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Mobile Suit Gundam: Char's Counterattack

Mobile Suit Gundam: Char's Counterattack (機動戦士ガンダム 逆襲のシャア) is a 1988 Japanese anime science fiction film directed and written by Yoshiyuki Tomino. It is set in the Universal Century timeline of the Gundam franchise. Featuring the talents of Shūichi Ikeda, Toru Furuya, Hirotaka Suzuoki, Maria Kawamura, Nozomu Sasaki, Kōichi Yamadera, among others, it focuses on Char Aznable's attempt of genocide on the planet Earth by pushing the asteroid called Axis into a collision with the planet. As a result, Char's rival from the Earth Federation Amuro Ray tries to defeat him in combat and avoid a slaughter in the process.

In addition to being the first original Gundam theatrical release, Char's Counterattack was also the first Gundam production to make use of computer graphics during a five-second shot of the Sweetwater colony rotating in space, being made at Toyo Links. It was based on Tomino's original novel, High-Streamer, but several parts were altered due to issues with Sunrise in regards to the handling of Amuro Ray. Char's Counterattack was released in America on DVD on August 20, 2002, and was broadcast on January 4, 2003, on Cartoon Network's Adult Swim programming block.

Upon release, the film made a gross of ¥1.16 billion in Japan. The film was praised for its production values and the rivalry between the two leads even though some critics found it recycled from the television series. Director Yoshiyuki Tomino also expressed doubts about the film he directed in retrospective. Nevertheless, Tomino wrote another novel known as Beltorchika's Children which focuses more on Amuro's personal life and was adapted into a manga series.

Plot
In UC 0093, Char Aznable has returned to prominence at the head of Neo Zeon and is leading the rebuilt Neo Zeon army in battle against the Earth Federation. He believes that the only way humanity will ever become truly free is if they throw off the chains of gravity and abandon their mother planet to become a New Type of mankind. As the film opens, Char's forces are attempting to drop the asteroid Fifth Luna on Earth to trigger a nuclear winter. A special task force called Londo Bell, which includes One Year War veterans Amuro Ray and Bright Noa, engages Neo Zeon in a battle to prevent the catastrophe. Char and Amuro have been bitter rivals since the One Year War in 0079, where they fought on opposite sides and often clashed with each other. Amuro is piloting the RGZ-91 Refined Gundam Zeta (Re-GZ), which is a mass-production variant of the MSZ-006 Zeta Gundam. Char engages him with the MSN-04 Sazabi, which is equipped with a psycho-frame that amplifies Newtype psionic abilities, making it vastly superior to the Re-GZ. Despite Amuro's superior Newtype abilities and piloting skills, the Re-GZ proves to be no match for the Sazabi, and Amuro is forced to withdraw as the asteroid successfully enters Earth's orbit on a collision course with Lhasa, Tibet.

On Earth, Federation Vice Minister Adenauer Paraya and his rebellious teenage daughter Quess are trying to evacuate on the next available shuttle. Bright Noa's wife, Mirai, and their two children are scheduled to board the next evacuation shuttle, but the Prime Minister uses his government position to claim their seats for himself and his daughter. Needing only two of the three seats and realizing that he's potentially condemning the family to death, he allows Mirai to select one of her children to take the third seat. Mirai chooses her son, Hathaway Noa. The shuttle narrowly escapes the crashing asteroid, then rendezvous with the Londo Bell's command ship, the Ra Cailum, commanded by Bright Noa, Hathaway's father. The Ra Cailum is traveling to the Anaheim Electronics factory on the moon to collect Amuro's new mobile suit, the RX-93 ν Gundam (pronounced 'nu gundam'), a custom suit developed specifically for him which features a psycho-frame system similar to the one used by Char on the Sazabi. Amuro's close friend, engineer Chien Agi, has been overseeing the project. She delivers the ν Gundam, but warns Amuro that she doesn't know how Anaheim Electronics acquired the psycho-frame technology or what effect it will have on Amuro. She accompanies the ν Gundam aboard the Ra Cailum so she can fine-tune its performance if necessary. Bright is reunited with his son Hathaway, who has developed a crush on the Vice Minister's daughter, Quess. Adenauer instructs Bright to deliver him to the Londo Bell's headquarters at Londenion for an important meeting. While on board, Quess becomes smitten with Amuro, who senses her Newtype potential, but ignores the spoiled child.

On the Londenion colony, the Vice Minister's mission is revealed to be a secret meeting with Char and other Neo Zeon leaders to sign a formal peace treaty. In exchange for disarming their fleet, the Neo Zeon will be given control of the former mining asteroid, Axis. While relaxing in the colony with Quess and Hathaway, Amuro recognizes Char and attacks him. As they struggle, Amuro gains the upper hand and draws a gun on Char. Quess feeling a strong connection to the charismatic Char, knocks the gun out of Amuro's hand and use it to stop the fight. The two are then rescued by an artificial Newtype named Gyunei Guss, piloting an unarmed Zaku. Quess leaves with Char, much to Hathaway's distress. Sensing her potential, Char begins manipulating Quess to gain her trust. Neo Zeon scientists quickly confirm his suspicions: Quess is a powerful, latent Newtype and a naturally gifted mobile suit pilot. Char then reveals that the treaty with the Federation is merely a ruse to gain control of the massive asteroid and the codes to its nuclear propulsion thrusters and to get the Federation to lower its guard. He knows that the Earth is already at the tipping point, and if an asteroid the size of Axis hits the planet, all life on the surface will finally be extinguished. To ensure that the Earth is rendered useless, he places a stockpile of nuclear missiles on one of his cruisers and anchors it at the front of Axis. He then orders Axis' engines to power up and sets its trajectory for a collision with Earth. As soon as the asteroid starts to move, the Neo Zeon forces ambush the Federation fleet at the supposed disarmament ceremony. Quess Paraya takes part in the ambush, piloting an MSN-03 Jagd Doga, a mass-production model designed for Newtypes. She opens fire on a Federation cruiser, not knowing that her father is aboard. Quess feels him die with her empathic Newtype abilities but does not understand what she's feeling or why. The overwhelming surge of emotion makes her fragile mental state even more unstable until she is forcibly removed from the battle by Gyunei Guss. She breaks away from him, however, and flies off to look for Char.

With the Federation fleet destroyed and the Londo Bell fleet left without reinforcements close enough to help, Bright Noa orders his fleet to depart, but tells his son Hathaway to remain aboard the station where he will be safe. Hathaway disobeys his father, renting an unarmed mobile suit designed for salvaging equipment in space, and uses it to stow away aboard the Ra Cailum. Char's forces outmatch the Londo Bell fleet, but they bravely re-engage the Neo Zeon fleet in a desperate attempt to stop, divert, or destroy Axis. Bright Noa orders his mobile suits to engage the enemy and keep them from interfering as he bombards Axis with waves of missiles, attempting to hide nuclear missiles amongst the conventional warheads. The tactic fails, however, as the Neo Zeon pilots led by Gyunei destroy the oncoming waves of missiles. With his supply of nuclear weapons expended and no other options remaining, Bright Noa orders his remaining mobile suits to enter Axis in an attempt to detonate the asteroid's nuclear reactors and destroy it from within.

Quess locates Char, who is piloting the Sazabi, and ejects from her Jagd Doga without a spacesuit, forcing Char to open his cockpit and pull her inside. She demands to know what his feelings for her are, and Char takes advantage of her unstable emotional state to manipulate her into piloting the prototype NZ-333 α-Azieru mobile armor. A furious battle between Londo Bell and Neo Zeon erupts. Quess descends into violence and madness as she pilots the α-Azieru and destroys several Londo Bell mobile suits. Hathaway steals a RGM-89 Jegan mobile suit and finds her in the middle of the battle. He tries to convince Quess to stop fighting and come back with him, but Quess is too far gone. She turns her weapons on Hathaway, but before she can fire, Chan Agi, piloting a damaged Re-GZ, kills Quess to protect Hathaway from the girl's insane attack. Horrified and enraged at seeing Quess die right before his eyes, Hathaway opens fire on the Re-GZ, killing Chan.

Amuro and Char duel each other in their psycho-frame mobile suits, and Char reveals that he was the one who gave the psycho-frame technology to Anaheim Electronics so it could be added to the ν Gundam. When Amuro demands to know why, Char tells him that he wants them to have a fair fight to settle their grievances once and for all. Amuro and the Ra Cailum penetrate the Neo Zeon defenses and reach Axis, where Amuro notices the anchored Neo Zeon cruiser containing nuclear missiles. Realizing Char's intentions, he opens fire on the cruiser, destroying both it and its nuclear cargo. The front of Axis is wreathed in nuclear fire, but it isn't enough to stop the asteroid. Desperate now, Amuro lands on the surface of Axis and enters the asteroid on foot, looking for the nuclear reactors to sabotage. Char sees the abandoned ν Gundam and leaves the Sazabi to follow Amuro into Axis. The Ra Cailum dispatches unarmed salvage mobile suits to enter the asteroid as well, and the combat engineers successfully plant explosives on the reactor. Char and Amuro try to kill each other until Amuro receives word that the charges have been set and that all personnel need to evacuate Axis. Amuro returns to the ν Gundam, and Char returns to the Sazabi, and they re-engage each other in battle. The charges detonate, and the resulting nuclear explosion tears Axis into two parts. Char realizes that the Londo Bell forces were only partially successful: the back half of Axis will miss Earth, but the front half will still impact the surface, and that will be more than enough to eradicate all life on Earth. Knowing that Londo Bell has come up short and that he has finally won, Char returns his attention to settling the score with his old rival. They air all of their grudges as they fight, focusing in particular upon the tragic death of their beloved Newtype, Lalah Sune, who was killed by Amuro during the One Year War when she sacrificed herself to stop him from killing Char. Amuro, sick of Char's delusional rationalizations and self-serving narrative, defeats his long-time rival in their final duel, overpowering the Sazabi and forcing Char to be ejected from the wreckage. Amuro disables the escape pod's thrusters, then grabs the pod and smashes it into the front of Axis, lodging it into the rock. If the Asteroid is going to hit Earth, then Char will have a front-row seat. Amuro, unwilling to give up, vainly attempts to push Axis out of Earth's orbit using the power of the ν Gundam. His feelings of desperation and his refusal to give up hope, amplified by the psycho-frame technology, reach the hearts of all of the remaining pilots, who respond by joining him in the attempt to divert Axis. Newly arrived Federation reinforcements join Londo Bell and Neo Zeon pilots, but their efforts are in vain as one-by-one the inferior mobile suits are burned up in the atmosphere until only the ν Gundam remains. However, the collective will of all of humanity is focused and amplified through the ν Gundam's psycho-frame, and that energy is enough to pull both halves of Axis away from Earth. As Amuro and Char argue over the latter's use of Quess as a machine for his own ends, Char declares to Amuro that Lalah Sune was a "woman who could have been a mother to him" as the overflowing psycho-energy engulfs both rivals and the v Gundam before vanishing into space. In the aftermath, Hathaway and the people of Earth watch the resulting aurora.

Production and development
After the production of Mobile Suit Gundam ZZ, the movie was planned in response to fan desire for a conclusion to the rivalry between Amuro Ray and Char Aznable. The film was originally planned to be released in January 1988.

The movie was directed and written by Yoshiyuki Tomino. The first draft of the script was over two hours long and featured Beltorchika Irma, Amuro's partner from Zeta Gundam, now married to him. Concerns were raised over whether it was appropriate for a robot anime to have a married main character. In subsequent drafts, Beltorchika was removed and her role was filled by two new characters, Chan Agi and Quess Paraya. The character Mineva Lao Zabi, who had appeared in Zeta Gundam and Gundam ZZ, was also omitted as her presence would have made the story overly complicated. The original draft of the story was adapted by Tomino into a novelization in 1988 entitled Mobile Suit Gundam: Char's Counterattack - Beltorchika's Children (機動戦士ガンダム 逆襲のシャア―ベルトーチカ・チルドレン). Notably, this novelization featured a new revision of the v Gundam design later dubbed the Hi-v Gundam (read "Hi-Nu" Gundam), and replaced Char's Sazabi with a new Mobile Suit named the Nightingale. The novelization itself lead to a trilogy of novels by Tomino entitled Mobile Suit Gundam: Hathaway's Flash released between 1989 and 1990.

Tomino began storyboarding in April, one month behind schedule, and the final cut was completed on September 6.

Animation
CG animation was used to depict the Space Colony Side 1's Londenion and Side 5's Sweetwater., due to the structures' intricate detail and rotation. CG designer Hideki Nakano spent three months on the one-and-a-half minute scene to make sure that the immenses size of the colony would be properly conveyed in theaters.

Original Mobile Suit Gundam character designer Yoshikazu Yasuhiko decided not to participate in the project, and the job was instead given to Mobile Suit Gundam ZZ designer Hiroyuki Kitazume. During the design process, he didn't have enough time to talk with Director Tomino, so it was decided that Director Tomino would select rough sketches of characters drawn by Kitazume. Tomino didn't give any specific instructions about the design, but said, "I want you to avoid becoming a manga in order to draw a human drama.", Kitazume tried to create a design that could show human facial expressions, but even during the design, Director Tomino said that the length of the neck of the character as a whole should be designed with Western actors in mind, not Japanese, "The jaw line is below the shoulders."

Mechanical Design's design work includes Yutaka Izubuchi, Yoshinori Sayama, Masahisa Suzuki, and Kazunobu Nakazawa. The design of the mobile suit was competed in a competition similar to Mobile Suit Zeta Gundam and Gundam ZZ. In this work, gimmicks such as transformation and combination were not added to the MS, and the size itself was increased The flow of heavy armament that continued until the previous work has stopped, and simple humanoid aircraft are the center. Masahisa Suzuki and others submitted numerous rough designs for the main characters. ν Gundam, Re-GZ, Jegan, and other Earth Federation Forces mobile suits. Yutaka Izubuchi designed the Neo Zeon mobile suits. Director Tomino had two requests regarding the main character's ν Gundam: "I want to put a cape on the Gundam" and "I don't want the Gundam itself to transform or combine."

Initially, it was decided that Mamoru Nagano would be appointed as the main mechanical designer for this work. Director Tomino said, "It's not a TV series, so I'll entrust all the designs to you." He was in charge of almost all designs in the play, such as enemy and ally MS and ships, cockpits, MS control systems, and Psycommu helmets. It was considered under the condition that the mecha that appeared in the previous work (First Gundam, Z, ZZ) would not be used at all, but the design line proposed in response to Director Tomino's request. The Gundam was also progressing with a design line that overturned the so-called Gundam common sense was not liked by the client, and he himself clashed with the staff around him, so he had to drop out halfway through the previous work Gundam ZZ. For that reason, all the designs were redone at the stage of trial drawing to see if it would be reflected in the actual drawing, and although the concept was the same, Nagano's design itself did not appear in the work at all. In later years, Nagano said that he had quit the Gundam series three times in a row, including this one, saying, "There are so many things I don't want to remember."

The design of the mobile suit was quickly put into a competition format, and producer Shigeru Watanabe of Bandai Visual and Kenji Uchida of Sunrise (animation production brand Sunrise) called out to me. In addition to the aforementioned designers, Hidetoshi Omori, Hideaki Anno, Makoto Kobayashi and many other people participated. The designers drew many roughs without any particular restrictions, and as a result, it was decided that Yutaka Izubuchi would lead the design Most mechanics other than the MS were outsourced to Gainax. Gainax took over as a company, and the actual design was handled by Hideaki Anno for Neo Zeon and Shoichi Masuo for the Federation Forces., Cleanup was done by Seimi Tanaka. In addition, Yoshiyuki Sadamoto also participated in the design of the normal suit Anno also participated in the νGundam design competition, and submitted a Gundam that was almost identical to the cleanup manuscript of Yoshikazu Yasuhiko, the animation director of the first Gundam. proposed to reduce the amount of lines in MS. The work was almost completed around June 1987, and Hideaki Anno later interviewed and initially proceeded with the design to return to the taste of the first Gundam, but director Tomino decided to return to "Zeta Gundam" and "Gundam ZZ". He felt that the image of the design was evolving through the process, and revealed that he had a hard time resolving the gap himself. There were a number of requests, such as "to clearly show where the building is," and "to design with people living in mind at all times." Describes his impression of participating as a designer.

Yutaka Izubuchi, who joined from the middle of the production, had little time to work on this work, and although he could not do much adventure related to design, since the time of Aura Battler Dunbine, he has been a substitute hitter when he was in trouble. After prefaced that there was also a habit of being appointed, "We were able to provide material that felt different from the TV series," "We suppressed the expression method of the TV series and expressed it with an orthodox taste," and "The movements of the mobile suits were recreated in the days of the first Gundam. Aiming for a simple and beautiful design that can be endured.”. In addition, when we adopted the elements of special effects heroes in some designs, Director Tomino liked it, and it was reflected in the normal suits of Char Aznable and Quess Paraya.

Yoshinori Sayama, who was only scheduled to participate in the mobile suit design cleanup, ended up being in charge of some mecha designs as well, but there was a rough sketch drawn by Yutaka Izubuchi, so that was the base. I was able to respond to the order for the supplementary mechanism. And after revealing that "the biggest harvest was being able to work with Mr. Izubuchi," he said that he learned the tricks of the design work and was a great reference. On the other hand, unlike the TV series, there are no restrictions, and at first I was confused by the design for the theater where there was NG in the Gundam-like design, and I had to design it by assimilating the world view of Gundam myself. On the other hand, Director Tomino demanded a versatile design that matches the place of use and demands. However, it was also a work that made me think about "what is the way to draw in terms of setting?" and made me realize that it is necessary to think about settings from the standpoint of animators who work on site.

Regarding the brightness of the stage, director Tomino said,`"The story is dark, so make it brighter." The setting used in Mobile Suit Gundam ZZ, "The computer is making outer space look brighter," is also used in this work, and only the outer space projected from the cockpit is brightly projected. As for the space colony, avoiding future-oriented designs, it was designed as an artificial city with an atmosphere that would not cause frustration even if people lived a normal life. Specifically, Sweet Water is based on the old streets of New York that Ikeda visited for location scouting. Regarding this colony, Director Tomino also gave several instructions to make the mirror part white, but Ikeda insisted that "it looks like a mirror because it reflects the sun's light." Since Director Tomino accepted this, the colony's mirror in this work was set to reflect like a mirror. Also, at that time, it was customary for the art team to design the interior of the mecha, and Ikeda drew up the interior design of the Federation and Neo Zeon battleships. Regarding the battle bridge, Director Tomino told Ikeda that the actual battleship bridge is divided into navigation and combat, and it was set in this work.

Ikeda was asked by Director Tomino to create a profound feeling for this work, but he was concerned that setting the outer space displayed on the monitor bright would create a light impression, so he worked hard to create a contradictory setting of "bright and profound". Made up. Regarding the layout balance due to the difference in the frame size peculiar to the theatrical version (this work is Vista size), since the frame of the TV version has a lot of space, adjustments were made so that it would not be noisy.

Character designer
In response to Yoshikazu Yasuhiko's non-participation, Hiroyuki Kitazume, who also serves as character designer, and Hidetoshi Omori worked together as animation directors at first, but due to their lack of experience, the progress of the work quickly stalled, and production began. For four months from the start, not even one cut was raised, so new Nobuyoshi Inano, Mikio Odagawa, Takatsuna Senba, Shinichiro Minami, Yamada Kisaraka joined, and it became a situation where seven animation directors jointly named. Director Yoshiyuki Tomino, citing the fact that there was no animation director comparable to Yoshikazu Yasuhiko, explained that If the first four months were going well, the degree of perfection would have been higher. He said that he was guilty of not being able to see through the situation, and said, "I'm sorry for putting pressure on young people." 2400 shots were cut at the storyboard stage, but were reduced to 2100 shots at the time of completion.

Hiroyuki Kitazume, who was one of the animation directors, was in charge of animation supervision and layout checking for the key animation team he was in charge of, as well as retakes for the parts ordered from overseas subcontractors, but he himself did not draw a single key animation and was in charge of the work. Most of the time was spent on layout checks. During a meeting with Director Tomino, at the beginning there was only one layout for each scene, and it was pointed out that " can't understand the flow of the play with this," As a result of repeating a series of processes of submitting a rough drawing and sending it back with an order from Director Tomino, it took a lot of time, and Kitazume decided to do all the layout checks by himself.

Hidetoshi Omori, who was also one of the animation directors, was initially involved in the production as mechanical animation director, but was actually in charge of animation checks for natural phenomena such as weapon effects and vernier injection. Director Tomino's strong intentions are reflected in everything, Regarding the beam saber, it is not the conventional when the particles collide with each other due to interference, the particle with the weaker output generates a spherical effect. Specifically, the particles of the beam saber are made to shine with transmitted light, and a complicated expression method is used to blow a brush over it. Also, regarding the depiction of the rifle's beam, instead of light like a laser, I tried to depict fine particles with mass that pierce the target. In order to prevent this from happening, I made notes on drawing explosions and made them known to animators. In order to give an even greater sense of speed, the muzzle casts a shadow instead of a reflection when the beam is fired As for the funnel, Omori is in charge of all cuts, "It's the element that gives the most sense of speed and makes the scene interesting." As a monthly new type, P45, in order to create a sense of dynamism, in addition to depictions that move faster than mobile suit, α-Azieru's large funnel and ν Gundam's fin funnels and other vernier mechanisms have different movements and rotations.

In this work, Tomino directed the production of Oomoto, assisted by Toshifumi Kawase and Shinji Takamatsu. Specifically, Tomino presents a rough outline of the play as a storyboard, and after the director checks the original drawing that was drawn based on that, Kawase, the assistant director, makes fine color adjustments and adjusts the length of the dialogue. Takamatsu checked the shooting for each cut that combined the image and the background. Kawase, who was working on a theatrical work for the first time, was perplexed that the number of cels would take more than he expected. It didn't work at all, and it was Takamatsu's second theatrical work following Dirty Pair, but due to the adverse effects of getting used to the pace of the TV series, the picture with the movie version. Struggling with differences in production, animators also tended to draw close-up key animations with the feeling of the TV version, and there were many retakes of the pull size.

Music
Shigeaki Saegusa, who has pitched three consecutive titles since "Mobile Suit Zeta Gundam", said, "It's difficult to create an easy-to-understand melody in the world of Gundam, where right and wrong are not clearly defined." While stating the difficulty, in this work, I dared to try to make an easy-to-understand melody that I had avoided until now, and Char Aznable was a defender of Richard Wagner in the late romantic school, Ludwig II. The music was produced with the image of Char's Counterattack.

Ending:
 * "Beyond the Time ~Möbius no sora wo koete~" (Beyond the Time ～メビウスの宇宙を越えて～)
 * Lyrics: Mitsuko Komuro
 * Composition Arrangement: Tetsuya Komuro
 * Artist: TM Network (Tetsuya Komuro, Takashi Utsunomiya and Naoto Kine)

The recording was done during the tour "Kiss Japan TM Network Tour '87-'88" that was going on at the time, and was completed in September 1987, immediately after the tour ended. was released to. Komuro created a backtrack from the vague theme of "the dream of all mankind = something with a cosmic expanse", the lyricist Mitsuko Komuro watched the anime version of Gundam video given to him by a person involved, saying, "Humans repeat sins" and "Freedom and In the end, humans fight for "someone they personally love" rather than the just cause of "peace".

The single peaked at No. 4 on Oricon's singles chart. It was nominated for the Gold Award at the 30th Japan Record Awards. In 2018, the song was ranked No. 4 on NHK's.

Casting
For the voice actors who will be in charge of the new characters in this work, the director Yoshiyuki Tomino actually listened to the audition tapes of more than 80 people and selected them. Together, for three days from January 22 to 24, 1988, recording was held at the 101AR studio of Tokyo Television Center in Hamamatsucho, Nihonbashi., but in reality, due to budget and guarantees, 3 days restraint is the limit, and voice actors perform similar performances.

Yoshiyuki Tomino said, "The range of voice actors has narrowed, and I realized that we have to create a world where we can work with actors with different characteristics." Also, for the voice actors on the day of dubbing, there was strong acting guidance for Maria Kawamura, who played the role of Quess Palaya, and Nozomu Sasaki, who played the role of Hathaway Noah. Toru Furuya, who played the role of Amuro Ray, Shuichi Ikeda, who played the role of Char Aznable, and Hirotaka Suzuoki, who played the role of Bright Noah.

Shuichi Ikeda, who plays Char Aznable, approached the recording with the feeling that this work was the culmination of the nine years of the Gundam series, and interpreted that Char died as the end of the story. Also, in a later interview, Ikeda said about his own play at the time of recording, "There was a momentum to finish everything because it was the last time.

Toru Furuya, who plays the role of Amuro Ray, is close to his own age (35 years old) at the time of recording (29 years old), so he tried to act like an adult with a sense of responsibility. Since Amuro had not yet appeared, it was unclear how his mental state in Zeta Gundam led to his resurrection in this work. It is said that until the recording of the scene involving Agi (the scene where Chan holds her knees in front of Amuro's room and waits while floating), he was dragging the youthful part of "Zeta Gundam". Furuya talks about Beltorchika Irma, Amuro's partner who ended up not appearing, and although she was a necessary existence for Amuro in the days of "Zeta Gundam", she was not an ideal partner and instead that Chan Agi is Amuro's ideal partner. In a later interview, he said that he interpreted it as a close existence, and that such feelings subconsciously appeared in the play.

Mitsuki Yayoi, who plays the role of Chan Agi, was troubled by the onomatopoeic expressions peculiar to voice actors in addition to being her second theatrical animation voice role following "Royal Space Force Honneamise no Tsubasa", and had to do retakes it many times. Tōru Furuya, who played Amuro, went to support and helped with her recordings.

Release
At the Japanese box office, the film sold 1.3million tickets and grossed ¥1.16 billion.

The film made its American debut on August 20, 2002, on DVD and was later re-released during Sunrise's release of its One Year War properties (specifically Mobile Suit Gundam, 08th MS Team, 0080, and 0083).

As part of the 40th anniversary celebration of the Gundam franchise, Char's Counterattack played in select theaters in the U.S. on December 5, 2019.

Home media
Bandai released a DVD of the film on August 20, 2002. The product was a maroon slipcase edition embossed with the gold Neo Zeon logo. The DVD was later reissued as part of the Anime Legends line in 2006. Due to the closure of Bandai Entertainment, the film has been out of print for sometime. On October 11, 2014, at their 2014 New York Comic Con panel, Sunrise announced they will be releasing all of the Gundam franchise, including Gundam SEED: Special Edition in North America though distribution from Right Stuf Inc., beginning in Spring 2015.

By 2008, the film had sold 300,000 units on DVD.

Critical response
Allen Divers from Anime News Network found Amuro and Char's final duel the most important part from Char's Counterattack, the lack of resolution of their rivalry made the film unfulfilling. In reviewing the same film, THEM Anime Reviews' Carlo Ross saw that while Amuro was overshadowed by Char, he is still a "earnest, well-meaning, and heroic character in his own right." On the other hand, J. Doyle Wallis criticized their rivalry in the film considering it a "rehash" of the events of the television series. In a later review, Anime News Network panned the handling of Quess being nearly an audience surrogate as most of her screetime is less entertaining than the one involving the protagonists and makes Char far more unlikable in the process for using a child soldier. Anime UK News did not find the film entertaining but instead sad for ending Amuro and Char's long stories despite being one of the most famous franchises ever with Bright's sub-plot coming across as unimportant in the process. FandomPost found Char's villain traits out-of-character as a result of how heroic he became in Zeta Gundam and, like other writers, criticized the handling of Quess.

Animerica enjoyed the continuous rivalry of the two leads, as they are quite iconic within the anime fandom despite having abandoned such rivalry in favor of a friendship during Mobile Suit Zeta Gundam. They also praised the production for giving Yutaka Izubuchi the "honor" of creating Amuro's RX-93 ν Gundam as well as the outsourcing to the Gainax studio for providing several new types of mechas and ships. By 2017, Anime News Network found that the animation of the film was highly appealing, especially with the handling of its Blu-ray release even if there are sometimes marks that show the difficulties the animators went through with creating the film. The Fandom Post found the animation as the film's biggest strength due to the focus on the key animation.

Paste listed the movie as the 31st best anime film of all time, labeling it as the best Gundam movie. The writer praised the animation and fight sequences, most notably the ones from Amuro and Char but lamented viewers would be disappointed by the ending as the long rivalry between the two leads feel anticlimactic despite its famous history.

While initially describing Amuro as a relatable character to general view of otaku, Journal of Anime and Manga Studies said the one from Char's Counterattack instead comes across as a war hero while still being popular. In Char's Counterattack, it is not until Amuro re engineers the RX-93 with the psycho frame system that he is able to battle Char on equal footing. This handling of Gundams was compared to that of Formula 1 drivers and their own race cars, a connection that still holds for the film. The macro-action of Char's Counterattack briefly pauses whenever pilots are forced to dock mid-battle in order to attend to repairs and refueling. Such specific attention to the details of the mobile suits in the movie simultaneously be re-created in the model kits that would be released after the film's debut. As one of the final installments from the Universal Century timeline created by Tomino, the impact of the narrative would result in several anime writers creating new characters that would attempt to recreate Amuro's legacy alongside fans.

In an interview immediately after the film was released, director Yoshiyuki Tomino answered, "I don't really know" about the fact that Amuro's partner, Beltorchika, didn't appear, and whether the settlement between Amuro and Char was good or bad, and summarized the screening time within 2 hours. I didn't hide that it was the limit at the end of the story. In later years, when interviewed during the production of ∀ Gundam, he replied that he "has no recollection of making it as a movie". In addition, he was disgusted by the sight of Sunrise's management and investors such as Bandai looking at this work as content that could be sold in half a year. Even the words of Bandai president [Makoto Yamashina], who expressed his impressions after the preview, made him feel "very lonely."

Game
Bandai produced a Char's Counterattack 3D fighting game for the PlayStation in 1998 as part of the Big Bang Project for Gundam's 20th anniversary. The game featured scenes from the film that were remade with updated animation and CGI. The game also has stages featuring Amuro and Char's classic encounters in the original Mobile Suit Gundam series.

Toys/Models
A line of Gunpla models based on the film's mobile suits was released, along with a Hobby Japan special. The model line had 1/144 kits of the Re-GZ, the Jegan, the Geara Doga, the Sazabi, Gyunei Guss and Quess Paraya's Jagd Dogas, and the ν Gundam (with and without Fin Funnel), a 1/550 α-Azieru, and a 1/100 ν Gundam. Bandai would re-release them plus the Hi-ν Gundam and a heavy weapons version of the ν Gundam, years later as part of the HGUC and Master Grade lines, the latter being featured in Bandai's Gundam Weapons line of mooks. Many of them are also available as part of the B-Club resin line. In 2011, a model kit manufacturer in China, MCModel, produced 1/144 scale kits of the ν Gundam and Hi-ν Gundam called "Gundooms" that are reportedly much more detailed than the same kits from Bandai based on their origins as retooled versions of resin conversion kits. Another company, Regulation Center, later followed suit with a 1/100 Nightingale kit. Bandai's special museum contained a 1/100 prototype of the Nightingale; the company went public at the 2014 Shizuoka Hobby Show with the announcement of a new RE/100 category of scale models, with the Nightingale as the first release in September 2014.

Veteran mechanical designer Hajime Katoki redesigned the MG version of the Sazabi, resulting in a slightly blockier appearance more suitable for modeling. Due to the substantial size and heft, it is one of the most expensive 1/100th-scale Master Grade kits yet manufactured, trumped only by the enormous Perfect Zeong kit, released in 2004. The ν Gundam, Hi-ν Gundam, and Sazabi would be released as part of Katoki's Ver. Ka line of redesigned Gunpla model kits, their most noticeable design cues being splitting panels designed to show off the psycoframe in the v Gundam, and the internal frame structure in the Sazabi.

The ν Gundam and Sazabi were the first offerings in Bandai's "Formania" line of extensively detailed machine busts in September 2010.

Some of the film's units were also released as action figures, with the RX-93 and the Sazabi produced in various forms, the latest of which being under the Robot Spirits line. Bandai, in particular, produced an online-exclusive RX-93 equipment set featuring a second set of Fin-Funnels and a Fin-Funnel equipment set that includes effect parts to recreate the ν-Gundam's beam pyramid. A version of the ν-Gundam produced for the Taiwanese market has a special psycho-frame effect where parts of the body are molded in crystal green. Bandai released the Hi-ν in early 2014 and is slated to release the unit as part of the Metal Robot Spirits line, a version of regular Robot Spirits figures using diecast metal parts.

Manga
Two manga adaptations of the film were released, one by Toshiya Murakami in April and May 1988, and another by Kōichi Tokita from October 1998 to February 1999. A manga adaptation of Beltorchika's Children, illustrated by Sabishi Uroaki and Takayuki Yanase was published in Gundam Ace from June 2014 to March 2018 issues and compiled into seven volumes.

Denpa licensed the Beltorchika's Children manga in North America.


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James Whitmore

James Allen Whitmore Jr. (October 1, 1921 – February 6, 2009) was an American actor. He received numerous accolades, including a Golden Globe Award, a Grammy Award, a Primetime Emmy Award, a Theatre World Award, and a Tony Award, plus two Academy Award nominations.

Early life and military service
Born in White Plains, New York, to Florence Belle (née Crane) and James Allen Whitmore Sr., a park commission official, Whitmore attended Amherst Central High School in Snyder, New York, for three years, before transferring to the Choate School in Wallingford, Connecticut, on a football scholarship. He went on to study at Yale University, but he had to quit playing football after severely injuring his knees. After giving up football, he turned to the Yale Dramatic Society and began acting. While at Yale, he was a member of Skull and Bones, and was among the founders of the Yale radio station (the student-run WOCD-AM, later renamed WYBC-AM). Whitmore planned on becoming a lawyer and graduated with a major in government from Yale University.

After the outbreak of World War II, he enlisted in the United States Marine Corps Reserve in 1942 while finishing his degree, which he completed in 1944. In the Marines, he trained at Parris Island and Quantico, Virginia, and Officers Candidate School, and was commissioned a second lieutenant. After further training he was assigned to the 4th Marine Division on Saipan in July 1944. While at Tinian, he contracted amoebic dysentery and was hospitalized. Following his hospitalization, he served guard duty at the Panama Canal Zone until his discharge in March 1946.

Marriage and later life
After World War II, Whitmore studied acting at the American Theatre Wing and the Actors Studio in New York. At this time, Whitmore met his first wife, Nancy Mygatt. They married in 1947, and the couple had three sons before their divorce in 1971. The eldest son, James III, found success as a television actor and director under the name James Whitmore Jr. The second son, Stephen, became the public spokesman for the Los Angeles County Sheriff's Department. The youngest son, Daniel, was a Forest Service Snow Ranger and firefighter before he launched his own construction company. In 1979, Whitmore and Mygatt remarried, but they divorced again after two years.

Whitmore was married to actress Audra Lindley from 1972 until 1979. He co-starred in several stage performances with her both during and after their marriage. These included Elba (a play by Vaughn McBride about an elderly couple who escape from their nursing home); William Gibson's Handy Dandy (he as a conservative judge, she as a liberal nun); and Tom Cole's About Time (in which they played characters identified simply as the Old Man and the Old Woman).

In 2001, he married actress and author Noreen Nash. Whitmore is the grandfather of Survivor: Gabon contestant Matty Whitmore. In 2010, James Whitmore Jr., and his two children (grandchildren of James Whitmore), actress-director Aliah Whitmore and artist-production designer Jacob Whitmore, formed the theatre group Whitmore Eclectic. They perform in Los Angeles, California.

In his later years, Whitmore spent his summers in Peterborough, New Hampshire, performing with the Peterborough Players.

A Democrat, he supported the campaign of Adlai Stevenson during the 1952 presidential election. Although he was not always politically active, in 2007, Whitmore generated some publicity with his endorsement of Barack Obama for U.S. President. In January 2008, Whitmore appeared in television commercials for the First Freedom First campaign, which advocates preserving "the separation of church and state" and protecting religious liberty.

According to the Los Angeles Times, "An avid flower and vegetable gardener, Whitmore was also known to TV viewers as the longtime commercial pitchman for Miracle-Gro garden products."

Film and television
Following World War II, Whitmore appeared on Broadway in the role of the sergeant in Command Decision. Metro-Goldwyn-Mayer gave Whitmore a contract, but his role in the film adaptation was played by Van Johnson. His first major picture for MGM was Battleground, in a role that was turned down by Spencer Tracy, to whom Whitmore bore a noted physical resemblance. He was nominated for the Academy Award for Best Supporting Actor for this role, and won the Golden Globe Award as Best Performance by an Actor In A Supporting Role. Other major films included Angels in the Outfield, The Asphalt Jungle, The Next Voice You Hear, Above and Beyond, Kiss Me, Kate, Them!, Oklahoma!, Black Like Me, Guns of the Magnificent Seven, Tora! Tora! Tora!, and Give 'em Hell, Harry!, a one-man show for which Whitmore was nominated for the Academy Award for Best Actor for his portrayal of former U.S. President Harry S Truman. In the film ''Tora! Tora! Tora!'', he played Admiral William F. "Bull" Halsey.

Whitmore appeared during the 1950s on many television anthology series. He was cast as Father Emil Kapaun in the 1955 episode "The Good Thief" in the ABC religion anthology series Crossroads. Other roles followed on Jane Wyman Presents the Fireside Theater, Lux Video Theatre, Kraft Theatre, Studio One in Hollywood, Schlitz Playhouse, Matinee Theatre, and the Ford Television Theatre. In 1958, he carried the lead in "The Gabe Carswell Story" of NBC's Wagon Train, with Ward Bond.(S1 E18 which aired 1/14/1958).

In 1963, Whitmore played Captain William Benteen in The Twilight Zone episode "On Thursday We Leave for Home". Whitmore also appeared in Route 66 on January 18, 1963, as Ralph Vincent in “A Gift for a Warrior.” He appeared twice in Twelve O'Clock High. In 1965, Whitmore guest-starred as Col. Paul "Pappy" Hartley in Season 1, Episode 32 "The Hero" and as Col. Harry Connelly in 1966 Season 3, Episode 12 "The Ace". He also appeared in an episode of Combat! titled "The Cassock", as a German officer masquerading as a Catholic priest. In 1967, he guest-starred as a security guard in The Invaders episode, "Quantity: Unknown". That same year, Whitmore also appeared on an episode of ABC's Custer starring Wayne Maunder in the title role.

In 1968, he appeared as head of the Simian Assembly in the Planet of the Apes. In 1969, he played the leading character of Professor Woodruff in the TV series My Friend Tony, produced by NBC. Whitmore also made several memorable appearances on the classic ABC Western The Big Valley starring Barbara Stanwyck, and the classic NBC Western The Virginian starring James Drury, during the second half of the 1960s.

From 1972 to 1973, Whitmore played Dr. Vincent Campanelli in the short-lived ABC medical sitcom Temperatures Rising.

Whitmore appeared as General Oliver O. Howard in the 1975 television film I Will Fight No More Forever, based on the 1877 conflict between the United States Army and the Nez Percé tribe, led by Chief Joseph. In 1979, Whitmore hosted a talk show of 22 episodes called simply Comeback. One of those segments focuses on the helicopter inventor Igor Sikorsky. In 1980 he starred as Borski, a therapist treating imprisoned sex-offenders, in the made-for-television movie Rage! directed by William A. Graham. In 1980, Whitmore appeared as Jake Reeves the terminally ill father of coach Reeves in a two episode arc of the television series White Shadow. In 1986, Whitmore voiced Mark Twain in the first claymation feature film The Adventures of Mark Twain.

In 1994, Whitmore appeared in the role of prison librarian Brooks Hatlen in the critically acclaimed and Academy Award-nominated Frank Darabont film The Shawshank Redemption, starring Tim Robbins and Morgan Freeman; Whitmore received much praise for his poignant portrayal of Brooks, the old con and his performance won him a legion of new fans. Two years later, he co-starred in the 1997 horror/sci-fi film The Relic. In 1999, he played Raymond Oz in two episodes of The Practice, earning an Emmy Award for Outstanding Guest Actor in a Drama Series.

In 2002, Whitmore played the role of the grandfather in the Disney Channel original film A Ring of Endless Light. Also in 2002, Whitmore played a supporting role in The Majestic, a film that starred Jim Carrey. In 2003, Whitmore appeared as Josh Brolin's father on the short-lived NBC drama series Mister Sterling, for which he was nominated for an Emmy Award.

In April 2007, he made his last screen appearance in a C.S.I. episode titled "Ending Happy" as Milton, an elderly man.

Theatre work
"Whitmore often said he found acting in films and television boring because of the long waits between scenes; his passion was for the theater, and he continued to act on stage throughout his long career." Whitmore first ventured into acting at Yale University – severe knee injuries sidelined him from football, so he turned to the Yale Dramatic Society. After serving in the Marines he toured the South Pacific in a USO tour, then returned to America, where he studied acting for six months at the American Theatre Wing in New York and the Actors Studio. Afterward, he was hired by a summer stock company in Peterborough, New Hampshire – The Peterborough Players. In 1947 he was selected to appear in a production of All My Sons, representing the U.S. at the World Youth Festival in Prague.

His first play on Broadway – Command Decision – in which Whitmore played the part of Tech Sergeant Harold Evans, was the smash hit of 1947, and Whitmore received a non-competitive Special Tony Award for "Best Newcomer of the Season". Whitmore continued to be active in the theatre for all of his career, performing on Broadway, at Ford's Theatre in Washington DC, and on tour. He later won the title "King of the One Man Show" after appearing in the solo vehicles Will Rogers' USA (1970) (repeating the role for TV in 1972); as Harry Truman in Give 'em Hell, Harry! (1975) (repeating the role in the film version, for which he was nominated for an Oscar); and as Theodore Roosevelt in Bully (1977), although the latter production did not repeat the success of the first two.

"Whitmore, who was an early student at the Actors Studio in New York in the late '40s, taught an acting workshop after moving to Hollywood. Among his students in the early '50s was young James Dean, whom Whitmore advised to go to New York. 'I owe a lot to Whitmore,' Dean told Seventeen magazine in 1955. 'One thing he said helped more than anything. He told me I didn't know the difference between acting as a soft job and acting as a difficult art.'" Whitmore often returned to New Hampshire to the Peterborough Players, where he got his start in summer stock – in 2008 he played the stage manager in Our Town. Each year the Peterborough Players award the "James Whitmore Award" to an excellent intern at the theatre.

Death
Whitmore was diagnosed with lung cancer in November 2008. He died from the disease at the age of 87 on February 6, 2009, at his Malibu, California home.

Partial filmography
1940s
 * The Undercover Man (1949) as George Pappas
 * Battleground (1949) as Kinnie

1950s
 * The Outriders (1950) as Clint Priest
 * Please Believe Me (1950) as Vincent Maran
 * The Asphalt Jungle (1950) as Gus Minissi
 * The Next Voice You Hear... (1950) as Joe Smith, American
 * Mrs. O'Malley and Mr. Malone (1950) as John J. Malone
 * The Red Badge of Courage (1951) as Narrator (voice, uncredited)
 * Angels in the Outfield (1951) as Angel voice (voice, uncredited)
 * Across the Wide Missouri (1951) as Old Bill (uncredited)
 * It's a Big Country (1951) as Mr. Stacey
 * Shadow in the Sky (1952) as Lou Hopke
 * Because You're Mine (1952) as Sergeant 'Bat' Batterson
 * Above and Beyond (1952) as Maj. William 'Bill' M. Uanna – Security Officer, Operation Silverplate
 * The Girl Who Had Everything (1953) as Charles 'Chico' Menlow
 * Kiss Me Kate (1953) as Slug
 * All the Brothers Were Valiant (1953) as Fetcher
 * The Great Diamond Robbery (1954) as Mr. Remlick, Lawyer
 * The Command (1954) as Sgt. Elliott
 * Them! (1954) as Police Sgt. Ben Peterson
 * Battle Cry (1955) as MSgt. Mac / Narrator
 * The McConnell Story (1955) as SSgt. / Maj. / Col. Ty 'Dad' Whitman
 * Oklahoma! (1955) as Mr. Carnes
 * The Last Frontier (1955) as Gus
 * The Eddy Duchin Story (1956) as Lou Sherwood
 * Crime in the Streets (1956) as Ben Wagner
 * The Young Don't Cry (1957) as Rudy Krist
 * The Deep Six (1958) as Commander Warren Meredith
 * The Restless Years (1958) as Ed Henderson
 * Face of Fire (1959) as Monk Johnson

1960s
 * The Law and Mr. Jones (1960) as Abraham Lincoln Jones
 * Who Was That Lady? (1960) as Harry Powell
 * ’’Rawhide 1962 Incident of the Dog Faces as Sgt. Joe Duclos
 * Going My Way as Dr. Corden in "Tell Me When You Get to Heaven" (1963) as Dr. Corden
 * The Twilight Zone, "On Thursday We Leave for Home" (TV Series) (1963) as Captain Benteen
 * Black Like Me (1964) as John Finley Horton
 * The Tenderfoot (1964), Disney's The Wonderful World of Color as Captain Ewell
 * Gunsmoke (1965) "The Reward" as Jim Forbes
 * Combat! "The Cassock" (TV Series) (1965) as Hertzbrun
 * The Big Valley "The Death Merchant" (1966) as Handy Random
 * The Big Valley "Target" (1966) as Joshua "Josh" Adam Hawks
 * Chuka (1967) as Lou Trent
 * Waterhole #3 (1967) as Capt. Shipley
 * The Big Valley "Night In a Small Town" (1967) as Tom Willis
 * The Invaders "Quantity: Unknown" (1967) as Harry Swain
 * Nobody's Perfect (1968) as Capt. Mike Riley
 * Planet of the Apes (1968) as President of the Assembly
 * Madigan (1968) as Chief Insp. Charles Kane
 * The Split (1968) as Herb Sutro
 * Bonanza (TV) Episode – "To Die in Darkness" (1968) as John Postley
 * The Big Valley "Shadow of a Giant" (1968) as Marshal Seth Campbell
 * Guns of the Magnificent Seven (1969) as Levi

1970s
 * The Challenge (1970) (TV) as Overman
 * Tora! Tora! Tora! (1970) as Vice Admiral William F. Halsey
 * Chato's Land (1972) as Joshua Everette
 * The Harrad Experiment (1973) as Philip Tenhausen
 * High Crime (1973) as Commissioner Aldo Scavino
 * Where the Red Fern Grows (1974) (TV) as Grandpa
 * The Balloon Vendor (1974) as Antonio
 * I Will Fight No More Forever (1975) (TV) as General Oliver O. Howard
 * Give 'em Hell, Harry! (1975) as Harry S Truman
 * The Serpent's Egg (1977) as The Priest
 * The Word (TV) (1978) as George Wheeler

1980s
 * The First Deadly Sin (1980) as Dr. Sanford Ferguson
 * Rage! (1980) as [Dr] Borski
 * The White Shadow (1980) as Jake Reeves
 * Hail Columbia! (1982) narrator
 * The Adventures of Mark Twain (1985) as Mark Twain (voice)
 * Zoo Ship (1985) (voice)
 * All My Sons (1987) (TV) as Joe Keller
 * Nuts (1987) as Judge Stanley Murdoch
 * Glory! Glory! (1989) (TV) as Lester Babbitt

1990s
 * Sky High (1990) as Gus Johnson
 * Old Explorers (1990) as Leinen Roth
 * The Shawshank Redemption (1994) as Brooks Hatlen
 * The Relic (1997) as Dr. Albert Frock
 * Swing Vote (1999) as Daniel Morissey
 * The Practice (1999) as Frank Oz

2000s
 * Here's to Life! (2000) as Gus Corley
 * The Majestic (2001) as Stan Keller
 * A Ring of Endless Light (2002) as Grandfather
 * Fun with Dick and Jane (2005) as Toy Store Security Guard (uncredited)
 * CSI: Crime Scene Investigation episode "Ending Happy" (2007) (TV) as Milton (final appearance)

Stage
James Whitmore's theatre roles included:
 * Command Decision – as Tech Sergeant Harold Evans – Fulton Theatre, New York, NY – (October 1, 1947 – September 18, 1948).
 * Whitmore received a 1948 Tony Award for this role. The category was "Outstanding Performance by a Newcomer".

 * Winesburg, Ohio – as Tom Willard – National Theatre, New York, NY – (Feb 5 – 15, 1958).
 * Inquest – as Emanuel Bloch – Music Box Theatre, New York, NY – (Apr 23 – May 16, 1970).
 * Will Rogers' USA – Solo Performance as Will Rogers – Helen Hayes Theatre, New York, NY – (May 6–11, 1974).
 * Give 'Em Hell, Harry! – Solo Performance as Harry Truman – Ford's Theatre, Washington, DC – (April 15 – May 4, 1975).
 * After the world premiere at the Ford's Theatre, the play went on to a six-city tour, during which it was videotaped for film at the Moore Theater, Seattle, Washington.

 * Bully – Solo Performance as Theodore Roosevelt – 46th Street Theatre, New York, NY – (November 1, 1977 – November 6, 1977).
 * Almost an Eagle – as The Colonel – Longacre Theatre, New York, NY – (December 16, 1982 – December 19, 1982).
 * Inherit the Wind – as Henry Drummond – Ford's Theatre, Washington, DC – (Sep 26 – November 5, 2000).

Radio

 * Family Theater – episode "The Visitor" (1952)

Accolades
Whitmore has a star on the Hollywood Walk of Fame at 6611 Hollywood Boulevard. The ceremony was held on February 8, 1960.

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

title: James Whitmore


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Give 'em Hell, Harry!

Give 'em Hell, Harry! is a biographical play and 1975 film, written by playwright Samuel Gallu. Both the play and film are a one-man show about former President of the United States Harry S. Truman. Give 'em Hell, Harry! stars James Whitmore, and was directed by Steve Binder and Peter H. Hunt.

Title origin
The title comes from an incident that took place during the 1948 presidential election campaign. In Bremerton, Washington, Truman delivered a speech attacking the Republicans. During the speech, a supporter yelled out, "Give 'em Hell, Harry!" Truman replied, "I don't give them Hell. I just tell the truth about them, and they think it's Hell." Subsequently, "Give 'em Hell, Harry!" became a lifetime slogan for Truman supporters.

History
The play previewed in Hershey, Pennsylvania, followed by its official opening at Ford's Theatre in Washington, D. C. Its April 17, 1975, premiere was hosted by Truman's daughter Margaret, and attended by President Gerald Ford. The play then went on to a six-city tour, during which it was videotaped for film on the stage of the Moore Theatre in Seattle, using a live editing process called Theatrovision. It was also recorded and released by United Artists Records.

Although the play has been regularly revived, it did not make its New York debut until July 2008 at St. Luke's Theatre. Clifton Truman Daniel portrayed his grandfather in the title role in several performances in 2023.

Accolades
Give 'em Hell, Harry! is only the third film to have its entire credited cast (Whitmore) nominated for an Oscar, the first two being Who's Afraid of Virginia Woolf? in 1966, for which almost all members excluding the extras were nominated, and Sleuth in 1972.

title: Give 'em Hell, Harry!


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George F. Moore

George F. Moore may refer to:

 * George Fletcher Moore (1798–1886), Irish-born Attorney-General of Western Australia
 * George F. Moore (Texas judge) (1822–1883), American judge, first chief justice of the Supreme Court of Texas
 * George Foot Moore (1851–1931), American biblical scholar
 * George F. Moore (lieutenant governor) (1861–1938), American politician, Lt. Gov. of Idaho
 * George F. Moore (United States Army officer) (1887–1949), American military officer

title: George F. Moore


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Christopher Cross (album)

Christopher Cross is the debut studio album by American singer-songwriter Christopher Cross. It was released on December 27, 1979, by Warner Bros. Records. Produced by Michael Omartian and recorded in mid-1979, the album was one of the first in popular music to be digitally recorded, utilizing the 3M Digital Recording System.

Cited as one of the most influential soft rock albums of the late 1970s and early 1980s, it won five Grammy Awards, including Album of the Year, Record of the Year, Song of the Year, and Best New Artist, with Cross becoming the first artist to win the four major categories in the same year — a feat not replicated until Billie Eilish in 2020.

Reception
According to Stephen Thomas Erlewine, the album was "a huge hit and widely acclaimed, at least among industry professionals (critics didn't give it a second listen), leading to multi-platinum success and Grammys." In his retrospective review for AllMusic, Erlewine says that while its success as a soft rock album has little cachet with most listeners, it "remains one of the best mainstream albums of its time" because of consistent song quality and Cross's skillful musicianship: "Yes, he does favor sentimentality and can be very sweet on the ballads, but his melodicism is rich and construction tight, so there's a sturdy foundation for the classy professional gloss provided by his studio pros and friends, including indelible backing vocals by Michael McDonald."

In retrospective appraisals, Christopher Cross is regarded as a key release of yacht rock music. For Spin in 2009, Chuck Eddy lists it among the genre's eight essential albums. Vinyl Me, Please magazine's Timothy Malcolm includes it in his 2017 list of the 10 best yacht rock albums, explaining that, "It’s actually a sonic outlier for the yacht rock genre, heavy on acoustic guitar and strings. But its message fits the genre (a fool searching for inner peace), and yeah, it’s still undeniably smooth." For The Vinyl District's online publication in 2018, Michael H. Little calls it the genre's best album as well as one of its smoothest, crediting it for making Cross "the face of soft rock".

Track listing
All tracks composed by Christopher Cross.

Side One

 * 1) "Say You'll Be Mine" – 2:53
 * 2) "I Really Don't Know Anymore" – 3:49
 * 3) "Spinning" (Duet with Valerie Carter) – 3:59
 * 4) "Never Be the Same" – 4:40
 * 5) "Poor Shirley" – 4:20

Side Two

 * 1) "Ride Like the Wind" – 4:32
 * 2) "The Light Is On" – 4:07
 * 3) "Sailing" – 4:14
 * 4) "Minstrel Gigolo" – 6:00
 * 5) "Mary Ann" (Bonus Track On The 2012 Japanese Remastered CD) – 2:52

'Mary Ann' was originally written for the YAMAHA World Music Festival in Japan and released in 1980 as a Japan only single.

Personnel

 * Christopher Cross – lead vocals, electric guitar, acoustic guitar (1, 4, 6-9), backing vocals (1, 5-8), guitar solo (5, 6)
 * Michael Omartian – acoustic piano (1-4, 6, 7, 8), synthesizers (9), backing vocals (9)
 * Rob Meurer – synthesizers (2-4, 6-8), electric piano (3, 4, 7, 8), celesta (3), acoustic piano (5, 9), organ (5)
 * Jay Graydon – guitar solo (1, 4)
 * Larry Carlton – guitar solo (2, 7)
 * Eric Johnson – guitar solo (9)
 * Andy Salmon – bass
 * Tommy Taylor – drums
 * Lenny Castro – percussion (1, 2, 4-7, 9)
 * Victor Feldman – vibraphone (3, 4), percussion (3, 7, 8)
 * Jim Horn – saxophone (2, 6)
 * Jackie Kelso – saxophone (2, 6)
 * Don Roberts – saxophone (2, 6)
 * Tomás Ramírez – sax solo (9)
 * Lew McCreary – trombone (2, 6)
 * Chuck Findley – trumpet (2, 6), flugelhorn (3)
 * Assa Drori – concertmaster (3, 5, 6, 8)
 * Nicolette Larson – backing vocals (1)
 * Michael McDonald – backing vocals (2, 6)
 * Valerie Carter – lead and backing vocals (3)
 * Myrna Matthews – backing vocals (4)
 * Marty McCall – backing vocals (4)
 * Stormie Omartian – backing vocals (4)
 * Don Henley – backing vocals (7)
 * J.D. Souther – backing vocals (7)

Production

 * Producer – Michael Omartian
 * Assistant Producer – Michael Ostin
 * Engineer and Mixing – Chet Himes
 * Second Engineer – Stuart Gitlin
 * Mastering – Bobby Hata
 * Artwork – Danny Henderson and James Flournoy Holmes
 * Design – James Flournoy Holmes and Wonder Graphics
 * Flamingo Concept – Jim Newhouse

Accolades
Cross, the album and the hit "Sailing" won the following Grammy Awards:

title: Christopher Cross (album)


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Giancarlo Giannini

Giancarlo Giannini (born 1 August 1942) is an Italian actor and voice actor. He won the Cannes Film Festival Award for Best Actor for his performance in Love and Anarchy (1973) and received an Academy Award nomination for Seven Beauties (1975). He is also a four-time recipient of the David di Donatello Award for Best Actor.

Giannini began his career on stage, starring in Franco Zeffirelli's productions of Romeo and Juliet and A Midsummer Night's Dream. After appearing predominantly on television throughout the early 1960s, he had his first lead role in a film in Rita the Mosquito (1965), the first of many collaborations with filmmaker Lina Wertmüller. He rose to international stardom through Wertmüller's The Seduction of Mimi (1972), Love and Anarchy (1973), Swept Away (1974), culminating in his Oscar-nominated turn in Seven Beauties (1975).

His other films include The Innocent (1976), Lili Marleen (1980), New York Stories (1990), A Walk in the Clouds (1995), Hannibal (2001), Man on Fire (2004), and the James Bond films Casino Royale (2006) and Quantum of Solace (2008). He is also a dubbing artist, contributing voice work to the Italian-language versions of dozens of films since the 1960s. He has been the official Italian dubber of Al Pacino since 1975, and has also dubbed Jack Nicholson, Michael Douglas, and Helmut Berger.

Early life
Giannini was born in La Spezia and he spent most of his childhood in the settlement of Pitelli. In 1952, Giannini and his family moved to Naples where he received a diploma in electronic engineering at the Alessandro Volta Technological State Technical Institute. During his teen years, he moved to Rome and studied at the Accademia Nazionale di Arte Drammatica Silvio D'Amico.

Stage
Giannini made his stage debut at the age of 18, opposite Lilla Brignone in In memoria di una signora amica, directed by Giuseppe Patroni Griffi. His breakthrough came when he was cast by Franco Zeffirelli in a production of Romeo and Juliet which played at The Old Vic.

Film and television
Giannini made his film debut in a small part in I criminali della metropoli in 1965. He appeared in supporting roles in Anzio and The Secret of Santa Vittoria, and starred in the original version of Swept Away. In 1967, he was a special guest on an episode of Mina's TV show "Sabato Sera". He had his breakthrough in 1970. In 1971, he appeared in E le stelle stanno a guardare, a television adaptation of A. J. Cronin's novel The Stars Look Down.

Giannini won a Cannes Film Festival Award for Best Actor for his performance in Love and Anarchy (1973). He had big box office hits with How Funny Can Sex Be? (1973) and The Sensual Man (1974). In 1976, he starred in Seven Beauties, for which he was nominated for the Academy Award for Best Actor. Giannini is known for his starring roles in films directed by Lina Wertmüller. In addition to Seven Beauties and Swept Away, he also appeared in The Seduction of Mimi, Love and Anarchy, A Night Full of Rain, and Francesca e Nunziata.

Giannini has also achieved some international success. His fluency in English has brought him a number of featured roles in Hollywood productions, most notably as Inspector Pazzi in Hannibal. He also appeared in Man on Fire. Giannini played Alberto Aragón in A Walk in the Clouds in 1995, and Emperor Shaddam IV in the 2000 Dune miniseries. In 2002, he starred in the horror film Darkness. He later portrayed French agent René Mathis in the James Bond films Casino Royale (2006) and Quantum of Solace (2008).

In 2009, Giannini received a star on the Italian Walk of Fame in Toronto, Canada. On March 6, 2023, he received a star on the Hollywood Walk of Fame.

Voice acting
Giannini has had a successful career as a voice actor and dubber. He helped with the foundation of the C.V.D. along with Renato Turi, Corrado Gaipa, Valeria Valeri, Oreste Lionello, Wanda Tettoni and other dubbers.

Giannini is the official Italian voice dubber of Al Pacino. Both he and Ferruccio Amendola were the primary dubbers of Pacino until Amendola's death in 2001 when Giannini became the main voice dubber. He also dubbed Jack Nicholson's voice as Jack Torrance in the Italian release of The Shining and the Joker in Batman and Michael Douglas as Gordon Gekko in Wall Street and the 2010 sequel as well as dubbing other actors such as Dustin Hoffman, Gérard Depardieu, Ryan O'Neal, Jeremy Irons, Mel Gibson, Tim Allen, Leonard Whiting and Ian McKellen in some of their work.

In Giannini's animated roles, he voiced Carl Fredricksen (voiced by Ed Asner) in the Italian dub of the Pixar film Up. He also provided the Italian voice of Raul Menendez in the Call of Duty game franchise. Outside of dubbing, he provided a voice role in the 2001 Italian animated film Momo in which he voiced the main antagonist.

Other ventures
Aside from acting, Giannini took up inventing as a hobby. Some of the gadgets he designed were used in the 1992 film Toys starring Robin Williams. Giannini also collaborated with Gabriella Greison on his memoir Sono ancora un bambino which was published by Longanesi in 2014. A year later, he received the Premio Cesare Pavese.

In 2012 he collaborated with Italian singer Eros Ramazzotti in "Io sono te", from his album Noi.

Personal life
From 1967 until 1975, Giannini was married to actress Livia Giampalmo and they had two children. Their eldest son was Lorenzo, who died in 1987 from an aneurysm shortly before his 20th birthday. Their second-born son is actor Adriano Giannini, who played his father's role in the 2002 remake of Swept Away.

Since 1983, he has been married to Eurilla del Bono and they have two sons, Emanuele and Francesco who are musicians.

Honours

 * ITA OMRI 2001 GUff BAR.svg Grand Officer (2nd Class), Order of Merit of the Italian Republic (2003)
 * ITA OMRI 2001 GC BAR.svg Knight Grand Cross (1st Class), Order of Merit of the Italian Republic (2007)

title: Giancarlo Giannini


text:
Seven Beauties

Seven Beauties (Pasqualino Settebellezze, "Pasqualino Sevenbeauties") is a 1975 historical black comedy drama Italian film written and directed by Lina Wertmüller and starring Giancarlo Giannini, Fernando Rey, and Shirley Stoler.

Written by Wertmüller, the film is about an Italian everyman who deserts the army during World War II, is captured by the Germans and sent to a prison camp, where he does anything he can to survive. Through flashbacks, we learn about his seven unattractive sisters, his accidental murder of one sister's lover, his imprisonment in an insane asylum—where he rapes a patient—and his volunteering to be a soldier to escape confinement.

For her work on the film, Wertmüller became the first woman nominated for the Academy Award for Best Director. The film received three other Academy Award nominations, including one for Best Foreign Language Film. It also received a Golden Globe Award nomination for Best Foreign Film.

The production design and costume design are by Wertmüller's husband, Enrico Job.

Plot
The picaresque story follows its protagonist, Pasqualino (Giannini), a dandy and small-time hood in Naples in Fascist and World War II-era Italy.

To defend his family's honor, Pasqualino kills a pimp who had turned his sister into a prostitute. To dispose of the victim's body, he dismembers it and places the parts in suitcases. Caught by the police, he confesses to the murder, but successfully pleads insanity and is sentenced to 12 years in a psychiatric ward. Desperate to get out, he volunteers for the Italian Army. With an Italian comrade, he eventually deserts the army, but they are captured and sent to a German concentration camp.

Pasqualino attempts to survive the camp by providing sexual favors to the female commandant (Stoler). His plan succeeds, but the commandant puts Pasqualino in charge of his barracks as a kapo. He is told he must select six men from his barracks to be killed to prevent all from being killed. Pasqualino ends up executing his former Army comrade, and is responsible for the death of another fellow prisoner, a Spanish anarchist.

At the war's end, upon his return to Naples, Pasqualino discovers that his seven sisters, his fiancée, and even his mother have all survived by becoming prostitutes. Unfazed, he insists on marrying his fiancée as soon as possible.

Cast

 * Giancarlo Giannini as Pasqualino Frafuso, a.k.a. Settebellezze
 * Fernando Rey as Pedro, the anarchist prisoner
 * Shirley Stoler as the prison camp commandant
 * Elena Fiore as Concettina, a sister
 * Piero Di Iorio as Francesco, Pasqualino's comrade
 * Enzo Vitale as Don Raffaele
 * Roberto Herlitzka as socialist
 * Lucio Amelio as lawyer
 * Ermelinda De Felice as Pasqualino's mother
 * Bianca D'Origlia as the psychiatrist
 * Francesca Marciano as Carolina
 * Mario Conti as Totonno "18 Carati", Concettina's pimp

Casting
Giannini starred in three other films Wertmüller made during this period: The Seduction of Mimi (1972), Love and Anarchy (1973), and Swept Away (1974).

Filming locations
Seven Beauties was filmed on location in Naples, Campania, Italy.

Opening sequence
In the opening sequence of Seven Beauties, spoken over World War II archival footage showing the destruction of cities and men, Wertmüller defines the object of her critique—a "particular petty bourgeois social type".

Critical response
The film's subject is survival. At the time of its release, it was controversial for its graphic depiction of Nazi concentration camps. In his 1976 essay "Surviving", Bruno Bettelheim, while admiring the film's artistry, severely criticized its depiction of the experience of concentration camp survivors. Bettelheim's own views about concentration camps have likewise been critiqued.

On Rotten Tomatoes, the film has an approval rating of 67% based reviews from 21 critics, and an average rating of 8/10. In April 2019, a restored version of the film was selected to be shown in the Cannes Classics section at the 2019 Cannes Film Festival.

title: Seven Beauties


text:
Equus (play)

Equus is a 1973 play by Peter Shaffer, about a child psychiatrist who attempts to treat a young man who has a pathological religious fascination with horses.

Shaffer was inspired to write Equus when he heard of a crime involving a 17-year-old boy who blinded six horses in a small town in northern England. He set out to construct a fictional account of what might have caused the incident, without knowing any of the details of the crime, and to evoke the same "air of mystery" and "numinous" qualities as in his 1964 play The Royal Hunt of the Sun but in a more modern setting. The narrative of the play follows the attempts of Dr. Martin Dysart to understand the cause of the boy's (Alan Strang) actions while wrestling with his own sense of purpose and the nature of his work.

The original stage production ran at the National Theatre in London between 1973 and 1975, directed by John Dexter. Alec McCowen played Dysart, and Peter Firth played Alan Strang. The first Broadway production starred Anthony Hopkins as Dysart (later played by Richard Burton, Leonard Nimoy, and Anthony Perkins) and Peter Firth as Alan. When Firth left for Broadway, Dai Bradley took over the role of Alan in the London production, playing opposite Michael Jayston as Dr. Dysart. Tom Hulce later replaced Firth during the Broadway run. The Broadway production ran for 1,209 performances. Marian Seldes appeared in every single performance of the Broadway run, first in the role of Hesther and then as Dora. Shaffer would later adapt the play for a 1977 film of the same name directed by Sidney Lumet.

The narrative centers on religious and ritual sacrifice themes, as well as the manner in which Strang constructs a personal theology involving the horses and the godhead "Equus". Alan sees the horses as representative of God and confuses his adoration of his "God" with sexual attraction. Also important is Shaffer's examination of the conflict between personal values and satisfaction and societal mores, expectations, and institutions, and between Apollonian and Dionysian values and systems.

Act 1
Martin Dysart is a psychiatrist working in a psychiatric hospital. He begins with a monologue in which he outlines the case of 17-year-old Alan Strang, who has blinded six horses. He divulges his feeling that his occupation is not all that he wishes it to be and his dissatisfaction and disappointment with his life. Dysart finds that the supply of troubled young people for him to "adjust" back into "normal" living is never-ending, but he doubts the value of treating these youths, since they will simply return to a dull, normal life that lacks any commitment or "worship". He comments that while Strang's crime was extreme, just such extremity is needed to break free from the chains of existence.

A court magistrate, Hesther Saloman, visits Dysart, believing that he has the skills to help Alan come to terms with what he did. At the hospital, Dysart struggles to engage with Alan, who at first responds to questioning by singing TV advertising jingles.

Dysart reveals a dream he has had, in a Homeric Grecian setting, in which he is a public official presiding over a mass ritual sacrifice. One after another, he slices open the abdomens of hundreds of children and pulls out their entrails. He becomes disgusted with what he is doing, but fears being murdered in the same manner if discovered as a "non-believer" by the other priests, and so continues. Eventually the other priests become aware of his misgivings and grab the knife from his hand, at which point he awakens from the dream.

Dysart interviews Alan's parents. He learns that, from an early age, Alan has been receiving conflicting views on religion from his parents. Alan's mother, Dora, is a devout Christian who has read to him daily from the Bible, but this practice has antagonized Alan's father Frank, a non-believer.

Slowly, Dysart makes contact with Alan by playing a game where each of them asks a question, which must be answered honestly.

Dysart learns that Frank, concerned that Alan was taking far too much interest in the more violent aspects of the Bible, destroyed a violent picture of the crucifixion of Jesus that Alan had hung at the foot of his bed. Alan then replaced the picture with one of a horse, with large, staring eyes.

Alan reveals to Dysart that, during his youth, his attraction to horses came about by way of his mother's Biblical tales, a horse story that she had read to him, Western films, and his grandfather's interest in horses and riding. Alan's sexual education began with his mother, who told him that he could find true love and contentment by way of religious devotion and marriage. During this time, Alan also began to develop a sexual attraction to horses, desiring to pet their coats, feel their muscular bodies, and smell their sweat. Alan reveals to Dysart that he had first encountered a horse at age six, on the beach. A rider approached him, and took him up on the horse. Alan was visibly excited, but his parents found him and Frank pulled him violently off the horse; the horse rider scoffed at Frank and rode off.

Dysart hypnotizes Alan, during which he reveals elements of his dream about human sacrifice. He begins to jog Alan's memory by filling in blanks and asking questions. Alan reveals that he wants to help captive horses by removing the bit, which enslaves them.

After turning 17, Alan took a job working in a shop selling electrical goods, where he met Jill Mason, an outgoing and free-spirited young woman who works for a local stable owner. She visited the shop wanting to purchase blades for horse-clippers, which piqued Alan's interest. Jill suggested that Alan work for Harry Dalton, the owner of the stables, to which Alan agreed.

Dysart meets with Dalton, who tells him that he first held Alan to be a model worker, since he kept the stables immaculately clean and groomed the horses, including one named Nugget. Through Dysart's questioning, it becomes clear that Alan is erotically fixated on Nugget (or "Equus") and secretly takes him for midnight rides, bareback and naked. Alan envisions himself as a king astride the godhead Equus, both destroying their enemies.

Act 2
Dysart gives Alan a placebo "truth pill". Revealing a tryst with Jill, Alan begins to re-enact the event:

Jill, who has taken an interest in Alan, asks him to take her to an adult movie theater. While there, they run into Frank. Alan is traumatized, particularly when he realizes that his father is lying to justify his presence in the theatre; however, this allows Alan to realize that sex is a natural thing for all men, even his father. Alan walks Jill home after they leave and she convinces Alan to come to the stables with her.

Once there, Jill seduces Alan and the two undress and attempt to have sex. However, Alan hesitates when he hears the horses making noises in the stables beneath, and he is unable to get an erection. Jill tries to ask Alan what the problem is, but he shouts at her to leave. After Jill dresses and walks out of the stables, the still-nude Alan begs the horses for forgiveness.

"Mine!...You're mine!...I am yours and you are mine!" cries Equus through Dysart's voice, but then he becomes threatening: "The Lord thy God is a jealous God," Equus/Dysart seethes, "He sees you, he sees you forever and ever, Alan. He sees you!...He sees you!" Alan screams, "God seest!" and then says "No more. No more, Equus!" Alan then uses a steel spike to blind the six horses in the stable, whose eyes have "seen" his very soul.

In the final scene, Dysart delivers a monologue questioning the fundamentals of his practice and whether his methods will help Alan, as the effect of his treatment will make him "normal", but at the cost of his humanity.

Original Broadway production
The play opened on Broadway at the Plymouth Theatre on 24 October 1974, ending on 11 September 1976. It then opened at the Helen Hayes Theatre on 5 October 1976, ending on 2 October 1977, for a total of 1,209 performances.

Film adaptation
Shaffer adapted the play for a 1977 film starring Richard Burton, Peter Firth, Eileen Atkins, Colin Blakely, Joan Plowright, and Jenny Agutter, directed by Sidney Lumet. Unlike stage productions, where the horses are portrayed by human actors, often muscular men wearing tribal-style masks, Lumet did not believe this could adequately be done in a film version "because the reality he [Alan] was being watched he was going to create the dilemma within him."

Comparing the film to the play, English professor James M. Welsh felt using real horses in the film was understandable, but argued the outdoor scenes infringed on the "abstract theatrical design" that gave the play its creativity. Welsh also felt the explicit depiction of the blinding was "potentially repulsive" and that "much of the spirit of the play is lost as a consequence."

Revivals
The first Midwest U.S. production of Equus opened March 1978 in Lansing, Michigan, at Boarshead Theatre. Directed by John Peakes, it featured Richard Thomsen as Dysart, David Kropp as Alan, Carmen Decker as Dora, and Lisa Hodge as Jill. Local controversy over the nude scene was largely mitigated by casting a married couple as Jill and Alan. This production went on to win Boarshead Theatre's annual awards for Best Production and Best Supporting Actor (Kropp).

The Lovegrove Alley Theatre of Baltimore staged a production of Equus in 1979. The production starred a pre-Broadway Charles S. Dutton in the role of Dysart. Director Brad Mays did double duty in the role of Alan Strang. Lauren Raher played Jill Mason, and her real-life mother Rhona Raher portrayed Dora, Alan's mother.

West End producers David Pugh and Dafydd Rogers revived Equus in 2007, starring Richard Griffiths, Daniel Radcliffe, and Joanna Christie in the leading roles. The production was directed by Thea Sharrock, and opened in February 2007 at the Gielgud Theatre. The production attracted press attention since both Radcliffe and Griffiths had starred in the Harry Potter film series (as Harry Potter and Vernon Dursley, respectively). In particular, the casting of seventeen-year-old Radcliffe triggered some controversy since the role of Alan Strang required him to appear nude onstage. Radcliffe insisted that the nude scene was not "gratuitous", and that he should portray the character and the scene as called for by the script. This revival was subsequently transferred to Broadway, running at the Broadhurst Theatre through 8 February 2009. Radcliffe and Griffiths reprised their roles, and Thea Sharrock returned as director. The cast also included Kate Mulgrew, Anna Camp, Carolyn McCormick, Lorenzo Pisoni, T. Ryder Smith, Graeme Malcolm, and Sandra Shipley, with Collin Baja, Tyrone Jackson, Spencer Liff, Adesola Osakalumi, and Marc Spaulding. Radcliffe was nominated for the Drama Desk Award for Outstanding Actor in a Play.

The first illustrated edition of the play text was produced as a large-format artist's book by the Old Stile Press, with images and an afterword by the British artist Clive Hicks-Jenkins, in 2009.

City Lights Theater Company of San Jose, California revived Equus in March 2011. This production, featuring actors Sean Gilvary as Alan Strang and Steve Lambert as Martin Dysart, received rave reviews. The San Jose Mercury News labelled Gilvary and Lambert as "haunting," stating Gilvary "...exposing emotions and epidermis, rides bareback in every sense. He gradually manages to make a rather unattractive young creature seem not only sympathetic but redeemable while retaining his hostility and humanity." StarkInsider rated the production 4.5 out of 5 stars, calling Lambert "superb" and having a "pitch-perfect performance," while calling Gilvary "dazzling" and having "a preternatural ability to inhabit the very soul of his character. Like the troubled teen that he portrays, both he and Strang possess a passion for something that is an inseparable part of their personality." This production received a Standout Classic Production Award by Silicon Valley Small Theatre Awards.

Equus was revived in Houston for a limited run in July 2014 at Frenetic Theater. The production was largely funded by donations on Kickstarter and was well received by critics and audiences alike. Broadway World called the production "dark, daunting and sensual" and commending its "stellar cast". Houston Press said it was "astonishingly good... a must see" while Culturemap listed the show as one of the "hottest" of the year.

title: Equus (play)


text:
A Special Day

A Special Day (Una giornata particolare) is a 1977 period drama film directed and co-written by Ettore Scola, produced by Carlo Ponti, and starring Sophia Loren and Marcello Mastroianni. Set in Rome in 1938, its narrative follows a housewife (Loren) and her neighbor (Mastroianni) who stay home the day Adolf Hitler visits Benito Mussolini.

Themes addressed in the film include gender roles, fascism, and the persecution of homosexuals under the Mussolini regime.

An Italian-Canadian co-production, the film premiered at the 1977 Cannes Film Festival. It earned several accolades and nominations, including David di Donatello Awards for Best Director (Scola) and Best Actress (Loren), a Golden Globe for Best Foreign Language Film, and two Oscar nominations, for Best Foreign Language Film and Best Actor (Mastroianni).

In 2008, the film was included on the Italian Ministry of Cultural Heritage’s 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."

Plot
On May 4, 1938, the day Hitler visits Mussolini in Rome, Antonietta, a naïve, sentimental and overworked homemaker, stays home doing her usual domestic tasks, while her fascist husband, Emanuele, and their six spoiled children take to the streets to follow a parade. The building is empty, except for the caretaker Pauletta, and a neighbor across the complex, a charming man named Gabriele. He is a radio broadcaster who has been dismissed from his job and is about to be deported to Sardinia because of his homosexuality and alleged anti-fascist stance.

After the family's myna escapes from their apartment and flies outside Gabriele's window, Antonietta shows up at his door, asking to be let in to reach the bird. Gabriele has been interrupted from attempting suicide, but helps rescue the myna by offering it food, and is amused by the episode. Antonietta is surprised by his demeanor and, unaware of his sexual orientation, flirts and dances the rumba with him.

Despite their differences, they warm to each other. Pauletta warns Antonietta that Gabriele is an anti-fascist, which Antonietta finds despicable. Gabriele eventually opens up, confessing he was fired because he is a homosexual. Antonietta confides in him her troubles with her arrogant and unfaithful husband; who, she says, has shown a preference for an educated woman.

Throughout their interaction and conversation, each realize that the other is oppressed by social and governmental conditioning and come to form a new impression than the one they first drew from one another. As a result, they have sex, but for different reasons. Gabriele explains that this changes nothing; as does Antonietta. (However, later, when her son reminds his mother of all the newspaper clippings she will have from the parade for her album collection, Antonietta's face reveals a look of slight indifference.) Soon after their intimate encounter, Antonietta's family comes back home and Gabriele is arrested.

At the end, Antonietta sits near the window and starts reading a book Gabriele has given to her (The Three Musketeers). She watches as her lover leaves the complex, escorted by fascist policemen, before turning off the light and retiring to bed: Her husband is waiting there for her in order to beget their seventh child, whom he wants to name Adolfo.

Themes
Much of the film's themes revolve around gender roles and the model of masculinity under fascist Italy. Antonietta is the donna madre, a mother figure who meets her feminine responsibilities in the regime by having six children, boasting one more will secure her the government bonus established for large families in 1933. The Fascist regime equates homosexuality with depopulation, and thus, Gabriele is suspected of treason. The bachelor tax of 1926 was a measure against this, and Gabriele has to pay it. While the stay-at-home mother and homosexual neighbor would seem to be an improbable pairing, both are minimized by the regime, and find comfort and some sympathy in each other. At the end of the film, domestic life will continue as usual, but "inner resistance" to Fascism has been awakened.

Production
Maurizio Costanzo, Ruggero Maccari and Ettore Scola wrote the screenplay, after Maccari had learned about an incident in Fascist Italy in which homosexuals were arrested and taken to Sardinia. Particularly, the story of broadcaster Nunzio Filogamo was an inspiration to the story, as Filogamo always had to carry a certificate stating he was not homosexual.

The actors selected for the roles defied type casting, as Marcello Mastroianni was often seen in previous roles as "the prototype of the Italian Latin lover," and Sophia Loren was perceived as a sexy Italian celebrity. Along with Il bell'Antonio and I Don't Want to Talk About It, this is one of Mastroianni's roles critiquing the Italian masculine figure as the incompetent character falling behind an evolving society.

Due to the abundance of news coverage of Hitler's visit to Rome in 1938, the filmmakers had plenty of footage to write a screenplay around. The public service film The Führer's Trip to Italy was especially mined for footage. Faced with a lack of funding from Italian producers, the filmmakers persuaded investors in Canada to support the project. Canafox, a company based in Montreal, co-produced.

A number of unusual cinematic techniques are used in this film. A long take scene introduces Antonietta and her family: the camera enters through the kitchen window and moves into the rooms. Deep focus is utilized in a scene in which the camera is in Antonietta's room with her in the frame, and through a distant window Gabriele can simultaneously be seen moving in his house in the same frame. In post production cinematic color grading was applied to the film to give it muted sepia tones throughout.

Release
The film screened at the Cannes Film Festival in May 1977. It also played in New York City in September 1977.

Critical response
The film received praise from critics in Italy and throughout Europe on its release. A Special Day has an approval rating of 100% on review aggregator website Rotten Tomatoes, based on 10 reviews, and an average rating of 8/10.

Vincent Canby, writing for The New York Times, appreciated the film's humor and humanity. The New York review states that while the celebrity of Sophia Loren and Marcello Mastroianni would draw audiences in, they were too glamorous to play their characters, and thus, the film did not work.

In 2008, it was featured on the list of the 100 Italian films to be saved, chosen by a jury of film experts for preservation. In 2015, The Hollywood Reporter critic Deborah Young praised it as "one of the most telling films ever made about Italian Fascism," which "suggests a path that cuts through mass-think ideologies, one that anyone can follow with a little human solidarity and courage." Writing for the LGBT-oriented Out, Armond White said the film demonstrated empathy before falling into the mawkish, and Mastroianni was great. Mike D'Angelo of The A.V. Club gave it a B−, saying the film became more powerful through its runtime, although there is less of a story. D'Angelo felt it was positive the sex between the protagonists is not claimed to convert Gabriele to heterosexuality.

Awards and nominations
The film competed for the Palme d'Or in the 1977 Cannes Film Festival, and while its bid was supported by a few festival co-ordinators, juror Roberto Rossellini successfully lobbied for Padre Padrone instead. At the 2014 Venice Film Festival, it won the award for Best Restored Film.

Restoration
After a restoration by Cineteca Nazionale di Roma and Surf Film, the film was placed in the Venice Classics section in the 2014 Venice Film Festival.

Home media
In Region 1, The Criterion Collection released the film on Blu-ray on 13 October 2015.

Stage adaptation
An English-language stage adaptation, titled Working on a Special Day, had its U.S. Premiere in 2013 in an Off-Broadway production from Por Piedad Teatro and The Play Company. Mexican theatre artists Ana Graham and Antonio Vega co-directed and performed the roles of Antonietta and Gabriele, respectively.

title: A Special Day


text:
FreeBSD Documentation License

The FreeBSD Documentation License is the license that covers most of the documentation for the FreeBSD operating system.

License
The license is very similar to the 2-clause Simplified BSD License used by the support of FreeBSD, however, it makes the applications of "source code" and "compile" less obscure in the context of documentation. It also includes an obligatory disclaimer about IEEE and Open Group manuscript in some old-fashioned sheets.

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THIS DOCUMENTATION IS PROVIDED BY THE FREEBSD DOCUMENTATION PROJECT "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FREEBSD DOCUMENTATION PROJECT BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS DOCUMENTATION, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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title: FreeBSD Documentation License


text:
The Wiki Way

The Wiki Way: Quick Collaboration on the Web is a 2001 book about wikis by Bo Leuf and Ward Cunningham.

It was the first major book published about using wikis. Cunningham invented wikis when he wrote WikiWikiWeb, the first wiki website software.

The book is about how to manage wiki systems, followed by a perspective on the nature of wiki-style online communication.

Reception
Eugene Eric Kim wrote in Web Techniques that "Leuf and Cunningham do a good job of explaining what a Wiki is" and said "The Wiki Way is about the way we work, and that makes it a worthwhile read." David Mattison of Searcher tried the book's QuickiWiki script. Simon Worthington stated, "The Wiki Way book is a manifesto and a software manual in one, with the essentials for Wiki installation attached on CD."

title: The Wiki Way