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Bass fishing

Bass fishing is the recreational fishing activity, typically via rod-based angling, for various game fishes of North America known collectively as black bass. There are numerous black bass species targeted in North America, including largemouth bass (Micropterus salmoides), smallmouth bass (Micropterus dolomieui), spotted bass or Kentucky bass (Micropterus punctulatus), and Guadalupe bass (Micropterus treculii). All black bass species are members of the sunfish family Centrarchidae.

Modern bass fishing has evolved into a multibillion-dollar industry. The sport has changed drastically since its beginnings in the late 19th century. From humble beginnings, the black bass has become the most specifically sought-after sport fish in the United States. The sport has driven the development of all manner of fishing gears in the market, including rods, reels, lines, lures, electronic depth and fish-finding instruments, drift boats, float tubes, kayaks and also motor boats made specifically for bass fishing (also colloquially called bass boats).

Black bass
All black bass are fished recreationally and are well known as strong fighters when hooked. Depending upon species and various other factors such as water quality and availability of food, black bass may be found in lakes, reservoirs, ponds, rivers, streams, creeks, and even roadside ditches. Largemouth are known for their greater overall size and tolerance of urban environments, and also tend to jump more than other black bass and fight aggressively near the surface. However, smallmouth bass tend to fight even more aggressively when hooked, favoring extremely powerful runs to underwater structures such as submerged logs, weed beds, and rock piles. The All-Tackle world record Black Bass was a largemouth that was caught at Montgomery Lake, GA by George Perry, weighing in at 22 lbs. 4 oz. Perry's record fish, which some consider the "Holy Grail" of all freshwater sport fishing records, was finally challenged by Japanese angler Manabu Kurita on July 22, 2009. Kurita's catch was officially certified by the IGFA, weighing 22 lbs. 4 oz, the same weight as Perry's legendary catch. There are also several stories of fish that may have exceeded this record weight, but only these two were officially certified. Perry and Kurita have shared the All-Take world record since 2009.

All black bass rely heavily on scent to forage, so care should be taken when fishing to ensure no foreign scents such as outdoor chemicals like sun block and bug spray, or any personal chemicals like tobacco, can deter the black bass. It is also important to wash hands frequently when handling fishing line, reels, rods, artificial baits, and particularly soft plastics. The flesh of smaller specimens is often white and flaky, with a mild, more pleasant taste when cooked.

Background
Bass fishing in the United States largely evolved on its own, and was not influenced by angling developments in Europe or other parts of the world. Indeed, modern British sea bass fishermen look to the United States freshwater bass techniques for inspiration for lure fishing and to the US, Japan and China for tackle. During the early-to-mid-19th century, wealthy sport anglers in the United States (mostly located in the northeastern portion of the country) largely confined themselves to trout and salmon fishing using fly rods. While smallmouth bass were sought by some fly fishermen, most bass fishing was done by sustenance anglers using poles and live bait. The working-class heritage of bass fishing strongly influenced the sport and is manifested even today in its terminology, hobbyist literature, and media coverage. Many people who began fishing for bass a long time ago simply used a long stick, with some sort of line, tied to a hook, and normally used live bait.

In the mid-19th century, the first artificial lure used for bass was developed in the form of an artificial fly. At first, these artificial fly patterns were largely derivations of existing trout and salmon flies. As time went on, new fly patterns were specifically developed to fish for bass, as well as heavier spinner/fly lures that could be cast by the baitcasting and fixed-spool casting reels and rods available at the time. Floating wooden lures (plugs) or poppers of lightweight cork or balsa were introduced around 1900, sometimes combined with hooks dressed with artificial fur or feathers. Production of the plastic worm began in 1949, but it was not until the 1960s that its use became popular. The plastic worm revolutionized the sport of bass fishing.

In the United States, the sport of bass fishing was greatly advanced by the stocking of largemouth and smallmouth bass outside their native ranges in the latter portion of the 19th century. As the nation's railroad system expanded, large numbers of 'tank' ponds were built by damming various small creeks that intersected the tracks to provide water for steam engines; later, new towns often sprang up alongside these water stops. Shippers found that black bass were a hardy species that could be transported in buckets or barrels via the railroad, sometimes using the spigot from the railroad water tank to aerate the fingerlings.

Largemouth bass were often stocked in tank ponds and warmer lakes, while smallmouth bass were distributed to lakes and rivers throughout the northern and western United States, as far west as California. Smallmouth were transplanted east of the Appalachians just before the Civil War, and afterwards introduced into New England.

Largemouth bass populations boomed after the U.S. Department of Agriculture began to advise and assist farmers in constructing and stocking farm ponds with largemouth bass, even offering advice on managing various fish species. Soon, those who had stocked largemouth bass on their farm ponds began to pursue them on a burgeoning number of new reservoirs and impoundments built in the United States during the 1940s and 1950s. These impoundments coincided with a postwar fishing boom, additional funds from sales of fishing licenses for the first large-scale attempts at bass fisheries management. This was especially true in the southern United States, where the largemouth bass thrived in waters too warm or turbid for other types of gamefish.

With increased industrialization and development, many of the nation's eastern trout rivers were dammed, polluted, or allowed to silt up, raising water temperatures and killing off the native brook trout. Smallmouth bass were often introduced to northern rivers now too warm for native trout, and slowly became a popular gamefish with many anglers. Equally adaptable to large, cool-water impoundments and reservoirs, the smallmouth also spread far beyond its original native range. Later, smallmouth populations also began to decline after years of damage caused by overdevelopment and industrial and agricultural pollution, as well as a loss of river habitat caused by damming many formerly wild rivers to form lakes or reservoirs. In recent years, a renewed emphasis on preserving water quality and riparian habitat in the nation's rivers and lakes, together with stricter management practices, eventually benefited smallmouth populations and has caused a resurgence in their popularity with anglers.

Rise of modern bass fishing
By the early 20th century, bass fishing had been well established as a sport with its own following. Though the use of artificial lures for bass had begun with the artificial fly and fly fishing tackle, the bait casting rod and reel soon came to dominate the sport. Although fixed-spool reels were introduced in use in the United States as early as the 1870s, spinning reels and rods did not gain wide acceptance as an angling tool until the 1950s. Since that time, most bass anglers have used bait casting or spinning tackle, using either artificial lures or live bait (See Fishing rod, Fishing reel).

During the 1950s and 1960s, the development of specific angling tools for bass significantly increased angler bass catches and helped stimulate the development of the sport. Some of these innovations include the invention of monofilament nylon fishing lines, the fiberglass (later graphite composite) fishing rod, the electric trolling motor, the fish finder/depth locator, and new artificial lures and baits made of various plastics. Recently, advanced electronics that mimic the sounds of schooling bait fish have been introduced, and a controversy has arisen over the proper use of these devices in bass tournament fishing.

Since the early 1990s, fly fishing for bass, particularly smallmouth bass, has again become popular, using fly patterns, rods, and fly lines suited for bass. The Largemouth Bass is the most common sport fish in America. Many people are unaware that fly fishing is a growing source of bass catching, specifically in places where trophy bass are available such as Southern California and San Diego. Here prime Florida largemouth are some of the largest in the world and some of the toughest to catch. Several well known bass fishermen have been attracting attention to the fishery. Local fly shops offer services to pursue the fish which can be challenging. There are several very well known bass lakes here including; Lake Dixon, Lake Jennings, Miramar Reservoir, and Lake Murray (California).

Fishermen, conservation groups, and governmental wildlife departments have introduced black bass of various species across the world for the sport of fishing. Outside North America, Japan and South Africa have active programs. Bass fishing as a sport was helped along by the chase for the standing world record which has held for over 75 years. Though surrounded by controversy it is widely accepted that in 1932 a 22-pound 4 ounce bass was caught by George Perry in Montgomery Lake, Georgia. It is one of the longest standing records in the sport of fishing. This record was tied on July 2, 2009 when Aichi Japan resident Manabu Kurita caught a 22-pound 4 ounce largemouth bass in Lake Biwa.

Population management
The increasing popularity of the sport combined with "catch and release" practices have in some cases led to an overpopulation of bass.

An overpopulated, stunted bass population can best be detected in the spring when all the bass are at least one year old. If virtually all the bass are 4 inches long or smaller, the population is probably stunted. Some indicators that a bass population is overpopulated:

 * 1) The largemouth bass caught are all less than 1 pound and are "skinny".
 * 2) The bluegills are 1/2 pound and larger (too large for the bass to eat).

An overpopulation and/or stunting of bass may be caused by several factors including:

 * 1) Not enough bass being harvested.
 * 2) Too few bluegill or redear sunfish were stocked initially or they are failing to reproduce and the bass population does not have an adequate food supply.

It is posited that the easiest way to control an overpopulation of largemouth bass is by increasing the take of bass. This is clearly an effective method of thinning the bass population providing recreation at the same time. It may take two to three years to bring the population back into balance. If forage fish are scarce, stock adult bluegill or redear sunfish (7 to 8 inches long). These fish will be too large to be eaten by the bass. The large panfish will spawn in the spring and produce a supply of forage.

Florida Bass Conservation Center
The Florida Bass Conservation Center, located in Webster, Florida is a hatchery and research facility for healthy fish production and conservation of the Florida Large Mouth Bass. The hatchery also supplies fresh fish production of crappie, catfish, bream, trifold grass carp, striped bass and sunshine bass.

Other species
Black bass should not be confused with a multitude of unrelated fish species found around the world and called "bass", such as the butterfly peacock bass (Cichla ocellaris), speckled peacock bass (Cichla temensis), Papuan black bass (Lutjanus goldiei) (also called Niugini bass), Australian bass, rock bass (Ambloplites rupestris), American striped bass, sand bass, and calico bass, white bass, and British sea bass (Dicentrarchus labrax).

Competition
In 1955 Earl Golding of the Waco Tribune Herald decided it was time to put the "biggest fish tale" to the test and organized the first ever bass tournament on Lake Whitney in Texas. Golding started with inviting 75 teams  and 73 showed up to compete. The Central Texas Invitational was such a success that it evolved into the Texas State Bass Tournament that is still held today.

In 1967, Ray Scott founded the Bass Anglers Sportsman Society (B.A.S.S.). This organization brought bass fishing tournaments to the mainstream; starting clubs across the United States and holding invitation only tournaments for the best anglers.

Modern day bass fishing competitions can take on many forms depending on the tournament trail, but the most common format is each angler weighs their 5 best fish each day over a 1 to 4-day span. Competitors are penalized heavily for dead fish and in some cases dead fish are not weighed. Fish turned in for weighing are immediately released or placed in tanks and treated for stress and glyco-protein (slime coat) injury, then released back into the water.

However, a new tournament trail known as Major League Fishing emerged in 2019 with a new format – weighing in every fish over 1 pound and immediately releasing them. This caught the eye of many top professional anglers, leading to a mass exodus from B.A.S.S.

United States
There are several major bass fishing competitions in the United States, with the three most dominant circuits being Major League Fishing, Bassmasters and the FLW series.

 * Major League Fishing is a new trail for 2019 and organized by Bass Pro Shops. The trail brought over professionals like Michael Iaconelli, Kevin VanDam, Aaron Martens, Cliff Pace and Luke Clausen.
 * The Bassmaster Tournament Trail is organized by the Bass Anglers Sportsman Society (BASS) and was started by Ray Scott, the "father" of competitive bass fishing. There are a handful of events in which anglers compete for prizing over $100,000 and a chance to make Bassmaster Classic.
 * The Walmart FLW Tour was named after Forrest L. Wood of Ranger Boats fame. The top prize of the Forrest Wood Cup is $1 million. Both tours are nationally televised on networks like ESPN and Fox Sports Net, and covered extensively by news media.
 * American Bass Anglers (ABA), formerly the Military Bass Anglers Association, award National championship tournament winners with a Triton Bass boat and Championship ring among other prizes.  Thomas Wayne Jones Sr., from Springfield Tennessee won the 2007 ABA National championship.
 * On the West Coast, WON BASS has been the main regional circuit in operation since the 1980s. Annually, WON BASS conducts the U.S. Open of Bass Fishing at Lake Mead, Nevada, which pays back nearly $500,000 per event. This is a test of both angling skill and endurance as the anglers compete for 3 days in the scorching hot sun and windy conditions of the Mojave Desert. Renowned anglers Rick Clunn, Byron Velvick, Aaron Martens, and Gary Klein have all been crowned champions during the Open's 25-year history.

High school
The state of Illinois was the first to make competitive bass fishing a state-sanctioned high school sport in 2009. They offer 22 sectional tournaments which cater to 250 high school teams across the state. Teams which qualify at the sectional level compete for the state title in May.

States across the country have taken to Illinois' lead. Kentucky was the second to follow suit in 2012. Private groups have seen the opportunity to grow the industry as well through exposure of high school student to tournament bass fishing. The Bass Federation, for example, offers high school tournament series in over 40 states, eventually crowning a State Champion and giving them the opportunity to compete on the national level.

Collegiate
Competitive collegiate bass fishing circuits in the United States include FLW College Fishing, the Bassmaster College Series, and Cabela's Collegiate Bass Fishing Series.

The FLW College Series includes three regional qualifiers in each of the five regions of the United States denoted by FLW. The top fifteen finishing teams in each of these regional qualifiers advance to the Regional Invitational tournament and have an opportunity to advance to the FLW College National Championship and fish for a place in the following year's Forrest L Woods Cup Professional Bass Tournament.

Similarly, the Bassmaster College Series divides the nation into 5 regions. They only offer one qualifying opportunity at the regional level as opposed to the three offered by the FLW College Series. The top 15 from each of the 5 regional qualifiers advance directly to the Bassmaster College Series National Champion and compete for a position in the following year's Bassmaster Classic.

The Cabelas Collegiate Bass Fishing Series is compiled of numerous tournaments accredited by the Association of Collegiate Anglers. The tournaments range in size from 20–30 boats all the way up to 100+ boats. The Cabelas Collegiate Bass Fishing Series compiles a ranking of "School of the Year" points, which are often coveted by schools across the country. These points are gathered through successful tournament finishes in tournaments recognized by the Association of Collegiate Anglers. Cabelas Collegiate Bass Fishing Series also hosts a large-scale national open. This is not the only one of its kind, as BoatUS also hosts a similar "National Championship." Unlike the Bassmaster College Series and FLW College Series National Championships, these require no qualification from regional tournaments, and can be entered simply by signing up and paying the entry fee.

Indiana University was the first to establish a tournament fishing club in 1989, with Purdue University creating one soon afterwards. The University of Illinois was third to make a tournament bass fishing student organization, and the trend has grown tremendously ever since.

Other countries
Competitive bass fishing has also spread to anglers in other countries such as Japan, Korea, Italy, Australia and South Africa. , a Japanese angler living in Texas, won the 2004 Bassmaster Classic title. Australian tournaments are based on a native freshwater fish called Australian bass that is unrelated to largemouth bass.

Professional Bass Angling
With the rise in popularity of competitive bass fishing came the multibillion-dollar industry of professional bass angling. The rise in popularity and the companies that have supported the sport have now made it possible to turn bass angling into a professional sport. A professional bass angler is a person who competes in bass fishing pro circuit and may also have company sponsorships. Some famous pro circuits include Bass Anglers Sportsman Society (BASS), Walmart FLW Tour, and the Major League Fishing (MLF) Bass Pro Tour (BPT).

Professional bass anglers are not able to simply sign up for these professional circuits. The angler must compete and win local and smaller events in order create a reputation. Many professional bass anglers also get company sponsorships. These sponsorships help fund the expenses of being a bass angler. In turn the angler is also promoting the company that they are sponsored by. A relatively new and popular technique for many fledgling pro anglers is to document and record their fishing adventures, and post them online in order to gain a following and attract even more sponsors. Being a professional bass angler is a full-time job. When the angler is not fishing, it is essential for them to attend public seminars and give presentations. It is the anglers job to market himself for the sponsors to become a more well known company.

Some of the most famous names in professional bass angling include Ray Scott, Kevin VanDam, Scott Martin, Bill Dance, Roland Martin, Jimmy Houston, Rick Clunn and Mike Iaconelli. Ray Scott is the founder of Bass Anglers Sportsman Society, otherwise known as BASS. Ray Scott started BASS in 1967 and has paved the way for professional circuits by starting the BASS Tournament Trail. Kevin VanDam is a professional competition angler who has won the BASSMASTER Classic four times. He also gained great fame by being named Angler of the Year in 1992. Mike Iaconelli is a professional competition angler in the BASS Elite Series, who has made a name for himself by winning BASSMASTER Classic and the Toyota Elite Series AOY.

Professional bass angling salaries fluctuate greatly depending on how marketable the angler is, in 2006 Kevin VanDam made $500,000 from his sponsors while Mike Iaconelli made $370,000. This does not include the prize money from winning competitions. Although there are some professionals that earn this much money, it is not the case for all of them. Gene Ellison the executive director of the Professional Anglers Association is quoted saying, "more than half of the guys out here this weekend are going broke", during the BASSMASTER Classic of 2006.

In recent years the sport has not only reached out to men but to women as well. There is a large following of women bass fishing who are trying to become professional and have their own women circuit. The Lady Bass Anglers Association was started for that purpose.

title: Bass fishing


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Butch Cassidy and the Sundance Kid

Butch Cassidy and the Sundance Kid is a 1969 American Western buddy film directed by George Roy Hill and written by William Goldman. Based loosely on fact, the film tells the story of Wild West outlaws Robert LeRoy Parker, known as Butch Cassidy (Paul Newman), and his partner Harry Longabaugh, the "Sundance Kid" (Robert Redford), who are on the run from a crack US posse after a string of train robberies. The pair and Sundance's lover, Etta Place (Katharine Ross), flee to Bolivia to escape the posse.

In 2003, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The American Film Institute ranked Butch Cassidy and the Sundance Kid as the 73rd-greatest American film on its "AFI's 100 Years...100 Movies (10th Anniversary Edition)" list, and number 50 on the original list. Butch Cassidy and the Sundance Kid were ranked 20th-greatest heroes on "AFI's 100 Years...100 Heroes & Villains". Butch Cassidy and the Sundance Kid was selected by the American Film Institute as the 7th-greatest Western of all time in the AFI's 10 Top 10 list in 2008.

Plot
In 1899 Wyoming, Butch Cassidy is the affable, clever, talkative leader of the outlaw Hole-in-the-Wall Gang. His closest companion is the laconic dead-shot "Sundance Kid". The two return to their hideout at Hole-in-the-Wall to discover that the rest of the gang, irked at Cassidy's long absences, have selected Harvey Logan as their new leader.

Logan challenges Cassidy to a knife fight over the gang's leadership. Cassidy defeats him using trickery, but embraces Logan's idea to rob a Union Pacific train on both its eastward and westward runs, agreeing that the second robbery would be unexpected and likely reap more money than the first.

The first robbery goes well. To celebrate, Cassidy visits a favorite brothel in a nearby town, where the town marshal unsuccessfully attempts to organize a posse to track down the gang, only to have his address to the townsfolk hijacked by a friendly bicycle salesman. Sundance, meanwhile, visits his lover, schoolteacher Etta Place. Cassidy joins up with them the next morning, and takes Place for a ride on his new bike.

On the second train robbery, Cassidy uses too much dynamite to blow open the safe. The explosion demolishes the baggage car in the process and the money flies everywhere. As the gang scrambles to gather it, a second train arrives carrying a six-man team of lawmen. The crack squad pursues Cassidy and Sundance, who try to hide out in the brothel, and then to seek amnesty from Sheriff Bledsoe, to no avail.

The posse remains in pursuit, and it includes renowned Indian tracker "Lord Baltimore" and lawman Joe Lefors, recognizable by his white skimmer. Cassidy and Sundance elude their pursuers by jumping from a cliff into a river far below. They learn from Place that the posse has been paid by Union Pacific head E. H. Harriman to remain on their trail until they are both killed.

Cassidy convinces Sundance and Place that the three should go to Bolivia, which he envisions as a robber's paradise. On their arrival there, Sundance is dismayed by the living conditions and regards the country with contempt, but Cassidy remains optimistic. However, they know too little Spanish to pull off a bank robbery, so Place attempts to teach them the language. With her as an accomplice, they become successful bank robbers known as Los Bandidos Yanquis. However, their confidence drops after seeing a man wearing a white skimmer and fear that Harriman's posse is still after them.

Cassidy suggests "going straight", and he and Sundance land their first honest job as payroll guards for a mining company. However, they are ambushed by local bandits on their first run and their boss, Percy Garris, is killed. They kill the bandits, the first time Cassidy has ever shot someone. The duo concludes the straight life is not for them. Sensing they will be killed should they return to robbery, Place decides to return to the United States.

Cassidy and Sundance steal a payroll and a burro used to carry it, and arrive in a small town. A boy recognizes the burro's livestock branding and alerts the police, leading to a gunfight with the outlaws. Cassidy has to make a desperate run to the burro to get ammunition, while Sundance provides covering fire. Wounded, the two take cover inside a building. Cassidy suggests their next destination should be Australia. Meanwhile, unbeknownst to the two men, the local police have called on the Bolivian Army. The pair charge out of the building, guns blazing, into a hail of bullets from the massed troops who have occupied all the surrounding vantage points. The film ends with the sound of gunfire on a freeze-frame shot of the two bandits.

Screenplay
William Goldman first came across the story of Butch Cassidy in the late 1950s and researched intermittently for eight years before starting to write the screenplay. Goldman says he wrote the story as an original screenplay because he did not want to do the research to make it as authentic as a novel. Goldman later stated: "The whole reason I wrote the ... thing, there is that famous line that Scott Fitzgerald wrote, who was one of my heroes, 'There are no second acts in American lives.' When I read about Cassidy and Longabaugh and the superposse coming after them—that's phenomenal material. They ran to South America and lived there for eight years and that was what thrilled me: they had a second act. They were more legendary in South America than they had been in the old West ... It's a great story. Those two guys and that pretty girl going down to South America and all that stuff. It just seems to me it's a wonderful piece of material."

The characters' flight to South America caused one executive to reject the script, as it was then unusual in Western films for the protagonists to flee.

Development
According to Goldman, when he first wrote the script and sent it out for consideration, only one studio wanted to buy it—and that was with the proviso that the two lead characters did not flee to South America. When Goldman protested that that was what had happened, the studio head responded, "I don't give a shit. All I know is John Wayne don't run away."

Goldman rewrote the script, "didn't change it more than a few pages, and subsequently found that every studio wanted it."

The role of Sundance was offered to Jack Lemmon, whose production company, JML, had produced the film Cool Hand Luke (1967) starring Newman. Lemmon, however, turned down the role because he did not like riding horses and felt that he had already played too many aspects of the Sundance Kid's character before. Other actors considered for the role of Sundance were Steve McQueen and Warren Beatty, who both turned it down, with Beatty claiming that the film was too similar to Bonnie and Clyde. According to Goldman, McQueen and Newman both read the scripts at the same time and agreed to do the film. McQueen eventually backed out of the film due to disagreements with Newman. The two actors would eventually team up in the 1974 disaster film The Towering Inferno. Redford took the role as he liked the script. Jacqueline Bisset was a top contender for the role of Etta Place.

Filming locations include the ghost town of Grafton, Zion National Park, Snow Canyon State Park, and the city of St. George. These areas remain popular film tourism destinations, including the Cassidy Trail in Red Canyon.

Soundtrack
Burt Bacharach and Hal David wrote the song "Raindrops Keep Fallin' on My Head" for the film. Some felt the song had the wrong tone for a Western, but George Roy Hill insisted on its inclusion. Robert Redford, one of the stars of the films, was among those who disapproved of using the song, though he later acknowledged he was wrong:

"When the film was released, I was highly critical: How did the song fit with the film? There was no rain. At the time, it seemed like a dumb idea. How wrong I was, as it turned out to be a giant hit."

Personnel

 * Marvin Stamm − trumpet
 * Pete Jolly − piano
 * Hubert Laws − flute
 * Bob Bain, Bill Pitman − guitar
 * Tommy Tedesco − ukelele
 * Carol Kaye − electric bass
 * Emil Richards − percussion

Premieres
The world premiere of the film was on September 23, 1969, at the Roger Sherman Theater, in New Haven, Connecticut. The premiere was attended by Paul Newman, his wife Joanne Woodward, Robert Redford, George Roy Hill, William Goldman, and John Foreman, among others. It opened the next day in New York City at the Penthouse and Sutton theatres.

Home media
The film became available on DVD on May 16, 2000, in a Special Edition that is also available on VHS.

Box office
The film grossed $82,625 in its opening week from two theatres in New York City. The following week it expanded and became the number one film in the United States and Canada for two weeks. It went on to earn $15 million in theatrical rentals in the United States and Canada by the end of 1969. According to Fox records the film required $13,850,000 in rentals to break even and by December 11, 1970, had made $36,825,000 so made a considerable profit to the studio. It eventually returned $45,953,000 in rentals.

With a final US gross of over $100 million, it was the top-grossing film released in 1969.

It was the eighth-most-popular film of 1970 in France.

Critical response
At the time of release, reviewers gave the film mediocre grades, and New York and national reviews were "mixed to terrible" though better elsewhere, screenwriter William Goldman recalled in his book Which Lie Did I Tell?: More Adventures in the Screen Trade.

New York Times film reviewer Vincent Canby wrote that the film is "very funny in a strictly contemporary way," but said that "at the heart of the film there is a gnawing emptiness that can't be satisfied by an awareness that Hill and Goldman knew exactly what they were doing---making a very slick movie." He described the "Raindrops" sequence as part of an effort to "play tricks on the audience" by "taking short cuts to lyricism." The performers, Canby wrote, "succeed although the movie does not."

Time magazine said the film's two male stars are "afflicted with cinematic schizophrenia. One moment they are sinewy, battered remnants of a discarded tradition. The next, they are low comedians whose chaffing relationship—and dialogue—could have been lifted from a Batman and Robin episode." Time criticized the "Raindrops" sequence and the "scat-singing sound track by Burt Bacharach at his most cacophonous," which it said made the film "absurd and anachronistic."

Roger Ebert's review of the movie was a mixed 2.5 out of 4 stars. He praised the beginning of the film and its three lead actors, but felt the film progressed too slowly and had an unsatisfactory ending. But after Harriman hires his posse, Ebert thought the movie's quality declined: "Hill apparently spent a lot of money to take his company on location for these scenes, and I guess when he got back to Hollywood he couldn't bear to edit them out of the final version. So the Super-posse chases our heroes unceasingly, until we've long since forgotten how well the movie started." Ebert reaffirmed his review in 1989 stating that he still thought it was a "turkey" and was baffled by its success.

Gene Siskel also disliked the film stating he thought it was predictable and writing that it was “too cute to be believed … not memorable.” Siskel would later admit in 1989 that publishing his negative review was one of his first challenges as film critic recalling that the editorial assistant was shocked that he was giving a bad review to a film starring Paul Newman and would give him a lesson that he had to be honest as a critic, no matter how unpopular his opinion would be.

Accolades
Butch Cassidy and the Sundance Kid also appears on several of the American Film Institute's 100 Years lists.
 * AFI's 100 Years... 100 Movies (1998) – #50
 * AFI's 100 Years... 100 Thrills (2001) – #54
 * AFI's 100 Years...100 Heroes & Villains (2003)
 * Butch Cassidy and the Sundance Kid – #20 Heroes
 * AFI's 100 Years...100 Songs (2004)
 * "Raindrops Keep Fallin' on My Head" – #23
 * AFI's 100 Years of Film Scores (2005) – Nominated
 * AFI's 100 Years... 100 Movie Quotes (2005)
 * "Kid, the next time I say, 'Let's go someplace like Bolivia', let's go someplace like Bolivia." – Nominated
 * AFI's 100 Years... 100 Movies (10th Anniversary Edition) (2007) – #73
 * AFI's 10 Top 10 (2008) – #7 Western Film

Legacy
Over time, major American movie reviewers have been widely favorable. The film holds an 89% "Certified Fresh" rating on Rotten Tomatoes based on 61 reviews with an average score of 8.3/10. The site's critical consensus reads: "With its iconic pairing of Paul Newman and Robert Redford, jaunty screenplay and Burt Bacharach score, Butch Cassidy and the Sundance Kid has gone down as among the defining moments in late-'60s American cinema."

The Writers Guild of America ranked the screenplay #11 on its list of 101 Greatest Screenplays ever written.

In 2003, Butch Cassidy and the Sundance Kid was selected by The New York Times as one of The 1000 Best Movies Ever Made. In 2008, British film publication Empire magazine ranked the film #32 on their list of The 500 Greatest Movies of All Time.

The film inspired the television series Alias Smith and Jones, starring Pete Duel and Ben Murphy as outlaws trying to earn an amnesty.

A parody titled "Botch Casually and the Somedunce Kid" was published in Mad. It was illustrated by Mort Drucker and written by Arnie Kogen in issue No. 136, July 1970.

Also in 1976, a made-for-television sequel to the film was released. Wanted: The Sundance Woman more heavily features Katharine Ross as Etta Place.

In 1979, Butch and Sundance: The Early Days, a prequel, was released starring Tom Berenger as Butch Cassidy and William Katt as the Sundance Kid. It was directed by Richard Lester and written by Allan Burns. William Goldman, the writer of the original film, was an executive producer. Jeff Corey was the only actor to appear in the original and the prequel.

Television adaptation
In September 2022, Amazon Studios announced a television adaptation of the film, starring Regé-Jean Page and Glen Powell. Joe and Anthony Russo will be executive producers under their AGBO production banner.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Butch Cassidy and the Sundance Kid


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Hello, Dolly! (musical)

Hello, Dolly! is a 1964 musical with lyrics and music by Jerry Herman and a book by Michael Stewart, based on Thornton Wilder's 1938 farce The Merchant of Yonkers, which Wilder revised and retitled The Matchmaker in 1954. The musical follows the story of Dolly Gallagher Levi, a strong-willed matchmaker, as she travels to Yonkers, New York, to find a match for the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder.

Hello, Dolly! debuted at the Fisher Theater in Detroit on November 18, 1963, directed and choreographed by Gower Champion and produced by David Merrick. It starred stage performer Carol Channing as Dolly Gallagher Levi, a role theatrical audiences of the world would forever associate with her. The show moved to Broadway in 1964, winning 10 Tony Awards, including Best Musical and Best Actress in a Musical for Channing. The awards earned set a record which the play held for 37 years. The show album ''Hello, Dolly! An Original Cast Recording'' was inducted into the Grammy Hall of Fame in 2002. The album reached number one on the Billboard album chart on June 6, 1964, and was replaced the next week by Louis Armstrong's album Hello, Dolly! Louis Armstrong also was featured in the film version of the show, performing a small part of the song "Hello, Dolly!".

The show has become one of the most enduring musical theater hits, with four Broadway revivals and international success. It was also made into the 1969 film Hello Dolly! by 20th Century Fox, which won three Academy Awards, including Best Score of a Musical Picture and was nominated in four other categories, including Best Picture at the 42nd Academy Awards.

History
The plot of Hello, Dolly! originated in the 1835 English play A Day Well Spent by John Oxenford, which Johann Nestroy adapted into the farce Einen Jux will er sich machen (He Will Go on a Spree or He'll Have Himself a Good Time) in 1842. Thornton Wilder adapted Nestroy's play into his 1938 farcical play The Merchant of Yonkers. That play was a flop, so he revised it and retitled it as The Matchmaker in 1954, expanding the role of Dolly (played by Ruth Gordon).

The role of Dolly Gallagher Levi was originally written for Ethel Merman but she turned it down, as did Mary Martin—although both eventually played it. Merrick then auditioned Nancy Walker, but he hired Carol Channing, who then went on to originate the role of Dolly. Director Gower Champion was not the producer's first choice, but Hal Prince and others turned it down, among them Jerome Robbins and Joe Layton.

Hello, Dolly! had rocky tryouts in Detroit, Michigan, and Washington, D.C. After receiving the reviews, the creators made major changes to the script and score, including the addition of the song "Before the Parade Passes By". Initially called Dolly, A Damned Exasperating Woman, then Call on Dolly, Merrick revised the show's title after hearing Louis Armstrong's version of "Hello, Dolly". The show became one of the most iconic Broadway shows of the latter half of the 1960s, and running for 2,844 performances, was the longest-running musical in Broadway history for a time.

Synopsis
Sources: Tams-Witmark Guide to Musical Theatre Masterworks Broadway

Act I
As the 19th becomes the 20th century, all of New York City is excited because brassy widow Dolly Gallagher Levi is in town ("Call on Dolly"). Dolly makes a living through what she calls "meddling" – matchmaking and numerous sidelines, including dance instruction and mandolin lessons ("I Put My Hand In"). She is currently seeking a wife for grumpy Horace Vandergelder, the well-known half-a-millionaire, but it becomes clear that Dolly intends to marry Horace herself. Ambrose Kemper, a young artist, wants to marry Horace's weepy niece Ermengarde, but Horace opposes this because Ambrose's vocation does not guarantee a steady living. Ambrose enlists Dolly's help, and they travel to Yonkers, New York to visit Horace, who is a prominent citizen there and owns Vandergelder's Hay and Feed.

Horace explains to his two clerks, Cornelius Hackl and Barnaby Tucker, that he is going to get married because "It Takes a Woman" to cheerfully do all the household chores. He plans to travel with Dolly to New York City to march in the Fourteenth Street Association Parade and propose to the widow Irene Molloy, who owns a hat shop there. Dolly arrives in Yonkers and "accidentally" mentions that Irene's first husband might not have died of natural causes, and also mentions that she knows an heiress, Ernestina Money, who may be interested in Horace. Horace leaves for New York and leaves Cornelius and Barnaby to run the store.

Cornelius decides that he and Barnaby need to get out of Yonkers. They'll go to New York, have a good meal, spend all their money, see the stuffed whale in Barnum's museum, almost get arrested, and each kiss a girl! They blow up some tomato cans to create a terrible stench as a pretext to close the store. Dolly mentions that she knows two ladies in New York they should call on: Irene Molloy and her shop assistant, Minnie Fay. She tells Ermengarde and Ambrose that she'll enter them in the polka competition at the upscale Harmonia Gardens Restaurant in New York City so Ambrose can demonstrate his ability to be a breadwinner to Horace. Cornelius, Barnaby, Ambrose, Ermengarde and Dolly all take the train to New York ("Put on Your Sunday Clothes").

Irene and Minnie open their hat shop for the afternoon. Irene wants a husband, but does not love Horace Vandergelder. She declares that she will wear an elaborate hat to impress a gentleman ("Ribbons Down My Back"). Cornelius and Barnaby arrive at the shop and pretend to be rich. Horace and Dolly arrive at the shop, and Cornelius and Barnaby hide from him. Irene inadvertently mentions that she knows Cornelius Hackl, and Dolly tells her and Horace that even though Cornelius is Horace's clerk by day, he's a New York playboy by night; he's one of the Hackls. Minnie screams when she finds Cornelius hiding in the armoire. Horace is about to open the armoire himself, but Dolly, Irene and Minnie distract him with patriotic sentiments related to subjects like Betsy Ross and The Battle of the Alamo shown in the famous lyrics "Alamo, remember the Alamo!" ("Motherhood March"). Cornelius sneezes, and Horace storms out, realizing there are men hiding in the shop, but not knowing they are his clerks.

Dolly arranges for Cornelius and Barnaby, who are still pretending to be rich, to take the ladies out to dinner to the Harmonia Gardens restaurant to make up for their humiliation. She teaches Cornelius and Barnaby how to dance since they always have dancing at such establishments ("Dancing"). Soon, Cornelius, Irene, Barnaby, and Minnie are happily dancing. They go to watch the great 14th Street Association Parade together. Alone, Dolly decides to put her dear departed husband Ephraim behind her and to move on with life "Before the Parade Passes By". She asks Ephraim's permission to marry Horace, requesting a sign from him. Dolly catches up with the annoyed Vandergelder, who has missed the whole parade, and she convinces him to give her matchmaking one more chance. She tells him that Ernestina Money would be perfect for him and asks him to meet her at the swanky Harmonia Gardens that evening.

Act II
Cornelius is determined to get a kiss before the night is over, but Barnaby isn't so sure. As the clerks have no money for a carriage, they tell the girls that walking to the restaurant shows that they've got "Elegance". At the Harmonia Gardens Restaurant, Rudolph, the head waiter, prepares his service crew for Dolly Gallagher Levi's return: their usual lightning service, he tells them, must be "twice as lightning" ("The Waiters' Gallop"). Horace arrives with his date, but she proves neither as rich nor as elegant as Dolly had implied; furthermore she is soon bored by Horace and leaves, as Dolly had planned she would.

Cornelius, Barnaby, and their dates arrive, unaware that Horace is also dining at the restaurant. Irene and Minnie, inspired by the restaurant's opulence, order the menu's most expensive items. Cornelius and Barnaby grow increasingly anxious as they discover they have little more than a dollar left. Dolly makes her triumphant return to the Harmonia Gardens and is greeted in style by the staff ("Hello, Dolly!") She sits in the now-empty seat at Horace's table and proceeds to eat a large, expensive dinner, telling the exasperated Horace that no matter what he says, she will not marry him. Barnaby and Horace hail waiters at the same time, and in the ensuing confusion each drops his wallet and inadvertently picks up the other's. Barnaby is delighted that he can now pay the restaurant bill, while Horace finds only a little spare change. Barnaby and Cornelius realize that the wallet must belong to Horace. Cornelius, Irene, Barnaby and Minnie try to sneak out during "The Polka Contest", but Horace recognizes them and spots Ermengarde and Ambrose as well. The ensuing free-for-all culminates in a trip to night court.

Cornelius and Barnaby confess that they have no money and have never been to New York before. Cornelius declares that even if he has to dig ditches the rest of his life, he'll never forget the day because he had met Irene. Cornelius, Barnaby, and Ambrose then each profess their love for their companion ("It Only Takes A Moment"). Dolly convinces the judge that their only crime was being in love. The judge finds everyone innocent and cleared of all charges, but Horace is declared guilty and forced to pay damages. Dolly mentions marriage again, and Horace declares that he wouldn't marry her if she were the last woman in the world. Dolly angrily bids him "So Long, Dearie", telling him that while he's bored and lonely, she'll be living the high life.

The next morning, back at the hay and feed store, Cornelius and Irene, Barnaby and Minnie, and Ambrose and Ermengarde each set out on new life's paths. A chastened Horace Vandergelder finally admits that he needs Dolly in his life, but Dolly is unsure about the marriage until her late husband sends her a sign. Vandergelder spontaneously repeats a saying of Ephraim's: "Money is like manure. It's not worth a thing unless it's spread about, encouraging young things to grow." Horace tells Dolly life would be dull without her, and she promises in return that she'll "never go away again" ("Hello, Dolly" (reprise)).

Characters

 * Dolly Gallagher Levi: A widow in her middle years who has decided to begin her life again. She is a matchmaker, meddler, opportunist, and a life-loving woman.
 * Horace Vandergelder: The proprietor of a Hay & Feed store and a client of Dolly Gallagher Levi's. A well-known half-a-millionaire and widower, he is gruff, authoritative, and set in his ways.
 * Cornelius Hackl: Vandergelder's chief clerk who yearns for one exciting day in New York City. Energetic, enthusiastic, and adventurous young man who has a sweet innocence about him.
 * Barnaby Tucker: An assistant to Cornelius at Vandergelder's Hay & Feed store. He is sweet, naïve, energetic, and a follower.
 * Irene Molloy: A widow and a beautiful, smart, fun-loving milliner with a hat shop in New York City. Dolly has introduced her to Horace Vandergelder but she yearns for romance.
 * Minnie Fay: A young girl who works in Irene's hat shop. Irene's assistant, she is naïve, strait-laced, fresh, and a follower.
 * Ambrose Kemper: A young and explosive struggling artist seeking to marry Ermengarde.
 * Ermengarde: The young niece of Horace Vandergelder. She cries often and wants her independence and to marry Ambrose.
 * Ernestina Money: An eccentric-looking girl in need of Dolly's matchmaker services.
 * Rudolph Reisenweber: Maître d'hôtel of the Harmonia Gardens restaurant.
 * Judge: A white-whiskered night court judge. Easily moved to tears by romance.
 * Mrs. Rose: An old friend of Dolly's.

Broadway 1964
Source:

 * Dolly Gallagher Levi: Pearl Bailey, Marie Bryant (standby), Thelma Carpenter, Ethel Merman, Novella Nelson (u/s), Phyllis Diller, Bibi Osterwald, Betty Grable, Martha Raye, Ginger Rogers
 * Horace Vandergelder: Cab Calloway, Richard Deacon, Max Showalter
 * Cornelius Hackl: Will Mackenzie, Russell Nype
 * Barnaby Tucker: Danny Lockin (Reprising role from the 1969 film)
 * Irene Molloy: Ernestine Jackson
 * Minnie Fay: Georgia Engel, Leland Palmer
 * Ernestina: Mabel King

Broadway 2017

 * Dolly Gallagher Levi: Bernadette Peters, Donna Murphy (alternate)
 * Horace Vandergelder: Victor Garber
 * Cornelius Hackl: Santino Fontana
 * Barnaby Tucker: Charlie Stemp
 * Ernestina: Alli Mauzey

U.S. Tour 2019

 * Dolly Gallagher Levi: Carolee Carmello
 * Horace Vandergelder: John Bolton

Musical numbers

 * Act I
 * Overture – Orchestra
 * "Call On Dolly" – Ensemble
 * "I Put My Hand In" — Dolly
 * "It Takes a Woman" — Horace, Men
 * "It Takes a Woman (Reprise)" – Dolly
 * "World, Take Me Back" – Dolly*
 * "Put On Your Sunday Clothes" — Cornelius, Barnaby, Dolly, Ambrose, Ermengarde, and Ensemble
 * "Ribbons Down My Back" — Irene
 * "Ribbons Down My Back (Reprise)" – Irene
 * "Motherhood March"— Dolly, Irene, and Minnie Fay
 * "Dancing" — Dolly, Cornelius, Barnaby, Irene, Minnie Fay, and Ensemble
 * "Love, Look in My Window" – Dolly*
 * "Before the Parade Passes By" — Dolly and the Company**
 * "Finale Act I: Before the Parade Passes By" – Dolly

 * Act II
 * Entr'acte – Orchestra
 * "Penny in My Pocket" – Vandergelder^
 * "Elegance" – Cornelius, Barnaby, Irene, and Minnie Fay
 * "The Waiters' Gallop" – Rudolph and the Waiters
 * "Hello, Dolly!" – Dolly, Rudolph, Waiters, Cooks
 * "The Waiters' Gallop (Reprise)" – Rudolph and Waiters
 * "The Polka Contest" – Ambrose, Ermengarde, Irene, Cornelius, Minnie Fay, Barnaby, and the Contestants***
 * "It Only Takes a Moment" – Cornelius, Irene, Ensemble
 * "So Long Dearie" – Dolly
 * "Hello, Dolly!" (Reprise) – Dolly and Vandergelder
 * "Finale Act II: Hello, Dolly! / Dancing / It Only Takes a Moment / Put On Your Sunday Clothes / Hello, Dolly!" — The Company

* Song cut before Broadway Opening, reinstated when Ethel Merman joined to play Dolly.

** Song was not included in the original version. During the tryouts in Detroit, Gower Champion invited Charles Strouse and Lee Adams to consult on improvements to the musical. David Merrick was aware of their involvement, but Jerry Herman was not, even though Strouse was under the impression that Herman knew about it. Strouse and Adams suggested re-working the ending of Act I, wrote a new song "Before the Parade Passes By" and sent it to Champion. By the time the next set of tryouts in Washington began, a different number with the same name, written by Herman, was included in the show. After Strouse and Adams threatened to sue the production, they were given a songwriting credit for the song. That conflict led to an eight-year-long feud between Champion and Michael Stewart on one side and Strouse and Adams on the other. The official songwriting credits as listed with ASCAP have Adams, Herman and Strouse as co-writers.

*** Song replaced "Come and Be My Butterfly" during Broadway Run.

^Horace Vandergelder's solo "Penny in My Pocket", although it received rave responses out of town, was cut prior to the Broadway opening for reasons of time. For the 2017 Broadway Revival, it was added back in as the opening of Act Two in front of the curtain. It is not, however, included in the licensed version for stock and amateur productions from Tams Witmark.

The song "Elegance", though credited to Herman, was written by Bob Merrill for the 1957 show New Girl in Town but deleted from the original production.

Original Broadway production
The musical, directed and choreographed by Gower Champion and produced by David Merrick, opened on January 16, 1964, at the St. James Theatre and closed on December 27, 1970, after 2,844 performances. Carol Channing starred as Dolly, with a supporting cast that included David Burns as Horace, Charles Nelson Reilly as Cornelius, Eileen Brennan as Irene, Jerry Dodge as Barnaby, Sondra Lee as Minnie Fay, Mary Jo Catlett as Ermengarde, and Igors Gavon as Ambrose. Although facing competition from Funny Girl with Barbra Streisand, Hello, Dolly! swept the Tony Awards in 1964, winning awards in ten categories (out of eleven nominations) that tied the musical with the previous record keeper South Pacific, record that remained unbroken for 37 years until The Producers won twelve Tonys in 2001.

After Channing left the show, Merrick employed prominent actresses to play Dolly, including Ginger Rogers, who started on August 9, 1965; Martha Raye, starting on February 27, 1967; Betty Grable, from June 12, 1967, to November 5, 1967; Pearl Bailey (in an all-black version with Cab Calloway as Horace) starting on November 12, 1967 (with Thelma Carpenter as her alternate); Phyllis Diller, as of December 26, 1969; and Ethel Merman (after having turned down the lead at the show's inception) from March 28, 1970, to December 27, 1970.

Two songs cut prior to the opening – typical belt style songs "World, Take Me Back" and "Love, Look in My Window" – were restored for Merman's run. Jo Anne Worley was Channing's original standby but she never went on. She later played Dolly in regional and summer stock productions. Bibi Osterwald was the standby for Dolly following Worley's and Channings' departures, subbing for all the stars, including Bailey, despite the fact that Osterwald was white. Marie Bryant and Novella Nelson also covered for the role of Dolly. Bailey received a Special Tony Award in 1968.

The show received rave reviews, with "praise for Carol Channing and particularly Gower Champion." The original production became the longest-running musical (and third longest-running show) in September 1970 in Broadway history up to that time, surpassing My Fair Lady and then being surpassed in turn by Fiddler on the Roof. The run was not continuous, unlike My Fair Lady, with several week-long breaks, including a week where the production moved to St. Louis. The Broadway production of Hello Dolly! grossed $27 million. By August 1970, it had made a profit of $8.5 million against its $350,000 investment.

Mary Martin starred in a US tour, starting in April 1965 and playing in 11 cities. The production also toured in Japan, Korea and Vietnam for a special USO performance for U.S. troops.
 * Tour and regional Dollys

After Channing left the Broadway show, she headed a second US tour beginning in September 1965. 18 months later, Rogers also joined the roadshow production. It ran for two years and nine months. Eve Arden and Dorothy Lamour were replacements. Grable led another touring company before joining the Broadway show.

Bailey and Calloway headed an all-Black tour in 1967 prior to their Broadway run, which was given a second cast album.

Carole Cook, (the second actress to play the title role, after Channing, appearing in Australia and New Zealand productions), Dorothy Lamour, Eve Arden, Ann Miller, Michele Lee, Edie Adams, and Yvonne De Carlo also played the role on tour. Betty White appeared with the Kenley Players as Dolly in the summer of 1979. Molly Picon appeared as Dolly in a 1971 production by the North Shore Music Theatre of Beverly, Massachusetts. Lainie Kazan starred in a production at the Claridge Atlantic City. Vicki Lawrence played the role twice, once for Sacramento Music Circus and once for Glendale Music Theatre. Both Tovah Feldshuh and Betsy Palmer played Dolly in productions by the Paper Mill Playhouse. Marilyn Maye also starred in several regional productions and recorded a full album of the score.

Original Australian production
The Australian production was produced by J. C. Williamson Theatres Ltd. and opened at Her Majesty's Theatre, Sydney on 27 March 1965. Carole Cook was imported to star, making her the second woman to play the role of Dolly Levi. Jack Goode played Horace, alongside Bill Millican as Cornelius, Jill Perryman as Irene, Tikki Taylor as Minnie Fay, and Brian Hannan as Barnaby.

Australian choreographer Betty Pounder was employed to stage the musical numbers. Jill Perryman served as understudy to Carole Cook. Nancye Hayes was featured in the ensemble as well as understudying the part of Irene Molloy.

After a successful season in Sydney, the show went on to play Her Majesty's Theatre, Melbourne, and His Majesty's Theatre, Auckland in 1966.

Australian revivals
In 1995 a new Australian tour was presented by Gordon Frost. Jill Perryman, who starred as Irene Molloy in the 1965 production, starred as Dolly Levi. The production opened at the State Theatre, Melbourne, followed by Lyric Theatre, Brisbane, Her Majesty's Theatre, Sydney, Festival Theatre, Adelaide and His Majesty's Theatre, Perth.

The Production Company has staged Hello, Dolly! at the State Theatre, Melbourne twice: first in 2002, starring Amanda Muggleton, then again in 2017, starring Marina Prior.

Original London production
Hello, Dolly! premiered in the West End at the Theatre Royal Drury Lane on December 2, 1965, and ran for 794 performances. Champion directed and choreographed, and the cast starred Mary Martin as Dolly (after she, as well as Merman, had turned down the role for the original run of the show) and Loring Smith as Horace Vandergelder. Smith had created the Horace role in the original Broadway production of The Matchmaker, Johnny Beecher as Barnaby, Garrett Lewis as Cornelius, Mark Alden as Ambrose Kemper, and Marilynn Lovell as Irene Molloy. Dora Bryan replaced Martin from May 1966 until the show closed in October 1967.

Revivals
The show has been revived four times on Broadway:
 * November 6, 1975 – December 28, 1975, Minskoff Theatre – Starring Pearl Bailey and Billy Daniels in an all-black production (42 performances)
 * March 5, 1978 – July 9, 1978, Lunt-Fontanne Theatre – Starring Carol Channing and Eddie Bracken (147 performances)
 * October 19, 1995 – January 28, 1996, Lunt-Fontanne Theatre – Starring Carol Channing and Jay Garner (116 performances)
 * April 20, 2017 – August 25, 2018, Shubert Theatre – Starring Bette Midler and David Hyde Pierce (550 performances)

In the West End the show has been twice revived (to date, November 2019):
 * 1979 – Carol Channing headlining at the Theatre Royal, Drury Lane and Shaftesbury Theatre, with Eddie Bracken as Horace and Angela Curran as Ermengarde.
 * January 3, 1984 – April 27, 1984 – Danny La Rue headlining at the Prince of Wales Theatre, with Lionel Jeffries as Horace, Mark Haddigan as Barnaby, and Jeremy Hawk as Rudolph.

A third West End revival, headlined by Imelda Staunton under the direction of Dominic Cooke, has been announced to play a limited ten-week season at the London Palladium from July 6 - September 14, 2024, with a July 18 press night. The production's cast includes Andy Nyman (Horace), Jenna Russell (Irene), Harry Hepple (Cornelius) and Tyrone Huntley (Barnaby). This production had been scheduled to premiere on August 11, 2020 for a limited season at the Adelphi Theatre, its four-year postponement being due to the COVID-19 pandemic.

A 1989 UK tour of the show of Hello, Dolly!, directed and choreographed by Paul Kerryson, was headlined by Dora Bryan reprising her 1965-66 West End role. Bryan's castmates included Norman Rossington as Horace and Kathryn Evans as Irene. Kerryson would subsequently direct the 2014 Curve Theatre (Leicester) production of Hello, Dolly!, headlined by Janie Dee whose castmates included Laura Pitt-Pulford as Irene and Michael Xavier as Cornelius.

The 2009 Regent's Park Open Air Theatre revival of Hello, Dolly, headlined by Samantha Spiro under the direction of Timothy Sheader, ran July 30 – September 12, with other cast members including Allan Corduner (Horace), Josefina Gabrielle (Irene), and Akiya Henry (Minnie Fay). The production was honored with the Olivier Award as the best London-area stage musical revival of 2009, also earning Olivier awards for leading lady Samantha Spiro and for choreographer Stephen Mear.

2017 Broadway revival/national tour

On January 19, 2016, it was announced that Bette Midler would play the title role in a Broadway revival of Hello, Dolly!. Previews began March 15, 2017, officially opening on April 20, 2017, at the Shubert Theatre.

The production was produced by Scott Rudin, directed by Jerry Zaks and choreographed by Warren Carlyle. David Hyde Pierce played Horace Vandergelder. Other principal casting for this revival included Kate Baldwin as Irene Molloy, Gavin Creel as Cornelius Hackl, Jennifer Simard as Ernestina Money, Taylor Trensch as Barnaby Tucker, Will Burton as Ambrose Kemper, Melanie Moore as Ermengarde, and Beanie Feldstein as Minnie Fay. Donna Murphy played the role of Dolly at Tuesday evening performances beginning in June 2017, as well as covering Midler's holiday dates. She played her final performance on January 7, 2018. Midler won the Tony for Best Actress in a Leading Role in a Musical, and Creel for Best Actor in a Featured Role in a Musical, at the 71st Tony Awards in 2017.

Midler, Pierce, Trensch, and Feldstein left the production on January 14, 2018. Bernadette Peters took over the role of Dolly with previews from January 20, 2018, officially on February 22, 2018, and Victor Garber took over the role of Horace Vandergelder. Charlie Stemp assumed the role of Barnaby Tucker on January 20, 2018. Santino Fontana temporarily played the role of Cornelius Hackl from March 2018 to May 6 while Gavin Creel recovered from back surgery. Creel returned to the role on May 8, 2018. Before Fontana's temporary engagement, understudy Christian Dante White played the role of Cornelius. The production closed on August 25, 2018, with Midler and Hyde Pierce returning to play Dolly and Horace (respectively) from July 17, 2018, to closing.

Betty Buckley played the title role in the first national tour of the 2017 Broadway revival, which began performances in Cleveland, Ohio in October 2018 in the Connor Palace at Playhouse Square, after a tryout in Utica, New York in September 2018.

International productions

 * The Israeli production in 1968–1970 starred Hanna Maron as Dolly Levi, one of the most famous actress on the Israel theater, on the "Alhambra" theater, produced by Giora Godik, also starring Shraga Friedman as Horace Vandergelder, Gadi Yagil as Cornelius Hackl and Tzipi Shavit as Minnie Fay. The musical was a huge success and Dolly remains one of Maron's lovable roles. The musical was translated to Hebrew by Haim Hefer, a well-known songwriter and poet.
 * In 1967, the Argentine singer and actress Libertad Lamarque starred the first Spanish language version of the musical in the Teatro Manolo Fabregas of Mexico City. Lamarque also starred the musical in Argentina the same year.
 * In 1985, Cuban diva Rosita Fornés played Dolly in a Cuban production of Hello, Dolly by the Teatro Karl Marx in Havana, Cuba. She also played the role in Camaguey City and in a television production under director Manolo Rifat.
 * In 1989, Canadian theatre actress Nonnie Griffin played Dolly in a 10-month run of Hello Dolly in Toronto.
 * In 1996, Mexican cinema star Silvia Pinal starred in a new version of the musical opposite Ignacio Lopez Tarso in the Teatro Silvia Pinal, in Mexico City.
 * In 2018, the Mexican actress and singer Daniela Romo starred in a new Mexican version of the musical in the Teatro de los Insurgentes in Mexico City.
 * In 2020, Lucía Galán (half of the Pimpinela singing duo) starred in the Argentinian version of the musical in the Teatro Opera in Buenos Aires.

Tours

 * From February 2008, Anita Dobson headlined a six month tour of Hello, Dolly! which played 19 British venues - including New Wimbledon Theatre in the London Borough of Merton (March 24-29) - also playing the Jersey Opera House in St Helier, Jersey (July 22-August 2). Dobson's castmates included Darren Day as Cornelius and Louise English as Irene. In 2006 Dobson had headlined the New Theatre Royal Lincoln production of Hello, Dolly! (November 16-December 2) which had co-starred Rolf Saxon as Horace.
 * Sally Struthers appeared as Dolly in the 50th anniversary tour of the musical, which premiered in October 2013. Struthers had previously headlined the Ogunquit Playhouse 2006 production of Hello, Dolly! (July 25-August 5).
 * A tour of the 2017 Broadway revival began touring the U.S. in September 2018 in Utica, New York starring Betty Buckley. The cast includes Lewis J. Stadlen as Horace Vandergelder, Nic Rouleau as Cornelius, Analisa Leaning as Irene Molloy, Jess LeProtto as Barnaby, Kristen Hahn as Minnie Fay, Garret Hawe as Ambrose Kemper, Morgan Kirner as Ermengarde, and Jessica Sheridan as Ernestina. Buckley ended her run in the tour on August 25, 2019; Carolee Carmello took over as Dolly on September 24, 2019, in Kansas City, Missouri. The other cast changes effective in September 2019 include John Bolton as Horace, with new cast playing Cornelius, Barnaby, Minnie Fay, and Ambrose.

Critical reception
Opening night reviews of the original production were generally positive, and Carol Channing's performance as Dolly Gallagher Levi was greatly acclaimed; however, some reviewers criticized the score and the libretto, implying that Channing's performance was responsible for the efficacy of the show. In his review of the opening night performance, The New York Times theatre critic Howard Taubman wrote

"Hello, Dolly! ... has qualities of freshness and imagination that are rare in the run of our machine-made musicals. It transmutes the broadly stylized mood of a mettlesome farce into the gusto and colors of the musical stage. ... Mr. Herman's songs are brisk and pointed and always tuneful ... a shrewdly mischievous performance by Carol Channing. ... Making the necessary reservations for the unnecessary vulgar and frenzied touches, one is glad to welcome Hello, Dolly! for its warmth, color and high spirits."

John Chapman of the New York Daily News lauded Carol Channing's performance, declaring her "the most outgoing woman on the musical stage today – big and warm, all eyes and smiles, in love with everybody in the theatre and possessing a unique voice ranging somewhat upward from a basso profundo." He also wrote, "I wouldn't say that Jerry Herman's score is memorable." New York Post critic Richard Watts, Jr., wrote,

"The fact that [Hello, Dolly!] seems to me short on charm, warmth, and the intangible quality of distinction in no way alters my conviction that it will be an enormous popular success. Herman has composed a score that is always pleasant and agreeably tuneful, although the only number that comes to mind at the moment is the lively title song. His lyrics could be called serviceable."

In the New York Herald Tribune, Walter Kerr wrote,

"Hello, Dolly! is a musical comedy dream, with Carol Channing the girl of it. ... Channing opens wide her big-as-millstone eyes, spreads her white-gloved arms in ecstatic abandon, trots out on a circular runway that surrounds the orchestra, and proceeds to dance rings around the conductor. ... With hair like orange sea foam, a contralto like a horse's neighing, and a confidential swagger, [she is] a musical comedy performer with all the blowzy glamor of the girls on the sheet music of 1916."

Kerr perceived deficiencies in the libretto, though, stating that the "lines are not always as funny as Miss Channing makes them". John McClain of the New York Journal American particularly praised the staging of the musical, saying that

"Gower Champion deserves the big gong for performance beyond the call of duty. Seldom has a corps of dancers brought so much style and excitement to a production which could easily have been pedestrian. ... It is difficult to describe the emotion [the song 'Hello, Dolly!'] produces. Last night the audience nearly tore up the seats as she led the parade of waiters in a series of encores over the semi-circular runway that extends around the orchestra pit out into the audience, ... a tribute to the personal appeal of Miss Channing and the magical inventiveness of Mr. Champion's staging."

Recordings
The RCA Victor cast recording of the original Broadway production was released in 1964. It was the number-one album on the Billboard pop albums chart for seven weeks, the top album of the year on the Year-End chart and won a Grammy Award for Best Musical Theater Album. In 1965, a recording of the original London production was released. In 1967, RCA Victor released a recording of the all-black Broadway replacement cast, featuring Pearl Bailey, who also starred in the unrecorded 1975 revival.

The movie soundtrack was released in 1969. On November 15, 1994, the 1994 revival cast recording was released.

The 2017 Broadway Revival cast recording was released on May 12, 2017, featuring the songs now sung by Bette Midler, David Hyde Pierce, Kate Baldwin, and Gavin Creel.

Cultural influence

 * Armstrong's 1964 recording of the song "Hello, Dolly!" rose to the top of the Billboard pop chart.
 * The title song was sung in the 1999 film Dick by actor Dan Hedaya, playing President Richard Nixon.
 * Following the thirtieth anniversary tour of the show, the Smithsonian accepted a donation from Channing and theatrical producer Manny Kladitis of the red satin, sequin-bedecked costume designed by Freddy Wittop. Worn by Channing during the climactic title song at the Harmonia Gardens, the red gown has been displayed at the National Museum of American History. The remainder of the original Wittop costumes are part of the Broadway Collection at Costume World, a theatrical museum located in Pompano Beach, Florida.

title: Hello, Dolly! (musical)


text:
Jimmy Durante

James Francis Durante (, ; February 10, 1893 – January 29, 1980) was an American comedian, actor, singer, and pianist. His distinctive gravelly speech, Lower East Side accent, comic language-butchery, jazz-influenced songs, and prominent nose helped make him one of the United States' most familiar and popular personalities of the 1920s through the 1970s. He often referred to his nose as the schnozzola (Italianization of the American Yiddish slang word schnoz, meaning "big nose"), and the word became his nickname.

Childhood
Durante was born on the Lower East Side of New York City. He was the youngest of four children born to Rosa (née Lentino) and Bartolomeo Durante, both immigrants from Salerno, Campania, Italy. Bartolomeo was a barber. Durante served as an altar boy at St. Malachy Roman Catholic Church, known as the Actor's Chapel.

Early career
Durante dropped out of school in seventh grade to become a full-time ragtime pianist. He played in piano bars under the name "Ragtime Jimmy" before he joined one of the first recognizable jazz bands in New York, the Original New Orleans Jazz Band. Durante was the only member not from New Orleans. His routine of breaking into a song to deliver a joke, with band or orchestra chord punctuation after each line, became a Durante trademark. In 1920 the group was renamed Jimmy Durante's Jazz Band.

Stardom
By the mid-1920s, Durante had become a vaudeville star and radio personality in a trio named Clayton, Jackson and Durante. When the trio played Broadway's famed Palace Theater during the week of June 4, 1928, Betty Felsen's production of Ballet Caprice headlined the bill. Lou Clayton and Eddie Jackson, Durante's closest friends, often reunited with Durante in subsequent years. Jackson and Durante appeared in the Cole Porter musical The New Yorkers, which opened on Broadway on December 8, 1930. Earlier the same year, the team appeared in the film Roadhouse Nights, ostensibly based on Dashiell Hammett's novel Red Harvest.

By 1934, Durante had a major record hit with his own novelty composition, "Inka Dinka Doo", with lyrics by Ben Ryan. It became his theme song for the rest of his life. A year later, Durante starred on Broadway in the Billy Rose stage musical Jumbo. Durante also appeared on Broadway in Show Girl (1929), Strike Me Pink (1934) and Red, Hot and Blue (1936). During the early 1930s, Durante alternated between Hollywood and Broadway. Outstanding among his early motion pictures was The Phantom President (1932), starring George M. Cohan with Durante as his gregarious pal. Durante then replaced Cliff Edwards as the comic foil in Metro-Goldwyn-Mayer's Buster Keaton comedies: Speak Easily (1932), The Passionate Plumber (1932), and What! No Beer? (1933). Although his style of fast-talking comedy did not always mesh smoothly with the mimed visuals of Keaton, their series proved successful enough and might have continued. However, Keaton was experiencing personal problems including loss of control over his movies, alcohol abuse, and a messy divorce, so MGM fired Keaton and kept Durante. MGM gave Durante leads in moderately budgeted comedies like Meet the Baron (1933) and Hollywood Party (1934), but he couldn't carry an entire feature film; he was more effective as somebody's sidekick, and MGM released him in 1934.

Durante went to England to work in a Richard Tauber film musical, Land Without Music (released in the United States as Forbidden Music). Upon his return to Hollywood, there were no movie jobs for him. Columbia Pictures offered him a major role in its college musical Start Cheering, filmed in 1937, and he received excellent critical notices, re-establishing him in movies. From then on, he almost always appeared in strong supporting roles.

Durante went on to appear in the Gene Autry musical western Melody Ranch (1940), The Man Who Came to Dinner (1942, playing Banjo, a character based on Harpo Marx), Ziegfeld Follies (1945), Billy Rose's Jumbo (1962, based on the 1935 musical), and It's a Mad, Mad, Mad, Mad World (1963).

Radio
On September 10, 1933, Durante appeared on Eddie Cantor's NBC radio show, The Chase and Sanborn Hour, continuing until November 12 of that year. When Cantor left the show, Durante took over as its star from April 22 to September 30, 1934. He then moved on to The Jumbo Fire Chief Program (1935–1936).

Durante teamed with Garry Moore for The Durante-Moore Show in 1943. Durante's comic chemistry with the young, brush cut Moore brought Durante an even larger audience. "Dat's my boy dat said dat!" became an instant catchphrase, which would later inspire the cartoon Augie Doggie and Doggie Daddy. The duo was one of the nation's favorites for the rest of the decade. Their Armed Forces Radio Network Command Performance with Frank Sinatra remains a favorite of radio-show collectors today. Moore left the duo in mid-1947, and the program returned October 1, 1947 as The Jimmy Durante Show. Durante continued the show for three more years and featured a reunion of Clayton, Jackson, and Durante on his April 21, 1948 broadcast.

Television
Durante first appeared on television showing up at the end of 1944 on John Reed King's audience participation show on the local New York CBS television station WCBW (now WCBS-TV). His brief, unannounced, appearance on The Missus Goes a-Shopping seg apparently surprised most of the staff as well as the audience. Arrangements were made in the late afternoon for him to pop into camera range, which he did with the reported agility of a tele vet. Billboard magazine reviewed the appearance: "Without script, rehearsal or make-up he went on and gave a top performance, proving that a star of Durante's caliber shines in any entertainment medium. Aware of camera angle importance, Schnozzle played his profile for all its irregularity. His ad libbing was fast and funny".

From 1950 to 1951, Durante was the host once a month (alternating with Ed Wynn, Danny Thomas, and Jack Carson) on NBC's comedy-variety series Four Star Revue, airing on Wednesday evenings at 8 p.m. Jimmy continued with the show until 1954.

Durante then hosted a half-hour variety show, The Jimmy Durante Show, on NBC from October 2, 1954, to June 23, 1956.

Beginning in the early 1950s, Durante teamed with sidekick Sonny King, a collaboration that would continue until Durante's death. Several times in the 1960s, Durante served as host of ABC's variety hour The Hollywood Palace, which was taped live (and consequently included ad-libs by the seasoned vaudevillian). His last regular television series paired him with The Lennon Sisters and was titled, appropriately, Jimmy Durante Presents the Lennon Sisters. The series lasted for one season on ABC (1969–1970).

Marriages
Durante's first wife was Jean "Jeanne" Olson, whom he married on June 19, 1921. She was born in Ohio on August 31, 1896. She was 46 years old when she died on Valentine's Day in 1943, after a lingering heart ailment of about two years, although different newspaper accounts of her death suggest she was 45 or perhaps 52. As her death was not immediately expected, Durante was touring in New York at the time and returned to Los Angeles right away to complete the funeral arrangements.

Durante's radio show was bracketed with two trademarks: "Inka Dinka Doo" as his opening theme, and the invariable signoff that became another familiar national catchphrase: "Good night, Mrs. Calabash, wherever you are." For years, no one knew who Mrs. Calabash referred to, and Durante preferred to keep the mystery alive until 1966. One theory was that it referred to the owner of a restaurant in Calabash, North Carolina, where Durante and his troupe had stopped to eat. He was so taken by the food, the service, and the chitchat that he told the owner that he would make her famous. Since he did not know her name, he referred to her as "Mrs. Calabash". At a National Press Club meeting in 1966 (broadcast on NBC's Monitor program), Durante finally revealed that it was indeed a tribute to his wife. While driving across the country, they stopped in Calabash, a name she had loved. "Mrs. Calabash" became his pet name for her, and he signed off his radio program with "Good night, Mrs. Calabash." He added "wherever you are" after the first year.

Durante married his second wife, Margaret "Margie" Little, at St. Malachy Roman Catholic Church in New York City on December 14, 1960. As a teenager she had been crowned Queen of the New Jersey State Fair. She attended New York University before being hired by the legendary Copacabana in New York City. She and Durante met there 16 years before their marriage, when he performed there and she was a hatcheck girl. She was 41 and he was 67 when they married. With help from their attorney, Mary G. Rogan, the couple were able to adopt a baby, Cecilia Alicia (nicknamed CeCe and now known as CeCe Durante-Bloum), on Christmas Day, 1961. CeCe became a champion horsewoman and then a horse trainer and horseriding instructor. Margie died on June 7, 2009, at the age of 89.

Charitable work
On August 15, 1958, for his charitable acts, Durante was awarded a three-foot-high brass loving cup by the Al Bahr Shriners Temple in San Diego, California. The inscription reads: "JIMMY DURANTE THE WORLD'S MOST FAMOUS COMEDIAN. A loving cup to you Jimmy, it's larger than your nose, but smaller than your heart. Happiness always, Al Bahr Temple, August 15, 1958." Jimmy Durante started out his career with Clayton and Jackson and when he became a big star and they were left behind, he kept them on his payroll for the rest of their lives.

Durante's love for children continued through the Fraternal Order of Eagles, who among many causes raise money for disabled and abused children. At Durante's first appearance at the Eagles International Convention in 1961, Judge Bob Hansen inquired about his fee for performing. Durante replied, "Do not even mention money judge or I'll have to mention a figure that'll make ya sorry ya brought it up." "What can we do then?" asked Hansen. "Help da kids," was Durante's reply. Durante performed for many years at Eagles conventions free of charge, even refusing travel money. The Fraternal Order of Eagles changed the name of their children's fund to the Jimmy Durante Children's Fund in his honor, and in his memory have raised over $23 million to help children. A reporter once remarked of Durante after an interview: "You could warm your hands on this one." One of the projects built using money from the Durante Fund was a heated therapy swimming pool at the Hughen School in Port Arthur, Texas. Completed in 1968, Durante named the pool the "Inka Dinka Doo Pool".

Religion
Durante was deeply religious and a staunch Roman Catholic. In Las Vegas, he was seen regularly after Sunday Mass outside of the Guardian Angel Cathedral, standing next to the priest and greeting parishioners as they left the church. In 1968 he recorded 10 spiritual and inspirational songs for the album Songs for Sunday; it was expanded to 20 selections for a CD release under the same title in 1996.

Politics
Durante was an active member of the Democratic Party. In 1933, he appeared in an advertisement shown in theaters supporting Franklin D. Roosevelt's New Deal programs and wrote a musical score titled Give a Man a Job to accompany it. He performed at both the inaugural gala for President John F. Kennedy in 1961 and a year later at the famous Madison Square Garden rally for the Democratic party that featured Marilyn Monroe singing "Happy Birthday" to JFK.

Later years and death

Durante continued his film appearances through the popular 1963 It's a Mad, Mad, Mad, Mad World and a number of television appearances through the early 1970s. He narrated the Rankin-Bass animated Christmas special Frosty the Snowman (1969). The television work also included a series of commercial spots for Kellogg's Corn Flakes cereals in the mid-1960s, which introduced Durante to millions of children. One of his last appearances was in a television commercial for the 1973 Volkswagen Beetle, where he proclaimed that the new, roomier Beetle had "plenty of breathin' room... for de old schnozzola!"

In 1963, Durante recorded the album of pop standards September Song. The album became a best-seller and provided Durante's re-introduction to yet another generation, almost three decades later. Jimmy Durante's Way of Life album featured his interpretation of the song "As Time Goes By", which accompanied the opening credits of the romantic comedy hit Sleepless in Seattle, while his version of "Make Someone Happy" was in the film's closing credits. Both are included on the film's best-selling soundtrack. Durante also recorded a cover of the well-known song "I'll Be Seeing You", which became a trademark song on his 1960s TV show and was featured in the 2004 film The Notebook.

He wrote a foreword for a humorous book compiled by Dick Hyman, titled Cockeyed Americana. In the first paragraph of the "Foreword!", as Durante called it, he describes meeting Hyman and discussing the book and the contribution that Hyman wanted Durante to make to it. Durante wrote, "Before I can say gaziggadeegasackeegazobbath, we're at his luxurious office." After reading the material Hyman had compiled for the book, Durante commented on it: "COLOSSAL, GIGANTIC, MAGNANIMOUS, and last but not first, AURORA BOREALIS. [Capitalization Durante's] Four little words that make a sentence—and a sentence that will eventually get me six months."

Durante retired from performing in 1972, following a stroke that left him reliant on a wheelchair. He made a public appearance in 1974 when MGM held a reunion of its former stars, in connection with its new That's Entertainment! film.

Durante died as a result of pneumonia in Santa Monica, California, on January 29, 1980, 12 days before he would have turned 87. He received Catholic funeral rites four days later, with fellow entertainers Desi Arnaz, Ernest Borgnine, Marty Allen, and Jack Carter in attendance, and was interred at Holy Cross Cemetery in Culver City, California.

Animation
Durante is known to most modern audiences as the character who narrated the 1969 animated special Frosty the Snowman. He also performed the title song of the 1968 comedy-adventure movie Monte Carlo or Bust! (titled Those Daring Young Men in Their Jaunty Jalopies in the U.S.) over the film's animated opening credits.

Allusions and references in animation
While his own career in animation was limited, Durante's distinctive voice, looks, and catchphrases earned him numerous depictions and allusions in animation. He was caricatured as early as 1933, alongside Buster Keaton in the Ub Iwerks cartoon Soda Squirt. Director Tex Avery presented him as a persecuted turkey in the MGM cartoon Jerky Turkey. In MGM's Tom and Jerry cartoons with father-and-son bulldogs Spike and Tyke, Durante was referenced with a raspy voice and an affectionate "Dat's my boy!" In another Tom and Jerry short, Surf-Bored Cat, a starfish lands on Tom's head, giving him a big nose. He then proceeds with Durante's famous "Ha-cha-cha-cha" call. The 1943 Tex Avery cartoon What's Buzzin' Buzzard featured a vulture with a voice that sounded like Jimmy Durante. Hanna-Barbera continued to use the Durante voice (imitated by Doug Young) in Hanna-Barbera's Augie Doggie and Doggie Daddy cartoons, Doggie Daddy invariably addressing the junior dachshund with a Durante-like "Augie, my son, my son", and with frequent citations of, "That's my boy who said that!"

Many Looney Tunes/Merrie Melodies cartoons had characters based on Durante. One Harman-Ising short from 1933, Bosko's Picture Show, featured a caricature of Adolf Hitler chasing Durante with a meat cleaver. Three examples from the 1940s include A Gruesome Twosome, which features a cat based on Durante, and Baby Bottleneck, which in unedited versions opens with a Durante-like stork. He also appears as a walrus in the 1945 United States Armed Forces World War II-era training film In the Aleutians – Isles of Enchantment. Book Revue shows the well-known (at that time) 1924 Edna Ferber novel So Big featuring a Durante caricature on the cover. The "so big" refers to his nose, and as a runaway criminal turns the corner by the book, Durante turns sideways using his nose to trip the criminal, allowing his capture. In Hollywood Daffy, Durante is directly depicted as himself, pronouncing his catchphrase "Those are the conditions that prevail!" In The Mouse-Merized Cat, Catstello (a Lou Costello mouse) briefly is hypnotized to imitate Jimmy Durante singing "Lullaby of Broadway". One of Durante's common catchphrases "I got a million of 'em!" was used as Bugs' final line in Stage Door Cartoon.

A Durante-like voice was also used for Marvel Comics superhero the Thing in the Hanna-Barbera cartoon Fred and Barney Meet the Thing. The voice and appearance of Crispy, the mascot for Crispy Critters cereal, was also based on Durante. In Mickey Mouse Works, a character named Mortimer Mouse (voiced by Maurice LaMarche) was based on Durante, complete with the "ha-cha-cha!". One of the main characters in Terrytoons' Heckle and Jeckle cartoon series also takes to imitating Jimmy in 1948's "Taming The Cat" ("Get a couple of song birds today...").

Legacy
Since Durante's death, his songs have featured in several films. Dan Aykroyd and Kim Basinger performed impressions of Durante from The Man Who Came to Dinner, singing "Did You Ever Have the Feeling" in 1988's My Stepmother Is an Alien. His performance of "Young at Heart" was featured in City Slickers (1991), and his versions of "As Time Goes By" and "Make Someone Happy" played over the opening and closing credits of Sleepless in Seattle (1993). Michael J. Fox performed an impression of Durante singing "Inka Dinka Doo" in 1994's Greedy. His rendition of "Smile" was in the film Joker (2019) and its trailer. His rendition of "The Glory of Love" was also used in the end credits of the horror film Orphan (2009), and in its prequel, Orphan: First Kill (2022), with a rendition of it sung by Isabelle Fuhrman. His song "The Day I Read a Book" is regularly played on NPR's Weekend Edition before author interviews and reviews.

Filmography

 * Roadhouse Nights (1930) as Daffy
 * New Adventures of Get Rich Quick Wallingford (1931) as Schnozzle
 * The Christmas Party (1931, Short) as Santa Claus (uncredited)
 * The Cuban Love Song (1931) as O.O. Jones
 * Jackie Cooper's Birthday Party (1931, Short)
 * Hollywood on Parade: Down Memory Lane (1932, Short)
 * Hollywood on Parade (1932, Short)
 * The Passionate Plumber (1932) as Julius J. McCracken
 * The Wet Parade (1932) as Abe Shilling
 * Speak Easily (1932) as James
 * Blondie of the Follies (1932) as Jimmy
 * The Phantom President (1932) as Curly Cooney
 * Le plombier amoureux (1932) as Tony
 * Give a Man a Job (1933, Short)
 * What! No Beer? (1933) as Jimmy Potts
 * Hollywood on Parade No. 9 (1933, Short)
 * Hell Below (1933) as Ptomaine, Ship's Cook
 * Broadway to Hollywood (1933) as Himself, Hollywood Character
 * Meet the Baron (1933) as Joe McGoo – the Favorite 'Schnozzle' of the Screen
 * Palooka (1934) as Knobby Walsh
 * George White's Scandals (1934) as Happy McGillicuddy
 * Strictly Dynamite (1934) as Moxie
 * Hollywood Party (1934) as Durante/Schnarzan
 * Student Tour (1934) as Hank Merman, Trainer of the Crew
 * Carnival (1935) as Fingers
 * Land Without Music (1936) as Jonah J. Whistler
 * Start Cheering (1938) as Willie Gumbatz
 * Sally, Irene and Mary (1938) as Jefferson Twitchel
 * Little Miss Broadway (1938) as Jimmy Clayton
 * Melody Ranch (1940) as Cornelius J. Courtney
 * You're in the Army Now (1941) as Jeeper Smith
 * The Man Who Came to Dinner (1942) as Banjo
 * Two Girls and a Sailor (1944) as Billy Kipp
 * Music for Millions (1944) as Andrews
 * Ziegfeld Follies (1945) (scenes deleted)
 * Two Sisters from Boston (1946) as Spike
 * It Happened in Brooklyn (1947) as Nick Lombardi
 * This Time for Keeps (1947) as Ferdi Farro
 * On an Island with You (1948) as Buckley
 * The Great Rupert (1950) as Mr. Louie Amendola
 * The Milkman (1950) as Breezy Albright
 * Screen Snapshots: Hollywood Premiere (1955, Short) as Himself
 * The Heart of Show Business (1957, Short) as Himself
 * Beau James (1957) as Himself (cameo, uncredited)
 * Pepe (1960) as Himself (cameo)
 * The Last Judgment (1961) as The man with the large nose
 * Billy Rose's Jumbo (1962) as Anthony 'Pop' Wonder
 * It's a Mad, Mad, Mad, Mad World (1963) as "Smiler" Grogan
 * Frosty the Snowman (1969) as Himself, Narrator (voice)

Discography

 * 1959: At the Piano – In Person
 * 1961: Jimmy Durante at the Copacabana
 * 1963: September Song
 * 1964: Hello Young Lovers
 * 1964: Jimmy Durante's Way of Life...
 * 1966: One of Those Songs
 * 1967: Songs for Sunday

title: Jimmy Durante