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Crisis on Earth-X
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"Crisis on Earth-X"
Arrowverse crossover event
Promotional poster
Episode nos.
Supergirl (part 1)
Season 3, Episode 8
Arrow (part 2)
Season 6, Episode 8
The Flash (part 3)
Season 4, Episode 8
Legends of Tomorrow (part 4)
Season 3, Episode 8
Directed by
Larry Teng (Supergirl)
James Bamford (Arrow)
Dermott Downs (Flash)
Gregory Smith (LoT)
Story by
Andrew Kreisberg
Marc Guggenheim
Teleplay by
Robert Rovner (Supergirl)
Jessica Queller (Supergirl)
Wendy Mericle (Arrow)
Ben Sokolowski (Arrow)
Todd Helbing (Flash)
Phil Klemmer (LoT)
Keto Shimizu (LoT)
Original air dates
November 27, 2017 (2017-11-27) (1 & 2)
November 28, 2017 (2017-11-28) (3 & 4)
Episode chronology
Supergirl
← Previous
"Wake Up" Next →
"Reign"
List of Supergirl episodes
Arrow
← Previous
"Thanksgiving" Next →
"Irreconcilable Differences"
List of Arrow episodes
The Flash
← Previous
"Therefore I Am" Next →
"Don't Run"
List of The Flash episodes
Legends of Tomorrow
← Previous
"Welcome to the Jungle" Next →
"Beebo the God of War"
List of Legends of Tomorrow episodes
Preceded by
"Invasion!"
"Crisis on Earth-X" is the fourth annual Arrowverse crossover event, featuring episodes of the live-action television series Supergirl, Arrow, The Flash, and Legends of Tomorrow on The CW. The crossover began on November 27, 2017, with Supergirl and Arrow, and concluded on November 28, with The Flash and Legends of Tomorrow. In "Crisis on Earth-X", Barry Allen and Iris West's friends come to Central City for their wedding, only for the proceedings to be interrupted by interlopers from analogous universe of Earth-X where World War II was won by the Axis Powers.
Development for a crossover of the four series began in December 2016 after the release of the previous crossover, "Invasion!". The premise and title of the crossover were revealed in September 2017 as production on the episodes began; elements from the animated web series Freedom Fighters: The Ray were part of the crossover, including the live-action appearance of Ray Terrill (The Ray), the Freedom Fighters, and the New Reichsmen.
Contents
1 Plot
2 Cast and characters
2.1 Main and recurring
2.2 Guest
2.2.1 Supergirl
2.2.2 Arrow
2.2.3 The Flash
2.2.4 Legends of Tomorrow
3 Production
3.1 Development
3.2 Writing
3.3 Filming
3.4 Music
4 Release
4.1 Broadcast
4.2 Marketing
5 Reception
5.1 Ratings
5.2 Critical response
5.2.1 Supergirl
5.2.2 Arrow
5.2.3 The Flash
5.2.4 Legends of Tomorrow
6 Notes
7 References
8 External links
Plot[edit]
In the parallel world of Earth-X, a Nazi regime rules the planet, where an archer known as Dark Arrow is the Führer. Dark Arrow seizes a temporal gateway from the Freedom Fighters, which enables interdimensional travel to other universes. On Earth-1, Barry Allen and Iris West's friends, including Kara Danvers and her adoptive sister Alex from Earth-38, come to Central City for Allen and West's wedding. Harrison "Harry" Wells, Cisco Ramon, and Caitlin Snow develop a serum to separate the Firestorm matrix from Martin Stein and Jefferson Jackson. However, Jefferson is reluctant to give up being Firestorm. Oliver Queen re-proposes to Felicity Smoak, but she is hesitant about marrying him. The wedding ceremony is interrupted by invaders from Earth-X led by Dark Arrow, his Kryptonian wife Overgirl, and Prometheus. After Kara injures Overgirl, and Alex and Sara Lance capture Prometheus during the fight, the Nazis retreat. Dark Arrow, who is Oliver's doppelgänger, and Overgirl, who is Kara's doppelgänger, unmask themselves as they discuss their next step with the speedster Eobard Thawne, Barry's nemesis who was previously presumed dead.
In S.T.A.R. Labs, Prometheus reveals himself as Tommy Merlyn's Earth-X doppelgänger, then commits suicide by cyanide pill out of loyalty to the Nazi regime after taunting Oliver. Harry reveals that through his exploration of the multiverse, he discovered that Earth-X is a dystopian world where World War II was not won by the Allied Forces. Dark Arrow, Overgirl, and Thawne steal an experimental sub-light generator, the Prism, from a research company. Oliver's team, along with Harry, Caitlin, Cisco, and Mick Rory, are in captivity at S.T.A.R. Labs after the Nazi forces occupy it. Oliver, Barry, Sara, Martin, Jefferson, and Alex are abducted to a concentration camp on Earth-X, while Kara is moved to S.T.A.R. Labs. Overgirl is dying from disproportionate insolation in her heart and Dark Arrow plans to use the Prism, powered by S.T.A.R. Labs' particle accelerator, to create artificial red sunlight that can weaken both Karas' invulnerability, allowing Thawne to conduct a heart transplant from Kara to Overgirl.
In the concentration camp, the heroes are rescued from execution at the hands of SS-Sturmbannführer Quentin Lance (Quentin Lance's Earth-X doppelgänger) by Ray Terrill and Leo Snart (Leonard Snart's Earth-X doppelgänger). Thawne prepares to operate on both Overgirl and Kara, and Iris and Felicity work to rescue their friends at S.T.A.R. Labs. General Winn Schott (Winn Schott's Earth-X doppelgänger), the commander of the Freedom Fighters, is determined to strand Dark Arrow and Overgirl on Earth-1 by destroying their temporal gateway. While posing as Dark Arrow, Oliver discovers the Nazis' doomsday device, a timeship called Wellenreiter, a militarized equivalent of the Legends' Waverider. Oliver allows the timeship to enter Earth-1 to avoid jeopardizing his cover, but he is ultimately exposed when he refuses to kill Felicity's Earth-X doppelgänger, a concentration camp prisoner. The heroes struggle against both the Freedom Fighters' Red Tornado, deployed by Schott as a failsafe, and the Nazi forces, and the gateway's portal is opened at the cost of Martin being mortally wounded.
The heroes make it back to Earth-1, and Iris, Felicity, Kara, and the others are rescued by the returned heroes and the Waverider crew. Jefferson is also affected by Martin's injury, so Martin uses the serum to separate the Firestorm matrix and dies from his wounds. His death spurs Oliver to declare war on Earth-X's Nazi forces. Jefferson tells Martin's family of his fate; they, along with the Legends and Barry's team are devastated by Martin's death. When the Nazis attack Central City, the heroes counter their assault. Harry, who pilots the Waverider, destroys the Wellenreiter after the heroes disable its shield. Barry spares Thawne, who vows to return. During the fight with Kara, Overgirl's solar radiation goes nuclear and Kara carries her into space, where Overgirl explodes. Oliver kills Dark Arrow while the latter is in shock over his wife's death. After Martin's funeral, Kara and Alex return to Earth-38, Ray returns to Earth-X after he establishes contact with Earth-1, and Leo decides to remain on Earth-1 with the Legends. John Diggle, an ordained minister, officiates Barry and Oliver's weddings with Iris and Felicity, respectively.
Cast and characters[edit]
Further information: Supergirl, Arrow, The Flash, and Legends of Tomorrow cast and characters
Main and recurring[edit]
Actor
Character
Episode
Supergirl
Arrow
The Flash
Legends of Tomorrow
Melissa Benoist[1][2] Kara Zor-El / Kara Danvers / Supergirl Main Guest
Kara Zor-El / Overgirl (Earth-X)
Mehcad Brooks Guardian (Earth-X) Main Does not appear
Chyler Leigh[1] Alex Danvers Main Guest
Jeremy Jordan[2] Winn Schott Main Does not appear Guest Does not appear
Winn Schott (Earth-X)
Chris Wood Mon-El Main Does not appear
David Harewood J'onn J'onzz / Martian Manhunter Main Does not appear
Stephen Amell[1][2] Oliver Queen / Green Arrow Guest Main Guest
Oliver Queen / Dark Arrow (Earth-X)
Victor Garber[2] Martin Stein / Firestorm Guest Main
Emily Bett Rickards[1] Felicity Smoak / Overwatch Guest Main Guest
Felicity Smoak (Earth-X)
Caity Lotz[1] Sara Lance / White Canary Guest Main
Tom Cavanagh[2] Harrison "Harry" Wells Guest Main Guest
Eobard Thawne / Reverse-Flash
Dominic Purcell[2] Mick Rory / Heat Wave Guest Does not appear Main
Candice Patton[1] Iris West Guest Main Guest
Franz Drameh[2] Jefferson Jackson / Firestorm Guest Main
Danielle Panabaker[2] Caitlin Snow / Killer Frost Guest Main Guest
Carlos Valdes[2] Cisco Ramon / Vibe Guest Does not appear Main Guest
Grant Gustin[1] Barry Allen / Flash Guest Main Guest
Christina Brucato Lily Stein Guest Does not appear Guest
Isabella Hofmann Clarissa Stein Guest Does not appear Guest
Echo Kellum[2] Curtis Holt / Mister Terrific Does not appear Main Does not appear Guest
Rick Gonzalez[2] Rene Ramirez / Wild Dog Does not appear Main Does not appear Guest
Juliana Harkavy[2] Dinah Drake / Black Canary Does not appear Main Guest
Frederick Schmidt Metallo (Earth-X)[3] Does not appear (non-speaking appearance) Co-star (non-speaking appearance)
Wentworth Miller[1][2] Leonard "Leo" Snart / Citizen Cold (Earth-X) Does not appear Guest
Russell Tovey[4] Ray Terrill / The Ray Does not appear Guest
Special Effect Red Tornado (Earth-X)[3] Does not appear Guest
Brandon Routh[2] Ray Palmer / Atom Does not appear Main
Maisie Richardson-Sellers[2] Amaya Jiwe / Vixen Does not appear Main
Amy Louise Pemberton Gideon Does not appear Main
Tala Ashe[2] Zari Tomaz Does not appear Main
Nick Zano[2] Nate Heywood / Steel Does not appear Main
^ Note: Despite being credited, Katie McGrath and Odette Annable do not appear in the Supergirl episode; David Ramsey, Willa Holland, Katie Cassidy and Paul Blackthorne do not appear in the Arrow episode; and Jesse L. Martin does not appear in The Flash episode.
Guest[edit]
Supergirl[edit]
Jesse L. Martin as Joe West[2]
Keiynan Lonsdale as Wally West / Kid Flash[2]
Jessica Parker Kennedy as a caterer[5][a]
Danielle Nicolet as Cecile Horton[2]
Patrick Sabongui as David Singh[2]
William Katt as a minister[7]
Arrow[edit]
Colin Donnell as Tommy Merlyn / Prometheus (Earth-X)[8]
The Flash[edit]
Paul Blackthorne as SS Sturmbannführer Quentin Lance (Earth-X)
Legends of Tomorrow[edit]
David Ramsey as John Diggle[9]
Susanna Thompson voices the timeship Wellenreiter's A.I.[10]
Production[edit]
Development[edit]
Yearly crossover events in the Arrowverse have occurred on The CW since the 2013–14 television season, when Barry Allen was introduced in the eighth episode of Arrow's second season ahead of the debut of The Flash. The next year, the eighth episodes of the third season of Arrow and the first season of The Flash formed a two-part event known as "Flash vs. Arrow". In January 2015, The CW president Mark Pedowitz said that there would be an Arrowverse crossover every season.[11] In the 2015–16 television season, a two-part event between the eighth episodes of the fourth season of Arrow and the second season of The Flash was used to set up a new team-up series, Legends of Tomorrow.[12] For the 2016–17 television season, the "Invasion!" crossover included The Flash, Arrow, and Legends of Tomorrow, with the event beginning at the end of Supergirl.[13][14][15]
Planning for the crossover began in December 2016, with Arrow showrunner Wendy Mericle saying, "We actually sort of do, believe it or not, have a concept for what we want to do for next year's crossover. It's crazy."[16] By February 2017, planning began for a true four-way series crossover. Because each series was renewed for an additional season, the producers could plan production schedules to incorporate the crossover. Executive producer Andrew Kreisberg said, "One of the big things we learned from ["Heroes Join Forces"], which made ["Invasion!"] slightly easier, was building in shut-down days, where shows just went dark. The single hardest factor in doing the crossovers is actors' availability because the shows keep going on. You're basically juggling four shows' worth of schedules."[17] That May, Pedowitz confirmed that there were no plans to incorporate Black Lightning in the crossover, as it was not part of the Arrowverse at that time and was scheduled to debut in the middle of the 2017–18 television season.[18]
In September 2017, it was revealed that the title of the crossover would be "Crisis on Earth-X" and that Ray Terrill (The Ray) would make his live-action debut in the Arrowverse, ahead of appearing in the animated web series, Freedom Fighters: The Ray, along with other characters and concepts from that series.[19] Russell Tovey also voices the character in Freedom Fighters.[4]
Writing[edit]
In June 2017, executive producer Marc Guggenheim noted that it would be hard to top "Invasion!"'s threat of aliens, so this crossover would aim to "increase the emotional stakes and the emotional payoffs".[20] The following month, Mericle added that the crossover would be "very much rooted in the DCU."[21] At the Television Critics Association press tour in August 2017, Pedowitz said that the crossover would involve romance, with Berlanti adding, "our way of making the show bigger this year was to go even more personal, so it's a big life event for a few different people on the show. There are many life events that happen."[22] In September 2017, in a statement revealing the crossover's title, Guggenheim and Kreisberg said that the crossover was conceived "to be evocative of the annual Justice League/Justice Society [comic book series] crossovers we grew up with and looked forward to as kids."[19] The story of the crossover was conceived by Kreisberg and Guggenheim. The teleplay for Supergirl's episode was written by showrunners Robert Rovner and Jessica Queller, Arrow's by Mericle and Ben Sokolowski, The Flash's by showrunner Todd Helbing, and Legends of Tomorrow's by showrunner Phil Klemmer and Keto Shimizu.[1]
Filming[edit]
Filming of the four episodes began on September 22, 2017.[19] Supergirl's episode was directed by Larry Teng, Arrow's by James Bamford, The Flash's by Dermott Downs, and Legend of Tomorrow's by Gregory Smith.[1]
Music[edit]
Blake Neely, primary composer of all four series, composed the two-and-a-half-hour score for the crossover in eight days at The Bridge Recording Studio in Glendale, California.[23] La-La Land Records released the soundtrack physically on June 5, 2018, in a limited run.[24] WaterTower Music also released it digitally on June 15, 2018.[25][better source needed][26][better source needed]
Professor Murder's "Free Stress Test", Misun's "Justice", St. Lucia's "All Eyes On You", Tom Hillock & Nicolas Boscovic's "By the Stream", Neil Finn's "Love Is Emotional", Kodály Quartet's "String Quartet No. 62 in C Major, Op. 76, No. 3, Hob. III:77, "Emperor": II. Poco Adagio, Cantabile", and "Runnin' Home to You" from the musical crossover "Duet" performed by Melissa Benoist are heard in the first part of the crossover but not included in the soundtrack.[citation needed]
All music composed by Blake Neely, Nathaniel Blume, Daniel James Chan, and Sherri Chung.
showCrisis On Earth-X (Original Television Soundtrack)
No.
Title
Length
1. "The Flag Still Stands" 3:20
2. "We're Going To The Wedding" 1:19
3. "Dark Arrow, The Fuhrer" 1:19
4. "Pretending Nothing Happened" 1:39
5. "Best Wedding Ever!" 4:41
6. "Prometheus-X Locked Away" 3:38
7. "A Special Kind Of Idiot" 3:14
8. "Oliver Wants a Yes" 2:26
9. "Being True To Yourself" 2:32
10. "Sides Meet - Saving The Building" 3:43
11. "Big Messy Brawl With Nazis" 2:27
12. "Dark Arrow Storms The Lab" 2:58
13. "Overgirl Needs a Heart" 3:18
14. "March To Their Deaths - Meeting the Ray" 2:34
15. "Two Warriors" 2:42
16. "Sneaking Oliver In" 2:03
17. "Inside Nazi Command Center" 4:25
18. "Storm Chasers" 2:36
19. "A Hero Falls" 1:18
20. "Ending a Tornado To Open a Breach" 2:22
21. "Breached Back Into Mayhem" 2:56
22. "Like a Father" 3:52
23. "Rememberances" 2:31
24. "Heroes Unite" 4:31
25. "Disabling The Shields" 2:41
26. "For The Win!" 1:49
27. "A Kiss Goodbye - Surprise Double Wedding" 4:51
Total length: 78:18
Release[edit]
Broadcast[edit]
Promotional teaser poster. Art by Phil Jimenez
The crossover began with Supergirl and Arrow on November 27, 2017, and concluded on The Flash and Legends of Tomorrow on November 28, all on The CW. Arrow, which normally aired on Thursdays at 9 pm, moved to Monday at 9 pm for the crossover and did not air an additional episode on November 30. Pedowitz stated that they decided to have the crossover occur over two nights, as opposed to the four nights of "Invasion!", because The Flash and Legends of Tomorrow were already paired together on The CW's schedule, and "it would be better and tighter in terms of storytelling to make it like a two-night, four-hour miniseries. We thought this was a tight, concise way of doing it."[27] Guggenheim added, "We're really approaching this big four-part event as two back-to-back two-hour movies, and I think when you look at it through that lens, it becomes less important for the Supergirl episode to feel like a Supergirl episode and the Arrow episode to feel like an Arrow episode, which was always our approach in the past."[22]
Marketing[edit]
Comic artist Phil Jimenez created a custom cover for the event, which invokes the cover design of the Justice League comic issue #207, the 20th Annual Justice League of America/Justice Society of America crossover.[19] Promotional trailers for the event were released throughout November,[28][29][30] before the full trailer was released on November 20.[31]
Reception[edit]
Ratings[edit]
Series
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)
Supergirl November 27, 2017 0.9/3 2.71[32] 0.7 1.72 1.6 4.43[33]
Arrow November 27, 2017 0.9/3 2.52[32] 0.8 1.89 1.7 4.41[33]
The Flash November 28, 2017 1.0/4 2.82[34] 0.7 1.83 1.7 4.64[33]
Legends of Tomorrow November 28, 2017 0.9/4 2.80[34] 0.8 1.82 1.7 4.62[33]
Critical response[edit]
Speaking about the crossover as a whole, Jesse Schedeen of IGN felt that "ultimately, 'Crisis on Earth-X' set a higher standard for what these crossovers can achieve than last year's 'Invasion!'".[35] Scott Mendelson of Forbes said the "Crisis on Earth-X" was "a better Justice League movie than the actual Justice League movie and in many ways was better or at least equal to the best MCU crossover events."[36] Rob Leane of Den of Geek thought the crossover was the "best crossover yet", saying, "It offers fresh ideas alongside heaps of fan service, and the special effects wizards behind the scenes make the limited TV budget feel like that of a massive movie."[37]
Supergirl[edit]
Schedeen gave the Supergirl episode an 8.1 out of 10. While he felt that the Supergirl episode "clearly isn't in much of a hurry to get where it's going", Schedeen said it did "prove to be a very entertaining start to the crossover." Ultimately, the episode "did, however, make the most of this massive pairing of heroes, delivering an endless stream of banter and character drama before transitioning into an epic battle royale. There are certainly worse ways to kick off a crossover."[38] Caroline Siede at The A.V. Club awarded the episode a "B+" rating. She said the episode "isn't a particularly great episode of Supergirl, but then again it isn't really trying to be. And as the first hour of an ambitious four-part Arrowverse movie, it's hard to ask for anything more."[39] Kayti Burt of Collider gave the episode 4 out of 5 stars, stating, "I was wildly impressed with the storytelling ambitious 'Crisis on Earth-X' has shown so far. There were some narrative missteps, but this is like nothing we have ever seen on-screen before: a true comic book-style crossover event that ties hours of superhero serials together in one epic story."[40]
Arrow[edit]
Schedeen gave the Arrow episode a 7 out of 10, saying that the episode "struggled to find that balance between character drama and plot progression, as well as in establishing stakes big enough to support such a massive crossover in the first place. But for all its flaws, at least this episode still included some entertaining moments and a generally strong portrayal of its twisted villains."[41] The A.V. Club's Allison Shoemaker gave the episode a "B" rating. She thought it was "difficult to judge how successful this episode of Arrow is because it's neither an episode of Arrow nor a complete story," but concluded, "it's a lot of fun, kind of dumb, and just not as exciting as what came before. Someone has to check those boxes and set up what comes next, and it seems that this time, Arrow drew the 'event' short straw."[42]
The Flash[edit]
Schedeen awarded The Flash's episode a 9.2 out of 10, noting that while part 1 had "a slow start" and part 2 gave "a fairly underwhelming follow-up... the crossover finally seemed to click" in part 3.[43] Scott Von Doviak at The A.V. Club gave the episode a "B+" rating, stating "Even a lesser installment like this one features the spectacle of the Flash and The Ray battling the Red Tornado, as well as the appealing non-superpowered Nazi-fighting team of Iris and Felicity. For the most part, I've felt like a kid coming home with a fresh stack of comics, and I can think of no higher praise than that."[44] Mike Cecchini of Den of Geek gave it 4 out of 5 stars. He wrote that while "'mirror universe Nazis' don't make for the most nuanced of villains, and when you're using concentration camp imagery, well, you'd better make sure you're not being exploitative," The Flash's episode "completely embraces its lunacy in ways that I don't even think those first two chapters dreamed of."[45]
Legends of Tomorrow[edit]
Schedeen gave the final episode an 8.5 out of 10 rating. The episode "didn't have quite the urgency it needed during the final showdown between good and evil," but "did make the most of Professor Stein's heroic sacrifice and its emotional fallout."[46] Oliver Sava of The A.V. Club gave the episode an "A" rating, stating "No piece of live-action superhero media has captured the feeling of a comic-book crossover event like Crisis On Earth-X. With a huge cast of characters, a major death, and a final scene taking big heroes in bold new directions, Crisis delivers the thrills, the twists, and the inspiration that should come from a superhero story with this massive scope."[47] Jim Dandy from Den of Geek rated the episode 5 out of 5 stars. He wrote, "This year's was an objectively wonderful hour of DC television, but it also moved the season's story along for Legends in a meaningful way, and provided significant character development for Jax and Sara. It gave Franz Drameh and Victor Garber a chance to stretch their acting wings, and it closed out a timely, wall-to-wall entertaining four hours of television."[48] Collider's Carla Day gave the Legends episode 5 stars out of 5, saying the crossover was "leaps and bounds better than any of the previous crossovers." She went on to say that "It set the standard high for all future crossovers in the story, character interactions, and fight scenes."[49]
Notes[edit]
Jump up ^ The final episode of the fourth season of The Flash revealed Kennedy's character to be Nora West-Allen, the daughter of Barry and Iris.[6]
References[edit]
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^ Jump up to: a b Joest, Mick (November 21, 2017). "Two Surprise Arrow-verse Characters Who Will Apparently Get Earth-X Versions In The Big Crossover". Cinema Blend. Archived from the original on November 22, 2017. Retrieved November 22, 2017.
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^ Jump up to: a b c d Agard, Chancellor (September 22, 2017). "Arrow, The Flash, Supergirl, Legends unite for 'Crisis on Earth-X' crossover". Entertainment Weekly. Archived from the original on September 25, 2017. Retrieved September 22, 2017.
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Jump up ^ Agard, Chancellor (July 22, 2017). "Arrow showrunner teases next 'epic' crossover will be rooted in the DCU". Entertainment Weekly. Archived from the original on July 23, 2017. Retrieved July 25, 2017.
^ Jump up to: a b Schwartz, Terri (August 2, 2017). "This Arrowverse Crossover Will Fully Take Place Across Every Show From Supergirl To Legends of Tomorrow". IGN. Archived from the original on August 7, 2017. Retrieved August 7, 2017.
Jump up ^ MacDonald, Lindsay (November 23, 2017). "Crisis On Earth X: Blake Neely composes epic Two & Half Hour score for DC/WB crossover event". An Englishman In San Diego. Archived from the original on November 23, 2017. Retrieved November 23, 2017.
Jump up ^ Burlingame, Russ (May 16, 2018). "Arrowverse "Crisis on Earth-X" Crossover Soundtrack Getting Official CD Release". Comicbook.com. Archived from the original on May 20, 2018. Retrieved May 20, 2018.
Jump up ^ iTunes https://itunes.apple.com/us/album/crisis-on-earth-x-original-television-score/1397579889. Retrieved 24 June 2018. Missing or empty |title= (help)
Jump up ^ Amazon https://www.amazon.com/s/ref=nb_sb_ss_c_1_10?url=search-alias%3Ddigital-music&field-keywords=crisis+on+earth+x&sprefix=Crisis+on+%2Caps%2C208&crid=256O95Y9SW68M. Retrieved 24 June 2018. Missing or empty |title= (help)
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Jump up ^ Couto, Anthony (November 19, 2017). "Arrowverse Unites to Stop 'Doomsday' Threat in Crisis On Earth-X Promo". Comic Book Resources. Archived from the original on November 19, 2017. Retrieved November 19, 2017.
Jump up ^ Erao, Matthew (November 20, 2017). "DC Heroes Battle Their Evil Selves in Full Crisis On Earth-X Trailer". Screen Rant. Archived from the original on November 22, 2017. Retrieved November 22, 2017.
^ Jump up to: a b Porter, Rick (November 29, 2017). "'CMA Country Christmas,' 'Good Doctor,' 'Pentatonix Christmas' adjust down: Monday final ratings". TV by the Numbers. Archived from the original on November 30, 2017. Retrieved November 29, 2017.
^ Jump up to: a b c d Porter, Rick (December 15, 2017). "CW crossovers get another bump in week 10 broadcast Live +7 ratings". TV by the Numbers. Archived from the original on December 15, 2017. Retrieved December 15, 2017.
^ Jump up to: a b Porter, Rick (November 30, 2017). "'The Flash,' 'This Is Us' and 'Rudolph' adjust up: Tuesday final ratings". TV by the Numbers. Archived from the original on November 30, 2017. Retrieved November 30, 2017.
Jump up ^ Schedeen, Jesse (December 1, 2017). "Arrowverse: Why the 'Crisis on Earth-X' Crossover Topped 'Invasion!'". IGN. Retrieved December 7, 2017.
Jump up ^ Mendelson, Scott (November 29, 2017). "The Year's Best 'Justice League' Movie Didn't Need Batman Or Superman". Forbes. Retrieved December 7, 2017.
Jump up ^ Leane, Rob (December 7, 2017). "DC TV: why the Crisis On Earth-X crossover was the best yet". Den of Geek. Retrieved December 7, 2017.
Jump up ^ Schedeen, Jesse (November 27, 2017). "Supergirl: 'Crisis on Earth X, Part 1' Review". IGN. Retrieved December 7, 2017.
Jump up ^ Siede, Caroline (November 27, 2017). "Supergirl hops Earths, punches Nazis as The CW's crossover extravaganza begins". The A.V. Club. Retrieved December 7, 2017.
Jump up ^ Burt, Kayti (November 27, 2017). "'Arrow' and 'Supergirl' Recap: 'Crisis on Earth-X' Parts 1 & 2". Collider. Retrieved December 7, 2017.
Jump up ^ Schedeen, Jesse (November 27, 2017). "Arrow: 'Crisis on Earth-X, Part 2' Review". IGN. Retrieved December 7, 2017.
Jump up ^ Shoemaker, Allison (November 28, 2017). "The crisis continues in Arrow's piece of The CW's Earth-X crossover". The A.V. Club. Retrieved December 7, 2017.
Jump up ^ Schedeen, Jesse (November 28, 2017). "The Flash: 'Crisis on Earth-X, Part 3' Review". IGN. Retrieved December 7, 2017.
Jump up ^ Von Doviak, Scott (November 28, 2017). "The Flash gets lost in an overstuffed chapter of an entertaining crossover event". The A.V. Club. Retrieved December 7, 2017.
Jump up ^ Cecchini, Mike (November 29, 2017). "The Flash Season 4 Episode 8 Review: Crisis on Earth X Part 3". Den of Geek. Retrieved December 7, 2017.
Jump up ^ Schedeen, Jesse (November 28, 2017). "DC's Legends of Tomorrow: 'Crisis on Earth-X, Part 4' Review". IGN. Retrieved December 7, 2017.
Jump up ^ Sava, Oliver (November 28, 2017). "Crisis On Earth-X ends with big twists and a massive superhero showdown". The A.V. Club. Retrieved December 7, 2017.
Jump up ^ Dandy, Jim (November 29, 2017). "Legends of Tomorrow Season 3 Episode 8 Review: Crisis on Earth-X Part 4". Den of Geek. Retrieved December 7, 2017.
Jump up ^ Day, Carla (November 28, 2017). "'The Flash' and 'Legends of Tomorrow' Recap: 'Crisis on Earth-X' Parts 3 & 4". Collider. Retrieved December 7, 2017.
External links[edit]
Wikiquote has quotations related to: Crisis on Earth-X
"Crisis on Earth-X" Part 1, Part 2, Part 3, and Part 4 on IMDb
"Crisis on Earth-X" Part 1, Part 2, Part 3, and Part 4 at TV.com
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I Only Have Eyes for You
From Wikipedia, the free encyclopedia
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For other uses, see I Only Have Eyes for You (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2014) (Learn how and when to remove this template message)
"I Only Have Eyes for You" is a romantic love song by composer Harry Warren and lyricist Al Dubin, written for the film Dames (1934) where it was introduced by Dick Powell and Ruby Keeler. The song is a jazz standard, and has been covered by numerous musicians. Successful recordings of the song have been made by Ben Selvin (in 1934), Peggy Lee (in 1947, The Lettermen (in 1966), Art Garfunkel (in 1975), and Rod Stewart (in 2003), among others. Perhaps the best known and most acclaimed version is the "otherworldly" 1959 recording by doo-wop artists The Flamingos, which was inducted into the Grammy Hall of Fame in 2003, and listed as #157 in Rolling Stone magazine's "500 Greatest Songs of All Time (2004)."
Contents
1 Notable recordings
1.1 Charting versions
1.1.1 The Flamingos version
1.1.2 Art Garfunkel version
1.1.2.1 Personnel
1.2 Other recordings
2 In popular culture
3 References
4 External links
Notable recordings[edit]
Charting versions[edit]
The song was a #2 hit for Ben Selvin in 1934.[1] The orchestras of Eddie Duchin and Anson Weeks also figured in the song's 1934 popularity.
The vocal group The Lettermen released a version in 1966 that charted in the United States and Canada, and reached #4 on the US Billboard Easy Listening chart.
The Flamingos version[edit]
"I Only Have Eyes for You"
Single by The Flamingos
from the album Flamingo Serenade
Released
1959
Format
7" single
Genre
Doo-wop
traditional pop
Length
3:20
Label
End
Songwriter(s)
Harry Warren, Al Dubin
This song was included on The Flamingos' debut album Flamingo Serenade. The version by the Flamingos features a prominent reverb effect, creating a dreamy ambience. This version peaked at number 11 on the US Billboard Hot 100 chart[2] and number 3 on the Billboard Hot R&B/Hip-Hop Songs chart.[3] It ranked as the 73rd biggest hit of 1959 by Billboard.[4] Rolling Stone magazine ranked the Flamingos' version as number 157 on their list of the 500 Greatest Songs of All Time.[5]
Art Garfunkel version[edit]
"I Only Have Eyes for You"
Single by Art Garfunkel
from the album Breakaway
B-side
"Looking for the Right One"
Released
August 1975
Genre
Soft rock
Length
3:30
Label
Columbia
Songwriter(s)
Harry Warren, Al Dubin
Producer(s)
Richard Perry
Art Garfunkel singles chronology
"Second Avenue"
(1974) "I Only Have Eyes for You"
(1975) "Break Away"
(1975)
"Second Avenue"
(1974) "I Only Have Eyes for You"
(1975) "Break Away"
(1975)
A recording of the song by Art Garfunkel was a number one hit on the UK Singles Chart in October 1975 for two weeks.[6] The song was his first hit as a solo artist in the UK. In the US, the song reached number 18 on the U.S. Billboard Hot 100[7] and #1 on the Billboard Adult Contemporary chart.[8] The B-side of the single release was "Looking for the Right One," a song written and later recorded by Stephen Bishop. Garfunkel performed "I Only Have Eyes for You" on the second episode of Saturday Night Live.
Personnel[edit]
Art Garfunkel – vocals
Stephen Bishop – backing vocals
Andrew Gold – drums, piano, electric guitar
Del Newman – conductor
Joe Osborn – bass
Other recordings[edit]
Paul Anka
George Benson – Big Boss Band (1990)
Lester Bowie –I Only Have Eyes for You (1986)[9]
Liane Carroll – Standard Issue (2004)
Mel Carter (1974)
June Christy – A Friendly Session, Vol 2 (1999)
Holly Cole – Night (2012)
Chris Connor – Double Exposure (1961) with Maynard Ferguson
Jamie Cullum – Catching Tales (2005)[9]
Doris Day – Golden Girl: Columbia Recordings 1944–1966
Billy Eckstine – (1946)[9]
Kurt Elling – 1619 Broadway – The Brill Building Project (2012)
Ella Fitzgerald – Ella Swings Brightly with Nelson (1962)
The Forester Sisters – I Got a Date
Grenadine – Goya (1992) with Jenny Toomey
Lionel Hampton – Jazz Time Paris (Vogue, 1953)
Coleman Hawkins – with Roy Eldridge, Teddy Wilson (1944)[9]
Deni Hines and James Morrison – The Other Woman
Billie Holiday – Billie Holiday Sings (1952, re–released in 1956 as Solitude)
Bobby Hutcherson – with Kenny Garrett (1998)[9]
Al Jolson – in the 1949 movie Jolson Sings Again
Peggy Lee (1947)
Johnny Maestro & the Brooklyn Bridge – Acappella (1994)
Kevin Max – "Starry Night Surprise" (2015)
Carmen McRae – Diva
Bette Midler
Elaine Paige – Love Can Do That (1991)
Lyn Paul – Late Night (2006)
Rachael Price
Cliff Richard – Love Songs (1963)
Timothy B Schmit – in the film Don't Tell Mom the Babysitter's Dead
Marilyn Scott– 1988 film Twins
Dinah Shore
Carly Simon
Frank Sinatra – Sinatra – Basie: An Historic Musical First (1962)
Rod Stewart – As Time Goes By: The Great American Songbook, Volume II
The Temptations – in the film Happy New Year (1987)
Toni Tennille – Never Let Me Go (1991)
In popular culture[edit]
This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, using references to reliable sources, rather than simply listing appearances. Unsourced material may be challenged and removed. (October 2018)
The song was sung in the 1935 film The Woman in Red, produced by Warner Bros., starring Barbara Stanwyck and Gene Raymond. It was also used in the 1950 film Tea for Two, sung by Gordon MacRae.
The Flamingos' version was also used in the 1991 movie "Don't Tell Mom the Babysitter's Dead."
The Flamingos' version was included on the soundtracks for the 1972 version of Kenneth Anger's Rabbit's Moon, 1973 film American Graffiti, 1983 films The Right Stuff and Heart Like a Wheel, the 1991 film My Girl, the 1993 Robert De Niro film A Bronx Tale and the 2003 movie Something's Gotta Give starring Jack Nicholson and Diane Keaton. Grace (Nicole Kidman) also sings a portion of the song to Charles (Christopher Eccleston) in the 2001 film The Others. The trailer of The Grudge 2 also briefly features the song. In the 2001 sci-fi movie A.I. Artificial Intelligence, Gigolo Joe, a lover robot, has this song built into him, and he can play it by a tilt of his head. He plays it to seduce women.
On television, it was used as a recurring theme in a Tex Avery-directed Warner Bros. Merrie Melodies cartoon of the same title, in a scene in the 1989 episode of The Wonder Years, "How I'm Spending My Summer Vacation", and in a 1998 episode of Buffy the Vampire Slayer involving two ghosts from the 1950s borrowing its title from the song and features excerpts of it in several scenes. In scenes from the September 25, 1989 episode of Designing Women, "One Night with You." Disney also featured a music video of the song in the special DTV Doggone Valentine set to clips from Lady and the Tramp. Most recently, the song has been used in episodes of the supernatural drama TV series 666 Park Avenue and in 2013 was featured in the series Glee. It was also featured in the Star Trek: Voyager episode "Lifesigns".[10] In 2014 this song appeared in the horror movie Annabelle followed by the alternate history thriller, The Man in the High Castle, in 2016. It was also recently used in the newest season of Ray Donovan covered by Tashaki Miyaki. The version by The Flamingos was featured in Season 2, Episode 4 of Netflix's The Crown in 2017.
References[edit]
Notes
Jump up ^ Billboard magazine
Jump up ^ "Music: Top 100 - Billboard Hot 100 Chart", Billboard
Jump up ^ "R&B/Hip Hop Songs - Billboard", Billboard
Jump up ^ [1]
Jump up ^ "500 Greatest Songs of All Time". Rolling Stone. April 7, 2011. Retrieved October 6, 2018.
Jump up ^ "i+only+have+eyes+for+you | full Official Chart History | Official Charts Company". Officialcharts.com. Retrieved 2016-08-29.
Jump up ^ "Music: Top 100 - Billboard Hot 100 Chart", Billboard
Jump up ^ "Adult Contemporary Chart - Billboard", Billboard
^ Jump up to: a b c d e Gioia, Ted (2012). The Jazz Standards: A Guide to the Repertoire. New York City: Oxford University Press. p. 177. ISBN 978-0-19-993739-4.
Jump up ^ Star Trek: Voyager Season 2: Ep.19
Sources
The Billboard Book of Top 40 Hits, 6th Edition, 1996
External links[edit]
Lyrics of this song at MetroLyrics ("I Only Have Eyes For You")
Lyrics of this song at MetroLyrics ("Looking for the Right One")
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Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Only_Have_Eyes_for_You&oldid=865806790"
Categories:
1934 songs
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Song recordings produced by Richard Perry
Carmen McRae songs
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The Murders in the Rue Morgue
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This article is about the short story. For other uses, see Rue Morgue.
"The Murders in the Rue Morgue"
Facsimile of Poe's original manuscript for "The Murders in the Rue Morgue"
Author
Edgar Allan Poe
Country
United States
Language
English
Genre(s)
Detective fiction
Short story
Published in
Graham's Magazine
Media type
Print (Magazine)
Publication date
April 1841
"The Murders in the Rue Morgue" is a short story by Edgar Allan Poe published in Graham's Magazine in 1841. It has been recognized as the first modern detective story;[1][2] Poe referred to it as one of his "tales of ratiocination".[1]
C. Auguste Dupin is a man in Paris who solves the mystery of the brutal murder of two women. Numerous witnesses heard a suspect, though no one agrees on what language was spoken. At the murder scene, Dupin finds a hair that does not appear to be human.
As the first fictional detective, Poe's Dupin displays many traits which became literary conventions in subsequent fictional detectives, including Sherlock Holmes and Hercule Poirot. Many later characters, for example, follow Poe's model of the brilliant detective, his personal friend who serves as narrator, and the final revelation being presented before the reasoning that leads up to it. Dupin himself reappears in "The Mystery of Marie Rogêt" and "The Purloined Letter".
Contents
[hide]
1 Plot summary
2 Themes and analysis
2.1 Dupin's method
3 Literary significance and reception
4 Inspiration
5 Publication history
6 Adaptations
7 See also
8 References
8.1 Sources
9 External links
Plot summary[edit]
Illustration by Aubrey Beardsley of "The Murders in the Rue Morgue", 1895
The story opens with a lengthy explanation of ratiocination. Dupin demonstrates his prowess by deducing his companion's thoughts as if through apparent supernatural power. The story then turns to the baffling double murder of Madame L'Espanaye and her daughter at their home in the Rue Morgue, a fictional street in Paris. According to newspaper accounts, the mother was found in a yard behind the house, with multiple broken bones and her throat so deeply cut that her head fell off when the body was moved. The daughter was found strangled to death and stuffed upside down into a chimney. The murders occurred in a fourth-floor room that was locked from the inside; on the floor were found a bloody straight razor, several bloody tufts of gray hair, and two bags of gold coins. Several witnesses reported hearing two voices at the time of the murder, one male and French, but disagreed on the language spoken by the other. The speech was unclear, and every witness admits that he does not know the language he claims to have heard.
Paris natives Dupin and his friend, the unnamed narrator of the story, read these newspaper accounts with interest. The two live in seclusion and allow no visitors. They have cut off contact with "former associates" and venture outside only at night. "We existed within ourselves alone", the narrator explains. When a bank clerk named Adolphe Le Bon is arrested even though no evidence exists pointing to his guilt (other than his delivering the gold coins to the two ladies the day before), Dupin becomes intrigued and remembers a service that Le Bon once performed for him. He decides to offer his assistance to "G–", the prefect of police.
Because none of the witnesses can agree on the language the murderer spoke, Dupin concludes they were not hearing a human voice at all. He and the narrator examine the house thoroughly; the following day, Dupin dismisses the idea of both Le Bon's guilt and a robbery motive, citing the fact that the gold was not taken from the room. He also points out that the murderer would have had to have superhuman strength to force the daughter's body up the chimney. He formulates a method by which the murderer could have entered the room and killed both women, involving an agile climb up a lightning rod and a leap to a set of open window shutters. Showing an unusual tuft of hair he recovered from the scene, and demonstrating the impossibility of the daughter being strangled by a human hand, Dupin concludes that an "Ourang-Outang" (orangutan) killed the women. He has placed an advertisement in the local newspaper asking if anyone has lost such an animal, and a sailor soon arrives looking for it.
The sailor offers to pay a reward, but Dupin is interested only in learning the circumstances behind the two murders. The sailor explains that he captured the orangutan while in Borneo and brought it back to Paris, but had trouble keeping it under control. When he saw the orangutan attempting to shave its face with his straight razor, imitating his morning grooming, it fled into the streets and reached the Rue Morgue, where it climbed up and into the house. The orangutan seized the mother by the hair and was waving the razor, imitating a barber; when she screamed in fear, it flew into a rage, ripped her hair out, slashed her throat, and strangled the daughter. The sailor climbed up the lightning rod in an attempt to catch the animal, and the two voices heard by witnesses belonged to it and to him. Fearing punishment by its master, the orangutan threw the mother's body out the window and stuffed the daughter into the chimney before fleeing.
The sailor sells the orangutan, Le Bon is released from custody, and the prefect of police mentions that people should mind their own business once Dupin tells him the story. Dupin comments to the narrator that G– is " somewhat too cunning to be profound", but admires his ability "de nier ce qui est, et d'expliquer ce qui n'est pas" (a quote from Julie, or the New Heloise by Jean-Jacques Rousseau: "to deny that which is, and explore that which is not").
Themes and analysis[edit]
The moment Dupin questions the sailor about the murders. Illustration by Byam Shaw for a London edition dated 1909 with caption "The sailor's face flushed up; he started to his feet and grasped his cudgel".
In a letter to friend Dr. Joseph Snodgrass, Poe said of "The Murders in the Rue Morgue", "its theme was the exercise of ingenuity in detecting a murderer."[3] Dupin is not a professional detective; he decides to investigate the murders in the Rue Morgue for his personal amusement. He also has a desire for truth and to prove a falsely accused man innocent. His interests are not financial and he even declines a monetary reward from the owner of the orangutan.[4] The revelation of the actual murderer removes the crime, as neither the orangutan nor its owner can be held responsible.[5] Poe scholar Arthur Hobson Quinn speculates that later detective stories might have set up M. Le Bon, the suspect who is arrested, as appearing guilty as a red herring, though Poe chose not to.[6]
Poe wrote "The Murders in the Rue Morgue" at a time when crime was at the forefront in people's minds due to urban development. London had recently established its first professional police force and American cities were beginning to focus on scientific police work as newspapers reported murders and criminal trials.[1] "The Murders in the Rue Morgue" continues an urban theme that was used several times in Poe's fiction, in particular "The Man of the Crowd", likely inspired by Poe's time living in Philadelphia.[7]
The tale has an underlying metaphor for the battle of brains vs. brawn. Physical strength, depicted as the orangutan as well as its owner, stand for violence: the orangutan is a murderer, while its owner admits he has abused the animal with a whip. The analyst's brainpower overcomes their violence.[8] The story also contains Poe's often-used theme of the death of a beautiful woman, which he called the "most poetical topic in the world".[9][10]
Dupin's method[edit]
Poe defines Dupin's method, ratiocination, using the example of a card player: "the extent of information obtained; lies not so much in the validity of the inference as in the quality of the observation."[11][12] Poe then provides a narrative example where Dupin explains how he knew the narrator was thinking about the actor Chantilly.[13][14] Dupin then applies his method to the solving of this crime.
Dupin's method emphasizes the importance of reading and the written word. The newspaper accounts pique his curiosity; he learns about orangutans from a written account by "Cuvier" — likely Georges Cuvier, the French zoologist. This method also engages the reader, who follows along by reading the clues himself.[15] Poe also emphasizes the power of the spoken word. When Dupin asks the sailor for information about the murders, the sailor himself acts out a partial death: "The sailor's face flushed up as if he were struggling with suffocation... the next moment he fell back into his seat, trembling violently, and with the countenance of death itself."[16]
Literary significance and reception[edit]
Poe biographer Jeffrey Meyers sums up the significance of "The Murders in the Rue Morgue": "[it] changed the history of world literature."[2] Often cited as the first detective fiction story, the character of Dupin became the prototype for many future fictional detectives, including Arthur Conan Doyle's Sherlock Holmes and Agatha Christie's Hercule Poirot. The genre is distinctive from a general mystery story in that the focus is on analysis.[17] Poe's role in the creation of the detective story is reflected in the Edgar Awards, given annually by the Mystery Writers of America.[18]
"The Murders in the Rue Morgue" also established many tropes that would become common elements in mystery fiction: the eccentric but brilliant detective, the bumbling constabulary, the first-person narration by a close personal friend. Poe also portrays the police in an unsympathetic manner as a sort of foil to the detective.[19] Poe also initiates the storytelling device where the detective announces his solution and then explains the reasoning leading up to it.[20] It is also the first locked room mystery in detective fiction.[21]
Upon its release, "The Murders in the Rue Morgue" and its author were praised for the creation of a new profound novelty.[9] The Pennsylvania Inquirer printed that "it proves Mr Poe to be a man of genius... with an inventive power and skill, of which we know no parallel."[21] Poe, however, downplayed his achievement in a letter to Philip Pendleton Cooke:[22]
These tales of ratiocination owe most of their popularity to being something in a new key. I do not mean to say that they are not ingenious – but people think them more ingenious than they are – on account of their method and air of method. In the "Murders in the Rue Morgue", for instance, where is the ingenuity in unraveling a web which you yourself... have woven for the express purpose of unraveling?"[3]
Modern readers are occasionally put off by Poe's violation of an implicit narrative convention: readers should be able to guess the solution as they read. The twist ending, however, is a sign of "bad faith" on Poe's part because readers would not reasonably include an orangutan on their list of potential murderers.[23]
Inspiration[edit]
The word detective did not exist at the time Poe wrote "The Murders in the Rue Morgue",[9] though there were other stories that featured similar problem-solving characters. Das Fräulein von Scuderi (1819), by E. T. A. Hoffmann, in which Mlle. de Scuderi, a kind of 19th-century Miss Marple, establishes the innocence of the police's favorite suspect in the murder of a jeweler, is sometimes cited as the first detective story.[24] Other forerunners include Voltaire's Zadig (1748), with a main character who performs similar feats of analysis,[1] themselves borrowed from The Three Princes of Serendip, an Italian rendition of Amir Khusro's "Hasht-Bihisht".[25]
Poe may also have been expanding on previous analytical works of his own including the essay on "Maelzel's Chess Player" and the comedic "Three Sundays in a Week".[21] As for the twist in the plot, Poe was likely inspired by the crowd reaction to an orangutan on display at the Masonic Hall in Philadelphia in July 1839.[2] The name of the main character may have been inspired from the "Dupin" character in a series of stories first published in Burton's Gentleman's Magazine in 1828 called "Unpublished passages in the Life of Vidocq, the French Minister of Police".[26] Poe would likely have known the story, which features an analytical man who discovers a murderer, though the two plots share little resemblance. Murder victims in both stories, however, have their neck cut so badly that the head is almost entirely removed from the body.[27] Dupin actually mentions Vidocq by name, dismissing him as "a good guesser".[28]
Publication history[edit]
The Prose Romances of Edgar A. Poe, No. I, William H. Graham, Philadelphia, 1843.
Poe originally titled the story "Murders in the Rue Trianon" but renamed it to better associate with death.[29] "The Murders in the Rue Morgue" first appeared in Graham's Magazine in April 1841 while Poe was working as an editor. He was paid an additional $56 for it — an unusually high figure; he was only paid $9 for "The Raven".[30] In 1843, Poe had the idea to print a series of pamphlets with his stories entitled The Prose Romances of Edgar A. Poe. He printed only one, "The Murders in the Rue Morgue" oddly collected with the satirical "The Man That Was Used Up". It sold for 12 and a half cents.[31] This version included 52 changes from the original text from Graham's, including the new line: "The Prefect is somewhat too cunning to be profound", a change from the original "too cunning to be acute".[32] "The Murders in the Rue Morgue" was also reprinted in Wiley & Putnam's collection of Poe's stories simply called Tales. Poe did not take part in selecting which tales would be collected.[33]
Poe's sequel to "The Murders in the Rue Morgue" was "The Mystery of Marie Rogêt", first serialized in December 1842 and January 1843. Though subtitled "A Sequel to 'The Murders in the Rue Morgue'", "The Mystery of Marie Rogêt" shares very few common elements with "The Murders in the Rue Morgue" beyond the inclusion of C. Auguste Dupin and the Paris setting.[34] Dupin reappeared in "The Purloined Letter", which Poe called "perhaps the best of my tales of ratiocination" in a letter to James Russell Lowell in July 1844.[35]
The original manuscript of "The Murders in the Rue Morgue" which was used for its first printing in Graham's Magazine was discarded in a wastebasket. An apprentice at the office, J. M. Johnston, retrieved it and left it with his father for safekeeping. It was left in a music book, where it survived three house fires before being bought by George William Childs. In 1891, Childs presented the manuscript, re-bound with a letter explaining its history, to Drexel University.[36] Childs had also donated $650 for the completion of Edgar Allan Poe's new grave monument in Baltimore, Maryland in 1875.[37]
"The Murders in the Rue Morgue" was one of the earliest of Poe's works to be translated into French. Between June 11 and June 13, 1846, "Un meurtre sans exemple dans les Fastes de la Justice" was published in La Quotidienne, a Paris newspaper. Poe's name was not mentioned and many details, including the name of the Rue Morgue and the main characters ("Dupin" became "Bernier"), were changed.[38] On October 12, 1846, another uncredited translation, renamed "Une Sanglante Enigme", was published in Le Commerce. The editor of Le Commerce was accused of plagiarizing the story from La Quotidienne. The accusation went to trial and the public discussion brought Poe's name to the attention of the French public.[38]
Adaptations[edit]
"The Murders in the Rue Morgue" has been adapted for radio, film and television many times.
The 1908 American silent film Sherlock Holmes in the Great Murder Mystery was an adaptation of the story, with Dupin replaced by Sherlock Holmes. The film is lost and the director and cast are unknown.
The story was adapted in a short silent film made in 1914.[39]
The first full-length version was Murders in the Rue Morgue by Universal Pictures in 1932, directed by Robert Florey and starring Bela Lugosi, Leon Ames and Sidney Fox, with Arlene Francis.[17] The film bears little resemblance to the original story.
Another adaptation, Phantom of the Rue Morgue, was released in 1954 by Warner Brothers, directed by Roy Del Ruth and starring Karl Malden and Patricia Medina.
A TV movie made by Syndicated in 1968, The Murders in the Rue de Morgue, is an adaptation by James MacTaggart, starring Walter Horsbrugh, Charles Kay and Dennis Edwards.
A film in 1971 directed by Gordon Hessler with the title Murders in the Rue Morgue had little to do with the Poe story.
On January 7, 1975, a radio-play version was broadcast on CBS Radio Mystery Theater.
A made-for-TV movie, The Murders in the Rue Morgue, aired in 1986. It was directed by Jeannot Szwarc and starred George C. Scott, Sebastian Roché, Rebecca De Mornay, Ian McShane, and Val Kilmer.
It has also been adapted as a video game by Big Fish Games for their "Dark Tales" franchise under the title "Dark Tales: Edgar Allan Poe's Murders in the Rue Morgue".[40]
Murders in the Rue Morgue, and The Gold Bug (1973), a simplified version by Robert James Dixson, was published by Regents Pub. Co.
The British band Iron Maiden has a song on their 1981 album "Killers" called Murders in Rue Morgue, based on the story.
In 2004, Dark Horse Comics released a one-shot comic book Van Helsing: From Beneath the Rue Morgue using a murder scene from Poe's story.
Morgue Street is a 2012 short film directed by Alberto Viavattene starring Federica Tommasi and Désirée Giorgetti.[41][42]
See also[edit]
Novels portal
Rue Morgue (magazine)
Rue Morgue Radio
References[edit]
^ Jump up to: a b c d Silverman 1991, p. 171
^ Jump up to: a b c Meyers 1992, p. 123
^ Jump up to: a b Quinn 1998, p. 354
Jump up ^ Whalen 2001, p. 86
Jump up ^ Cleman 1991, p. 623
Jump up ^ Quinn 1998, p. 312
Jump up ^ Silverman 1991, p. 172
Jump up ^ Rosenheim 1997, p. 75
^ Jump up to: a b c Silverman 1991, p. 173
Jump up ^ Hoffman 1972, p. 110
Jump up ^ Poe 1927, p. 79
Jump up ^ Harrowitz 1984, pp. 186–187
Jump up ^ Poe 1927, pp. 82–83
Jump up ^ Harrowitz 1984, pp. 187–192
Jump up ^ Thoms 2002, pp. 133–134
Jump up ^ Kennedy 1987, p. 120
^ Jump up to: a b Sova 2001, pp. 162–163
Jump up ^ Neimeyer 2002, p. 206
Jump up ^ Van Leer 1993, p. 65
Jump up ^ Cornelius 2002, p. 33
^ Jump up to: a b c Silverman 1991, p. 174
Jump up ^ Kennedy 1987, p. 119
Jump up ^ Rosenheim 1997, p. 68
Jump up ^ Booker 2004, p. 507
Jump up ^ Merton 2006, p. 16
Jump up ^ Cornelius 2002, p. 31
Jump up ^ Ousby 1972, p. 52
Jump up ^ Quinn 1998, p. 311
Jump up ^ Sova 2001, p. 162
Jump up ^ Ostram 1987, pp. 39,40
Jump up ^ Ostram 1987, p. 40
Jump up ^ Quinn 1998, p. 399
Jump up ^ Quinn 1998, pp. 465–466
Jump up ^ Sova 2001, p. 165
Jump up ^ Quinn 1998, p. 430
Jump up ^ Boll 1943, p. 302
Jump up ^ Miller 1974, pp. 46–47
^ Jump up to: a b Quinn 1998, p. 517
Jump up ^ http://www.imdb.com/title/tt0004367
Jump up ^ Hischak, Thomas S. (2012). American Literature on Stage and Screen. NC, USA: McFarland. p. 153. ISBN 978-0-7864-6842-3.
Jump up ^ http://www.imdb.com/name/nm2747564/
Jump up ^ http://www.imdb.com/name/nm1408118/
Sources[edit]
Boll, Ernest (May 1943). "The Manuscript of 'The Murders in the Rue Morgue' and Poe's Revisions". Modern Philology. 40 (4).
The Seven Basic Plots. Booker, Christopher (2004). The Seven Basic Plots. London: Continuum. ISBN 978-0-8264-8037-8.
Cleman, John (December 1991). "Irresistible Impulses: Edgar Allan Poe and the Insanity Defense". American Literature. Durham, NC: Duke University Press. 63 (4): 623–640. doi:10.2307/2926871. JSTOR 2926871.
Cornelius, Kay (2002), "Biography of Edgar Allan Poe", in Harold Bloom, Bloom's BioCritiques: Edgar Allan Poe, Philadelphia, PA: Chelsea House Publishers, ISBN 978-0-7910-6173-2
Harrowitz, Nancy (1984), "The Body of the Detective Model: Charles S. Peirce and Edgar Allan Poe", in Umberto Eco; Thomas Sebeok, The Sign of Three: Dupin, Holmes, Peirce, Bloomington, IN: History Workshop, Indiana University Press, pp. 179–197, ISBN 978-0-253-35235-4 . Harrowitz discusses Dupin's method in the light of Charles Sanders Peirce's logic of making good guesses or abductive reasoning.
Hoffman, Daniel (1972). Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press. ISBN 978-0-8071-2321-8.
Kennedy, J. Gerald (1987). Poe, Death, and the Life of Writing. New Haven: Yale University Press. ISBN 978-0-300-03773-9.
Merton, Robert K. (2006). The travels and adventures of serendipity : a study in sociological semantics and the sociology of science (Paperback ed.). Princeton, NJ: Princeton University Press. p. 16. ISBN 978-0691126302.
Meyers, Jeffrey (1992). Edgar Allan Poe: His Life and Legacy (Paperback ed.). New York: Cooper Square Press. ISBN 978-0-8154-1038-6.
Miller, John C. (December 1974). "The Exhumations and Reburials of Edgar and Virginia Poe and Mrs. Clemm". Poe Studies. vii (2): 46–47. doi:10.1111/j.1754-6095.1974.tb00236.x.
Neimeyer, Mark (2002). "Poe and Popular Culture". In Hayes, Kevin J. The Cambridge Companion to Edgar Allan Poe. Cambridge: Cambridge University Press. pp. 205–224. ISBN 978-0-521-79727-6.
Poe, Edgar Allan (1927), Collected Works of Edgar Allan Poe, New York: Walter J. Black
Ostram, John Ward (1987). "Poe's Literary Labors and Rewards". Myths and Reality: The Mysterious Mr. Poe. Baltimore: The Edgar Allan Poe Society. pp. 37–47.
Ousby, Ian V. K. (December 1972). "The Murders in the Rue Morgue and 'Doctor D'Arsac': A Poe Source". Poe Studies. V (2): 52. doi:10.1111/j.1754-6095.1972.tb00201.x.
Quinn, Arthur Hobson (1998). Edgar Allan Poe: A Critical Biography. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-5730-0.
Rosenheim, Shawn James (1997). The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-5332-6.
Silverman, Kenneth (1991). Edgar A. Poe: Mournful and Never-Ending Remembrance (Paperback ed.). New York: Harper Perennial. ISBN 978-0-06-092331-0.
Sova, Dawn B. (2001). Edgar Allan Poe A to Z: The Essential Reference to His Life and Work (Paperback ed.). New York: Checkmark Books. ISBN 978-0-8160-4161-9.
Thoms, Peter (2002). "Poe's Dupin and the Power of Detection". In Hayes, Kevin J. The Cambridge Companion to Edgar Allan Poe. Cambridge: Cambridge University Press. pp. 133–147. ISBN 978-0-521-79326-1.
Van Leer, David (1993). "Detecting Truth: The World of the Dupin Tales". In Silverman, Kenneth. The American Novel: New Essays on Poe's Major Tales. Cambridge: Cambridge University Press. pp. 65–92. ISBN 978-0-521-42243-7.
Whalen, Terance (2001). "Poe and the American Publishing Industry". In Kennedy, J. Gerald. A Historical Guide to Edgar Allan Poe. New York: Oxford University Press. ISBN 978-0-19-512150-6.
External links[edit]
Find more aboutThe Murders in the Rue Morgueat Wikipedia's sister projects
Media from Wikimedia Commons
Quotations from Wikiquote
Texts from Wikisource
Data from Wikidata
Full text on PoeStories.com with hyperlinked vocabulary words.
The Murders in the Rue Morgue public domain audiobook at LibriVox
History of publications at the Edgar Allan Poe Society online
[hide]
v
t
e
Edgar Allan Poe's "The Murders in the Rue Morgue" (1841)
Characters
C. Auguste Dupin
Film
Murders in the Rue Morgue (1932)
Phantom of the Rue Morgue (1954)
Murders in the Rue Morgue (1971)
Morgue Street (2012)
Related
The Mystery of Marie Rogêt
The Purloined Letter
Van Helsing: From Beneath the Rue Morgue
[show]
v
t
e
Edgar Allan Poe
Bibliography
Poems
"Tamerlane" (1827)
"Al Aaraaf" (1829)
"Sonnet to Science" (1829)
"To Helen" (1831)
"The City in the Sea" (1831)
"The Haunted Palace" (1839)
"The Conqueror Worm" (1843)
"Lenore" (1843)
"Eulalie" (1843)
"The Raven" (1845)
"Ulalume" (1847)
"A Dream Within a Dream" (1849)
"Eldorado" (1849)
"The Bells" (1849)
"Annabel Lee" (1849)"
Tales
"Metzengerstein" (1832)
"Bon-Bon" (1832)
"MS. Found in a Bottle" (1833)
"Berenice" (1835)
"Morella" (1835)
"The Unparalleled Adventure of One Hans Pfaall" (1835)
"Ligeia" (1838)
"A Predicament" (1838)
"The Devil in the Belfry" (1839)
"The Man That Was Used Up" (1839)
"The Fall of the House of Usher" (1839)
"William Wilson" (1839)
"The Conversation of Eiros and Charmion" (1839)
"The Business Man" (1840)
"The Man of the Crowd" (1840)
"The Murders in the Rue Morgue" (1841)
"A Descent into the Maelström" (1841)
"Never Bet the Devil Your Head" (1841)
"Eleonora" (1841)
"The Oval Portrait" (1842)
"The Masque of the Red Death" (1842)
"The Mystery of Marie Rogêt" (1842)
"The Pit and the Pendulum" (1842)
"The Tell-Tale Heart" (1843)
"The Gold-Bug" (1843)
"The Black Cat" (1843)
"The Spectacles" (1844)
"A Tale of the Ragged Mountains" (1844)
"The Premature Burial" (1844)
"The Oblong Box" (1844)
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