title: Chimes at Midnight

text: Welles had previously produced a Broadway stage adaptation of nine Shakespeare plays called "Five Kings" in 1939. In 1960, he revived this project in Ireland as "Chimes at Midnight", which was his final on-stage performance. Neither of these plays was successful, but Welles considered portraying Falstaff to be his life's ambition and turned the project into a film. In order to get initial financing, Welles lied to producer Emiliano Piedra about intending to make a version of "Treasure Island", and keeping the film funded during its production was a constant struggle. Welles shot "Chimes at Midnight" throughout Spain between 1964 and 1965; it premiered at the 1966 Cannes Film Festival, winning two awards there.


title: Chimes at Midnight

text: Initially dismissed by most film critics, "Chimes at Midnight" is now regarded as one of Welles' highest achievements, and Welles himself called it his best work. Welles felt a strong connection to the character of Falstaff and called him "Shakespeare's greatest creation". Some film scholars and Welles' collaborators have made comparisons between Falstaff and Welles, while others see a resemblance between Falstaff and Welles' father. Disputes over the ownership of "Chimes at Midnight" made it difficult to view the film legally until recently. It was released in the UK on DVD and Blu-ray in 2015. A new restoration by Janus Films and The Criterion Collection was screened at the Film Forum in New York January 1–12, 2016. The Criterion Collection released the film on Blu-ray and DVD on August 30, 2016.


title: Chimes at Midnight

text: The film opens with Sir John Falstaff and Justice Shallow walking through the snow, then to a warm fire inside Justice Shallow’s home in Gloucestershire, as the two reminisce. After a main credit sequence, the narrator explains that King Henry IV of England has succeeded Richard II, whom he has killed. "Some say at the command of the Duke Henry Bolingbrooke in Pontrefact castle on February 14, 1400." Richard II's true heir, Edmund Mortimer, is a prisoner in Wales, and Mortimer's cousins (the Percys) Northumberland, Worcester, and Northumberland's son Hotspur demand that Henry rescue Mortimer. The king refuses, and thus Mortimer's cousins, the Percys, begin to plot Henry's overthrow. To wit, Northumberland, his son Henry Percy (called "Hotspur") and Worcester.


title: Chimes at Midnight

text: To Henry's great dissatisfaction, his son Prince Hal spends most of his time at the Boar's Head Tavern, drinking and carousing with prostitutes, thieves and other criminals under Falstaff's patriarchal influence. Falstaff insists that he and Hal should think of themselves as gentlemen, but Hal warns Falstaff that he will one day reject both this lifestyle and Falstaff. The next morning Hal, Falstaff, Bardolph, Peto, and Poins disguise themselves in Gadshill to prepare to rob a group of traveling pilgrims. After Falstaff, Bardolph, and Peto rob the pilgrims, Hal and Poins jump out in disguises and take the stolen treasure from Falstaff as a joke.


title: Chimes at Midnight

text: Back at the Boar's Head Tavern, Falstaff begins to tell Hal and Poins with increasing exaggeration the story of how the money was stolen from him. Hal and Poins poke holes in Falstaff's tale until they reveal their joke to the entire group. In celebration of the newly recovered stolen treasure, Falstaff and Hal take turns impersonating Henry, with a cooking pot crown and vocal impressions. Falstaff's Henry chastises Hal for spending his time with common criminals, but names Sir John Falstaff as his one virtuous friend. Hal's Henry calls Falstaff a "misleader of youth".


title: Chimes at Midnight

text: Hal visits the King at the castle and Henry scolds him for his criminal and unethical life-style. Henry warns Hal about Hotspur's growing army and its threat to his crown. Hal passionately vows to his unimpressed father that he will defend Henry and redeem his good name. The King's army, including Falstaff, parades through the streets and off to war. Before the battle, Henry meets with Worcester and offers to forgive all of Hotspur's men of treason if they surrender immediately. Hal vows to personally kill Hotspur. Worcester returns to his camp and lies to Hotspur, telling him that Henry intends to execute all traitors.


title: Chimes at Midnight

text: The two armies meet in the Battle of Shrewsbury (1403), but Falstaff hides in shrubs for most of the conflict. After a long and bloody fight, the King's men win the battle, after which Hotspur and Hal meet alone and duel; as Falstaff watches, Hal kills Hotspur. Henry sentences Worcester to death and takes his men as prisoners. Falstaff brings Hotspur's body to Henry, claiming that he killed Hotspur; Henry does not believe Falstaff, instead looking disapprovingly at Hal and the ignoble company he keeps.


title: Chimes at Midnight

text: The narrator explains that all of Henry IV's rebellious enemies had been killed by 1408, but that Henry's health has begun to deteriorate. At the castle, Henry becomes upset when told that Hal is once again spending time with Falstaff, and collapses. Hal visits the castle and discovers that Henry is sicker than he had realized. Hal vows to Henry to be a good and noble king. Henry finally has faith in Hal and advises him on how to be a king. Henry dies and Hal tells his men that he is now King Henry V.


title: Chimes at Midnight

text: Falstaff, Shallow and Silence sit in front of a warm fire, continuing from the first scene of the film. They receive news of Henry IV's death and that Hal's coronation will be held that morning. Falstaff becomes ecstatic and goes directly to the castle, thinking that he will become a great and powerful nobleman under King Henry V. At the coronation, Falstaff cannot contain his excitement and interrupts the entire ceremony, announcing himself to Hal. Hal turns his back on Falstaff and proclaims that he is now finished with his former lifestyle. As Falstaff looks up at Hal with a mixture of pride and despair, the new king banishes Falstaff. The coronation continues into the castle as Falstaff walks away, stating that he will be sent for that evening. That night, Falstaff dies at the Boar's Head Tavern, and his friends mourn him, saying that he died of a broken heart. The narrator explains that Hal went on to become a good and noble king.


title: Chimes at Midnight

text: Welles' inspiration for "Chimes at Midnight" began in 1930 when he was a student at the Todd School for Boys in Woodstock, Illinois. Welles tried to stage a three-and-a-half-hour combination of several of Shakespeare's historical plays called "The Winter of Our Discontent" in which he played Richard III. School officials forced him to make cuts to the production. "Chimes at Midnight" originated in 1939 as a stage play called "Five Kings", which Welles wrote and partially staged. It was an ambitious adaptation of several Shakespeare plays that chronicled the stories of Richard II, Henry IV, Henry V, Henry VI and Richard III. Its sources were "Richard II", "Henry IV, Part 1", "Henry IV, Part 2", "Henry V", "The Merry Wives of Windsor", "Henry VI, Part 1", "Henry VI, Part 2", "Henry VI, Part 3" and "Richard III"sometimes collectively called the "War of the Roses cycle". The grouping of "Henry IV, Part 1", "Henry IV, Part 2" and "Henry V" are often referred to as the "Henriad".


title: Chimes at Midnight

text: "Five Kings" was announced as part of the newly revived Mercury Theatre's second season in 1938. John Houseman had secured a partnership with the prestigious Theatre Guild to produce the play for , with an initial tour of Baltimore, Boston, Washington D.C. and Philadelphia before debuting on Broadway. Welles' intended to stage only the first part of the playwhich was primarily taken from "Henry IV Parts 1 and 2" and "Henry V"during the tour while simultaneously rehearsing Part Two and finally debuting the full production on Broadway. Houseman stated that the play's aim was "to combine the immediate quality of the Elizabethan with all the devices and techniques possible in the modern theatre." The cast included Welles as Falstaff, Burgess Meredith as Prince Hal, John Emery as Hotspur, Morris Ankrum as Henry IV and Robert Speaight as the Narrator. The play's music was composed by Aaron Copland. Welles commissioned an elaborate revolving set to be built, but it was not completed during the five weeks allotted to rehearsals.


title: Chimes at Midnight

text: Welles avoided attending the rehearsals or finishing the play's final script and instead often went out drinking and socializing with co-star Meredith, with the result that only specific scenes or fragments of the play were ever rehearsed. The Baltimore performance was eventually dropped and at the first dress rehearsal in Boston, it was discovered that the play was over five and a half hours long and contained 46 scenes. Welles cut 14 scenes and shortened others, which caused the built-in timer for the revolving set to move out of synchronization. "Five Kings, Part 1" premiered at the Colonial Theatre in Boston on February 27, 1939, and was a disaster. Critics were either scathing or apologetic, and only the play's battle scenes received praise. By the end of the Boston run, the Theatre Guild was on the verge of dropping the production, and canceled the D.C. engagement. Welles then edited the show to three and a half hours. The play closed after only a few performances in Philadelphia, and the Theatre Guild terminated its contract with the Mercury Theater. Photographs of the play's rehearsals show similarities to "Chimes at Midnight", including the Boar's Head Tavern set and the character blocking of the "chimes at midnight" scene with Falstaff, Shallow and Silence.


title: Chimes at Midnight

text: Welles returned to the project in 1960, with performances in Belfast and Dublin. This version, now retitled "Chimes at Midnight", was produced by Welles' old friend Hilton Edwards through his Dublin-based company Gate Theatre. The cast included Welles as Falstaff, Keith Baxter as Prince Hal, Hilton Edwards as the Narrator, Reginald Jarman as Henry IV and Alexis Kanner as Hotspur. At one point, Welles and Edwards wanted Micheál Mac Liammóir to replace Jarman as Henry IV, but Mac Liammóir would only accept the role of Prince Hal. Hilton Edwards was officially credited as director, but Welles is usually acknowledged as the actual director and was often the director throughout rehearsals. Welles' alleged biological son Michael Lindsay-Hogg also worked on the play as an actor and as Edwards's personal assistant. Welles' opinion of Falstaff had intensified since first playing the part, and his new version of the play focused more upon the relationship between Falstaff and Prince Hal than on the historical story of Hal's defeat of Hotspur. Most of the scenes from "Henry V" used in the first version before were removed. Welles intended to perform the play in Belfast, Dublin and London before filming it in Yugoslavia.


title: Chimes at Midnight

text: Rehearsals for the play began in Russell Square, London, with a read-through. After a week of rehearsing, Welles left to secure further funding and Edwards directed the play, working on blocking and lighting. Welles returned a week before the premiere without having learned a line. The cast had their technical rehearsal the night before opening. which lasted until 8 a.m. the next morning. They never had a dress rehearsal or even a run-through and had never seen Welles without the book or in costume. After premiering at the Grand Opera House in Belfast on February 13, 1960, and receiving a good review from a "Variety" correspondent, it moved to the Gaiety Theatre in Dublin. For two nights Orson did a one-man show, starting with readings of J.M Synge, Riders to the Sea, "Moby Dick" and the works of Isak Dinesen. The 2nd half was a TV show with questions from the audience. Afterwards it was revealed that the TV cameras were fake, just to attract an audience. Welles continued to adjust the play throughout its short production, and at one point moved Mistress Quickly's speech about Falstaff's death to the very beginning of the play. Welles finally abandoned the entire project in late March 1960, when his friend Laurence Olivier offered him the chance to direct him in Eugène Ionesco's play "Rhinoceros" on London's West End. According to Keith Baxter, Welles ended the play's run because he was bored with it, and at one point told Baxter "This is only a rehearsal for the movie, Keith, and I'll never make it unless you play Hal in that too." Five years later, Baxter and Welles' youngest daughter, Beatrice Welles, who played Falstaff's page, were the only cast members from the play to appear in the film. "Chimes at Midnight" was Welles' final performance in a theatrical play.


title: Chimes at Midnight

text: In 1964, Welles met and befriended Spanish film producer Emiliano Piedra, who wanted to work with him. Piedra did not think a Shakespearian film was marketable enough and proposed that Welles make a version of "Treasure Island" instead. Welles agreed to this on condition that he could simultaneously make "Chimes at Midnight", and Piedra agreed not knowing that Welles had no intention of making "Treasure Island". Although some B-roll footage of the Alicante departing from port was shot early in the production, no scenes from "Treasure Island" were ever shot or even scripted. Welles got away with this trick throughout preproduction by building sets that could be used in both films, such as Mistress Quickly's Boar's Head Tavern, which would double as the Admiral Benbow Inn. Welles also cast each actor in both films, casting himself as Long John Silver, Baxter as Dr. Livesey, Beckley as Israel Hands and Gielgud as Squire Trelawney. Ironically, Welles would eventually play Long John Silver in the unrelated 1972 film version of "Treasure Island".


title: Chimes at Midnight

text: Welles said that the Boar's Head Tavern was the only full set built for the film, and the other sets were simply dressed or decorated on location. Welles stated that he designed, painted and blow-torched the set, and designed all of the film's costumes. Early in pre-production Welles was approached by Anthony Perkins to play Prince Hal, but Welles had already promised the role to Keith Baxter. Hilton Edwards was initially cast as Justice Silence, but was replaced after he became ill. The title "Chimes at Midnight" derives from "Henry IV, Part 2", where in response to Justice Shallow's reminiscing of their long-past school days, Falstaff states: "We have heard the chimes at midnight, Master Shallow". Welles scholar Bridget Gellert Lyons said that the film's title, "which is given further resonance by the repeated intoning of bells throughout the film, is associated for the audience with sadness and mortality more than youthful carousal."


title: Chimes at Midnight

text: The film was shot in Spain from September 1964 until April 1965, with a break in filming from late December until late February. Welles' limitations on the film included a budget of $800,000 and actors Jeanne Moreau and John Gielgud being available for five and ten days respectively, while Margaret Rutherford was available for only four weeks. Welles later joked that during one scene that included seven principal characters, none of the actors was available and stand-ins were used for over-the-shoulder shots of all seven characters. Filming began in Colmenar and included all of John Gielgud's scenes. Welles then traveled to Cardona, where the Royal Court scenes and Marina Vlady's scenes were shot, and to Madrid's Casa de Campo Park, where the Gadshill robbery scene was filmed. Madrid was also the location of the Boar's Head Tavern set, where Welles shot Moreau's and Rutherford's scenes. The production then traveled to Pedraza for some outdoor street scenes, and then to Soria to shoot in the snow for the opening shots. After shooting some scenes with Justice Shallow and Justice Silence in the Basque country, Welles returned to Madrid in December to film the battle scenes in Casa de Campo Park for ten days.


title: Chimes at Midnight

text: The exploitation filmmaker Jesús "Jess" Franco worked as an assistant director for the film. He is not listed in the credits because he and Orson Welles had a falling out.


title: Chimes at Midnight

text: By late December, Welles had run out of money and the film was put on hold while he searched for additional funding. However, some small scenes were shot during the break. Welles later said that he had rejected offers for funding that were conditional upon filming in color. Welles eventually secured funding from Harry Saltzman and production officially resumed in late February with most of Keith Baxter's longer speeches and the Coronation scene in Madrid. Between March and April, Welles finished the film with filler shots, close-ups, the final rejection scene and most of Falstaff's speeches. According to Keith Baxter, Welles had stage fright and delayed all of his scenes until the very end of filming, except for scenes that included other actors. Welles was timid about shooting his love scene with Moreau, and used a double whenever possible. Other filming locations included the Chateau Calatañazor, Puerta de San Vincente, the Soria Cathedral and the city of Ávila. Welles was harsh with his crew members and according to actor Andrew Faulds, "he spoke in five different languages to them and was pretty offensivevery demanding. I suppose he'd worked out that if you bullied actors, you didn't get the best from them whereas, to hell with the technicians. They had to do as they were told, and pretty quick." A scene depicting the assassination of King Richard II, originally intended to open the film, was cut.


title: Chimes at Midnight

text: Keith Baxter said that the film's soundtrack was post-dubbed months after filming was completed, and that actors Fernando Rey and Marina Vlady were dubbed by different actors because of their heavy accents. Baxter also stated that he, Welles and Michael Aldridge recorded voices for several characters in post-production. Mistress Quickly's speech after Falstaff's death, which was disrupted by the audible hum of a power generator, used the original version of the soundtrack because Welles liked Margaret Rutherford's performance enough to keep it. The score was composed by Angelo Francesco Lavagnino, who had worked with Welles on "Othello"; it is notable for its prominent use of actual medieval monophonic dance tunes (and some later “early music,” such as several of Antony Holborne's Elizabethan consort pieces) at a time when this was anything but common. The score was recorded in an Italian studio, which paid Lavagnino for his work on the film in exchange for the rights to the music, and later released a soundtrack album in Italy and the UK. During the editing, Welles showed a rough cut to the visiting head of the Cannes Film Festival, who immediately wanted to include the film in the festival, and Welles had to finish the editing more quickly than he preferred.


title: Chimes at Midnight

text: Welles had originally wanted the entire film to use high-contrast cinematography, resembling engravings of the Middle Ages; only the opening title sequence uses this technique. The film's most famous sequence is the Battle of Shrewsbury; only about 180 extras were available and Welles used editing techniques to give the appearance of armies of thousands. Welles filmed all of the battle scenes in long takes, but cut the shots into fragments to create the effect that he wanted. It took ten days to shoot the scenes and six weeks to edit what became a six-minute sequence. In filming the sequence, Welles often used hand-held cameras, wide-angle lenses, slow motion and speed up shots, static shots, swish pans and constant rapid movement of the characters to create a kinetic and chaotic atmosphere. Anderegg has said that "in the end, both armies have become one huge, awkward, disintegrating war machine, a grotesque robot whose power source slowly begins to fail and finally comes to a frozen halt. Verbal rhetoric—language itself—seems, for the moment, both irrelevant and obscene."


title: Chimes at Midnight

text: The Battle of Shrewsbury sequence has often been called an anti-war statement by film critics and likened to contemporary films like "Dr. Strangelove" and "Culloden". Shakespearean scholar Daniel Seltzer said that "the social consciousness of the movie is as alert as Shakespeare's, and thematically pertinent in Shakespearean terms too ... the footage of the Battle of Shrewsbury itself must be some of the finest, truest, ugliest scenes of warfare ever shot and edited for a movie." Welles scholar James Naremore said that "the underlying eroticism of the chivalric code ... is exposed in all its cruel perversity." Tony Howard wrote that Welles used Shakespeare's historical plays "to denounce modern political hypocrisy and militarism."


title: Chimes at Midnight

text: Due to budgetary constraints, both the on-set and post-production sound was poorly recorded. Anderegg wrote that this, in combination with Welles' fast-paced camera movements and editing, makes the Shakespearean dialogue more difficult to understand. Many scenes are shot in long takes or with character's backs facing the camera, most likely for practical purposes when actors were not present, creating more sound problems. "In effect," Anderegg writes, "Welles generates a constant tension between what we see and what we hear, a tension that points to the ambiguous status of language in its relation to action." During the Battle of Shrewsbury sequence, Welles used a complex and layered soundtrack that included the sounds of swords and armor clanking, soldiers grunting and screaming, bones breaking, boots in the mud and the film's musical score to add to the chaos of the scene.


title: Chimes at Midnight

text: Welles' adaptation of five Shakespeare plays was not a chronological transcription of the original texts. Shakespearean scholar Kenneth S. Rothwell said that Welles "goes beyond mere tinkering with Shakespeare's scenes; [he] massively reworks, transposes, revises and deletes, indeed reconstructs them." These changes included taking lines of dialogue from one play and inserting them into scenes from another. Specific changes include a scene near the end of the film in which Hal pardons an imprisoned street rabble-rouser just before his expedition to invade France; Welles slightly altered this scene from "Henry V", Act 2, Scene 2. In the film it is stated that this man is Falstaff, and that the incident he is pardoning is Falstaff's disturbance of Hal's coronation. Although both the pardoned prisoner and Falstaff are said to drink wine, Shakespeare does not imply that the pardoned prisoner is Falstaff. In both "Chimes at Midnight" and in "Henry V", this scene is followed by Falstaff's death. The film contains no true soliloquies, since characters are never alone and do not speak directly to the audience during their speeches. Henry IV is usually shown standing or sitting with very little action involvedthis, says Anderegg, makes it appear that he speaks only to himself even when others are present. Gielgud was known for his classical interpretation of Shakespeare, and his performance consists almost entirely of words, which are unable to defeat either Northumberland's rebels or Hal's wild behavior. Throughout the film, Falstaff, Hal, and Hotspur imitate Gielgud, mocking the words of Henry IV.


title: Chimes at Midnight

text: "Chimes at Midnight" premiered to a positive audience reception at the 1966 Cannes Film Festival. However, after "New York Times" critic Bosley Crowther's unfavorable advance review, American distributor Harry Saltzman decided to give the film little publicity and minimal distribution when it was released in the U.S. the next year. Critical reception on its first release was mostly negative; the film was not regarded as one of Welles' best until years later. Crowther criticized the film's poor audio track and called it "a confusing patchwork of scenes and characters ... designed to give major exposure to Jack Falstaff." Welles' performance, he said, was "a dissolute, bumbling street-corner Santa Claus." Penelope Houston called it "a film which seems to turn its back on brilliance." A "Time" review also criticized Welles, stating that "[he] is probably the first actor in the history of the theater to appear too fat for the role ... he takes command of scenes less with spoken English than with body English", but that he is "never entirely bad."


title: Chimes at Midnight

text: Judith Crist praised the film as "stark, simple, concentrating on word and performance, serv[ing] as a reminder of where the substance of the play lies." Pauline Kael also criticized the poor sound, but gave a favorable review overall, singling out the film's casting and calling Welles' performance "very rich, very full." She said the Battle of Shrewsbury sequence was "unlike any battle scene done on the screen before." "Cahiers du Cinéma" critic Serge Daney also praised both the film and Welles' ability to make great films on the subject of power. Welles was disappointed with the film's reception, complaining that "almost nobody has seen it in America, and that drives me nuts."


title: Chimes at Midnight

text: Welles held "Chimes at Midnight" in high regard. "It's my favorite picture, yes," he told interviewer Leslie Megahey in a 1982 interview for "BBC Arena":


title: Chimes at Midnight

text: If I wanted to get into heaven on the basis of one movie, that's the one I would offer up. I think it's because it is to me the least flawed; let me put it that way. It is the most successful for what I tried to do. I succeeded more completely in my view with that than with anything else.


title: Chimes at Midnight

text: He also considered it to be his most personal film, along with "The Magnificent Ambersons". Many critics, including Peter Bogdanovich and Jonathan Rosenbaum, also consider "Chimes at Midnight" to be Welles' finest work. Several years after its initial release, film critic Vincent Canby of "The New York Times" wrote that "Chimes at Midnight" "may be the greatest Shakespearean film ever made, bar none." Joseph McBride has called it "Welles' masterpiece, the fullest, most completely realized expression of everything he had been working towards since "Citizen Kane"." In 2006, Roger Ebert praised the film as "a magnificent film, clearly among Welles' greatest work."


title: Chimes at Midnight

text: The Battle of Shrewsbury sequence has been particularly admired, and inspired later movies, including "Braveheart" and "Saving Private Ryan". Film critics have compared it to the Odessa Steps sequence in "Battleship Potemkin" and the Battle on the Ice sequence in "Alexander Nevsky", both directed by Sergei Eisenstein. Kenneth Branagh's "Henry V" used Welles' Battle of Shrewsbury sequence as an inspiration for the Battle of Agincourt, and depicted Prince Hal's rejection of Falstaff in a way that was more influenced by "Chimes at Midnight" than from more traditional interpretations of the scene. In 1988, director Patrick Garland staged a version of "Chimes at Midnight" starring Simon Callow as Falstaff at the Chichester Festival Theatre. Michael Anderegg said that "Chimes at Midnight"s use of wide angle lenses, low-key lighting and costumes, and its focus on the relationship between Falstaff and Prince Hal influenced "My Own Private Idaho"Gus Van Sant's 1991 loose adaptation of "Henry IV Parts 1 and 2".


title: Chimes at Midnight

text: In 2011, Bonham's Auction House sold a large archive of Welles' material that had once belonged to the film's executive producer Alessandro Tasca di Cuto. Most of the material was from "Chimes at Midnight", and included Welles' original art-work, photographs and memoranda. This collection was later donated to the University of Michigan for scholarly study.


title: Chimes at Midnight

text: In 2012, for the British Film Institute's "Sight and Sound" poll, 11 film critics and two directors voted "Chimes at Midnight" one of the 10 greatest films of all time, including McBride and Todd McCarthy.


title: Chimes at Midnight

text: Spanish writer and director of the Film Library of Catalonia Esteve Riambau published a book about the film called "The Things We've Seen: Welles and Falstaff" in 2015.


title: Chimes at Midnight

text: At the 1966 Cannes Film Festival, "Chimes at Midnight" was screened in competition for the Palme d'Or and won the 20th Anniversary Prize and the Technical Grand Prize. Welles was nominated for a BAFTA award for Best Foreign Actor in 1968 In Spain, the film won the Citizens Writers Circle Award for Best Film in 1966.


title: Chimes at Midnight

text: Because of legal disputes over the rights, "Chimes at Midnight" has been released only twice on VHS video in the United States, neither of which is currently available. Harry Saltzman's widow Adriana Saltzman, the families of producers Emiliano Piedra and Angel Escolano and the estate of Orson Wellesmaintained by Beatrice Welles among others have all claimed ownership of the film. For many years the only available source was a region-free DVD from Brazil. Mr Bongo Records screened a restored version in the UK at Picturehouse Cinemas on August 1, 2011. In February 2015, the film was screened at the Sedona International Film Festival. Beatrice Welles attended and announced that "a major DVD/Blu-ray label is interested in restoring and releasing "Chimes at Midnight"." The pristine 35mm print was discovered by Distribpix Inc., who said it was "in such great condition that it is begging for a full 4k scan restoration."


title: Chimes at Midnight

text: Janus Films released a restored version of the film on D.C.P. that premiered on January 1, 2016, at Film Forum in New York City January 1–12, 2016 and Cinefamily in Los Angeles. This restored version is not derived from the Distribpix print. Peter Becker, Criterion's president, said that the release is the product of more than 20 years of effort: "There is no film we have waited longer for or worked harder to free up, and none we are prouder to present", he said. Criterion released this restoration on DVD and Blu-ray on August 30, 2016.


title: Chimes at Midnight

text: Welles considered Falstaff to be "Shakespeare's greatest creation" and said that the role was "the most difficult part I ever played in my life." Keith Baxter believed that making the film was Welles' life's ambition. Before the 1939 Boston premiere of "Five Kings", Welles told journalists "I will play him as a tragic figure. I hope, of course, he will be funny to the audience, just as he was funny to those around him. But his humor and wit were aroused merely by the fact that he wanted to please the prince. Falstaff, however, had the potential of greatness in him." Reviews for the 1939 play mention Welles' choice to downplay the traditional comedic elements of Falstaff in his performance. This reverence for the character increased over the years and by the time Welles made "Chimes at Midnight", his focus was entirely on the relationships between Falstaff, Hal and Henry IV. He believed that the core of the story was "the betrayal of friendship." Welles called Hal's rejection of Falstaff "one of the greatest scenes ever written, so the movie is really a preparation for it. Everything prepares for it." Throughout the film, Hal repeatedly turns his back on Falstaff, foreshadowing the film's ending.


title: Chimes at Midnight

text: Welles said, "the film was not intended as a lament for Falstaff, but for the death of Merrie England. Merrie England as a conception, a myth which has been very real to the English-speaking world, and is to some extent expressed in other countries of the Medieval epoch: the age of chivalry, of simplicity, of Maytime and all that. It is more than Falstaff who is dying. It's the old England dying and betrayed." Many film theorists and Welles biographers have written about the recurrent theme of the "Lost Eden" in Welles' work and of characters who are nostalgic for an idealized past, which Welles called "the central theme in Western culture." Welles told Peter Bogdanovich that "even if the good old days never existed, the fact that we can conceive of such a world is, in fact, an affirmation of the human spirit." Film scholar Beverle Houston argued that this nostalgia made Welles' depiction of Falstaff infantile and called his performance a "[p]ower baby ... an eating, sucking, foetus-like creature." Welles also called Falstaff "the greatest conception of a good man, the most completely good man, in all of drama", and said that "the closer I thought I was getting to Falstaff the less funny he seemed to me. When I played him before in the theater, he seemed more witty than comical. And in bringing him to the screen, I found him only occasionally, and only "deliberately", a clown."


title: Chimes at Midnight

text: Keith Baxter compared Welles to Falstaff, since they were both perpetually short of money, often lied and cheated people to get what they needed and were always merry and fun loving. Film scholar Jack Jorgens also compared Welles to Falstaff, stating that "to a man who directed and starred in a masterpiece and has since staggered through three decades of underfinanced, hurried, flawed films, scores of bit parts, narrations, and interviews which debased his talent, dozens of projects which died for want of persistence and financing, the story of a fat, aging jester exiled from his audience and no longer able to triumph over impossible obstacles with wit and torrential imagination might well seem tragic." When Joss Ackland played Falstaff on the stage in 1982, he said that he was more inspired by Welles than by Welles' performance as Falstaff, stating that "like Falstaff, I believe he could have achieved so much, but it was frittered away." Kenneth S. Rothwell has called Hal's rejection of Falstaff allegorical to Hollywood's rejection of Welles. Welles had become deeply depressed in the late 1950s after the disappointment of making "Touch of Evil", his intended Hollywood come-back.


title: Chimes at Midnight

text: Welles' biographer Simon Callow has compared Falstaff to Welles' father Richard Head Welles, stating that like Falstaff, Welles' father was "a drunkard, a trickster, a braggart, a womanizer, a gentleman and a charmerand he is rejected by the person he loves the most." Welles' father was an alcoholic and womanizer who would often take a teenage Welles along with him when he was indulging in his vices. Welles observed his father much like Falstaff is observed by Hal and depends on his young protégé to bail him out of trouble. The love triangle between Prince Hal and his two father figures, Henry IV and Falstaff, is also similar to Welles' relationships with his father and the two men who became surrogate fathers to him: family friend Dr. Maurice Bernstein and Todd School for Boys headmaster Roger Hill. Both of Welles' surrogate fathers disapproved of Richard Welles' life-style and negative influence on Welles. When the younger Welles turned fifteen, he took the advice of Roger Hill and told his father that he would not see him again until he cleaned up his act and stopped drinking; Welles' father died shortly afterwards, alone and lonely, and Welles always blamed himself for his father's death, stating, "I always "thought" I killed him."


title: Chimes at Midnight

text: Welles' alleged biological son Michael Lindsay-Hogg, who was born out of wedlock to Welles and actress Geraldine Fitzgerald, first met Welles when he was 15 and later worked on the 1960 stage play "Chimes at Midnight". This was the only significant amount of time that the two spent together and afterwards Lindsay-Hogg only saw Welles sporadically. Like Welles, Lindsay-Hogg had two surrogate fathers in addition to his biological father. In the late 1950s when she was sixteen years old, Welles' eldest daughter Christopher Welles Feder cut off all ties with Welles under pressure from her mother, who disapproved of Welles' influence on her. Welles and Feder later reconnected but their relationship never fully recovered. Welles' youngest daughter Beatrice, who resembled her father as a young boy, appears in the film version of "Chimes at Midnight".


title: Giulietta Masina

text: Giulia Anna "Giulietta" Masina (22 February 1921 – 23 March 1994) was an Italian film actress best known for her performances as Gelsomina in "La Strada" (1954) and Cabiria in "Nights of Cabiria" (1957), for which she won the Cannes Film Festival Award for Best Actress at the 1957 Cannes Film Festival.


title: Giulietta Masina

text: Cinema historian Peter Bondanella described Masina's work as "masterful" and "unforgettable," and Charlie Chaplin, with whose work Masina's is often compared, called her "the actress who moved him most."


title: Giulietta Masina

text: Both "La Strada" and "Nights of Cabiria" won Academy Awards for Best Foreign Language Film and were described as having been "inspired" by Masina's "humanity."


title: Giulietta Masina

text: Giulia Anna Masina, the eldest of four children, was born in San Giorgio di Piano, near Bologna. Her father was a violinist and her mother was a schoolteacher. When Masina was four, her uncle took her to meet the Italian playwright Luigi Pirandello, who was later to win the Nobel Prize in literature. A few years later, when this uncle died, his widow, Masina's aunt, asked Masina's parents if they would allow her to come to Rome to stay with her. Masina's parents agreed, in part because they believed that in Rome Masina would have more success in the arts for which she was already demonstrating a unique talent.


title: Giulietta Masina

text: Masina attended an Ursuline convent school and took lessons in voice, piano, and dance. Her first experiences acting took place during World War II as part of the theater section of Rome's , a state-sponsored but university-student-led arts organization. She graduated with a degree in Literature from Sapienza University of Rome. She found work as a voice actress in radio during the war, which earned her more money and attention than stage acting. It was as a radio artist that Masina met Federico Fellini, a radio scriptwriter. They married in 1943, and a few months later, Masina suffered a miscarriage after falling down a flight of stairs. In 1944, she became pregnant again; Pierfederico (nicknamed "Federichino") was born on 22 March 1945 but died from encephalitis 11 days later. Masina and Fellini had no other children.


title: Giulietta Masina

text: Working together with her husband, Masina made the transition to on-screen acting. Half of her Italian films, the more successful projects, were either written or directed by her husband. Masina made her film debut in an uncredited role in Rossellini's "Paisà" (1946), Fellini being one of the credited screenwriters. She received her first screen credit in Lattuada's "Without Pity" ("Senza pietà", 1948), which was an adaptation co-written by Fellini, and played opposite John Kitzmiller.


title: Giulietta Masina

text: She starred with Anthony Quinn in Fellini's "La Strada" (1954), playing the abused stooge of Quinn's travelling circus strongman. She won the Best Actress Award at the Cannes Film Festival for her portrayal of the title role in Fellini's "Nights of Cabiria" (1957). She played a prostitute who endures life's tragedies and disappointments with both innocence and resilience of biblical proportions. The movie received the Academy Award for Best Foreign-Language Film. In a 1998 "New York Times" review, Janet Maslin wrote that there is more "grace and courage" in Masina's performance than "all the fire-breathing blockbusters Hollywood has to offer."


title: Giulietta Masina

text: Masina's career was damaged by the critical and box office failure of "The High Life" (1960) directed by Julien Duvivier. Subsequently, she became dedicated almost entirely to her personal life and marriage. Nonetheless, she again worked with Fellini in "Juliet of the Spirits" (1965), which earned both the New York Film Critics award (1965) and the Golden Globe award (1966) for Best Foreign Language Film. Roger Ebert stated that "Fellini lore has it that the master made "Juliet Of The Spirits" as a gift to his wife."


title: Giulietta Masina

text: Masina performed in "The Madwoman of Chaillot" (1969), her first film in English, which also starred Katharine Hepburn. After almost two decades, during which she worked sporadically only in television, Masina appeared in Fellini's "Ginger and Fred" (1986) with Marcello Mastroianni in which the leads play Italian impersonators of Fred Astaire and Ginger Rogers reuniting for a television special. She then rejected outside offers to attend to her husband's precarious health. Her last film was Jean-Louis Bertucelli's "A Day to Remember" (1991). In the late 1960s, Masina hosted a popular radio show, "Lettere aperte", in which she addressed correspondence from her listeners. The letters were eventually published in a book. From the 1970s on, she appeared on television. Two performances, in "Eleonora" (1973) and "Camilla" (1976), respectively, were particularly acclaimed.


title: Giulietta Masina

text: Masina died from cancer on 23 March 1994 at age 73, five months after her husband's death on 31 October 1993. For her funeral, she requested that trumpeter Mauro Maur play "La Strada" by Nino Rota, a poignant leitmotif from the film. She and Fellini are buried together at Rimini cemetery in a tomb marked by a prow-shaped monument, the work of sculptor Arnaldo Pomodoro.


title: Pebble

text: A pebble is a clast of rock with a particle size of based on the Udden-Wentworth scale of sedimentology. Pebbles are generally considered larger than granules ( in diameter) and smaller than cobbles ( in diameter). A rock made predominantly of pebbles is termed a conglomerate. Pebble tools are among the earliest known man-made artifacts, dating from the Palaeolithic period of human history.


title: Pebble

text: A beach composed chiefly of surface pebbles is commonly termed a shingle beach. This type of beach has armoring characteristics with respect to wave erosion, as well as ecological niches that provide habitat for animals and plants.


title: Pebble

text: Inshore banks of shingle (large quantities of pebbles) exist in some locations, such as the entrance to the River Ore, England, where the moving banks of shingle give notable navigational challenges.


title: Pebble

text: Pebbles come in various colors and textures and can have streaks, known as veins, of quartz or other minerals. Pebbles are mostly smooth but, dependent on how frequently they come in contact with the sea, they can have marks of contact with other rocks or other pebbles. Pebbles left above the high water mark may have growths of organisms such as lichen on them, signifying the lack of contact with seawater.


title: Pebble

text: Pebbles on Earth exist in two types of locations – on the beaches of various oceans and seas, and inland where ancient seas used to cover the land. Then, when the seas retreated, the rocks became landlocked. Here, they entered lakes and ponds, and form in rivers, travelling into estuaries where the smoothing continues in the sea.


title: Pebble

text: Beach pebbles and river pebbles (also known as river rock) are distinct in their geological formation and appearance.


title: Pebble

text: Beach pebbles form gradually over time as the ocean water washes over loose rock particles. The result is a smooth, rounded appearance. The typical size range is from 2 mm to 50 mm. The colors range from translucent white to black, and include shades of yellow, brown, red and green. Some of the more plentiful pebble beaches are along the coast of the Pacific Ocean, beginning in Canada and extending down to the tip of South America in Argentina. Other pebble beaches are in northern Europe (particularly on the beaches of the Norwegian Sea), along the coast of the U.K. and Ireland, on the shores of Australia, and around the islands of Indonesia and Japan.


title: Pebble

text: Inland pebbles (river pebbles of river rock) are usually found along the shores of large rivers and lakes. These pebbles form as the flowing water washes over rock particles on the bottom and along the shores of the river. The smoothness and color of river pebbles depends on several factors, such as the composition of the soil of the river banks, the chemical characteristics of the water, and the speed of the current. Because river current is gentler than the ocean waves, river pebbles are usually not as smooth as beach pebbles. The most common colors of river rock are black, grey, green, brown and white.


title: Pebble

text: Beach pebbles and river pebbles are used for a variety of purposes, both outdoors and indoors. They can be sorted by colour and size, and they can also be polished to improve the texture and colour. Outdoors, beach pebbles are often used for landscaping, construction and as decorative elements. Beach pebbles are often used to cover walkways and driveways, around pools, in and around plant containers, on patios and decks. Beach and river pebbles are also used to create water-smart gardens in areas where water is scarce. Small pebbles are also used to create living spaces and gardens on the rooftops of buildings. Indoors, pebbles can be used as bookends and paperweights. Large pebbles are also used to create "pet rocks" for children.


title: Pebble

text: On Mars, slabs of pebbly conglomerate rock have been found and have been interpreted by scientists as having formed in an ancient streambed. The gravels, which were discovered by NASA's Mars rover Curiosity, range from the size of sand particles to the size of golf balls. Analysis has shown that the pebbles were deposited by a stream that flowed at walking pace and was ankle- to hip-deep.


title: Mercedes-Benz 7G-Tronic transmission

text: 7G-Tronic is Mercedes-Benz's trademark name for its seven-speed automatic transmission, starting off with the W7A 700 and W7A 400 (Wandler-7-Gang-Automatik bis 700 oder 400 Nm Eingangsdrehmoment; converter-7-gear-automatic with 516 or 295 ft·lb maximum input torque; type 722.9) as core models.


title: Mercedes-Benz 7G-Tronic transmission

text: This fifth-generation transmission was the first seven-speed automatic transmission ever used on a production passenger vehicle. In all applications this transmission is identified as the New Automatic Gearbox Generation Two, or NAG2. It initially debuted in Autumn 2003 on five different eight-cylinder models: the E500, S 430, S 500, CL 500, and SL 500. It also soon became available on many six-cylinder models. Turbocharged V12 engines, four cylinder applications and commercial vehicles continued to use the older Mercedes-Benz 5G-Tronic transmission for many years.


title: Mercedes-Benz 7G-Tronic transmission

text: The company claims that the 7G-Tronic is more fuel efficient and has shorter acceleration times and quicker intermediate sprints than the outgoing 5-speed automatic transmission. It has two overdrive ratios.


title: Mercedes-Benz 7G-Tronic transmission

text: The transmission can skip gears when downshifting. It also has a torque converter lock-up on all seven gears, allowing better transmission of torque for improved acceleration. The transmission's casing is made of magnesium alloy, a first for the industry, to save weight. The 7G-Tronic transmission is built at the Mercedes-Benz Stuttgart-Untertuerkheim plant in Germany, the site of Daimler-Benz's original production facility.


title: Mercedes-Benz 7G-Tronic transmission

text: About 65 percent of Mercedes-Benz C-Class sedans, wagons, and sport coupes are purchased with automatic transmissions (with that figure rising). However, about 88 percent of Mercedes-Benz E-Class sedans and wagons are purchased with automatic transmissions, and automatic transmissions are standard on the Mercedes-Benz S-Class.


title: Mercedes-Benz 7G-Tronic transmission

text: The transmission is currently available on the SsangYong's vehicles like Rexton, and Korando Turismo (in South Korea)/Turismo (in UK). In July 2009, Mercedes-Benz announced they are working on a new nine-speed automatic.


title: Mercedes-Benz 7G-Tronic transmission

text: Progress is reflected in 7 forward gears out of 11 main components, compared to 5 forward gears out of 9 main components. This turns out the design as advanced compared to its predecessor but less economical compared to its competitors. It uses no bands nor sprag clutches. It is fully electronic controlled. Torque converter lock-up can operate in all 7 forward gears.


title: Mercedes-Benz 7G-Tronic transmission

text: In normal condition it sequentially shift gears, but if required it can skip some gears, that are: 7 to 5, 6 to 2, 5 to 3 and 3 to 1.


title: Mercedes-Benz 7G-Tronic transmission

text: For 6 or 8 cylinder gasoline engines and if sport mode is not selected, transmission will start in 2nd gear. Also, if it is an offroad vehicle, if low range is selected, it will start in 2nd gear too.


title: Mercedes-Benz 7G-Tronic transmission

text: If emergency mode is activated, like when an electric fault or another critical fault occurs, the 6th gear is selected by default (all solenoids off).


title: Mercedes-Benz 7G-Tronic transmission

text: The TCT transmission is essentially the 7G-Tronic automatic transmission including "Torque Converter Technology".


title: Mercedes-Benz 7G-Tronic transmission

text: Sporty, performance-oriented version with the same gear ratios. First used in 2005 Mercedes-Benz SLK 55 AMG.


title: Mercedes-Benz 7G-Tronic transmission

text: The MCT transmission is essentially the 7G-Tronic automatic transmission without a torque converter. Instead of a torque converter, it uses a compact wet startup clutch to launch the car from a stop and also supports computer-controlled double-clutching. The MCT (Multi-Clutch Technology) acronym refers to a planetary (automatic) transmission's multiple clutches and bands for each gear.


title: Mercedes-Benz 7G-Tronic transmission

text: The MCT is fitted with four drive modes: “C” (Comfort), “S” (Sport), “S+” (Sport plus) and “M” (Manual) and boasts 100 millisecond shifts in "M" and "S+" modes. MCT-equipped cars are also fitted with the new AMG DRIVE UNIT with an innovative Race Start function. The AMG DRIVE UNIT is the central control unit for the AMG SPEEDSHIFT MCT 7-speed sports transmission and all driving dynamics functions. The driver can change gears either using the selector lever or by nudging the steering-wheel shift paddles. The new Race start Function is a launch control system that enables the driver to call on maximum acceleration while ensuring optimum traction of the driven wheels.


title: Mercedes-Benz 7G-Tronic transmission

text: It is available on the 2009 SL 63 AMG and E63 AMG, and will be used for the 2011 S 63 AMG and CL 63 AMG, and the 2012 CLS 63 AMG and C 63 AMG.


title: Mercedes-Benz 7G-Tronic transmission

text: Compulsory on the 2014 AMG CLS63 and E63 models, as well as their "S--Model" variants. Improved with the release of the 2015 model year, by decreasing the lag time between shifts.


title: Sonia Kruger

text: Sonia Melissa Kruger (born 28 August 1965) is an Australian television presenter and media personality, who has been a prominent figure in the media for over 20 years. Kruger is currently the host of "Big Brother Australia" and a presenter on "The Voice Australia". She is best known for co-hosting the popular Australian version of "Dancing with the Stars" and for the role of Tina Sparkle in the dark 1992 film "Strictly Ballroom". Kruger has also been a co-host of "Today Extra". During her time at the Seven Network, Kruger has also reported for numerous other events, including the network's coverage of the Olympics, the Melbourne Cup and the Australian Open.


title: Sonia Kruger

text: Born in Toowoomba, Queensland, she attended Beenleigh State High School, completing Year 12 in 1982. Kruger completed an arts degree at the University of Technology, Sydney, and taught dance at the National Institute of Dramatic Art (NIDA) in Sydney.


title: Sonia Kruger

text: In 1992, Kruger came to prominence in her acting debut as "Tina Sparkle" in the AFI Award-winning film "Strictly Ballroom". She also served as a ballroom adviser for the film. This remains her only acting role to date. Following her film debut she hosted the children's variety show "Wonder World!" on the Nine Network. Kruger has been an entertainment reporter for Seven Network shows "Today Tonight", "Sunrise" and "11AM". She previously hosted the morning program on the Sydney-based radio station Mix 106.5 with "Dancing with the Stars" judges Todd McKenney and Andy Grace.


title: Sonia Kruger

text: In 2004, Kruger joined the Seven Network reality dance competition series "Dancing with the Stars", the Australian version of the UK BBC television series "Strictly Come Dancing". She co-hosted the series with both Daryl Somers and Daniel MacPherson over the course of the eleven seasons in which she appeared. In September 2008, Kruger was confirmed to host the Seven Network makeover reality show "10 Years Younger in 10 Days". Despite high ratings for its series premiere, Seven Network did not renew the series for a second season.


title: Sonia Kruger

text: In November 2011, Kruger announced she was leaving both "Dancing with the Stars" and the Seven Network to pursue other opportunities.


title: Sonia Kruger

text: Kruger then signed a development deal with the Nine Network in November 2011. She was confirmed to host her own daytime talk show, "Mornings", with singer and actor David Campbell. The series was designed to replace "Kerri-Anne" which ended that same month. The series premiered on 6 February 2012 (and continues into 2016 rebranded as "Today Extra"). Kruger was also announced to host Nine Network's reboot of the competition reality series "Big Brother Australia". Kruger replaced Kyle Sandilands and Jackie O, who hosted the series on Network Ten in its eighth season, after which the show was cancelled in 2008.


title: Sonia Kruger

text: "Big Brother Australia 9" premiered on 13 August 2012 to 1.6 million viewers, the franchise's highest ratings since the series' third season. On 22 February 2015, it was announced that Kruger would be joining the fourth series of "The Voice Australia" as a co-host with Darren McMullen.


title: Sonia Kruger

text: In November 2017, Kruger was announced as a co-host of Vision Australia's "Carols by Candlelight" alongside David Campbell. She replaced Lisa Wilkinson who had resigned from the Nine Network. Kruger was replaced by Allison Langdon after defecting to the Seven Network.


title: Sonia Kruger

text: In August 2018, Kruger was announced as a presenter on the Nine Network new travel series, "Helloworld", which aired on 7 October 2018. But she, Lauren Phillips, Denis Walter and Steven Jacobs were replaced by Giaan Rooney as a presenter, now on the Seven Network, from series 2.


title: Sonia Kruger

text: In November 2019, Kruger announced her resignation from the Nine Network. She hosted "Today Extra" for the last time on Friday, 15 November. Seven Network CEO James Warburton confirmed her joining the network and announced that her roles would include hosting their upcoming reality show "Mega Mini Golf".


title: Sonia Kruger

text: In February 2020, the Seven Network announced that Kruger would host a revival of "Big Brother", but due to filming commitments would no longer be hosting the upcoming series "Holey Moley". However, in October 2020, Kruger was confirmed as the host of the show.


title: Sonia Kruger

text: In 2021, Kruger again hosted "The Voice" after Seven picked up the rights to the franchise following the Nine Network's failure to renew its contract with the show. Kruger is the current co-host of Channel 7’s Dancing With The Stars: All Stars, starring alongside her original co-host Daryl Somers.


title: Sonia Kruger

text: After the marriage ended in September 2008, she began seeing her current partner, Craig McPherson, executive producer of "Today Tonight". She and McPherson had been trying for a child for years, through both IVF and natural methods. She became pregnant several times, but they ended in miscarriages. In August 2014, she announced she was pregnant, having conceived via in-vitro fertilisation (IVF) using a donor egg. In January 2015, Kruger gave birth to a daughter, Maggie.


title: Sonia Kruger

text: In 2008, during an episode of "Dancing with the Stars", Kruger made a comment about a "sweat shop of illegal immigrants" working on her wardrobe for the Melbourne Cup carnival before referring to the show's musical director, Chong Lim, the show's Malaysian-born musical director with the words "How's the family, Chong? All right?" Channel 7 later issued an apology for her statement.


title: Sonia Kruger

text: On 18 July 2016, during an appearance on the morning show "Today", Kruger called for a complete ban on Muslims entering Australia, in agreement with an opinion piece by commentator Andrew Bolt. Kruger defended her comments saying "I believe it's vital in a democratic society to be able to discuss these issues without being labelled racist." The firebombing of a Perth radio station initially linked by media reports to the presenters disagreeing with Kruger's views was later determined by police to be coincidental and to have "nothing to do with the Islam discussion".


title: Sonia Kruger

text: A racial vilification complaint against Kruger was made to the Civil and Administrative Tribunal over her statement about Muslim immigration. The Nine Network applied to have the complaint dismissed without a hearing, but this was refused. The complaint was made by Sam Ekermawi, who was described by "The Daily Telegraph" as a "serial offence-taker". The tribunal heard that Ekermawi had been involved in thirty-two hearings before courts and tribunals. The matter proceeded for directions in June 2018.


title: 2002 Tampa Bay Buccaneers season

text: The 2002 season was the Tampa Bay Buccaneers' 27th in the National Football League (NFL). It was one of the most successful seasons in franchise history, ending with a victory in Super Bowl XXXVII.


title: 2002 Tampa Bay Buccaneers season

text: The season began with the team trying to improve on a 9–7 season and did so with a franchise-best 12–4 record. It was Jon Gruden's first season as the Buccaneers’ head coach. They won the Super Bowl for the first time in the team's history, beating the Oakland Raiders 48–21. This was Tampa Bay's only Super Bowl appearance and win until 2020, with the Super Bowl win also being their most recent playoff game win in the same span. The 2002 Buccaneers’ defense is often cited as one of the best ever, as well as one of the most potent pass defenses in league history.


title: 2002 Tampa Bay Buccaneers season

text: In January 2002, after losing in the wild card round to the Eagles for the second consecutive year, the Buccaneers fired head coach Tony Dungy. After that they began a prolonged search for his replacement. Potential candidates included Gators head coach (and former Buccaneers quarterback) Steve Spurrier, former Giants head coach Bill Parcells, Ravens defensive coordinator Marvin Lewis, and Raiders head coach Jon Gruden. Parcells passed on the offer, while Spurrier took the job at Washington. Tampa Bay general manager Rich McKay threw his support behind Lewis but the Glazers were displeased with the selection of yet another defensive-minded coach that they overruled McKay and took control of the candidate search themselves. They made it clear that their top choice was Gruden; however, he was still under contract with the Raiders. While talks with the Raiders were secretly underway, the Glazers publicly pursued 49ers head coach Steve Mariucci. But shortly thereafter, Al Davis agreed to release Gruden to Tampa Bay, but the move was costly. Tampa Bay paid Oakland with two first-round draft picks (2002, 2003), two second-round picks (2002, 2004) and $8 million in cash payments.


title: 2002 Tampa Bay Buccaneers season

text: Upon his arrival in Tampa Bay, Gruden immediately went to work, acquiring former Jaguars WR Keenan McCardell, and RB Michael Pittman from the Cardinals. The Buccaneers needed to improve their sluggish offense, as the league's sweeping realignment sent them to the new NFC South division, along with Atlanta, Carolina and New Orleans.


title: 2002 Tampa Bay Buccaneers season

text: The offense made slight improvements during the season, but the strength of the team was the defense. The 2002 Buccaneers became the first team to lead the league in total defense, points allowed, and interceptions since the 1985 Chicago Bears. They also held opposing quarterbacks to an unbelievable 48.4 passer rating for the season. Led by this dominating defense, the 2002 Buccaneers achieved their most successful season to date. They won the NFC South title with the team's best ever record, 12–4, and then defeated the 49ers in what became coach Steve Mariucci’s last game with that franchise. In a surprising upset, Tampa Bay won their first NFC Championship on the road against the Eagles in the last NFL game ever played at Veterans Stadium. Cornerback Ronde Barber capped off the win by intercepting a Donovan McNabb pass and returning it 92 yards for a touchdown late in the fourth quarter.


title: 2002 Tampa Bay Buccaneers season

text: The Buccaneers went on to rout Gruden's former team, the Oakland Raiders, by a score of 48–21 in Super Bowl XXXVII. Gruden's familiarity with the Raiders’ players and playbook paid off, as John Lynch and other Buccaneer players recognized some of Oakland's formations and plays at crucial points in the game. The Bucs became the first team to win the Super Bowl without any picks in the first two rounds of the previous spring's draft, having traded these picks to the Oakland Raiders for the rights to acquire Gruden. At the time, Gruden made history by becoming the youngest head coach to win a Super Bowl.


title: 2002 Tampa Bay Buccaneers season

text: During the offseason, the Buccaneers signed a new deal with Walt Disney World, and moved their Training Camp from the University of Tampa to Disney's Wide World of Sports Complex outside of Orlando.


title: 2002 Tampa Bay Buccaneers season

text: During the first preseason game against the Miami Dolphins on Monday night August 12, which served as Jon Gruden's first coached game (albeit preseason), Frank Murphy took the opening kickoff 95 yards for a touchdown. It was the Buccaneers' fifth kickoff return touchdown in the preseason, however, at the time, the team had still never returned a kickoff for a touchdown in the regular season (and would do so not until 2007).


title: 2002 Tampa Bay Buccaneers season

text: Jon Gruden’s era in Tampa Bay began at home against new division rival, the New Orleans Saints, a team they'd soundly beaten the year before. Though heralded for his offensive expertise, the Buccaneers offense sputtered and was anemic for the first three quarters. The Saints held a 20–10 lead late in the fourth quarter, while Tampa Bay's offense had only 161 yards through three periods, and quarterback Brad Johnson was sacked three times, on a hot, humid 90° afternoon.


title: 2002 Tampa Bay Buccaneers season

text: With just under three minutes remaining, Brad Johnson led the Buccaneers on touchdown drive to narrow the score to 20–17. In the final two minutes, the offense finally performed, as Johnson drove the Buccaneers to the Saints 34-yard line. Tampa Bay faced 4th down with 23 seconds to go and counting, and no timeouts remaining. Martín Gramática hurried onto the field and kicked a game-tying field goal as time expired, and forced overtime.


title: 2002 Tampa Bay Buccaneers season

text: Tied 20–20 in the overtime period, Tampa Bay received, and quickly drove to the Saints 39-yard line. With the choice of a field goal attempt of over 55 yards, Gruden elected to punt. The teams traded possession twice, and with just over 4 minutes remaining in the overtime, Tampa Bay was pinned back at their own 5-yard line. Tom Tupa attempted to punt on 4th down from the endzone, but Fred McAfee was unblocked. Tupa avoided the tackle, and attempted a desperation shovel pass to John Howell from his non-throwing arm. The ball was intercepted by James Allen, standing in the confines of the endzone, and the Saints were credited with a game-winning touchdown.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay rebounded in week 2 against the Baltimore Ravens. Karl Williams returned a punt 56 yards for a touchdown, and Martín Gramática scored three field goals. Derrick Brooks sealed the victory and secured the shutout with a 97-yard interception return touchdown with 1:06 to go.


title: 2002 Tampa Bay Buccaneers season

text: Prior to the start of the game the Baltimore Ravens remembered Baltimore football legend Johnny Unitas in a variety of touching ways. Once the game began, Bucs passer Brad Johnson fashioned his own fitting tribute to the legendary quarterback.


title: 2002 Tampa Bay Buccaneers season

text: On one of his best days as a Buccaneer, Johnson completed over 75% of his passes as Tampa Bay picked up a road win that was mostly devoid of tension. The Bucs shared in Baltimore's emotion during the pregame, then drained all drama from the game itself by sprinting out to a 10–0 lead and rarely letting Baltimore onto its half of the field.


title: 2002 Tampa Bay Buccaneers season

text: Johnson completed all five of his passes on the Bucs’ opening drive, leading to a 36-yard Martin Gramatica field goal, and WR Karl Williams followed five minutes later with a 56-yard punt return for a touchdown. Staked to a 10–0 lead, Tampa Bay's defense needed no more, pitching just the second road shut out in franchise history (the first: a 35–0 victory at Cincinnati in 1998). The Bucs’ D, somewhat perturbed at its own performance in last Sunday's opener, even tied a bow on the affair in the final minutes when LB Derrick Brooks intercepted QB Chris Redman's pass at Tampa Bay's three and returned it 97 yards for a touchdown.


title: 2002 Tampa Bay Buccaneers season

text: On Monday night, the Buccaneers hosted the St. Louis Rams, continuing a brief, but budding rivalry between the two clubs. The Tampa Bay defense intercepted Kurt Warner four times, and held a 19–14 lead late in the fourth quarter.


title: 2002 Tampa Bay Buccaneers season

text: With just over a minute to go, Warner drove the Rams to their 34-yard line, but Derrick Brooks intercepted his pass and returned it 39 yards for a touchdown, his second such score in two weeks. Tampa Bay won 26–14, and improved to 2–1.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay crushed the Bengals 35–7. Brad Johnson threw three touchdown passes (of 35 yards, 65 yards and 22 yards, respectively), while Shelton Quarles returned an interception 25 yards for a score (Tampa Bay's third defensive score in three weeks).


title: 2002 Tampa Bay Buccaneers season

text: If the first quarter was a minor struggle, the rest of the game was relatively easy for the Buccaneers, as signified by the first play of the second period. Brad Johnson, who had yet another strong day, pump-faked left from the Bengals' 35-yard line, drawing coverage away from Rickey Dudley down the middle of the field. Johnson then lofted a perfect pass to a wide-open Dudley for a 35-yard touchdown. It was Dudley's second score in two games as a Buccaneer.


title: 2002 Tampa Bay Buccaneers season

text: Six minutes and two possessions later, Johnson lofted a high floater on the left sideline to another wide-open man, Keenan McCardell. McCardell had no tacklers within 20 yards of him as he trotted into the end zone for a 65-yard score.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay visited another new division rival, the Atlanta Falcons. The Buccaneer defense dominated yet another game, holding the Falcons to only 3 first half points, despite giving up good field position (the Falcons had a 47-yard kickoff return, a fumble recovery and a recovered onside kick).


title: 2002 Tampa Bay Buccaneers season

text: On the first drive of the third quarter, quarterback Michael Vick was knocked out of the game after a sack by Simeon Rice. Doug Johnson took over at quarterback for the Falcons, and did not fare well. Though the Falcons took a 6–3 lead midway through the third period, the lead was short-lived. Three plays later, Brad Johnson connected on a 76-yard touchdown pass to Keyshawn Johnson, and a 10–6 lead. After a Martín Gramática field goal stretched the lead to 13–6, Tampa Bay pinned the Falcons on their own 16-yard line with 6:24 to go in the game. Doug Johnson was being sacked but got the ball off, which was, in turn, intercepted by Warren Sapp at the Atlanta 15-yard line. Sapp lateraled to Derrick Brooks who then ran for a touchdown. It was Tampa Bay's fourth consecutive game with a defensive score, and Brook's third of the season.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay hosted Cleveland, and notched their first ever win against the Browns franchise (having lost all five meetings against the pre-1996 club) by a score of 17–3. Fullback Mike Alstott was the most notable player of the day, rushing 17 times for 126 yards and two touchdowns. In the fourth quarter, Alstott rumbled 19 yards, shaking at least seven tackles, for one of the more memorable plays of his career.


title: 2002 Tampa Bay Buccaneers season

text: Despite the convincing win, the Buccaneers kicking game suffered several woes. One field goal attempt was blocked, one sailed wide left, and another was foiled by a botched snap. A light rain doused the stadium in the second half.


title: 2002 Tampa Bay Buccaneers season

text: Derrick Brooks recovered and returned a Donovan McNabb fumble for a touchdown (his fourth defensive score of the season), but Tampa Bay could not prevail over the Eagles at Veterans Stadium, falling 20–10. It marked the third straight loss at Veterans Stadium for the Buccaneers, and the fourth straight loss overall to the Eagles.


title: 2002 Tampa Bay Buccaneers season

text: Early in the game, quarterback Brad Johnson suffered a rib injury, but managed to stay in the game. With 14 minutes to go, physically beaten and exhausted, Johnson lofted a pass intended for Keyshawn Johnson, and it was intercepted. He lacked strength due to the bruised rib. Brad Johnson was benched and would not return to the game. The turnover sealed the victory for the Eagles.


title: 2002 Tampa Bay Buccaneers season

text: Rob Johnson started for the injured Brad Johnson, and managed to guide the Buccaneers to a tough 12–9 win over the Carolina Panthers. Martín Gramática hit four field goals (32, 52, 53, and 47 yards respectively) for Tampa Bay's only points.


title: 2002 Tampa Bay Buccaneers season

text: In the final minute, tied 9–9, Rob Johnson drove the Buccaneers into Carolina territory. With 21 seconds to go, Johnson scrambled for a 9-yard run, and was pushed out of bounds at the Carolina 35. But he was injured on the play. Third-string quarterback Shaun King scurried off the bench cold, and delivered a clutch 7-yard pass to Karl Williams. With 5 seconds to go, Gramatica kicked the game-winning field goal.


title: 2002 Tampa Bay Buccaneers season

text: Brad Johnson returned to the lineup, throwing five touchdown passes (including two to Keyshawn Johnson), and a total of 313 yards, as the Buccaneers rolled 38–24 over the visiting Vikings.


title: 2002 Tampa Bay Buccaneers season

text: Under Brad Johnson's jersey on Sunday was a flak jacket, designed to protect the two fractured ribs on his left side.


title: 2002 Tampa Bay Buccaneers season

text: With the win, the Buccaneers moved to 7–2, tying the 1979 team for the best start in franchise history. With Green Bay (6–1) playing on Monday night and New Orleans (6–2) having the week off, Tampa Bay was the first NFC team to reach seven wins. They held a half-game edge over the Saints in the NFC South race


title: 2002 Tampa Bay Buccaneers season

text: Brad Johnson threw two touchdown passes, and Martín Gramática kicked three field goals, in a 23–10 win over the Panthers. The Buccaneers swept the season series with Carolina, and posted a franchise-best 8–2 start.


title: 2002 Tampa Bay Buccaneers season

text: The Bucs reached that franchise high-water mark on Sunday with a 23–10 victory over Carolina, in the process moving into a tie with former division rival Green Bay for the best record in the NFL. Tampa Bay and Green Bay square off for sole possession of the league's best mark next Sunday in Raymond James Stadium.


title: 2002 Tampa Bay Buccaneers season

text: After the Bucs defeated Carolina, 12–9, in an "ugly" game three weeks ago in Charlotte, the rematch was billed as another defensive struggle, though with a twist. While this was indeed a matchup of the league's first and third-ranked defenses, it also marked the returns of starting quarterbacks Brad Johnson and Rodney Peete, each of whom missed the last game between the two. Statistically, Johnson and the Bucs’ defense came out on top, though Bucs Head Coach Jon Gruden complimented the Panthers’ work, as well.


title: 2002 Tampa Bay Buccaneers season

text: Longtime rival Green Bay came to Raymond James Stadium, with the best record in the NFC on the line. In the first quarter, Brett Favre connected on a touchdown pass to Donald Driver to take the lead 7–0. Tampa Bay scored a field goal at the end of the first half, and the score was 7–3 at halftime. The Buccaneers scored another field goal in the third quarter, narrowing the deficit to 7–6.


title: 2002 Tampa Bay Buccaneers season

text: On the first play of the next drive, Favre was intercepted by Brian Kelly, who returned the ball to the Packers 18-yard line. During the return, Chad Clifton was jogging downfield away from the main action and was blindsided by Warren Sapp. Clifton laid motionless on the field for several minutes and was carted off the field with a season-ending pelvic injury. The turnover led to a Brad Johnson touchdown pass to Joe Jurevicius, followed by a two-point conversion catch by Keyshawn Johnson, and a 14–7 lead.


title: 2002 Tampa Bay Buccaneers season

text: Ronde Barber, Dexter Jackson, and Brian Kelly intercepted three more Favre passes, and Tampa Bay won convincingly 21–7. At 9–2, the Buccaneers stood with the best record in the NFC conference. After the game, Sapp and Packers coach Mike Sherman were involved in a confrontation on the field, exchanging heated words. The Sapp hit was regarded by some as a cheap shot, but Clifton would recover fully from the injury, and Sapp defended his actions, and was not penalized by the league.


title: 2002 Tampa Bay Buccaneers season

text: Mike Alstott scored a 44-yard touchdown catch, and Keenan McCardell caught another late in the game, but the Buccaneers fell to the Saints, 23–20 on "Sunday Night Football". Brad Johnson was intercepted once, lost a fumble, and Aaron Stecker lost another fumble, as the Saints swept Tampa Bay for the season.


title: 2002 Tampa Bay Buccaneers season

text: The Bucs, leading the NFL in turnover differential entering the weekend, had a difficult time holding onto the ball, fumbling four times and losing two of those loose balls. QB Brad Johnson was also intercepted for the first time in four games, and those three giveaways, plus a pair of long returns by Michael Lewis in the third quarter turned a 9–6 halftime lead into a 20–9 deficit. It was a lead the Saints never relinquished.


title: 2002 Tampa Bay Buccaneers season

text: Brooks got off to a slow start, completing just one pass for two yards in the first quarter, but he heated up in the second and third periods, engineering one first-half touchdown drive and throwing two scoring passes in the third quarter. By the end of the game, he had a strange mix of numbers, completing just nine of 25 passes for 155 yards but throwing two touchdowns and no picks. Added to his two-touchdown day in a season-opening, 26–20, overtime Saints win in Tampa, Brooks has four TD passes against Tampa Bay this season; the rest of the league has three in 10 games.


title: 2002 Tampa Bay Buccaneers season

text: Falcons quarterback Michael Vick entered the game with considerable pregame hype and an eight-game unbeaten streak. Vick, however, was sacked twice by Tampa Bay, and held to only 125 yards passing and a measly 15 yards rushing. Meanwhile, Brad Johnson connected on four touchdowns (two apiece to Jurevicius and McCardell) as the Buccaneers won 34–10.


title: 2002 Tampa Bay Buccaneers season

text: In two games against Tampa Bay, Vick has completed just 16 passes for 162 yards, one touchdown and one interception. On October six, Vick completed just four of 12 passes for 37 yards before sustaining an injured shoulder on a third-down Simeon Rice sack. He was hit hard several times on this Sunday as well, as the Bucs’ pass rush was relentless, but never left the game.


title: 2002 Tampa Bay Buccaneers season

text: Plus, any thought that the second-year scrambler would run wild on the Bucs’ defense effectively ended on the third play of the game when LB Derrick Brooks hit him square in the chest after a one-yard scramble. After rushing just one time for one yard in the first Bucs–Falcons contest, Vick ran five times.


title: 2002 Tampa Bay Buccaneers season

text: With the victory, Tampa Bay maintained its grip on first place in the NFC South with three weeks remaining. By game's end, the Bucs had a 1.5-game lead on both Atlanta and New Orleans, though the Saints’ late-afternoon game would either expand Tampa Bay's edge to two games or shrink it to one. The Bucs also became the first NFL team to 10 wins, at 10–3, as the 9–3 Philadelphia Eagles and Green Bay Packers were also scheduled for later games.


title: 2002 Tampa Bay Buccaneers season

text: Mike Alstott and Michael Pittman each scored a rushing touchdown, but the visiting Buccaneers found themselves still tied 20–20 late in the fourth quarter with the Lions. With 3:04 to go, Martín Gramática broke the tie with a 38-yard field goal, and Tampa Bay held on for a 23–20 victory.


title: 2002 Tampa Bay Buccaneers season

text: Injuries plagued the Buccaneers that week, as John Lynch sat out the game with a neck strain. Keyshawn Johnson left the game with a groin injury, and Anthony McFarland broke his right foot and would miss the remainder of the season. Most notably, however, was quarterback Brad Johnson, who suffered a back injury during the game. He did not leave the game, but the severity of the injury was more significant than originally known. He would be sidelined during practice the following week.


title: 2002 Tampa Bay Buccaneers season

text: With Brad Johnson sidelined, backup quarterback Shaun King started against the Steelers on Monday night. Tampa Bay was rocked 17–7 by the visiting Steelers, the second consecutive season being beaten soundly at home by Pittsburgh.


title: 2002 Tampa Bay Buccaneers season

text: The night started out on a rough note even before kickoff, as during pre-game warm-ups Warren Sapp skipped through the Steelers. Jerome Bettis shoved Sapp, and this was followed by a heated argument between the two teams. The Buccaneers had also been ridiculed by Steelers' Lethon Flowers as being "paper champions."


title: 2002 Tampa Bay Buccaneers season

text: On the first play of the game, Tommy Maddox's pass to Plaxico Burress gained 41 yards to the Tampa Bay 40-yard line. The Steelers drove 81 yards in only six plays, as Maddox connected with Antwaan Randle El for an 11-yard touchdown. On the second play of Tampa Bay's first drive, King was intercepted by Chad Scott, who returned the ball 30 yards for a touchdown, and a 14–0 lead less than four minutes into the game.


title: 2002 Tampa Bay Buccaneers season

text: Trailing 17–0, Tampa Bay kicker Martín Gramática made a 50-yard field goal, but it was negated by a Pittsburgh penalty, and instead Tampa Bay was awarded a first down at the Pittsburgh 28-yard line. Four plays later, however, Mike Alstott lost a fumble at the 7-yard line, and the Steelers took a 17–0 lead into halftime.


title: 2002 Tampa Bay Buccaneers season

text: Shaun King was finally benched having thrown for 73 yards and an interception on a pitiful 9-for-26. Rob Johnson took over in the second half, and salvaged the remainder of the game. With 1:23 to go, Keyshawn Johnson caught a touchdown pass, and avoided the shutout.


title: 2002 Tampa Bay Buccaneers season

text: In the final week of the season, Tampa Bay traveled to Memorial Stadium in Champaign, Illinois, to meet the Chicago Bears. A win would secure the #2 seed and a first-round bye in the playoffs following the Green Bay Packers losing to the New York Jets earlier in the day. Brad Johnson sat out for the second game in a row, and Rob Johnson started the game for Tampa Bay.


title: 2002 Tampa Bay Buccaneers season

text: The temperature at kickoff was , and Tampa Bay looked to snap a 0–21 record in games under . Rob Johnson passed for 134 yards and no interceptions, and Michael Pittman rushed for 90 yards, but the Buccaneers offense could not score a touchdown. Martín Gramática kicked a franchise-best five field goals out of five, and his 15 points were the only scores of the game. Bears quarterback Henry Burris was intercepted four times by Tampa Bay (twice by Brian Kelly, and once each by Derrick Brooks and Dwight Smith).


title: 2002 Tampa Bay Buccaneers season

text: With the win, Tampa Bay secured a bye for the wild card round and recorded the club's first win with the temperature under 40°. The Buccaneers finished with a franchise-best 12–4 record, along with a club-best 6–2 road record.


title: 2002 Tampa Bay Buccaneers season

text: The Buccaneers hosted the 49ers, who were fresh off of the second largest comeback game in NFL post-season history at the time in the 39–38 wildcard round victory over the Giants. With the league's top-ranked defense during the 2002 regular season, the Buccaneers forced five turnovers; they intercepted quarterback Jeff Garcia three times and sacked him four times, and limited the 49ers to only two field goals. Tampa Bay quarterback Brad Johnson, who had been sidelined for a month, returned to throw for 196 yards and two touchdowns. Fullback Mike Alstott scored two touchdowns, while the Buccaneers held onto the ball for 36:46 and held the 49ers to a season-low 228 yards. This was San Francisco's first playoff game without a touchdown since 1986 and the 49ers' last playoff game until 2011.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay won a road playoff game for the first time in franchise history, and in temperatures below , in the last football game played at Veterans Stadium. The Eagles were heavy favorites at home going into the game. The Eagles had beaten the Buccaneers four consecutive times, in the wild card round the two previous seasons, and also during regular-season games in 2001 and 2002. During the two playoff losses, both at Veterans Stadium, Tampa Bay had failed to score a single touchdown.


title: 2002 Tampa Bay Buccaneers season

text: Eagles running back Brian Mitchell returned the opening kickoff 70 yards, setting up a 20-yard touchdown run by Duce Staley less than a minute into the game. Tampa Bay responded with Martín Gramática's 48-yard field goal on their ensuing drive. At the end of Philadelphia's next possession, Lee Johnson's punt pinned the Buccaneers back at their own 4-yard line. But Tampa Bay stormed 96 yards and scored with Mike Alstott's 1-yard touchdown run to take the lead. The key play on the drive was a 71-yard completion from Brad Johnson to Joe Jurevicius on third down and two from their own 24-yard line.


title: 2002 Tampa Bay Buccaneers season

text: David Akers tied the score, 10–10, with a 30-yard field goal midway through the second quarter, but the Bucs responded with an 80-yard, 12-play drive that ended with a 9-yard touchdown pass from Brad Johnson to Keyshawn Johnson. With time running out in the half, Donovan McNabb led the Eagles to the Tampa Bay 24-yard line, only to lose a fumble while being sacked by his high school teammate Simeon Rice, who stripped the ball away and recovered it himself.


title: 2002 Tampa Bay Buccaneers season

text: On the Eagles' first drive of the third quarter, McNabb lost another fumble due to a tackle from cornerback Ronde Barber, and Bucs defensive tackle Ellis Wyms recovered it. Later on, with 1:02 left in the third period, Gramatica's 27-yard field goal increased the Tampa Bay lead to 20–10. In the fourth quarter, the Eagles managed to drive 73 yards to Tampa Bay's 10-yard line, but Barber intercepted McNabb's pass with 3:12 left in the game and returned it 92 yards for a touchdown, clinching a trip to the Super Bowl for the first time in franchise history.


title: 2002 Tampa Bay Buccaneers season

text: This was the last professional football game ever played at Veterans Stadium. The Eagles would move to Lincoln Financial Field for the 2003 season. The other team that occupied the Vet, the Philadelphia Phillies, would play the entire baseball season there in 2003 before they too left in 2004 to play in brand new Citizens Bank Park. As of 2022, both Philadelphia teams are still playing in those stadiums.


title: 2002 Tampa Bay Buccaneers season

text: The Tampa Bay Buccaneers won their first Super Bowl, routing the Oakland Raiders 48–21. The Buccaneers defense intercepted Rich Gannon a Super Bowl record five times, and returned three of the interceptions for touchdowns. Safety Dexter Jackson was named the game's MVP.


title: 2002 Tampa Bay Buccaneers season

text: As many sports fans and writers predicted, Gruden's prior knowledge of the Raiders was a major factor in the Buccaneers’ win in Super Bowl XXXVII. The most damaging piece of evidence is NFL Films footage of Tampa Bay safety John Lynch telling his teammates during the game that almost all of the plays ran by Oakland's offense were plays that Gruden (who that week even played the part of "Rich Gannon" by playing QB with the scout-team offense) specifically told them to look out for. Better still for the Buccaneers was that Oakland hadn't changed their audible-calling signals that Gruden himself had installed, thus tipping off plays repeatedly. As a result, Tampa Bay dominated Oakland, outgaining them in total yards (365 to 269), rushing yards (150 to 19), first downs (24 to 11), offensive plays (76 to 60), and forced turnovers (5 to 1).


title: 2002 Tampa Bay Buccaneers season

text: The Raiders had a great chance to score a touchdown early in the game after cornerback Charles Woodson intercepted Buccaneers quarterback Brad Johnson's pass on the third play of the game and returned it 12 yards to the Tampa Bay 36-yard line. But 6 plays later, Tampa Bay defensive end Simeon Rice sacked Raiders quarterback Rich Gannon on third down, forcing Oakland to settle for kicker Sebastian Janikowski's 40-yard field goal to give them a 3–0 lead.


title: 2002 Tampa Bay Buccaneers season

text: Buccaneers kick returner Aaron Stecker returned the ensuing kickoff 27 yards to the 29-yard line, then appeared to fumble the ball. Although the officials initially ruled that the ball was recovered by Oakland's Eric Johnson, the play was reviewed by instant replay and the fumble was overturned, and thus Tampa Bay retained possession.


title: 2002 Tampa Bay Buccaneers season

text: On the first play of the drive, Brad Johnson completed an 11-yard pass to receiver Joe Jurevicius. Johnson's next 2 passes were incomplete, but he then completed a 23-yard pass to Jurevicius on third down to advance the ball to the Oakland 37-yard line. Running back Michael Pittman then rushed for a 23-yard gain to the 13-yard line. However, on the next three plays, the Raiders defense limited the Buccaneers to a pair of incompletions and a 1-yard run. Kicker Martin Gramatica then made a 31-yard field goal to tie the game, 3–3.


title: 2002 Tampa Bay Buccaneers season

text: Later in the period, a 17-yard punt return by Raiders cornerback Darrien Gordon gave Oakland the ball at their own 49-yard line. Gannon then threw an 8-yard pass to running back Charlie Garner to reach the Tampa Bay 43-yard line. But on third down, Buccaneers safety Dexter Jackson intercepted Gannon's pass at the 40-yard line and returned it 9-yards to near midfield. Then nine plays after the turnover, Gramatica kicked his second field goal from 43 yards to give Tampa Bay a 6–3 lead.


title: 2002 Tampa Bay Buccaneers season

text: Jackson intercepted another pass on the Raiders' next drive and returned it 25 yards to Oakland's 45-yard line, making Jackson the first player ever to record 2 interceptions in the first half of the Super Bowl. However, the Buccaneers were unable to take advantage of the turnover and were forced to punt. Fortunately for Tampa Bay, they got a big assist from their punter Tom Tupa, who managed to pin Oakland all the way back at their own 11-yard line with his punt. The Raiders could not move the ball either, losing 1 yard on 3 plays with their ensuing drive. Tampa Bay punt returner Karl Williams then returned Shane Lechler's punt 25 yards, giving the Buccaneers great field position at Oakland's 27-yard line. Aided with Pittman's gains of 6 and 19 yards, the Buccaneers scored their first touchdown on a 2-yard run from fullback Mike Alstott, increasing their lead 13–3. Then with 3:45 left in the half, Tampa Bay drove 77 yards, assisted by a pair of catches by Alstott for 28 total yards. Johnson finished the drive with a 5-yard touchdown pass to wide receiver Keenan McCardell to give the Buccaneers a 20–3 halftime lead.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay continued to dominate the game for most of the third quarter. The Buccaneers forced the Raiders to punt on the opening drive of the second half. Next, Tampa Bay marched 89 yards on a 14-plays drive that took 7:52 off the clock, and ended with Johnson's 8-yard touchdown pass to McCardell to increase their lead to 27–3. Then on the second play of Oakland's ensuing drive, Buccaneers defensive back Dwight Smith intercepted Gannon's pass and returned it 44 yards for a touchdown, making the score 34–3.


title: 2002 Tampa Bay Buccaneers season

text: After giving up 34 unanswered points, Oakland finally managed to drive 82 yards down the field and score on a 39-yard touchdown pass from Gannon to receiver Jerry Porter. Although he was initially ruled as being out of bounds when he caught the ball, it was determined that Porter had one foot in the end zone and used it to drag the other foot out. The two-point conversion failed, so the Raiders were still down 34–9.


title: 2002 Tampa Bay Buccaneers season

text: The Raiders' touchdown seemed to fire up their defense, who forced the Buccaneers to a fourth down on their ensuing possession. Oakland lineman Tim Johnson then blocked Tupa's punt, and Raiders defender Eric Johnson returned the ball 13 yards for a touchdown. Another two-point conversion for Oakland failed, but Tampa Bay's lead was cut to 34–15.


title: 2002 Tampa Bay Buccaneers season

text: Tampa Bay responded by moving the ball to the Oakland 9-yard line on their ensuing drive, featuring a 24-yard run by Pittman, but they came up empty after Tupa fumbled the snap on a field goal attempt. A few plays later, Gannon threw a 48-yard touchdown pass to wide receiver Jerry Rice with 6:06 left in the game, cutting the Raiders deficit to 34–21. Rice became the first player to catch a touchdown pass in 4 different Super Bowls, and third overall to have TDs in 4 Super Bowls (Thurman Thomas and John Elway). The two-point conversion failed when Jerry Porter caught the ball and was forced out of bounds; while the official did not judge it to be a force-out, (judgement call) hence, that part of the play was non reviewable.


title: 2002 Tampa Bay Buccaneers season

text: In an attempt to prevent a Raiders comeback, the Buccaneers managed to run the clock down to 2:44 on their ensuing drive before being forced to punt. Then on third and 18 from the Oakland 29-yard line, Tampa Bay linebacker Derrick Brooks intercepted a pass from Gannon and returned it 44 yards for a touchdown, giving the Buccaneers a 41–21 lead with only 1:18 left putting the game out of reach. And a few plays later as the Raiders were now playing for pride, Smith intercepted a tipped pass and returned it 50 yards for a touchdown (the 200th TD in Super Bowl history). this would be the team’s last playoff (and Super Bowl) win until the 2020 season.


title: Hall–Héroult process

text: The Hall–Héroult process is the major industrial process for smelting aluminium. It involves dissolving aluminium oxide (alumina) (obtained most often from bauxite, aluminium's chief ore, through the Bayer process) in molten cryolite, and electrolyzing the molten salt bath, typically in a purpose-built cell. The Hall–Héroult process applied at industrial scale happens at 940–980 °C and produces 99.5–99.8% pure aluminium. Recycled aluminum requires no electrolysis, thus it does not end up in this process. This process contributes to climate change through the emission of carbon dioxide and fluorocarbons in the electrolytic reaction and consumption of large amounts of electrical energy.


title: Hall–Héroult process

text: Elemental aluminium cannot be produced by the electrolysis of an aqueous aluminium salt, because hydronium ions readily oxidize elemental aluminium. Although a molten aluminium salt could be used instead, aluminium oxide has a melting point of 2072 °C so electrolysing it is impractical. In the Hall–Héroult process, alumina, AlO, is dissolved in molten synthetic cryolite, NaAlF, to lower its melting point for easier electrolysis. The carbon source is generally a coke (fossil fuel).


title: Hall–Héroult process

text: Pure cryolite has a melting point of . With a small percentage of alumina dissolved in it, its melting point drops to about 1000 °C. Besides having a relatively low melting point, cryolite is used as an electrolyte because, among other things, it also dissolves alumina well, conducts electricity, dissociates electrolytically at higher voltage than alumina, and also has a lower density than aluminum at the temperatures required by the electrolysis.


title: Hall–Héroult process

text: Aluminium fluoride (AlF) is usually added to the electrolyte. The ratio NaF/AlF is called the cryolite ratio and it is 3 in pure cryolite. In industrial production, AlF is added so that the cryolite ratio is 2–3 to further reduce the melting point, so that the electrolysis can happen at temperatures between 940 and 980 °C. The density of liquid aluminum is 2.3 g/ml at temperatures between 950 and 1000 °C. The density of the electrolyte should be less than 2.1 g/ml, so that the molten aluminum separates from the electrolyte and settles properly to the bottom of the electrolysis cell. In addition to AlF, other additives like lithium fluoride may be added to alter different properties (melting point, density, conductivity etc.) of the electrolyte.


title: Hall–Héroult process

text: The mixture is electrolysed by passing a low voltage (under 5 V) direct current at through it. This causes liquid aluminium metal to be deposited at the cathode, while the oxygen from the alumina combines with carbon from the anode to produce mostly carbon dioxide.


title: Hall–Héroult process

text: The theoretical minimum energy requirement for this process is 6.23 kWh/(kg of Al), but the process commonly requires 15.37 kWh.


title: Hall–Héroult process

text: Cells in factories are operated 24 hours a day so that the molten material in them will not solidify. Temperature within the cell is maintained via electrical resistance. Oxidation of the carbon anode increases the electrical efficiency at a cost of consuming the carbon electrodes and producing carbon dioxide.


title: Hall–Héroult process

text: While solid cryolite is denser than solid aluminium at room temperature, liquid aluminium is denser than molten cryolite at temperatures around . The aluminium sinks to the bottom of the electrolytic cell, where it is periodically collected. The liquid aluminium is removed from the cell via a siphon every 1 to 3 days in order to avoid having to use extremely high temperature valves and pumps. Alumina is added to the cells as the aluminum is removed. Collected aluminium from different cells in a factory is finally melted together to ensure uniform product and made into e.g. metal sheets. The electrolytic mixture is sprinkled with coke to prevent the anode's oxidation by the oxygen evolved.


title: Hall–Héroult process

text: The cell produces gases at the anode. The exhaust is primarily CO produced from the anode consumption and hydrogen fluoride (HF) from the cryolite and flux (AlF). In modern facilities, fluorides are almost completely recycled to the cells and therefore used again in the electrolysis. Escaped HF can be neutralized to its sodium salt, sodium fluoride. Particulates are captured using electrostatic or bag filters. The CO is usually vented into the atmosphere.


title: Hall–Héroult process

text: Agitation of the molten material in the cell increases its production rate at the expense of an increase in cryolite impurities in the product. Properly designed cells can leverage magnetohydrodynamic forces induced by the electrolysing current to agitate the electrolyte. In non-agitating static pool cells, the impurities either rise to the top of the metallic aluminium, or sink to the bottom, leaving high-purity aluminium in the middle area.


title: Hall–Héroult process

text: Electrodes in cells are mostly coke which has been purified at high temperatures. Pitch resin or tar is used as a binder. The materials most often used in anodes, coke and pitch resin, are mainly residues from the petroleum industry and need to be of high enough purity so no impurities end up into the molten aluminum or the electrolyte.


title: Hall–Héroult process

text: There are two primary anode technologies using the Hall–Héroult process: Söderberg technology and prebaked technology.