] It was Leone and costume designer Carlo Simi who decided on the Spanish poncho for the Man with No Name.[24] On the anniversary DVD for The Good, the Bad, and the Ugly, it was said that while Eastwood himself is a non-smoker, he felt that the foul taste of the cigar in his mouth put him in the right frame of mind for his character. Leone reportedly took to Eastwood's distinctive style quickly and commented that, "More than an actor, I needed a mask, and Eastwood, at that time, only had two expressions: with hat and no hat."[26]
Title design[edit]
Iginio Lardani created the film's title design.[27]
Soundtrack[edit]
The film's music was written by Ennio Morricone, credited as Dan Savio.
Leone requested Morricone to write a theme that would be similar to Dimitri Tiomkin’s El Degüello (used in Rio Bravo, 1959). Although the two themes are similar, Morricone states that he used a lullaby he had composed before and developed the theme from that. He adds that what makes the two themes similar is the execution, not the arrangement.[28]
In 1962 expatriate American folk singer Peter Tevis recorded a version of Woody Guthrie's "Pastures of Plenty" that was arranged by Morricone. During a conference with Morricone over the music in the film a recording of Tevis's Pastures of Plenty was played. Sergio Leone said "That's it"[29] with Tevis claiming the tune and musical arrangements were copied for the music for the opening titles "Titoli".
"Some of the music was written before the film, which is unusual. Leone's films were made like that because he wanted the music to be an important part of it, and he often kept the scenes longer simply because he didn't want the music to end. That's why the films are so slow - because of the music."[30]
Though not used in the completed film, Peter Tevis recorded lyrics to Morricone's main theme for the film. As a movie tie-in to the American release, United Artists Records released a different set of lyrics to Morricone's theme called Restless One by Little Anthony and the Imperials.
Tracks (2006 GDM version)[31]
Titoli 2:58
Quasi morto 1:40
Musica sospesa 1:02
Square dance 1:36
Ramon 1:05
Consuelo Baxter 1:18
Doppi giochi 1:41
Per un pugno di dollari (1) 1:26
Scambio di prigionieri 0:55
Cavalcata 3:29
L'inseguimento 2:25
Tortura 9:31
Alla ricerca dell'evaso 1:22
Senza pietà 2:08
La reazione 2:36
Per un pugno di dollari (2) 1:49
Per un pugno di dollari (finale) 1:09
Release and reception[edit]
Promoting A Fistful of Dollars was difficult, because no major distributor wanted to take a chance on a faux-Western and an unknown director. The film ended up being released in September, which is typically the worst month for sales. The film was shunned by the Italian critics, who gave it extremely negative reviews. However, at a grassroots level, its popularity spread, and it grossed $4 million in Italy, about three billion lire. American critics felt quite differently from their Italian counterparts, with Variety praising it as having "a James Bondian vigor and tongue-in-cheek approach that was sure to capture both sophisticates and average cinema patrons".[32] The release of the film was delayed in the United States, because distributors feared being sued by Kurosawa. As a result, it was not shown in American cinemas until 1967.[32] This made it difficult for the American public or Hollywood to understand what was happening to Clint in Italy at the time. An American actor making films in Italy met with considerable prejudice, and was seen in Hollywood as taking a step backward, rather than a career development.[32]
A Fistful of Dollars was released in Italy in September 12 ,1964.[1] Over the film's theatrical release, it grossed more than any other Italian film up to that point.[33] In January 1967 the film premièred in the United States grossing $4.5 million for the year.[33] It eventually grossed $14.5 million in its American release.[34] In 1969 it was re-released, earning $1.2 million in rentals.[35]
When the film was released on the televised network ABC on 23 February 1975,[36] a four and a half minute prologue was added to the film to contextualise the character and justify the violence. Written and directed by Monte Hellman, it featured an unidentified official (Harry Dean Stanton) offering the Man With No Name a chance at a pardon in exchange for cleaning up the mess in San Miguel. Close-ups of Eastwood's face from archival footage are inserted into the scene alongside Stanton's performance.[37][38] This prologue opened television presentations for a few years before disappearing; it reappeared on the Special Edition DVD and the more recent Blu-ray, along with an interview with Monte Hellman about its making.[39][40]
Upon the film's American release in 1967, both Philip French and Bosley Crowther were unimpressed with the film itself. Critic Philip French of The Observer stated: "The calculated sadism of the film would be offensive were it not for the neutralising laughter aroused by the ludicrousness of the whole exercise. If one didn't know the actual provenance of the film, one would guess that it was a private movie made by a group of rich European Western fans at a dude ranch... A Fistful of Dollars looks awful, has a flat dead soundtrack, and is totally devoid of human feeling."[41] Bosley Crowther of The New York Times treated the film not as pastiche, but as camp-parody, stating that nearly every Western cliche could be found in this "egregiously synthetic but engrossingly morbid, violent film". He went on to patronise Eastwood's performance, stating: "He is simply another fabrication of a personality, half cowboy and half gangster, going through the ritualistic postures and exercises of each... He is a morbid, amusing, campy fraud".[42]
However, in response to these immediate negative reviews, Howard Hughes, in his 2012 book Once Upon a Time in the Italian West, reflected by stating: "American and British critics largely chose to ignore Fistful's release, few recognising its satirical humour or groundbreaking style, preferring to trash the shoddy production values...".[43] The retrospective reception of A Fistful of Dollars has been much more positive, noting it as a hugely influential film in regards to the rejuvenation of the Western genre. The 67th Cannes Film Festival, held in 2014, celebrated the "50th anniversary of the birth of the Spaghetti Western... by showing A Fistful of Dollars".[44] Quentin Tarantino, prior to hosting the event, in a press-release described the film as "the greatest achievement in the history of Cinema".[44]
A Fistful of Dollars has achieved a 98% approval rating out of 46 critical reviews on Rotten Tomatoes, with an average rating of 8.2/10. The website's critical consensus reads, "With Akira Kurosawa's Yojimbo as his template, Sergio Leone's A Fistful of Dollars helped define a new era for the Western and usher in its most iconic star, Clint Eastwood." It was also placed 8th on the site's 'Top 100 Westerns'.[45]
Legal dispute[edit]
The film was effectively an unofficial and unlicensed remake of Akira Kurosawa's 1961 film Yojimbo (written by Kurosawa and Ryūzō Kikushima), lifting traditional themes and character tropes usually typified within a Jidaigeki film. Kurosawa insisted that Leone had made "a fine movie, but it was MY movie."[46] Leone ignored the resulting lawsuit, but eventually settled out of court, reportedly for 15% of the worldwide receipts of A Fistful of Dollars and over $100,000.[47][48]
British critic Sir Christopher Frayling identifies three principal sources for A Fistful of Dollars: "Partly derived from Kurosawa's samurai film Yojimbo, partly from Dashiell Hammett's novel Red Harvest (1929), but most of all from Carlo Goldoni's eighteenth-century play Servant of Two Masters."[49] Leone has cited these alternate sources in his defense. He claims a thematic debt, for both Fistful and Yojimbo, to Carlo Goldoni's Servant of Two Masters—the basic premise of the protagonist playing two camps against each other. Leone asserted that this rooted the origination of Fistful/Yojimbo in European, and specifically Italian, culture. The Servant of Two Masters plot can also be seen in Hammett's detective novel Red Harvest. The Continental Op hero of the novel is, significantly, a man without a name. Leone himself believed that Red Harvest had influenced Yojimbo: "Kurosawa's Yojimbo was inspired by an American novel of the serie-noire so I was really taking the story back home again."[50]
Leone also referenced numerous American Westerns in the film, most notably Shane[51] (1953) and My Darling Clementine (1946) which differs from Yojimbo.
Digital restoration[edit]
In 2014, the film was digitally restored by Cineteca di Bologna and Unidis Jolly Film for its Blu-ray debut and 50th anniversary. Frame-by-frame digital restoration by Prasad Corporation removed dirt, tears, scratches and other defects.[52][53] The directorial credit for Leone, which replaced the "Bob Robertson" card years ago, has been retained, but otherwise, the original credits (with pseudonyms, including "Dan Savio" for Morricone) remain the same.
Notes[edit]
^ Jump up to: a b c d e f g h i j Curti, Roberto (2016). Tonino Valerii: The Films. McFarland. p. 192. ISBN 1476626189.
Jump up ^ Sources that refer to the budget of Fistful of Dollars include:
"Per un pugno di dollari - Box Office Data, DVD Sales, Movie News, Cast Information". The Numbers. Nash Information Services, LLC. Retrieved 8 January 2014.
"Sergio Leone Factoids". Fistful of Leone. Retrieved 8 January 2014.
Hicks, Christopher (25 January 1990). "EASTWOOD REMEMBERS `FISTFUL OF DOLLARS' DIRECTOR". Deseret News. Retrieved 8 January 2014.
Jump up ^ Variety film review; 18 November 1964, page 22.
Jump up ^ "Ennio Morricone" by Jerry McCulley, essay in the 1995 CD "The Ennio Morricone Anthology", Rhino DRC2-1237
Jump up ^ McGilligan, Patrick (2015). Clint: The Life and Legend (updated and revised). New York: OR Books. ISBN 978-1-939293-96-1.
Jump up ^ Caldito, Angel (3 September 2008). "Los primeros decorados del Oeste en España, en Hoyo de Manzanares" (in Spanish). Historias Matritenses. Retrieved 7 January 2014.
^ Jump up to: a b c d Curti, Roberto (2016). Tonino Valerii: The Films. McFarland. p. 25. ISBN 1476626189.
^ Jump up to: a b c d e f g h i j Curti, Roberto (2016). Tonino Valerii: The Films. McFarland. p. 26. ISBN 1476626189.
Jump up ^ Frayling 2006, p. 141.
Jump up ^ Barnum, Michael The Wild Wild Interview: Tony Russel Our Man On Gamma 1 Video Watchdog No. 128 Dec/Feb 2007
Jump up ^ Hughes, p.3
Jump up ^ "Steve Reeves Interview Pt 2". drkrm. Retrieved 7 January 2014.
Jump up ^ Carrerowbonanza, Jack (11 June 2004). "Relive the thrilling days of the Old West in film". Tahoe Daily Tribune. Archived from the original on 7 January 2014. Retrieved 7 January 2014.
Jump up ^ Williams, Tony (October 2003). "A Fistful of Dollars". Senses of Cinema. Retrieved 7 January 2014.
Jump up ^ "Richard Harrison sur Nanarland TV" (in French). Nanarland TV. 18 September 2012.
Jump up ^ "Richard Harrison par Nanarland" (in French). Nanarland. Retrieved 7 January 2014.
Jump up ^ Hughes, p.4
Jump up ^ "More Than A Fistful of Interview: Christopher Frayling on Sergio Leone". Fistful of Leone. Retrieved 20 February 2015.
Jump up ^ Munn, p. 48
Jump up ^ Christopher Frayling, For a Few Dollars More audio commentary. Retrieved 25 January 2016.
Jump up ^ Frayling 2006. p. 100
Jump up ^ Sir Christopher Frayling, A Fistful of Dollars audio commentary (Blu-ray version). Retrieved on 15 September 2014.
Jump up ^ Munn, p. 46
^ Jump up to: a b Hughes, p.5
Jump up ^ Munn, p. 47
Jump up ^ Mininni, Francesco. "Intervista: Sergio Leone". Cinema Del Silenzio (in Italian). Retrieved 7 January 2014.
Jump up ^ "A Fistful of Dollars title sequence". Watch the Titles. Submarine Channel. Retrieved 7 January 2014.
Jump up ^ Viva Leone!. BBC (Documentary). 1989.
Jump up ^ Cumbow, Robert C. The Films of Sergio Leone Scarecrow Press, 15 Feb. 2008
Jump up ^ "Q&A - Ennio Morricone". The Observer. Guardian News and Media. 18 March 2007. Retrieved 13 April 2018.
Jump up ^ "GDM Music S.r.l." www.gdmmusic.com. Retrieved 20 February 2015.
^ Jump up to: a b c McGillagan (1999), p.144
^ Jump up to: a b Hughes, p.7
Jump up ^ "A Fistful of Dollars (1967)". Box Office Mojo. IMDb. Retrieved 30 April 2013.
Jump up ^ "Big Rental Films of 1969". Variety. Penske Business Media. 7 January 1970.
Jump up ^ Merrick, Amy (24 August 2014). "A Fistful of Dollars Ad". The TV Guide Historian. Blogspot. Retrieved 13 April 2018.
Jump up ^ Stevens, Brad (2003). Monte Hellman: His Life and Films. McFarland. p. 200.
Jump up ^ Chasman (5 July 1998). "A Fistful of Dollars Prologue". Fistful of Leone. Retrieved 3 June 2012.
Jump up ^ Sutton, Mike (10 April 2005). "A Fistful Of Dollars (Special Edition)". The Digital Fix. Poisonous Monkey. Retrieved 3 June 2012.
Jump up ^ Rich, Jamie S. (29 August 2011). "A Fistful of Dollars (Blu-ray)". DVD Talk. Retrieved 3 June 2012.
Jump up ^ French, Philip (11 June 1967). "Under Western disguise". The Observer. Guardian News and Media. Retrieved 7 January 2014.
Jump up ^ Crowther, Bosley (2 February 1967). "Screen: 'A Fistful of Dollars' Opens; Western Film Cliches All Used in Movie Cowboy Star From TV Featured as Killer". The New York Times. The New York Times Company. Archived from the original on 26 June 2012. Retrieved 19 January 2009.
Jump up ^ Hughes, Howard (2006). Once Upon A Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns. I.B. Tauris & Co. p. 7. ISBN 978-0-85773-045-9.
^ Jump up to: a b Chilton, Martin. "A Fistful of Dollars to be shown at Cannes Film Festival". The Daily Telegraph. Telegraph Media Group. Archived from the original on 20 February 2015. Retrieved 20 February 2015.
Jump up ^ "A Fistful of Dollars (Per un Pugno di Dollari) (1964)". Rotten Tomatoes. Fandango Media. Retrieved 20 February 2015.
Jump up ^ Galbraith IV, Stuart (2001). The Emperor and the Wolf. New York: Faber and Faber. Archived from the original on 28 September 2007. Retrieved 29 February 2008.
Jump up ^ Gelten, Simon. "FISTFUL - The Whole Story, part 2 - The Spaghetti Western Database". Spaghetti Western Database. Retrieved 3 June 2012.
Jump up ^ "A Fistful of Dollars and Yojimbo". Side B Magazine. 14 April 2011. Archived from the original on 3 February 2013. Retrieved 3 June 2012.
Jump up ^ The BFI Companion to the Western, 1988.
Jump up ^ Frayling 2006, p. 151.
Jump up ^ Fridlund, Bert (2005). "Classical American Western and Spaghetti Western: A Comparison of Shane and A Fistful of Dollars". 2003 Film & History CD-ROM Annual. Cleveland: Film & History.
Jump up ^ "Services: Digital Film Restoration". Prasad Group. Retrieved 13 April 2018.
Jump up ^ Kemp, Stuart (13 May 2014). "Cannes: Quentin Tarantino to Host Screening of 'A Fistful of Dollars'". The Hollywood Reporter.
References[edit]
Hughes, Howard (2009). Aim for the Heart. London: I.B. Tauris. ISBN 978-1-84511-902-7.
Munn, Michael (1992). Clint Eastwood: Hollywood's Loner. London: Robson Books. ISBN 0-86051-790-X.
Frayling, Christopher (2006). Spaghetti westerns : cowboys and Europeans from Karl May to Sergio Leone (Revised paperback ed.). London: I. B. Tauris & Co. ISBN 978-1845112073.
Giusti, Marco (2007). Dizionario del western all'italiana (1. ed. Oscar varia. ed.). Milano: Oscar Mondadori. ISBN 88-04-57277-9.
External links[edit]
Wikiquote has quotations related to: A Fistful of Dollars
A Fistful of Dollars on IMDb
A Fistful of Dollars at the TCM Movie Database
A Fistful of Dollars at AllMovie
A Fistful of Dollars at the American Film Institute Catalog
A Fistful of Dollars at Box Office Mojo
A Fistful of Dollars at the Spaghetti Western Database
A Comparison of Yojimbo, A Fistful of Dollars and Last Man Standing
show
v
t
e
Dollars Trilogy
Films
A Fistful of Dollars (1964)
For a Few Dollars More (1965)
The Good, the Bad and the Ugly (1966)
See also
Man with No Name
The Good, the Bad and the Ugly: Original Motion Picture Soundtrack
theme music
"The Ecstasy of Gold"
show
v
t
e
Films directed by Sergio Leone
They Stole a Tram (1954) (uncredited)
The Last Days of Pompeii (1959) (uncredited)
The Colossus of Rhodes (1961)
A Fistful of Dollars (1964)
For a Few Dollars More (1965)
The Good, the Bad and the Ugly (1966)
Once Upon a Time in the West (1968)
Duck, You Sucker! (1971)
A Genius, Two Partners and a Dupe (1975) (uncredited)
Once Upon a Time in America (1984)
show
v
t
e
Akira Kurosawa's Yojimbo (1961)
Films
Sanjuro (1962 sequel)
A Fistful of Dollars (1964)
Django (1966)
Zatoichi Meets Yojimbo (1970)
Support Your Local Gunfighter (1971 parody)
The Warrior and the Sorceress (1984)
Death Wish 4: The Crackdown (1987)
Last Man Standing (1996)
Omega Doom (1996)
Inferno (1999)
Sukiyaki Western Django (2007)
TV
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Inspirations
Red Harvest (1929 novel)
The Glass Key (1931 novel) / The Glass Key (1942 film)
Related
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Authority control
WorldCat Identities
GND: 4780920-6
VIAF: 316753602
Retrieved from "https://en.wikipedia.org/w/index.php?title=A_Fistful_of_Dollars&oldid=856634076"
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