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The Morning After (Maureen McGovern song)
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"The Morning After"
Single by Maureen McGovern
from the album The Morning After
B-side
"Midnight Storm"
Released
May 1973
Genre
Pop
Length
2:14
Label
20th Century
Songwriter(s)
Joel Hirschhorn
Al Kasha[1]
Maureen McGovern singles chronology
"The Morning After"
(1973) "I Won't Last a Day Without You"
(1973)
"The Morning After"
(1973) "I Won't Last a Day Without You"
(1973)
"The Morning After" (also known as "The Song from The Poseidon Adventure") is a song written by Al Kasha and Joel Hirschhorn for the 1972 film The Poseidon Adventure. It won the 1972 Academy Award for Best Original Song at the 45th Academy Awards in March 1973.[1] After the film's release, it was recorded by Maureen McGovern and became a hit single for her following its release in May 1973. It was a number-one hit in the US for two weeks during August 1973, and became a Gold record.[2]
Contents
[hide]
1 Beginnings
2 Personnel
3 Chart performance
3.1 Weekly charts
3.2 Year-end charts
4 See also
5 References
6 External links
Beginnings[edit]
The song was written in March 1972 by 20th Century Fox songwriters Al Kasha and Joel Hirschhorn,[1] who were asked to write the love theme for The Poseidon Adventure in one night. The finished product was called "Why Must There Be a Morning After?" but changes by the record label resulted in the song's more optimistic lyric of "there's got to be a morning after". In the end titles of the film, it is called "The Song from The Poseidon Adventure", though it would become best known by the title of the single, "The Morning After".
The song is performed in the film by the character of Nonnie, played by Carol Lynley, but is actually sung by a vocal double, Renee Armand. It appears twice, during a warm-up rehearsal and then later during the New Year's Eve party early in the film. The lyrics relate to the themes of the film, as a band of passengers survive the capsizing of the ship SS Poseidon and have to escape the sinking wreck.
Personnel[edit]
Maureen McGovern - vocals
Joe Hudson - arrangement, conductor
Bob Fraser - guitar
Bill Severance - drums, percussion
Chart performance[edit]
Weekly charts[edit]
Chart (1973)
Peak
position
Australia Kent Music Report[3] 1
Australia Go Set[4] 2
Canada (RPM) Top Singles[5] 3
Canada Adult Contemporary (RPM)[6] 4
US Billboard Hot 100[7] 1
US Billboard Adult Contemporary 6
Year-end charts[edit]
Chart (1973)
Rank
Australia Kent Music Report[3] 16
Australia Go Set[8] 17
Canada Top Singles[9] 33
US Billboard Hot 100[10] 28
See also[edit]
List of Billboard Hot 100 number-one singles of 1973
List of number-one singles in Australia during the 1970s
Preceded by
"Bad, Bad Leroy Brown" by Jim Croce Billboard Hot 100 number one single
August 4, 1973 (two weeks) Succeeded by
"Touch Me in the Morning" by Diana Ross
References[edit]
^ Jump up to: a b c Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 136. ISBN 1-904994-10-5.
Jump up ^ "Songs from the Year 1973". Tsort.info. Retrieved 2016-10-08.
^ Jump up to: a b Steffen Hung. "Forum - 1970 (ARIA Charts: Special Occasion Charts)". Australian-charts.com. Retrieved 2016-10-08.
Jump up ^ "Go-Set Australian charts - 28 July 1973". Poparchives.com.au. 1973-07-28. Retrieved 2016-10-08.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-08.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-08.
Jump up ^ Joel Whitburn's Top Pop Singles 1955-1990 - ISBN 0-89820-089-X
Jump up ^ "Go-Set Australian charts - Top Records for the Year of 1973". Poparchives.com.au. Retrieved 2016-10-08.
Jump up ^ "Top 100 Singles of '73". RPM. December 29, 1973. Retrieved March 14, 2016.
Jump up ^ "Top 100 Hits of 1973/Top 100 Songs of 1973". Musicoutfitters.com. Retrieved 2016-10-08.
External links[edit]
Lyrics of this song at MetroLyrics
[show]
v
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e
Academy Award for Best Original Song
1934–1940
"The Continental"
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Lyrics: Herb Magidson (1934)
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1951–1960
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"Never on Sunday"
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1961–1970
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"For All We Know"
Music: Fred Karlin
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1971–1980
"Theme from Shaft"
Music and lyrics: Isaac Hayes (1971)
"The Morning After"
Music and lyrics: Al Kasha and Joel Hirschhorn (1972)
"The Way We Were"
Music: Marvin Hamlisch
Lyrics: Alan and Marilyn Bergman (1973)
"We May Never Love Like This Again"
Music and lyrics: Al Kasha and Joel Hirschhorn (1974)
"I'm Easy"
Music and lyrics: Keith Carradine (1975)
"Evergreen (Love Theme from A Star Is Born)"
Music: Barbra Streisand
Lyrics: Paul Williams (1976)
"You Light Up My Life"
Music and lyrics: Joseph Brooks (1977)
"Last Dance"
Music and lyrics: Paul Jabara (1978)
"It Goes Like It Goes"
Music: David Shire
Lyrics: Norman Gimbel (1979)
"Fame"
Music: Michael Gore
Lyrics: Dean Pitchford (1980)
1981–1990
"Arthur's Theme (Best That You Can Do)"
Music and lyrics: Burt Bacharach, Carole Bayer Sager, Christopher Cross and Peter Allen (1981)
"Up Where We Belong"
Music: Jack Nitzsche and Buffy Sainte-Marie
Lyrics: Will Jennings (1982)
"Flashdance... What a Feeling"
Music: Giorgio Moroder
Lyrics: Keith Forsey and Irene Cara (1983)
"I Just Called to Say I Love You"
Music and lyrics: Stevie Wonder (1984)
"Say You, Say Me"
Music and lyrics: Lionel Richie (1985)
"Take My Breath Away"
Music: Giorgio Moroder
Lyrics: Tom Whitlock (1986)
"(I've Had) The Time of My Life"
Music: Franke Previte, John DeNicola and Donald Markowitz
Lyrics: Franke Previte (1987)
"Let the River Run"
Music and lyrics: Carly Simon (1988)
"Under the Sea"
Music: Alan Menken
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"Sooner or Later (I Always Get My Man)"
Music and lyrics: Stephen Sondheim (1990)
1991–2000
"Beauty and the Beast"
Music: Alan Menken
Lyrics: Howard Ashman (1991)
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Music: Alan Menken
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Music and lyrics: Bruce Springsteen (1993)
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Music: Elton John
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Music: Alan Menken
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Music: Andrew Lloyd Webber
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Music: James Horner
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Music and lyrics: Stephen Schwartz (1998)
"You'll Be in My Heart"
Music and lyrics: Phil Collins (1999)
"Things Have Changed"
Music and lyrics: Bob Dylan (2000)
2001–2010
"If I Didn't Have You"
Music and lyrics: Randy Newman (2001)
"Lose Yourself"
Music: Eminem, Jeff Bass and Luis Resto
Lyrics: Eminem (2002)
"Into the West"
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Music: Justin Hurwitz
Lyrics: Benj Pasek and Justin Paul (2016)
[show]
v
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Paul Gallico's The Poseidon Adventure
Film
The Poseidon Adventure (1972)
The Poseidon Adventure (2005)
Poseidon (2006)
Sequel
Beyond the Poseidon Adventure (1979)
Related
Poseidon
"The Morning After"
[show]
v
t
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Maureen McGovern
Studio albums
The Morning After
Nice to Be Around
Academy Award Performance: And the Envelope, Please
Maureen McGovern
Another Woman in Love
Baby I'm Yours
Out of This World
A Long and Winding Road
Live albums
Naughty Baby
Compilation albums
Greatest Hits
20th Century Masters – The Millennium Collection: The Best of Maureen McGovern
Singles
"The Morning After"
"I Won't Last a Day Without You"
"We May Never Love Like This Again"
"The Continental"
"Can't Take My Eyes Off You"
"You Belong to Me"
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text:
Kalki
From Wikipedia, the free encyclopedia
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For other uses, see Kalki (disambiguation).
Kalki
Destroyer of Filth
The nemesis of Kali (demon)
Kalki Avatar by Ravi Varma
Affiliation
Tenth avatar of Para Brahman
Successor
Satya Yuga[1]
Abode
Shambhala[2]
Planet
Earth
Weapon
Ratna Maru (sword) (weapon of Shiva)[3]
Bow and arrow (sometimes)[4]
Mount
Devadatta (i.e. White horse)
Shuka (parrot) (sometimes)[5]
Texts
Mahabharat
Bhagavata Purana
Garuda Purana[6]
Kalki Purana
Padma Purana
Vishnu Purana
Ethnic group
Brahmin[7][8]
Personal information
Consort
Padma (Avatar of Lakshmi, and daughter of King Vrihadrath and Kaumudi)[16]
Ramaa (second wife) (Daughter of King Shashidhwaja and Sushanta)[17]
Children
(From Padma)[9]
Jai (son)
Vijai (son)
(From Ramaa)[10]
Meghamaal (son)
Balahaka (son)
Parents
Vishnu Yasha[11] (father)
Sumati[11] (mother)
Siblings
Kavi (elder brother)[12]
Pragya (elder brother)[12]
Sumantrak (elder brother)[12]
Sumuti (sister-in-law; Pragya's wife)[13]
Maalini (sister-in-law; Sumantrak's wife)[14]
(From Kavi)[15]
Vrihad Keerti (nephew)
Vrihadbahu (nephew)
(From Pragya)[13]
Yagya (nephew)
Vigya (nephew)
(From Sumantrak)[14]
Shasan (nephew)
Vegavaan (nephew)
Kalki, also called Kalkin, is the tenth avatar of Hindu god Vishnu to end the Kali Yuga, one of the four periods in endless cycle of existence (krita) in Vaishnavism cosmology. He is described in the Puranas as the avatar who rejuvenates existence by ending the darkest and destructive period to remove adharma and ushering in the Satya Yuga, while riding a white horse with a fiery sword.[18] The description and details of Kalki are inconsistent among the Puranic texts. He is, for example, only an invisible force destroying evil and chaos in some texts, while an actual person who kills those who persecute others, and portrayed as someone leading an army of Brahmin warriors in some. His mythology has been compared to the concepts of Messiah, Apocalypse, Frashokereti and Maitreya in other religions.[18][19]
Kalki is also found in Buddhist texts. In Tibetan Buddhism, the Kalachakra-Tantra describes 25 rulers, each named Kalki who rule from the heavenly Shambhala. The last Kalki of Shambhala destroys a barbarian Muslim army, after which Buddhism flourishes. This text is dated to about 10th-century CE.[20][21][22]
Contents
1 Etymology
2 Description
2.1 Wheel of Time Tantra
3 Development
3.1 Kalki Purana
4 Kalki Avatar in Sikhism
5 Features and iconography
6 Predictions about birth and arrival
7 People claimed to be Kalki
8 See also
9 References
9.1 Bibliography
10 External links
Etymology[edit]
The name Kalki is derived based Kali, which means "present age" (kali yuga).[23] The literal meaning of Kalki is "dirty, sinful", which Brockington states does not make sense in the avatara context.[24] This has led scholars such as Otto Schrader to suggest that the original term may have been karki (white, from the horse) which morphed into Kalki. This proposal is supported by two versions of Mahabharata manuscripts (e.g. the G3.6 manuscript) that have been found, where the Sanskrit verses name the avatar to be "karki", rather than "kalki".[24]
Description[edit]
Part of a series on
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v
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Kalki is an avatara of Vishnu. Avatara means "descent" and refers to a descent of the divine into the material realm of human existence. The Garuda Purana lists ten avatars, with Kalki being the tenth.[25] He is described as the avatar who appears at the end of the Kali Yuga. He ends the darkest, degenerating and chaotic stage of the Kali Yuga (period) to remove adharma and ushers in the Satya Yuga, while riding a white horse with a fiery sword.[18][19] He restarts a new cycle of time.[26] He is described as a Brahmin warrior in the Puranas.[18][19]
Wheel of Time Tantra[edit]
In the Buddhist text Kalachakra Tantra, the righteous kings are called Kalki (Kalkin, lit. chieftain) living in Sambhala. There are many Kalki in this text, each fighting barbarism, persecution and chaos. The last Kalki is called "Cakrin" and is predicted to end the chaos and degeneration by assembling a large army to eradicate the "forces of Islam".[20][21] A great war and Armageddon will destroy the barbaric Muslim forces, states the text.[20][21][22] According to Donald Lopez – a professor of Buddhist Studies, Kalki is predicted to start the new cycle of perfect era where "Buddhism will flourish, people will live long, happy lives and righteousness will reign supreme".[20] The text is significant in establishing the chronology of the Kalki idea to be from post-7th century, probably the 9th or 10th century.[27] Lopez states that the Buddhist text likely borrowed it from Hindu mythology.[20][21] Other scholars, such as Yijiu Jin, state that the text originated in Central Asia in the 10th-century, and Tibetan literature picked up a version of it in India around 1027 CE.[27]
Development[edit]
There is no mention of Kalki in the Vedic literature.[28][29] The epithet "Kalmallkinam", meaning "brilliant remover of darkness", is found in the Vedic literature for Rudra (later Shiva), which has been interpreted to be "forerunner of Kalki".[28]
Kalki appears for the first time in the great war epic Mahabharata.[30] The mention of Kalki in the Mahabharata occurs only once, over the verses 3.188.85–3.189.6.[24] The Kalki avatar is found in the Maha-Puranas such as Vishnu Purana,[31] Matsya Purana, and Bhagavata Purana.[32][33] However, the details relating the Kalki mythologies are divergent between the Epic and the Puranas, as well as within the Puranas.[34][30]
In the Mahabharata, according to Hiltebeitel, Kalki is an extension of the Parasurama avatar legend where a Brahmin warrior destroys Kshatriyas who were abusing their power to spread chaos, evil and persecution of the powerless. The Epic character of Kalki restores dharma, restores justice in the world, but does not end the cycle of existence.[30][35] The Kalkin section in the Mahabharata occurs in the Markandeya section. There, states Luis Reimann, can "hardly be any doubt that the Markandeya section is a late addition to the Epic. Making Yudhisthira ask a question about conditions at the end of Kali and the beginning of Krta — something far removed from his own situation — is merely a device for justifying the inclusion of this subject matter in the Epic."[36]
According to Cornelia Dimmitt, the "clear and tidy" systematization of Kalki and the remaining nine avatars of Vishnu is not found in any of the Maha-Puranas.[37] The coverage of Kalki in these Hindu texts is scant, in contrast to the legends of Matsya, Kurma, Varaha, Vamana, Narasimha and Krishna, all of which are repeatedly and extensively described. According to Dimmitt, this was likely because just like the concept of the Buddha as a Vishnu avatar, the concept of Kalki was "somewhat in flux" when the major Puranas were being compiled.[37]
This myth may have developed in the Hindu texts both as a reaction to the invasions of the Indian subcontinent by various armies over the centuries from its northwest, and the mythologies these invaders brought with them.[24][38]
According to John Mitchiner, the Kalki concept was likely borrowed "in some measure from similar Jewish, Christian, Zoroastrian and other religions".[39] Mitchiner states that some Puranas such as the Yuga Purana do not mention Kalki and offer a different cosmology than the other Puranas. The Yuga Purana mythologizes in greater details the post-Maurya era Indo-Greek and Saka era, while the Manvantara theme containing the Kalki idea is mythologized greater in other Puranas.[40][30] Luis Gonzales-Reimann concurs with Mitchiner, stating that the Yuga Purana does not mention Kalki.[41] In other texts such as the sections 2.36 and 2.37 of the Vayu Purana, states Reimann, it is not Kalkin who ends the Kali Yuga, but a different character named Pramiti.[42] Most historians, states Arvind Sharma, link the development of Kalki mythology in Hinduism to the suffering caused by foreign invasions.[43]
Kalki Purana[edit]
A minor text named Kalki Purana is a recent text, likely composed in Bengal. Its dating floruit is the 18th-century.[44] Wendy Doniger dates the Kalki mythology containing Kalki Purana to between 1500 and 1700 CE.[45]
In the Kalki Purana, Kalki marries princess Padmavati, the daughter of Brhadratha of Simhala.[44] He fights an evil army and many wars, ends evil but does not end existence. Kalki returns to Sambhala, inaugurates a new yuga for the good and then goes to heaven.[44]
Kalki Avatar in Sikhism[edit]
Kalki Avatar Punjab Hills, Guler, c. 1765.
The Kalki avatar appears in the historic Sikh texts, most notably in Dasam Granth as Nihakalanki, a text that is traditionally attributed to Guru Gobind Singh.[46][47] The Chaubis Avatar (24 avatars) section mentions sage Matsyanra describing the appearance of Vishnu avatars to fight evil, greed, violence and ignorance. It includes Kalki as the twenty-fourth incarnation to lead the war between the forces of righteousness and unrighteousness, states Dhavan.[48]
Features and iconography[edit]
[Lord Shiva said to Lord Kalki:] "This horse was manifested from Garuda, and it can go anywhere at will and assume many different forms. Here also is a parrot [ Shuka ] that knows everything - past, present, and future. I would like to offer You both the horse and the parrot and so please accept them. By the influence of this horse and parrot, the people of the world will know You as a learned scholar of all scriptures who is a master of the art of releasing arrows, and thus the conqueror of all. I would also like to present You this sharp, strong sword and so please accept it. The handle of this sword is bedecked with jewels, and it is extremely powerful. As such, the sword will help You to reduce the heavy burden of the earth."[49]
Thereafter, Lord Kalki picked up His brightly shining trident and bow and arrows and sets out from His palace, riding upon His victorious horse and wearing His amulet.[50]
[Shuka said to Padmavati:] [Lord Kalki] received a sword, horse, parrot, and shield from Mahadeva, as a benediction.[51]
Predictions about birth and arrival[edit]
In the cyclic concept of time (Puranic Kalpa), Kaliyuga is variously estimated to last between 400,000 to 432,000 years. In some Vaishnava texts, Kalki is forecasted to appear on a white horse, at the end of Kaliyuga, to end the age of degeneration and to restore virtue and world order.[52][53]
The Indian texts state that Kalki will be born to Awejsirdenee and Bishenjun,[54] or alternatively in the family of Sumati and Vishnuyasha.[55][56] He appears at the end of Kali Yuga to restore the order of the world.[54][57] Vishnuyasha is stated to be a prominent Brahmin headman of the village called Shambhala. He will become the king, a "Turner of the Wheel", and one who triumphs. He will eliminate all barbarians and robbers, end adharma, restart dharma, and save the good people.[58] After that, humanity will be transformed and will prevail on earth, and the golden age will begin.[58]
In the Kanchipuram temple, two relief Puranic panels depict Kalki, one relating to lunar (daughter-based) dynasty and another to solar (son-based) dynasty.[55] In these panels, states D Dennis Hudson, the story depicted is in terms of Kalki fighting and defeating asura Kali. He rides a white horse called Devadatta, ends evil, purifies everyone's minds and consciousness, and heralds the start of Krita Yuga.[55]
19th-century Dashavatara painting (from left): Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha and Kalki.
People claimed to be Kalki[edit]
List of people who have claimed to be the Kalki avatar:
Mirza Ghulam Ahmad, founder of Ahmadiyya movement, claimed to be the Kalki Avatar, as well Mahdi.[59]
Bahai faith, that emerged from Islam and is a distinct religion, has identified Bahá'u'lláh as Kalki as well as the prophesized redeeming God at the end of the world, as claimed in Babism, Islam (Mahdi), Christianity (Messiah) and Buddhism (Maitreya).[60][61]
Sri Bhagavan, of Golden Age Foundation, Bhagavad Dharma, Kalki Dharma and the Oneness Organisation, born on 7 March 1949.[62]
Samael Aun Weor, founder of the Universal Christian Gnostic Movement.[63]
Riaz Ahmed Gohar Shahi of Kalki Avatar Foundation.[64]
See also[edit]
Dashavatara
End time
Kali
Koka and Vikoka
Lord of Light
Mahabharata
Maitreya
Ramayana
Suchandra
References[edit]
Jump up ^ Kalki Purana: 3:14:31
Jump up ^ Kalki Purana: 1:2:10
Jump up ^ Kalki Purana: 1:3:27
Jump up ^ Kalki Purana: 3:1:1
Jump up ^ Kalki Purana: 1:3:25,28
Jump up ^ Manmatha Nath Dutt, tr., The Garuda Puranam (1908), p. 4
Jump up ^ Kalki Purana: 3:16:27
Jump up ^ Kalki Purana: 2:1:22
Jump up ^ Kalki Purana: 2:6:36
Jump up ^ Kalki Purana: 3:18:44
^ Jump up to: a b Kalki Purana: 1:2:11
^ Jump up to: a b c Kalki Purana: 1:2:31-32
^ Jump up to: a b Kalki Purana: 2:6:34
^ Jump up to: a b Kalki Purana: 2:6:35
Jump up ^ Kalki Purana: 2:6:33
Jump up ^ Kalki Purana: 1:2:6
Jump up ^ Kalki Purana: 3:10:25
^ Jump up to: a b c d Dalal 2014, p. 188
^ Jump up to: a b c Wendy Doniger; Merriam-Webster, Inc (1999). Merriam-Webster's Encyclopedia of World Religions. Merriam-Webster. p. 629. ISBN 978-0-87779-044-0.
^ Jump up to: a b c d e Donald S. Lopez Jr. (2015). Buddhism in Practice. Princeton University Press. pp. 202–204. ISBN 978-1-4008-8007-2.
^ Jump up to: a b c d Perry Schmidt-Leukel (2017). Religious Pluralism and Interreligious Theology: The Gifford Lectures. Orbis. pp. 220–222. ISBN 978-1-60833-695-1.
^ Jump up to: a b [a] Björn Dahla (2006). Exercising Power: The Role of Religions in Concord and Conflict. Donner Institute for Research in Religious and Cultural History. pp. 90–91. ISBN 978-952-12-1811-8. , Quote: "(...) the Shambala-bodhisattva-king [Cakravartin Kalkin] and his army will defeat and destroy the enemy army, the barbarian Muslim army and their religion, in a kind of Buddhist Armadgeddon. Thereafter Buddhism will prevail.";
[b] David Burton (2017). Buddhism: A Contemporary Philosophical Investigation. Taylor & Francis. p. 193. ISBN 978-1-351-83859-7.
[c] Johan Elverskog (2011). Anna Akasoy; et al., eds. Islam and Tibet: Interactions Along the Musk Routes. Ashgate Publishing. pp. 293–310. ISBN 978-0-7546-6956-2. CS1 maint: Explicit use of et al. (link)
Jump up ^ Klaus K. Klostermaier (2006). Mythologies and Philosophies of Salvation in the Theistic Traditions of India. Wilfrid Laurier Univ. Press. p. 75. ISBN 978-0-88920-743-1.
^ Jump up to: a b c d J. L. Brockington (1998). The Sanskrit Epics. BRILL Academic. pp. 287–288 with footnotes 126–127. ISBN 90-04-10260-4.
Jump up ^ Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 73.
Jump up ^ Ludo Rocher (22 March 2004). Ralph M. Rosen, ed. Time and Temporality in the Ancient World. UPenn Museum of Archaeology. pp. 91–93. ISBN 978-1-931707-67-1.
^ Jump up to: a b Yijiu JIN (2017). Islam. BRILL Academic. pp. 49–52. ISBN 978-90-474-2800-8.
^ Jump up to: a b Tattvadīpaḥ: Journal of Academy of Sanskrit Research, Volume 5. The Academy. 2001. p. 81. Kalki, as an incarnation of Visnu, is not found in the Vedic literature. But some of the features of that concept, viz., the fearful elements, the epithet Kalmallkinam (brilliant, remover of darkness) of Rudra, prompt us to admit him as the forerunner of Kalki.
Jump up ^ Rabiprasad Mishra (2000). Theory of Incarnation: Its Origin and Development in the Light of Vedic and Purāṇic References. Pratibha. p. 146. ISBN 978-81-7702-021-2. , Quote: "Kalki as an incarnation of Visnu is not mentioned in the Vedic literature."
^ Jump up to: a b c d Alf Hiltebeitel (2011). Reading the Fifth Veda: Studies on the Mahābhārata - Essays by Alf Hiltebeitel. BRILL Academic. pp. 89–110, 530–531. ISBN 90-04-18566-6.
Jump up ^ Wilson, Horace (2001). Vishnu Purana. Ganesha Publishing. p. 72. ISBN 1-86210-016-0.
Jump up ^ Roy, Janmajit. Theory of Avatāra and Divinity of Chaitanya. Atlantic Publishers. p. 39.
Jump up ^ Daniélou, Alain. The Myths and Gods of India: The Classic Work on Hindu Polytheism from the Princeton Bollingen Series. Inner Traditions / Bear & Co. p. 181.
Jump up ^ John E. Mitchiner (2000). Traditions Of The Seven Rsis. Motilal Banarsidass. pp. 68–69 with footnotes. ISBN 978-81-208-1324-3.
Jump up ^ Alf Hiltebeitel (2011). Dharma: Its Early History in Law, Religion, and Narrative. Oxford University Press. pp. 288–292. ISBN 978-0-19-539423-8.
Jump up ^ Luis González Reimann (2002). The Mahābhārata and the Yugas: India's Great Epic Poem and the Hindu System of World Ages. Peter Lang. pp. 89–99, quote is on page 97. ISBN 978-0-8204-5530-3.
^ Jump up to: a b Dimmitt & van Buitenen 2012, pp. 63-64
Jump up ^ Wendy Doniger (2004). Hindu Myths: A Sourcebook Translated from the Sanskrit. Penguin Books. pp. 235–237. ISBN 978-0-14-044990-7.
Jump up ^ John E. Mitchiner (2000). Traditions Of The Seven Rsis. Motilal Banarsidass. pp. 75–76. ISBN 978-81-208-1324-3.
Jump up ^ John E. Mitchiner (2000). Traditions Of The Seven Rsis. Motilal Banarsidass. pp. 69–76. ISBN 978-81-208-1324-3.
Jump up ^ Luis González-Reimann (2002). The Mahābhārata and the Yugas: India's Great Epic Poem and the Hindu System of World Ages. Peter Lang. pp. 95–99. ISBN 978-0-8204-5530-3.
Jump up ^ Luis González Reimann (2002). The Mahābhārata and the Yugas: India's Great Epic Poem and the Hindu System of World Ages. Peter Lang. pp. 112–113 note 39. ISBN 978-0-8204-5530-3. ; Note: Reimann mentions some attempts to "identify both Pramiti and Kalkin with historical rulers".
Jump up ^ Arvind Sharma (2012). Religious Studies and Comparative Methodology: The Case for Reciprocal Illumination. State University of New York Press. pp. 244–245. ISBN 978-0-7914-8325-1.
^ Jump up to: a b c Rocher 1986, p. 183 with footnotes.
Jump up ^ Wendy Doniger (1988). Textual Sources for the Study of Hinduism. Manchester University Press. p. 5. ISBN 978-0-7190-1867-1.
Jump up ^ Robin Rinehart (2011). Debating the Dasam Granth. Oxford University Press. pp. 29–30. ISBN 978-0-19-975506-6.
Jump up ^ W. H. McLeod (2003). Sikhs of the Khalsa: A History of the Khalsa Rahit. Oxford University Press. pp. 149–150. ISBN 978-0-19-565916-0.
Jump up ^ Purnima Dhavan (2011). When Sparrows Became Hawks: The Making of the Sikh Warrior Tradition, 1699-1799. Oxford University Press, USA. pp. 1 55–157, 186 note 32. ISBN 978-0-19-975655-1.
Jump up ^ Bhumipati Das. Sri Kalki Purana. 2nd ed. India: Jai Nitai Press, 2011. pp. 33–34 (ch 3, text 25–27).
Jump up ^ Bhumipati Das. Sri Kalki Purana. 2nd ed. India: Jai Nitai Press, 2011. p. 36 (ch 3, text 36).
Jump up ^ Bhumipati Das. Sri Kalki Purana. 2nd ed. India: Jai Nitai Press, 2011. p. 84 (ch 8, text 24).
Jump up ^ Charles Russell Coulter; Patricia Turner (2013). Encyclopedia of Ancient Deities. Routledge.
Jump up ^ James R. Lewis; Inga B. Tollefsen. The Oxford Handbook of New Religious Movements, Volume 2. Oxford University Press. p. 488.
^ Jump up to: a b Charles Russell Coulter; Patricia Turner (2013). Encyclopedia of Ancient Deities. Routledge.
^ Jump up to: a b c D Dennis Hudson (2008). The Body of God: An Emperor's Palace for Krishna in Eighth-Century Kanchipuram. Oxford University Press. pp. 333–340.
Jump up ^ Rocher 1986, p. 183.
Jump up ^ James R. Lewis; Inga B. Tollefsen. The Oxford Handbook of New Religious Movements, Volume 2. Oxford University Press. p. 488.
^ Jump up to: a b J.A.B. van Buitenen (1987). The Mahabharata, Volume 2: Book 2. University of Chicago Press. p. 597-598.
Jump up ^ Juergensmeyer, Mark (2006). Oxford Handbook of Global Religions. Oxford: Oxford University Press. p. 520. ISBN 978-0-19-513798-9, ISBN (Ten digit): 0195137981.
Jump up ^ Daniel E Bassuk (1987). Incarnation in Hinduism and Christianity: The Myth of the God-Man. Palgrave Macmillan. pp. 146–147. ISBN 978-1-349-08642-9.
Jump up ^ John M. Robertson (2012). Tough Guys and True Believers: Managing Authoritarian Men in the Psychotherapy Room. Routledge. pp. 62–63. ISBN 978-1-136-81774-8.
Jump up ^ The Oxford Handbook of New Religious Movements, Volume 2, p.488, James R. Lewis, Inga B. Tollefsen, Oxford University Press
Jump up ^ "Who is Samael Aun Weor?". Samael.org. Retrieved 25 December 2017.
Jump up ^ Sikand, Yoginder (2008). Pseudo-messianic movements in contemporary Muslim South Asia. Global Media Publications. p. 100.
Bibliography[edit]
Bryant, Edwin Francis (2007). Krishna: A Sourcebook. Oxford University Press. ISBN 978-0-19-803400-1.
Dimmitt, Cornelia; van Buitenen, J. A. B. (2012). Classical Hindu Mythology: A Reader in the Sanskrit Puranas. Temple University Press (1st Edition: 1977). ISBN 978-1-4399-0464-0.
Dalal, Rosen (2014). Hinduism: An Alphabetical Guide. Penguin. ISBN 978-8184752779.
Flood, Gavin (1996). An Introduction to Hinduism. Cambridge: Cambridge University Press. ISBN 0-521-43878-0.
Ariel Glucklich (2008). The Strides of Vishnu: Hindu Culture in Historical Perspective: Hindu Culture in Historical Perspective. Oxford University Press. ISBN 978-0-19-971825-2.
Johnson, W.J. (2009). A Dictionary of Hinduism. Oxford University Press. ISBN 978-0-19-861025-0.
Rao, Velcheru Narayana (1993). "Purana as Brahminic Ideology". In Doniger Wendy. Purana Perennis: Reciprocity and Transformation in Hindu and Jaina Texts. Albany: State University of New York Press. ISBN 0-7914-1381-0.
Rocher, Ludo (1986). The Puranas. Otto Harrassowitz Verlag. ISBN 978-3447025225.
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1 The list of ten avatars varies regionally. The two substitutions involve Balarama, Krishna and Buddha is considered the avatar of Vishnu. Krishna is almost always included; in exceptions, he is considered the source of all avatars.
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A Midsummer Night's Dream (1999 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see A Midsummer Night's Dream (disambiguation).
A Midsummer Night's Dream
Theatrical release poster
Directed by
Michael Hoffman
Produced by
Michael Hoffman
Leslie Urdang
Screenplay by
Michael Hoffman
Based on
A Midsummer Night's Dream
by William Shakespeare
Starring
Rupert Everett
Calista Flockhart
Kevin Kline
Michelle Pfeiffer
Stanley Tucci
Christian Bale
Sophie Marceau
David Strathairn
Music by
Simon Boswell
Cinematography
Oliver Stapleton
Edited by
Garth Craven
Production
company
Regency Enterprises
Distributed by
Fox Searchlight Pictures
Release date
April 26, 1999 (1999-04-26) (Premiere)
May 14, 1999 (1999-05-14) (USA)
Running time
120 minutes[1]
Country
United Kingdom
United States
Italy
Language
English
Italian
Budget
$11 million[1]
Box office
$16,071,990[1]
A Midsummer Night's Dream is a 1999 romantic comedy fantasy film based on the play A Midsummer Night's Dream by William Shakespeare. It was directed by Michael Hoffman. The ensemble cast features Kevin Kline as Bottom, Michelle Pfeiffer and Rupert Everett as Titania and Oberon, Stanley Tucci as Puck, and Calista Flockhart, Anna Friel, Christian Bale, and Dominic West as the four lovers.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Critical reception
5 References
6 Further reading
7 External links
Plot[edit]
In 19th century Monte Athena, in the Kingdom of Italy, young lovers Lysander (Dominic West) and Hermia (Anna Friel) are forbidden to marry by her father Egeus (Bernard Hill), who has promised Hermia to Demetrius (Christian Bale). Lysander and Hermia make plans to flee to the forest to escape the arrangement. Demetrius follows them, having been made aware of the plan by Helena (Calista Flockhart), a young woman who is desperately in love with him. Once in the forest, they wander into the fairy world, ruled by Oberon (Rupert Everett) and Titania (Michelle Pfeiffer), King and Queen of the fairies. Oberon and his servant sprite Puck (Stanley Tucci) cause mayhem among the lovers with a magic potion that causes both Lysander and Demetrius to fall in love with Helena, leading to a rift between all four that culminates (famously in this adaptation) in a mud-wrestling scene. Oberon then bewitches Titania with the same potion.
Meanwhile, an acting troupe prepares a play for the entertainment of the Duke. The leader of the actors (Roger Rees) and the actors, including a weaver named Bottom (Kevin Kline), and Francis Flute (Sam Rockwell) take their rehearsal to the forest. The mischievous Puck magically enchants Bottom with the head of an ass and Bottom is then seen by the bewitched Titania. Titania woos Bottom in her bower, attended by fairies. Oberon tires of the sport and puts all to rights, pairing Lysander back with Hermia and Demetrius with Helena, and reconciling with his own queen, Titania.
In the final part, Bottom and his troupe of "rude Mechanicals" perform their amateur play, based on the tragedy of Pyramus and Thisbe, before Duke Theseus (David Strathairn), his wife Hippolyta (Sophie Marceau), and the court, unintentionally producing a comedy that turns to be a tragedy.
Cast[edit]
Kevin Kline as Nick Bottom
Roger Rees as Peter Quince
Sam Rockwell as Francis Flute
Max Wright as Robin Starveling
Bill Irwin as Tom Snout
Gregory Jbara as Snug
Stanley Tucci as Robin Goodfellow/Puck
Rupert Everett as Oberon
Michelle Pfeiffer as Titania
Anna Friel as Hermia
Dominic West as Lysander
Calista Flockhart as Helena
Christian Bale as Demetrius
David Strathairn as Theseus
Sophie Marceau as Hippolyta
Bernard Hill as Egeus
John Sessions as Philostrate
Production[edit]
A Midsummer Night's Dream was filmed on location in Lazio and Tuscany, and at Cinecittà Studios, Rome, Italy. The action of the play was transported from Athens, Greece, to a fictional Monte Athena, located in the Tuscan region of Italy, although all textual mentions of Athens were retained.
The film made use of Felix Mendelssohn's incidental music for an 1843 stage production (including the famous Wedding March), alongside operatic works from Giuseppe Verdi, Gaetano Donizetti, Vincenzo Bellini, Gioacchino Rossini and Pietro Mascagni.
Critical reception[edit]
A Midsummer Night's Dream received mixed-to-positive reviews, and currently holds a rating of 67% on Rotten Tomatoes,[2] and a score of 61 on Metacritic,[3] indicating generally favorable reviews. Many critics singled out Kevin Kline and Stanley Tucci for particular praise.
In the New York Times, Janet Maslin wrote:
Michael Hoffman's fussy production of A Midsummer Night's Dream is just such a parade of incongruities, with performances ranging from the sublime to the you-know-what ... Not even Michelle Pfeiffer's commanding loveliness as the fairy queen Titania, and her ability to speak of such things as 'my bower' with perfect ease, can offset the decision to have the actors grapple awkwardly with bicycles ... The hoodwinked characters of A Midsummer Night's Dream are meant to be mismatched much of the time. But not like this. The distraught Helena, played as a hand-waving, eye-rolling ditz by Calista Flockhart, hardly fits into the same film with David Strathairn's reserved Duke Theseus, or with Rupert Everett as a slinky Oberon. Everett, like the inspired Kevin Kline as the ham actor Bottom, is utterly at ease with this material in ways that many other cast members are not ... Though West and especially Ms. Friel approach their roles with gratifying ease, Bale is once again given the cheesecake treatment and little occasion to rise above it. This production tarts up the play any way it can ... The theatrical carryings-on of Bottom and company provide the film's best attempts at comedy. Staging a play about Pyramus and Thisbe with a troupe including Bill Irwin, Roger Rees and Sam Rockwell (as the beauteous heroine), Bottom's acting company delights its late-19th-century audience in ways Hoffman's film can only occasionally manage. In a completely unexpected turn, Rockwell moves the sceptical and bemused audience to tears as he performs Thisbe's scene reacting to the death of Pyramus, proving that he alone among the band of actors has any real talent for the craft.[4]
In the Chicago Sun-Times, Roger Ebert wrote:
Michael Hoffman's new film of William Shakespeare's A Midsummer Night's Dream (who else's?) is updated to the 19th century, set in Italy and furnished with bicycles and operatic interludes. But it is founded on Shakespeare's language and is faithful, by and large, to the original play... It's wonderful to behold Pfeiffer's infatuation with the donkey-eared Bottom, who she winds in her arms as 'doth the woodbine the sweet honeysuckle gently twist'; her love is so real, we almost believe it. Kline's Bottom tactfully humors her mad infatuation, good-natured and accepting. And Tucci's Puck suggests sometimes that he has a darker side, but it not so much malicious as incompetent.[5]
In the San Francisco Chronicle, Peter Stack wrote:
Purists will quibble, but William Shakespeare's A Midsummer Night's Dream is a playful, sexy piece of work - just what the Bard might have conjured up for a movie adaptation of his beloved spring-fever comedy. The film is over the top - and willfully so ... As might be expected, Kevin Kline steals the show with his hearty gifts for comedy ... Kline, a Shakespearean veteran, has that flourish, that golden touch. In his glorious way of overdoing it - turning the very notion of acting into farce - he embodies a supreme comic madness that is audacious yet embracing ... Michelle Pfeiffer plays it regal, pouty and come-hither as Titania. Her seduction of Bottom, turned to an ass under the spell of Puck (Stanley Tucci with horns and impish grin), is riotous ... A real surprise is the sly comic depth of Calista Flockhart's bicycle-riding Helena, miles from Ally McBeal ... Rupert Everett is imperious as Oberon, the jealous fairy king, and Tucci's Puck is amusingly tweaky as he keeps messing up his missions to drop magic nectar into lovers' eyes.[6]
In Time Out New York, Andrew Johnston (critic) wrote:
A strangely uneven adaptation of the Bard's most famous comedy, Michael Hoffman's Dream is, if nothing else, admirable for its lack of a contrived gimmick. Yes, the story has been transplanted to Tuscany in the 1890s, and the cast is packed with big names, but Hoffman rightly treats the text as the real star of the show. The film soars when actors who remember that Shakespeare was primarily an entertainer carry the ball, but things get pretty turgid when the focus is on those who seem cowed by appearing in an adaptation of a Major Literary Classic.[7]
In the Washington Post, Jane Horwitz wrote:
Instead of Shakespeare's Athens, Hoffman dreams his Dream in a gorgeous Tuscan hill town at the turn of the century, with production designer Luciana Arrighi and costume designer Gabriella Pescucci creating a luscious milieu of dusty green shutters, olive groves and vineyards reminiscent of the 1986 Merchant-Ivory gem A Room With a View ... some in the cast negotiate Shakespeare's lines better than others. Kevin Kline's stage savvy serves him especially well as a movie-stealing Bottom.[8]
Also in the Washington Post, Desson Howe wrote:
After watching William Shakespeare's 'A Midsummer Night's Dream, Michael Hoffman's adaptation of the romantic comedy, I'm left with more admiration than fairy dust. But it was pleasurable all the same... Kline and Flockhart do most of the pedaling. When Kline gets goofy – as he did in A Fish Called Wanda and In & Out, he's an irresistible, madcap Errol Flynn, twisting his good looks into hilarious contortions. And Flockhart exudes a wonderful vulnerability and sense of comic timing, as she pursues Demetrius, suffering all manner of indignity and incredulity along the way.[9]
In Variety, Emanuel Levy described the film as a "whimsical, intermittently enjoyable but decidedly unmagical version of the playwright's wild romantic comedy ... There is not much chemistry between Pfeiffer and Everett, nor between Pfeiffer and Kline, particularly in their big love scene. Kline overacts physically and emotionally, Flockhart is entertaining in a broad manner, and Pfeiffer renders a strenuously theatrical performance. Overall, the Brits give more coherent and resonant performances, especially Friel and West as the romantic couple, a restrained Everett as Oberon, and Rees as the theatrical manager."[10]
Time Out wrote that "this Dream is middlebrow and unashamed of it. Injecting the film with fun and pathos, Kline makes a superb Bottom; it's his play and he acts it to the hilt."[11]
References[edit]
^ Jump up to: a b c "Box Office Mojo". Archived from the original on 16 December 2009. Retrieved 2009-12-24.
Jump up ^ "A Midsummer Night's Dream Movie Reviews, Pictures". uk.rottentomatoes.com. Archived from the original on 2010-03-18. Retrieved 2009-12-25.
Jump up ^ "Midsummer Night's Dream, A". metacritic.com. Retrieved 2009-12-25.
Jump up ^ Maslin, Janet (May 14, 1999). "'A Midsummer Night's Dream': A 'Dream' of Foolish Mortals". nytimes.com.
Jump up ^ Ebert, Roger (May 14, 1999). "William Shakespeare's A Midsummer Night's Dream :: rogerebert.com :: Reviews". rogerebert.suntimes.com.
Jump up ^ Stack, Peter (May 14, 1999). "'Dream' Interpretation / Stellar cast adds comic madness to lush, over-the-top 'Midsummer'". The San Francisco Chronicle.
Jump up ^ Time Out New York, May 13–19, 1999, p. 100.
Jump up ^ Horwitz, Jane (May 14, 1999). "'A Midsummer Night's Dream' (PG-13)". washingtonpost.com.
Jump up ^ Howe, Desson (May 14, 1999). "'A Midsummer Night's Dream' (PG-13)". washingtonpost.com.
Jump up ^ Levy, Emanuel (May 10, 1999). "William Shakespeare's A Midsummer Night's Dream Review". variety.com.
Jump up ^ "A Midsummer Night's Dream Review - Film - Time Out London". timeout.com. Archived from the original on 2010-05-31. Retrieved 2009-12-25.
Further reading[edit]
Rothwell, Kenneth S. (2000). "Shakespeare Goes Digital". Cinéaste. 25 (3): 50–2. ISSN 0009-7004. JSTOR 41689270 – via JSTOR. (Registration required (help)).
External links[edit]
A Midsummer Night's Dream on IMDb
Fox Searchlight Pictures: A Midsummer Night's Dream
A Midsummer Night's Dream at AllMovie
[show]
v
t
e
Films directed by Michael Hoffman
Privileged (1982)
Restless Natives (1985)
Promised Land (1987)
Some Girls (1988)
Soapdish (1991)
Restoration (1995)
One Fine Day (1996)
A Midsummer Night's Dream (1999)
The Emperor's Club (2002)
Game 6 (2005)
The Last Station (2009)
Gambit (2012)
The Best of Me (2014)
Gore (unreleased)
[show]
v
t
e
William Shakespeare's A Midsummer Night's Dream
Characters
Lovers
Theseus and Hippolyta
Oberon and Titania
Hermia and Lysander
Helena and Demetrius
Mechanicals
Nick Bottom
Peter Quince
Francis Flute
Robin Starveling
Tom Snout
Snug
Other characters
Puck
Egeus
Philostrate
Film
1909
1935
1959
1968
1969
1999
Television
1980
1992
1994
2016
Stage
A Midsummer Night's Dream (1970, play)
The Park (1983, play)
The Donkey Show (1999, musical)
The Dreaming (2001, musical)
Ballet
A Midsummer Night's Dream (1962)
The Dream (1964)
Opera
The Fairy-Queen (1692)
Pyramus and Thisbe (1745)
Puck (1949)
A Midsummer Night's Dream (1960, opera)
The Enchanted Island (2011)
Film adaptations
Wood Love (1925)
Dream of a Summer Night (1983)
Get Over It (2001)
A Midsummer Night's Rave (2002)
Midsummer Dream (2005)
Were the World Mine (2008)
Strange Magic (2015)
Other adaptations
The Triumph of Beauty (1646)
St. John's Eve (1852)
"Fascination" (1994)
Literature
A Midsummer Tempest (1974)
A Midsummer Night's Gene (1997)
A Midsummer's Nightmare (1997)
Lords and Ladies (1992)
The Great Night (2011)
Comics
Auberon
Faerie
Titania
Music
A Midsummer Night's Dream (1842, Mendelssohn)
Wedding March (1842, Mendelssohn)
Three Shakespeare Songs (1951)
Symphony No. 8 (1992, Henze)
Il Sogno (2004)
Art
Hermia and Lysander
The Quarrel of Oberon and Titania
Scene from A Midsummer Night's Dream
Related
The Sandman: Dream Country (1991)
Pyramus and Thisbe
Mechanical
Love-in-idleness
The Apartment (1996)
Wicker Park (2004)
Authority control
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