prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where did Catherine Of Taranto, Countess Of Copertino's mother die?

The following are given passages.
Context 1: Passage 1:
Catherine of Bosnia, Grand Princess of Hum
Catherine of Bosnia (Serbo-Croatian: Katarina Kotromanić / Катарина Котроманић; 1294–1355) was daughter of Stephen I, Ban of Bosnia and sister of Stephen II, Ban of Bosnia 
She was daughter of Stephen I, Ban of Bosnia and his wife Elizabeth of Syrmia  She was born in 1294, in Srebrenik  She had six siblings, five brothers, Stephen II, Vladislav, Ninoslav, Miroslav and unknown brother, and a sister named Mary  In autumn 1314 she was in exile with family in Dubrovnik  Catherine will marry prince Nikola of Hum sometime before 1338  Nikola was knyaz from Hum 1322, which Stephen II, brother of Catherine, at the time Ban of Bosnia, annexed to his realm  After the annexation, Ban granted Nikola positions in župas in Bosansko Primorje, at the southern edge of the realm, region between the Neretva Delta and Ragusa, bestowing him with the right to rule most of the Popovo  He is ruled this župa as long as he lived  Catherine and Nikola had two sons:

Vladislav Nikolić
Bogiša NikolićCatherine died in 1355 in Bribir 
Passage 2:
Catherine of Austria, Lady of Coucy
Catherine of Austria (German: Katharina von Habsburg; French: Catherine d'Autriche; 9 February 1320 – 28 September 1349) was the daughter of the Habsburg Duke Leopold I of Austria and the wife successively of the French nobleman Enguerrand VI, Lord of Coucy and the German Konrad von Hardeck, Burgrave of Magdeburg 

Early life and family
Catherine was the oldest of two daughters born to Leopold I, Duke of Austria and his wife Catherine of Savoy  Her younger sister was Agnes of Austria, who married Bolko II the Small, Duke of Świdnica  On their father's side, the two were granddaughters of Albert I of Germany, while their maternal grandparents were Amadeus V, Count of Savoy and his second wife Maria of Brabant Her father died when Catherine was 6 years of age, and she and 4-year-old Agnes were placed under the guardianship of their paternal uncles, Frederick the Fair and Albert II, Duke of Austria 

Marriages
At the age of 18, Catherine married her first husband Enguerrand VI, Lord of Coucy, a French nobleman  The marriage contract was signed at Vincennes on 25 November 1338  The marriage produced one son, Enguerrand  The couple were married for eight years when in 1346, Enguerrand VI was killed in one of a series of battles which ended with the Battle of Crécy on 26 August 1346, as part of the Hundred Years' War between France and England  Their son Enguerrand succeeded his father as Lord of Coucy, and he later married Isabella, eldest daughter of King Edward III of England 
Catherine remarried nearly two years after her first husband's death in February 1348 to Konrad, Burgrave of Magdeburg  The couple were married for just over a year when Konrad succumbed to the Black Death on 25 September 1349, Catherine herself dying three days later; she was buried at Königsfelden  She was outlived by her son Enguerrand 
Passage 3:
Catherine of Taranto, Countess of Copertino
Catherine of Taranto (sometimes Caterina d'Enghien Orsini del Balzo) was the daughter of Mary of Enghien and Raimondo Orsini del Balzo di Nola and sister of Giovanni Antonio Orsini del Balzo 
She married the knight Tristan de Clermont (1380 – c  1432), a member of the French family of Clermont-Lodève, who became Count of Copertino as part of her dowry 
She and Tristan had two daughters: 

Isabella of Clermont (c  1424 – 30 March 1465), who became Queen of Naples and Jerusalem by marriage to Ferdinand I of Naples, illegitimate son of King Alfonso V of Aragon 
Sancia di Chiaromonte (died 30 March 1468), Countess of Copertino and Lady of Nardò  In 1436 she married Francesco II del Balzo (1410–1482), 3rd Duke of Andria, who became Count of Copertino as part of her dowry 
Passage 4:
Joan of Taranto
Joan of Taranto (died March 1323) was Queen of Armenia by marriage to Oshin, King of Armenia  As daughter of Philip I, Prince of Taranto, she was a member of the Capetian House of Anjou 

Life
Joan was daughter of Philip I, Prince of Taranto, and his first wife Thamar Angelina Komnene Joan's parents did not have a good relationship: Philip suspected Thamar of acting in her family's interests over his during the two-year conflict that raged between the Capetian House of Anjou and Epirus, despite the fact that she had pawned the remainder of her jewellery to help him pay for the military effort  Distrustful of Thamar, Philip decided to divorce her and in 1309 accused her of having committed adultery  She was forced into confessing that she had had sexual relationships with at least forty of the lords of his court, and that she had formed a particular relationship with Bartolomeo Siginulfo, the Grand Chamberlain of Taranto  Thamar became an outcast, probably never seeing her children again, she either became a nun or was imprisoned by Philip  In either case she died not long afterwards in 1311 
Shortly following her mother's death, Joan acquired a stepmother in Catherine of Valois, who Philip married in July 1313  From this marriage Joan acquired five half-siblings, including Philip II, Prince of Taranto 

Queen
In February 1316, Joan married her first husband, Oshin, King of Armenia  Joan was Oshin's third wife, from his first marriage he had had a son Leo  From this marriage she adopted the name Eirene  The couple were only married for four years 
Upon his death, on 20 July 1320, Oshin was succeeded by his minor son Leo (sometimes referred to as Leo V)  It was believed that Oshin was poisoned 
Soon after Oshin's death, his cousin Oshin of Korikos became regent  He wished to make himself and his family more secure in Armenia  Steps were taken to make this happen; Oshin married Joan, who was forced into the marriage  Oshin married his daughter Alice off to Joan's stepson Leo  Oshin was also probably responsible for the deaths of King Oshin's sister Isabella and two of her sons, in order to remove rival claimants 
Joan died in March 1323, she was outlived by her ill-fated second husband 
Six years after Joan's death, Leo reached majority, he took revenge on his regent  Joan's husband and brother-in-law Constantine, Constable of Armenia and Lord of Lampron, and Leo's wife Alice were all murdered on the king's orders, the head of Oshin being sent to the Ilkhan and of Constantine to Al-Nasr Muhammad 

Issue
In her first marriage she had one child:

George (1317 – after 1323), died youngOshin and Joan had one daughter:

Maria who consecutively married two Armenian Kings of Cilicia, Constantine V and Constantine VI  She had issue 
Passage 5:
Catherine of Cleves (1417–1479)
Catherine of Cleves (25 May 1417 – 10 February 1479) was Duchess of Guelders by marriage to Arnold, Duke of Guelders  She acted as regent of Guelders during the absence of her spouse in 1450  The Hours of Catherine of Cleves was commissioned for her 

Life
Catherine was the daughter of Adolph I, Duke of Cleves and Marie of Burgundy  She was a niece of Philip the Good 

Duchess and regent
Catherine lived with her parents until 1431, despite already having been married the year before  She had close ties with Philip of Burgundy, who was mistrusted by her husband  Catherine had her daughter Mary raised at the Burgundian court  When her husband punished Driel, he lost support in his duchy  Catherine acted as intermediate between her husband and the Estates of the realm  In 1450, Duke Arnold went on a pilgrimage to Rome and Palestine  During his absence, Catherine acted as regent She supported her son Adolf when he took over power from his father  Charles, Duke of Burgundy had Adolf taken capture in 1470, when he proved an unreliable ally to Burgundy  Catherine spent her last years in Lobith, where she died in 1476 

Book of Hours
The Hours of Catherine of Cleves was commissioned for her when she married Arnold, Duke of Guelders, on 26 January 1430  It shows her lineage, as well as herself in prayer  The hours had been lost for four hundred years before resurfacing in 1856  It is one of the most richly decorated books of its kind that is preserved 

Issue
Catherine and Arnold had:

Mary (c  1431–1463), who became Queen of Scotland by marriage to James II
William (born c  1434), died young
Margaret (c  1436–1486, Simmern), married on 16 August 1454 to Frederick I, Count of Palatine-Simmern 
Adolf (1438–1477)
Catherine (1439 – 1496), Regent of Guelders in 1477–1481 

Ancestry
Passage 6:
Catherine of Valois–Courtenay
Catherine II, also Catherine of Valois or Catherine of Taranto (before 15 April 1303 – October 1346), was the recognised Latin Empress of Constantinople from 1307–1346, although she lived in exile and only had authority over Crusader States in Greece  She was Princess consort of Achaea and Taranto, and also regent of Achaea from 1332–1341, and Governor of Cephalonia from 1341–1346 

Life
She was born in 1303, sometime before 15 April, the eldest daughter of Charles, count of Valois, and Catherine I Her mother was recognized as Empress of the Latin Empire of Constantinople by the Latin states in Greece, despite the city having been captured by the Empire of Nicaea in 1261  Catherine inherited her claims as the titular Empress on 11 October 1307  She was still a child and remained in the custody of her father, who managed her claims to the empire until his death in 1325 
An early betrothal to Hugh of Burgundy, made on 15 April 1303 when she was an infant, was renounced in 1312 

Naples
In July 1313, Catherine married Philip I of Taranto, King of Albania and Prince of Achaea, who was the younger brother of Robert, King of Naples  She associated her husband as titular Emperor (Philip II), and retained the claim to the empire after his death on 23 December 1332  Robert, his eldest surviving son, succeeded him as Prince of Taranto in 1331  Catherine became influential at the court of Naples 
Her court was more worldly than the pious court of King Robert and his pious wife, Sancha of Majorca  During the reign of her niece, Joanna I of Naples, she opposed the marriage of Joan's younger sister, Maria of Calabria, to Charles, Duke of Durazzo  This was because Maria was heir presumptive to the throne of Naples, and the Durazzos were rivals to her own family  She and her family were compensated with a cash settlement from the royal treasury 

Achaea
In 1333, her son Robert received the Principality of Achaea through an agreement with his uncle, John of Gravina  However, the thirteen-year-old boy was deemed too young to reign alone, and his mother became his co-ruler for the rest of her life  Initially ruling through appointed baillis, in summer 1338 Catherine mustered a fleet and took her whole household to Achaea, where she took an active part in its government   She gave refuge to Nikephoros II Orsini of Epirus, and supported him in his attempt to assert himself in his land against the Byzantine Emperor Andronikos III Palaiologos 

Final Years
Her presence in Achaea was no longer needed by the time Robert reached adulthood in 1341  She became Governor of Cephalonia and spent the last five years of her life in this responsibility  After the murder of Joan's husband, Andrew of Hungary, Joan sought a new husband amongst her Taranto cousins  Catherine supported her younger son, Louis of Taranto, against her older son, Robert  She sheltered Charles of Artois, a bastard son of Robert the Wise, and his son Bertrand, who were both suspected of complicity  When asked to give them up, she refused and stated she would punish them herself if they were guilty 
She died in Naples in October 1346  Queen Joan organized her funeral at the church of San Domenico 

Issue
By Philip I of Taranto, Catherine II had four children:

Margaret (c  1325–1380), married Francis of Baux, Duke of Andria  By Francis, she was the mother of James of Baux, Prince of Achaea and titular Emperor of Constantinople 
Robert (1326–1364), Prince of Taranto, titular Emperor of Constantinople (as Robert II) 
Louis (1327/28–1362), Prince of Taranto and King of Naples by right of his wife 
Philip II (1329–1374), Prince of Taranto and Achaea, titular Emperor of Constantinople (as Philip III) 

Ancestry
Notes
Passage 7:
Isabella of Clermont
Isabella of Clermont (c  1424 – 30 March 1465), also known as Isabella of Taranto, was queen of Naples as the first wife of King Ferdinand I of Naples, and a feudatory of the kingdom as the holder and ruling Princess of the Principality of Taranto in 1463–1465 

Life
Born on January 1424 in Copertino (in southern Apulia), Isabella was the elder daughter of Tristan de Clermont, Count of Copertino, and Caterina Orsini Del Balzo  She was also the niece and heir of childless Giovanni Antonio Orsini del Balzo, Prince of Taranto  Her maternal grandmother, Mary of Enghien, was queen consort of Naples from 1406 until 1414 
On 30 May 1444/1445, Isabella married Ferdinand of Aragon, then Duke of Calabria (1423–1494), natural son of Alfonso V of Aragon who had recently conquered the Neapolitan kingdom from French Angevins, and thus was the new liege lord of Isabella and her family  Alfonso arranged this marriage in order to give a good future to his favorite bastard son, by giving him his own principality by marriage  Also, Alfonso wanted his loyal people (such as his own son) to have feudal fiefs in his new kingdom, which would happen in the future as soon as Ferdinand and Isabella succeeded in Taranto  The marriage also strengthened the king's grip on the current lords of Taranto 
On 27 June 1458 Isabella's husband became, by the will of his father, king of Naples  Isabella became queen  They no longer wanted to make Taranto their principal holding, but it was still a strong possession, and in 1463 Isabella succeeded her uncle Giovanni Antonio as princess of Taranto 
Queen Isabella died on 30 March 1465, and was buried in San Pietro Martire  Her heir was her eldest son, the future King Alfonso II of Naples 

Issue
Isabella had six children with Ferdinand:

Alfonso II of Naples (4 November 1448 – 18 December 1495)
Eleanor of Naples (22 June 1450 – 11 October 1493), duchess of Bari and Ferrara
Frederick IV of Naples (19 April 1452 – 9 November 1504)
John of Naples (25 June 1456 – 17 October 1485), archbishop of Taranto and then cardinal
Beatrice of Naples (14 September/16 November 1457 – 23 September 1508), queen of Hungary
Francis of Naples, Duke of Sant Angelo (16 December 1461 – 26 October 1486)
Passage 8:
Mary of Enghien
Mary of Enghien, also known as Maria d'Enghien (1367 or 1370 – 9 May 1446), was Countess of Lecce from 1384 to 1446 and Queen of Naples and titular Queen of Sicily, Jerusalem and Hungary from 1406 to 1414 by marriage to Ladislaus of Naples 

Biography
Early life
Probably born in Lecce, she was the daughter of John of Enghien, Count of Castro, and Sancia Del Balzo  Her father was the third son of Isabella of Brienne (who died in 1360) and her husband, Walter of Enghien (who died in 1345) 
Her paternal grandmother Isabella survived her brother Walter VI of Brienne, titular Duke of Athens etc , who died without issue at the Battle of Poitiers in 1356  As his heir, she became Countess of Lecce and Brienne etc  and titular Duchess of Athens  As her eldest son, Walter, had died before her brother, her second son, Sohier of Enghien, became her heir  She allowed her inherited lands to be divided among her numerous children during her lifetime  Mary's father, the third (but second surviving) son, had received the County of Lecce and the Lordship of Castro 

Countess of Lecce
Mary's father, John, died in 1380, leaving minor children  Mary's brother Peter of Enghien, also known as Pyrrhus (Pyrro or Pirro), became Count of Lecce  However, Peter died childless in 1384 and was succeeded by Mary and her husband, Raimondo del Balzo Orsini di Nola, whom she married in Taranto the same year 
Chroniclers describe her as beautiful, fearless and adventurous: adored by her children, loved by her first husband, besieged by King Ladislaus of Naples and treated cruelly by the king's sister 
She stayed in her castles of Lecce and Copertino when Raimondo travelled and served the king against the papal troops and the supporters of the junior Angevin line  She was occupied by her children, Marias, Caterina, Giovanni Antonio and Gabriele 
Raimondo became Prince of Taranto (in her hereditary rights) and died in 1406 

Queen of Naples
After her husband's death, she was besieged in Taranto (1406) and resisted the troops of Ladislaus until he decided to propose to her  Thus forced to marry Ladislaus, the wedding took place in the chapel of the Castle of Taranto  Her second marriage remained childless  Ladislaus died on 6 August 1414; his sister and successor, Joanna II of Naples, described as cruel, hated Mary and imprisoned her  However, Joanna's husband, James II, Count of La Marche, soon allowed her to leave   She returned to Lecce after Joanna had expelled her and her children from the royal estates to Tarentine lands 
Mary lived a long life and died in Lecce at the age of 78  In 1444 she witnessed the marriage of her granddaughter Isabella of Clermont, daughter of Tristan and Catherine and heiress to considerable feudal estates in Southern Italy, to Ferdinand of Aragon  He was the illegitimate son of King Alfonso V of Aragon, who had conquered Southern Italy in 1441 

Children
Her children were:

Maria del Balzo Orsini (died after 1410), married Antonio di Acquaviva, Duke of Atri, etc  Childless 
Caterina del Balzo Orsini, also known as Catherine of Taranto  Married to Bartholomew Tristan of Clermont (Bartolomeo Tristano di Chiaramonte or Chiaromonte), a knight of the French de Clermont-Lodeve family  Tristan became Count of Capertino with his wife's dowry (the Catherine del Balzo Orsini, who lived almost at the same time and married Giulio Antonio di Aragona di Acquaviva, Duke of Atri, etc , bringing him the dowry of Casamassima and Conversano, was apparently not this Catherine but a relative, perhaps the daughter of Giovanni Antonio or the daughter of Gabriel, Duke of Venosa) 
Giovanni Antonio del Balzo Orsini, John, Prince of Taranto  Died childless in 1463, when his niece Isabella brought the fiefs to her husband King Ferrante 
(possibly natural son of her husband) Gabriele del Balzo Orsini (d  1453), Count of Ugento, etc , Duke of Venosa  Married Giovanna Caracciolo del Sole dei Duchi di Melfi 
Passage 9:
Euphrosina Heldina von Dieffenau
Euphrosina Heldina von Dieffenau, or Heldin (died 1636), was a Swedish courtier 
Originally from Germany, she became courtier to Catherine of Sweden, Countess Palatine of Kleeburg in 1590  After the death of Catherine's  mother, Maria of the Palatinate-Simmern, she became the lady-in-waiting, nurse and in practice foster mother of Catherine  She were the confidant of Catherine and the two of them had a close relationship for the rest of their life, sometimes by letters, which are preserved  She married a German officer in Swedish service, but remained in the service of Catherine also after Catherine's marriage as her Mistress of the Robes  She was described as educated and seen as a role model for female nobles in this regard, could speak Latin and was given the task to practice reading and prayer with the heir to the throne, Gustav II Adolf of Sweden, and converse with foreign ambassadors 
Passage 10:
Where Was I
"Where Was I?" may refer to:

Books
"Where Was I?", essay by David Hawley Sanford from The Mind's I
Where Was I?, book by John Haycraft 2006
Where was I?!, book by Terry Wogan 2009

Film and TV
Where Was I? (film), 1925 film directed by William A  Seiter  With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran 
Where Was I? (2001 film), biography about songwriter Tim Rose
Where Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos
"Where Was I?" episode of Shoestring (TV series) 1980

Music
"Where was I", song by W  Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939
"Where Was I", single from Charley Pride discography 1988
"Where Was I" (song), a 1994 song by Ricky Van Shelton
"Where Was I (Donde Estuve Yo)", song by Joe Pass from Simplicity (Joe Pass album)
"Where Was I?", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)
"Where Was I", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002
"Where Was I?", song  by  Kenny Wayne Shepherd from Live On  1999
"Where Was I", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)
"Where Was I", song by Rosie Thomas from With Love (Rosie Thomas album)
Context 2: Passage 1:
Dance with a Stranger
Dance with a Stranger  is a 1985 British film directed by Mike Newell  Telling the story of Ruth Ellis, the last woman to be hanged in Britain (1955), the film won critical acclaim, and aided the careers of two of its leading actors, Miranda Richardson and Rupert Everett  The screenplay was by Shelagh Delaney, author of A Taste of Honey, and was her third major screenplay  The story of Ellis has resonance in Britain because it provided part of the background to the extended national debates that led to the progressive abolition of capital punishment from 1965 
The theme song "Would You Dance with a Stranger?" was performed by Mari Wilson and was released as a single 

Plot
A former nude model and prostitute, Ruth is manageress of a drinking club in London that has racing drivers as its main clients  Ruth lives in a flat above the bar with her illegitimate son Andy  Another child is in the custody of her estranged husband's family 
In the club, she meets David, an immature, young man from a well-off family who wants to succeed in motor racing but suffers from lack of money and overuse of alcohol  Ruth falls for his looks and charm, but it is a doomed relationship  Without a job, he cannot afford to marry her, and his family would never accept her  When he makes a drunken scene in the club, she is discharged from her job, which means that she is made homeless 
Desmond, a wealthy admirer, secures a flat for her and her son, but she still sees David  When she tells him she is pregnant, he does nothing about it, and she miscarries  Distraught, she goes to a house in Hampstead where she believes David is at a party  He comes out and goes with a girl to a pub  Ruth waits outside the pub, and when he emerges, she shoots him dead with four shots  She is arrested, tried and hanged 

Cast
Miranda Richardson as Ruth Ellis
Rupert Everett as David Blakely
Ian Holm as Desmond Cussen
Stratford Johns as Morrie Conley
Joanne Whalley as Christine
Tom Chadbon as Anthony Findlater
Jane Bertish as Carole Findlater
David Troughton as Cliff Davis
Tracy Louise Ward as Girl with Blakeley
Matthew Carroll as Andy
Lesley Manville as Maryanne
David Beale as Man in Little Club
Charon Bourke as Ballroom Singer

Reception
The film made a comfortable profit  Goldcrest Films invested £253,000 in the film and received £361,000, making them a profit of £108,000 

Critical response
On Rotten Tomatoes, the film has an approval rating of 91%, based on reviews from 11 critics 

Accolades
Mike Newell won Award of the Youth at the 1985 Cannes Film Festival for Dance with a Stranger  Miranda Richardson won Best Actress at the Evening Standard British Film Awards, and Ian Holm won Boston Society of Film Critics Awards 1985 for this and other performances 
Passage 2:
Call Me (film)
Call Me is a 1988 American erotic thriller film about a woman who strikes up a relationship with a stranger over the phone, and in the process becomes entangled in a murder  The film was directed by Sollace Mitchell, and stars Patricia Charbonneau, Stephen McHattie, and Boyd Gaines 

Plot
Anna, a young and energetic journalist, receives an obscene call from an unknown caller whom she mistakes for her boyfriend  As a result of this mistake she agrees to meet with the caller at a local bar  There she witnesses a murder in the women's bathroom  She finds herself drawn into a mystery involving both the killer and the mysterious caller who she shares increasingly personal conversations with 

Cast
Patricia Charbonneau as Anna
Stephen McHattie as "Jellybean"
Boyd Gaines as Bill
Sam Freed as Alex
Steve Buscemi as "Switchblade"
Patti D'Arbanville as Cori
David Strathairn as Sam
Olek Krupa as Hennyk
John Seitz as "Pressure"
Pi Douglass as Nikki
George Gerdes as Fred
Ernest Abuba as Boss
Kevin Harris as Dude
Gy Mirano as The Waitress

Reception
The film was reviewed by the television show At the Movies, on May 28, 1988  Roger Ebert called the film a "directorial mess", citing laborious scenes which serve only to set up plot points, some of which are never followed up on  Gene Siskel felt the premise had potential, but it was ruined by the lead character's relentless stupidity, and that the film did not take the sexual elements far enough  The critics gave the film two thumbs down 

External links
Call Me at IMDb
Call Me at AllMovie
Passage 3:
Dance with a Stranger (band)
Dance with a Stranger is a Norwegian rock band from Kristiansund 

Biography
The band was founded in Bergen 1984 and had great success until they parted in 1994  Since then, they have had a few reunion concerts, as well as releasing compilation CDs  They were, among other things, voted Player of the Year at the Spellemannprisen 1991  The band took a longer break in the period 2002 to 2005  In 2007, they released the double compilation album Everyone Needs a Friend    The Very Best of Dance with a Stranger with three new songs and previously unreleased soundtracks from the 1980s, as well as highlights from the band's many releases 
In 2013, bassist Yngve Moe died in an accident  The band still completed their farewell tour in 2014, now joined by Per Mathisen on bass  The band has continued concert activities after this 

Discography
Dance with a Stranger (1987)
To (1989)
Atmosphere (1991)
Look What You've Done (1994)
Unplugged (1994)
The Best of Dance with a Stranger (1995)
Happy Sounds (1998)
Everyone Needs a Friend    The Very Best Of ( 2007)

Members
Present membersFrode Alnæs  – guitar, vocals
Øivind "Elg" Elgenes  – vocals
Per Mathisen  – bass (2014)
Bjørn Jenssen  – drumsFormer memberYngve Moe  – bass (1983–1994; died 2013)

Sources
Pop-lexicon (Norwegian)
About Dance with a Stranger at the music guide Groove no (Norwegian)
Website
Passage 4:
Coney Island Baby (film)
Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut  Karl Geary wrote the film and Tanya Ryno was the film's producer  The music was composed by Ryan Shore  The film was shot in Sligo, Ireland, which is known locally as "Coney Island" 
The film was screened at the Newport International Film Festival  Hobby won the Jury Award for "Best First Time Director" 
The film made its premiere television broadcast on the Sundance Channel 

Plot
After spending time in New York City, Billy Hayes returns to his hometown  He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station  But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant  Then, Billy runs into his old friends who are planning a scam 

Cast
Karl Geary - Billy Hayes
Laura Fraser - Bridget
Hugh O'Conor - Satchmo
Andy Nyman - Franko
Patrick Fitzgerald - The Duke
Tom Hickey - Mr  Hayes
Conor McDermottroe - Gerry
David McEvoy - Joe
Thor McVeigh - Magician
Sinead Dolan - Julia

Music
The film's original score was composed by Ryan Shore 

External links
Coney Island Baby (2006) at IMDb
MSN - Movies: Coney Island Baby
Passage 5:
Dance with a Stranger (disambiguation)
Dance with a Stranger may refer to one of the following:

Dance with a Stranger, a 1985 film
Jack and Jill (dance), a dance competition format
Dance with a Stranger (band), a Norwegian rock band
Passage 6:
Miley Naa Miley Hum
Miley Naa Miley Hum (transl  If we meet or don't) is a 2011 Indian film directed by Tanveer Khan, and marking the debut of Chirag Paswan, son of politician Ram Vilas Paswan  The film stars Kangana Ranaut, Neeru Bajwa and Sagarika Ghatge  The film released on 4 November 2011 The film went unnoticed and was considered a box office disaster  Subsequently, Paswan turned to politics and was elected to the Jamui seat in Bihar in the 2014 Lok Sabha elections 

Plot
Chirag comes from a wealthy background and assists his father, Siddharth Mehra, in managing and maintaining their land  Chirag's parents have been divorced due to incompatibility arising mainly due to his businesswoman mother, Shalini's hatred of tennis, a sport that Chirag wants to play professionally 
Shalini and Siddharth would like to see Chirag married and accordingly Shalini picks London-based Kamiah, while Siddharth picks Bhatinda-based Manjeet Ahluwalia  Chirag, who sneaks off to practice tennis at night, is asked to make a choice but informs them that he is in love with a model named Anishka (Kangana Ranaut)  The displeased couple decide to confront and put pressure on a struggling and unknowing klutz-like Anishka to leave their son alone but they fail 
In the end, Chirag's parents realize their mistake and together attend Chirag's tennis match and give blessings to Chirag and Anishka 

Critical reception
Taran Adarsh of gave the film 2 5 stars and claimed that Miley Naa Miley Hum is an absorbing fare with decent merits Komal Nahta of Koimoi com gave the film 0 5 stars out of 5 saying that the film lacks merits to work at the box office 

Cast
Chirag Paswan as Chirag Mehra
Kangana Ranaut as Anishka Srivastava
Kabir Bedi as Siddharth Mehra
Poonam Dhillon as Shalini Mehra
Sagarika Ghatge as Kamiah
Neeru Bajwa as Manjeet
Dalip Tahil
Suresh Menon
Tanya Abrol
Kunal Kumar
Shweta Tiwari (Special Appearance in a song)

Soundtrack
Passage 7:
Sex with a Stranger
Sex with a Stranger is a 1986 pornographic horror film directed by Chris Monte and written by Cash Markman and Chad Randolph 

Plot
A group of seven seemingly unconnected people each receive a letter containing half of a thousand dollar bill, an invitation to a mansion, and the promise of money and prizes if they show up  Arriving at the house, the recipients of the envelopes find a note, which informs them that rooms have been prepared for them, and that their host (known only as "J M ") will arrive soon to explain everything to them  The guests conclude that they have been called together due to a tontine made by relatives, who all died in a hotel fire during their last annual meeting 
Trevor and Priscilla have sex in a bedroom, and Joy and Inspector #6 (who was in the midst of donning women's undergarments when Joy walked in on him) do the same elsewhere  Afterward, the inspector is killed when he falls or is shoved down a flight of stairs, and his body disappears shortly after the others find it  Wanting to know who summoned them, and in need of the money they have been promised, the remaining guests decide to stay despite the risk of being murdered 
Slick and Sugar go off to have sex, and Priscilla is found dead, having been electrocuted while using a sabotaged vibrator  Thinking Priscilla's automatic camera could offer a clue as to what happened to her, Slick and Sugar try to develop the film in it, while Trevor mourns Priscilla's death by downing a glass of wine, which has been spiked with rodenticide  Joy coerces Doctor Rivameter into having sex on the bed containing Priscilla and Trevor's bodies, but they are interrupted mid-coitus by screams coming from another room 
Rivameter discovers that Sugar has been drowned in a sink, and as she and Joy conclude that the killer must be Slick, he stumbles into the room with a spike through his head, and a knife in his back  Slick drops dead before he can reveal his killer, but then he instantly recovers, and it is revealed that he and all the other victims were not actually dead  The inspector had merely been knocked out by an accidental fall down the stairs, and the others had faked their deaths to stop themselves from being targeted by the nonexistent killer 
Jacob Myers, the man who called everyone to the mansion, enters the room, and introduces himself as the attorney handling the tontine case  Myers states that all that is left of the tontine is the thousand dollar bills he sent to the inheritors to get them there, the rest of the money having been lost on a failed investment in liquid prophylactics  Joy follows Myers to his bedroom, and the others decide to pass the time until daylight by having an orgy
Context 3: Passage 1:
Blue Blood and Red
Blue Blood and Red is a 1916 American silent western comedy film directed by Raoul Walsh and starring George Walsh, Martin Kinney, and Doris Pawn 

Premise
After being kicked out of Harvard and thrown out by his millionaire father, a young wastrel heads west in the company of his butler 

Cast
George Walsh as Algernon DuPont
Martin Kinney as Peterkin
Doris Pawn
James A  Marcus
Jack Woods
Augustus Carney
Vester Pegg
Passage 2:
Dan Milne
Dan Milne is a British actor/director who is possibly best known for his role in EastEnders 

Career
He started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty  He then appeared in EastEnders as David Collins, Jane Beale's dying husband 
As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally, culminating in a Broadway run at the New Victory Theater  Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various cities across the world  In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat 
Passage 3:
Paul Bartel
Paul Bartel (August 6, 1938 – May 13, 2000) was an American actor, writer and director  He was perhaps most known for his 1982 hit black comedy Eating Raoul, which he co-wrote, starred in and directed 
Bartel appeared in over 90 movies and TV episodes, including such titles as Eat My Dust (1976), Hollywood Boulevard (1976), Rock 'n' Roll High School (1979), Get Crazy (1983), Chopping Mall (1986), and Amazon Women on the Moon (1987)  He frequently co-starred with friend and former Warhol girl Mary Woronov; the pair appeared in 17 films together, often as husband and wife 
Bartel also directed 11 low-budget films, many of which he also acted in or wrote  He started in 1968 with the short The Secret Cinema, a paranoid delusional fantasy of self-referential cinema   He graduated to features in 1972 with the horror-comedy Private Parts   He would go on to direct such cult films as Death Race 2000 (1975), Eating Raoul (1982), Lust in the Dust (1985) and Scenes from the Class Struggle in Beverly Hills (1989) 

Biography
Bartel studied film and theatre at UCLA, and spent a year on a Fulbright scholarship at the Centro Sperimentale film school in Rome, before returning to the US  He fulfilled his military service by talking his way into the Army Signal Corps Pictorial Center in Long Island City and later made films for the United States Information Agency 

Early films
Bartel's first films were made in high school, primarily abstract and animated 16mm shorts, including titles such as Cinema Experimental (1954), Non Objective Film (1956), Margaret Whiting Sings "The Money Tree" (1956), and Camel Rock (1957)  After making the 35mm short Italian-language film Progetti (1962) while attending the Centro Sperimentale di Cinematografia in Rome, Bartel produced The Secret Cinema (1966)   Shot on an extremely low budget in 35mm and with his own money, The Secret Cinema was the film that began his reputation as a new and unusual independent voice in narrative cinema 
He followed it with another short he wrote and directed, Naughty Nurse (1969)  He co-wrote the feature Utterly Without Redeeming Social Value (1969), also starring in the lead  He worked as an actor only in Hi, Mom! (1970) directed by Brian De Palma 
Bartel's first feature as director was Private Parts (1972), a comedy horror film for MGM  It was produced by Gene Corman and Bartel was in the cast 

New World Pictures
Gene Corman's brother, Roger, ran a production company, New World Pictures, and hired Bartel to be second unit director on Big Bad Mama (1974), an action film  Bartel also played a small role 
Roger Corman gave Bartel the job of directing Death Race 2000 (1975), a satirical action comedy starring David Carradine, Sylvester Stallone and Mary Woronov  Bartel also played a small role  The film was a huge success at the box office and quickly established itself as a cult favorite 
Corman promptly offered Bartel the chance to direct a similar action film with Carradine for New World, Cannonball (1976)  Bartel also worked on the script  The film is littered with cameos from people such as Joe Dante and Martin Scorsese  Bartel later said he worked for a year on Death Race 2000 for $5,000 "so when it was finished I desperately needed money  The only thing anybody wanted from me was another car picture, hence Cannonball  Corman had drummed into me the idea that if Death Race had been "harder" and "more real" it would have been more popular  Like a fool, I believed him  I am not, and never have been, very much interested in cars and racing" so he decided to load up the film with "cameos and character gimmicks that did interest me "Bartel was in much demand from other directors at New World to play small parts in their pictures: he appeared in Eat My Dust (1976) for Ron Howard, Hollywood Boulevard (1976) for Joe Dante and Alan Arkush (quite a large role, as a director, which Bartel credited for really kicking off his acting career), Mr Billions (1977) for Jonathan Kaplan (not a New World film but Bartel met Kaplan at the company), Grand Theft Auto (1977) for Howard, Piranha (1978) for Dante, and Rock 'n' Roll High School (1979) for Arkush  Outside New World he appeared in The Hustler of Muscle Beach (1980) for Kaplan and Heartbeeps (1981) for Arkush 

Eating Raoul and after
Bartel wrote a script with Richard Blackburn, Eating Raoul (1982)  Bartel managed to raise the finance and starred in the film along with Woronov  Made for $230,000 (raised by  himself and his parents) it was a hit on the art house circuit, grossing $10 million, and became a cult movie 
Bartel had small roles in White Dog (1982), directed by Sam Fuller and produced by New World alumni Jon Davison, Trick or Treats (1982), Heart Like a Wheel (1983) for Kaplan, and Get Crazy (1983) for Arkush 
The success of Eating Raoul enabled Bartel to raise $3 million in finance (ten times the budget of Raoul) for a screwball comedy he had co written and wanted to direct, Not for Publication (1984)  It was a box-office disaster  More successful was Lust in the Dust (1985) starring Tab Hunter and Divine 
Bartel continued to be in demand as an actor, appearing in Frankenweenie (1984), a short for Tim Burton, Into the Night (1985) for John Landis, European Vacation (1985) for Amy Heckerling, and Sesame Street Presents: Follow That Bird (1985) 
Bartel directed The Longshot (1986) based on a script by Tim Conway who starred  Bartel said he was a "director for hire" on the project  "My sensibility was on some level antipathetic to what Tim Conway wanted  I was trying to find interesting things under the surface, and he just wanted more surface "He appeared in an episode of Fame directed by Arkush, and reprised his Raoul character in Chopping Mall (1986) for Jim Wynorski produced by Julie Corman (Wynorski says Bartel and Woronov adlibbed their roles)  He appeared in "The Jar", an episode of Alfred Hitchcock Presents directed by Burton, as well as the film Killer Party (1986) 
He directed two episodes of Amazing Stories, both from his own scripts, both featuring him as an actor: "Secret Cinema" (a remake of his short film of the same name) and "Gershwin's Trunk" 
He had roles in Munchies (1987) (produced by Roger Corman), Amazon Women on the Moon (1987) (in a segment directed by Dante), an episode of Crime Story, Baja Oklahoma (1988), and Shakedown (1988) 
Bartel co wrote but did not direct Mortuary Academy (1988); he and Woronov also played small roles  He was an executive producer on Out of the Dark (1988), in which he had a small role  He had a role in Caddyshack II (1988) directed by Arkush Bartel directed Scenes from the Class Struggle in Beverly Hills (1989), based on a story of his He wrote a sequel to Eating Raoul called Bland Ambition, where Paul and Mary wind up running for Governor of California  It was about 10 days from the start of filming when Vestron withdrew its financial backing Bartel appeared in Pucker Up and Bark Like a Dog (1989), Far Out Man (1990), Gremlins 2: The New Batch (1990) (for Dante), Dan Turner, Hollywood Detective (1990), an episode L A  Law directed by Arkush, Liquid Dreams (1991), and Desire and Hell at Sunset Motel (1991) 
Bartel had a large supporting role in The Pope Must Diet (1991), directed by Peter Richardson of The Comic Strip, and was in The Living End (1992) from Gregg Araki, Soulmates (1992), and Posse (1993) 
A musical adaptation of Eating Raoul premiered off Broadway in 1992 Bartel appeared in some episodes of The Comic Strip Presents   , even directing one ("Demonella")  He was in Acting on Impulse, Tales of the City and Grief (1993) 
Bartel's last feature as director was Shelf Life (1993)  Based on a play and done for a low budget, it struggled to find distribution 

Final years
Bartel appeared in Twin Sitters (1993), The Usual Suspects (1995), and The Jerky Boys (1995)  He had a rare star role in The Wacky Adventures of Dr  Boris and Nurse Shirley (1995) but was normally seen in minor parts: Naomi & Wynonna: Love Can Build a Bridge (1995), Not Like Us (1995) for Corman's new company Concorde Pictures, A Bucket of Blood (1995) also for Concorde, Number One Fan (1995), Red Ribbon Blues (1996), Joe's Apartment (1996), Escape from L A  (1996), and Basquiat (1996) 
He directed 2 episodes of Clueless, "We Shall Overpack" and "Cher Inc"  He also appeared in both 
He was in Prey of the Jaguar (1996), The Elevator (1996), Lewis & Clark & George (1997), Boston Common, Skeletons (1997), The Inheritance (1997), Chicago Hope, The Devil's Child (1997), Billy's Hollywood Screen Kiss (1998), More Tales of the City, Race, Vengeance Unlimited, Dreamers, Hard Time: The Premonition, episodes of Ally McBeal and Snoops directed by Arkush, Good vs Evil, Zoo (1999), Hamlet (2000), Dinner and a Movie (2001) and Perfect Fit (2001) 

Personal life
Bartel was openly gay; this influenced his career choice, as he found himself more accepted and afforded more opportunities within the independent film industry than he would have in Hollywood In 1979, he was a member of the jury at the 29th Berlin International Film Festival 

Death
Bartel died May 13, 2000, of a heart attack two weeks after liver cancer surgery; he was 61 years old  His final screen appearance was a posthumous role as "Dad" alongside Mary Woronov ("Mom") in the 2001 independent film Perfect Fit 

Legacy
The Belgian horror movie Calvaire paid a tribute to the late Bartel – the mad innkeeper character is named "Paul Bartel" 
Two of Bartel's early directorial efforts, Progetti and The Secret Cinema, were restored by the Academy Film Archive 

Filmography
Passage 4:
Scotty Fox
Scott Fox is a pornographic film director who is a member of the AVN Hall of Fame 

Awards
1992 AVN Award – Best Director, Video (The Cockateer)
1995 AVN Hall of Fame inductee
Passage 5:
Raoul Walsh
Raoul Walsh (born Albert Edward Walsh; March 11, 1887 – December 31, 1980) was an American film director, actor, founding member of the Academy of Motion Picture Arts and Sciences (AMPAS), and the brother of silent screen actor George Walsh  He was known for portraying John Wilkes Booth in the silent film The Birth of a Nation (1915) and for directing such films as the widescreen epic The Big Trail (1930) starring John Wayne in his first leading role, The Roaring Twenties starring James Cagney and Humphrey Bogart, High Sierra (1941) starring Ida Lupino and Humphrey Bogart, and White Heat (1949) starring James Cagney and Edmond O'Brien  He directed his last film in 1964  His work has been noted as influences on directors such as Rainer Werner Fassbinder, Jack Hill, and Martin Scorsese 

Biography
Walsh was born in New York as Albert Edward Walsh to Elizabeth T  Bruff, the daughter of Irish Catholic immigrants, and Thomas W  Walsh, an Englishman  Walsh was part of Omega Gamma Delta in high school, as was his younger brother  Growing up in New York, Walsh was also a friend of the Barrymore family  John Barrymore recalled spending time reading in the Walsh family library as a youth  Later in life, Walsh lived in Palm Springs, California  He was buried at Assumption Cemetery Simi Valley, Ventura County, California 

Film career
Walsh was educated at Seton Hall College  He began acting in 1909, first as a stage actor in New York City and later as a film actor  In  1913 he changed his name to Raoul Walsh  In 1914 he became an assistant to D  W



ground_truth: Lecce

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film was released more recently, Dance With A Stranger or Miley Naa Miley Hum?

The following are given passages.
Context 2: 

Cast
Ebony Ayes as Sugar, a high class prostitute 
Greg Derek as Trevor Fairbanks, an actor 
Nina Hartley as Priscilla Vogue, a fashion model 
Sheena Horne as Joy, a ditz with a fetish for anonymous sex 
Scott Irish as Inspector #6, a clothing inspector 
Keisha as Rivameter, a Doctor of Philosophy 
Randy West as Sylvester "Slick" Rhodes, a shyster 

Reception
Adam Film World gave the film a three out of five, marking it as "Hot"  AVN stated that while it was "a technically-sound production that features a capable cast" it was brought down by a ridiculous and overwrought plot, and mostly lukewarm sex A one and a half was awarded by Popcorn for Breakfast, which called Sex with a Stranger "painfully derivative" and "a poster child for bad porn" before concluding "As a curiosity, it may have some archival value in that it's about as tasteless as mainstream porn gets in places"  A two out of five was given by The Bloody Pit of Horror, which wrote "It's cheap (and shot-on-video, naturally), silly, has a few dumb laughs and there's lots of sex, so mission accomplished, I guess" 
Passage 8:
The Wonderful World of Captain Kuhio
The Wonderful World of Captain Kuhio (クヒオ大佐, Kuhio Taisa, lit  "Captain Kuhio") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit  "Marriage swindler Captain Kuhio"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1 2 million) from a number of women between the 1970s and the 1990s The film was released in Japan on 10 October 2009 

Cast
Masato Sakai - Captain Kuhio
Yasuko Matsuyuki - Shinobu Nagano
Hikari Mitsushima - Haru Yasuoka
Yuko Nakamura - Michiko Sudo
Hirofumi Arai - Tatsuya Nagano
Kazuya Kojima - Koichi Takahashi
Sakura Ando - Rika Kinoshita
Masaaki Uchino - Chief Fujiwara
Kanji Furutachi - Shigeru Kuroda
Reila Aphrodite
Sei Ando

Awards
At the 31st Yokohama Film Festival
Best Actor – Masato Sakai
Best Supporting Actress – Sakura Ando
Passage 9:
Dance with Death (film)
Dance with Death is an American film starring Barbara Alyn Woods and Maxwell Caulfield  It is a reworking of Stripped to Kill, a previous film from 1987 produced by Roger Corman's Concorde Pictures studio  It is notable for featuring an early acting role for Lisa Kudrow 

Plot
Kelly is a reporter for a Los Angeles newspaper who finds out that strippers at a club called Bottoms Up are getting brutally murdered  With the prodding of her Hopper, her editor and ex-boyfriend, she goes undercover by winning an amateur night contest to get a job at the club  Once embedded, Kelly gets to know the other employees, particularly the snide owner Art, the hapless DJ Dermot, and mercurial dancer Jodie  She also discovers a regular patron, Shaughnessy, is an undercover detective investigating the murders  He soon discovers her true identity as a reporter, and they team up to investigate  As she continues working at the club, she is made aware of several suspects in the murders: Henry, a shy regular who is fixated on lingerie, Art, who has a connection to one of the dead women, and even Hopper, whom she learns covered a string of similar stripper murders in Atlanta and was interrogated by police  As they share their information, Kelly and Shaughnessy become infatuated with each other 
After one night spent together, Kelly looks in on Jodie, who had not reported to work the previous evening, and discovers her murdered  Shaughnessy follows Henry to a park he regularly visits, and after confronting him, causes him to be shot dead by backup police  That night at the club, after a performance, Kelly hears noises from Art's office, and discovers him dead; Hopper seizes her, insisting he killed Art by accident, in a dispute over blackmail involving him and another of the club dancers  She escapes him, and Shaughnessy intercepts her and shoots Hopper dead  She is relieved at first, but as he holds her, she notices the stone from his ring is missing, and remembers that she found a stone in Jodie's hand; she realizes Shaughnessy is the murderer  She tries to escape him, but is followed by him into a next door warehouse  After repeated attempts to kill him which he recovers from, she finally sets a trap with gasoline and sets him on fire 
Sometime later at the newspaper office, Kelly begins typing her story on the murders, called "Dance with Death "

Cast
Maxwell Caulfield as Shaughnessy
Barbara Alyn Woods as Kelly
Martin Mull as Art
Catya Sassoon as Jodie
Tracey Burch as Whitney
Jill Pierce as Lola
Alretha Baker as Sunny
Michael McDonald as Henry
Drew Snyder  as Hopper
Lisa Kudrow as Millie
Maria Ford as Stripper (uncredited)

Production
Katt Shea wrote the original story for the 1987 with her husband  She later recalled:

 I just didn't get paid for it  It was weird  Basically my script from Stripped to Kill was re-worked and re-used by Roger Corman and a very bad movie was the result of that  That’s my opinion and I just don’t think that film was well done   I don’t like that Roger Corman does that  I love Roger, but I just didn’t like that 
Passage 10:
Lisa (1990 film)
Lisa is a 1990 American thriller film directed by Gary Sherman and starring Staci Keanan, D  W  Moffett, Cheryl Ladd and Jeffrey Tambor  Its plot follows a teenage girl's infatuation with a stranger that, unknown to her, is a serial killer-stalker 

Plot
Fourteen-year-old Lisa Holland lives with her mother Katherine, a successful florist, in Venice Beach, California  Lisa is beginning to show a keen interest in boys but is not allowed to date due to her mother’s strict rule about not dating until she is 16  It is revealed that Katherine had Lisa when she was 14 years old  Abandoned by Lisa's father, Katherine was forced to leave home after her parents demanded that she put Lisa up for adoption  These facts have made Katherine very wary about Lisa dating, feeling she would end up like her mother  Lisa’s desire to have a boyfriend is furthered by her best friend Wendy Marks, whose less-strict mother and father have allowed her to start dating 
Meanwhile, there is a serial killer running loose in Venice Beach, nicknamed the Candlelight Killer, so called because he rapes his victims by candlelight before killing them  The Candlelight Killer is a suave, good-looking, and successful restaurateur named Richard, who looks more like a sexy model than a serial killer  Richard stalks good-looking women once he finds out where they live  Uniquely, Richard calls his victims over the telephone leaving messages on their answering machines saying he is in their house and is going to kill them  As the women are listening to his message, Richard grabs them from behind and then begins his vicious attacks 
One night, Lisa is coming home from the convenience store, and accidentally runs into Richard, leaving the house of another victim  Lisa is mesmerized by his good looks and follows him to his car once he leaves, copying down his license plate number  Through the DMV she is able to get his address and telephone number  Lisa then begins to call up Richard on the phone and engages him in seductive conversation  Richard is intrigued by their conversations, yet is more interested in finding out who she is, mainly because he is the one now being stalked 
Lisa and Wendy follow Richard, finding out where he lives and works  Lisa even gets into Richard's car alone at one point only to have to hide in the back seat when he unexpectedly shows up  All this goes on unknown to Katherine, and with each succeeding conversation, in which Lisa reveals more about herself, Richard pushes Lisa towards meeting him for a date  Still at a standoff with her mother when it comes to dating, Wendy suggests that Lisa set up Katherine with Richard, implying that maybe if her mother "gets some", she will ease up and allow Lisa to date 
As Easter weekend approaches, Lisa plans to go away with Wendy and her family to Big Bear, California  Katherine and Lisa decide to have a girls' night out dinner before she leaves, and Lisa makes reservations at Richard's restaurant  Lisa calls Richard informing him that she will be at the restaurant that night  Katherine goes to the bathroom ordering Lisa to pay the bill with her credit card  Richard gets a love note from Lisa with the bill, which reveals Katherine's credit card information, which he uses to track her down  When Lisa and Katherine arrive home, the two start bickering over Lisa's dating  Lisa immediately shouts back at Katherine and her stupid rules and that maybe if she got it once in a while, she wouldn't be such a bitch to her mother's dismay  Katherine orders Lisa to go to her room and grounds her, while taking her phone from her room 
Meanwhile, Richard begins to stalk the unsuspecting Katherine  While in Big Bear, Lisa decides to give Richard a call  He reveals to her that he knows her name is Katherine, and that he knows where she lives  On the night Lisa is to return from Big Bear, Katherine enters the apartment and hears a message from Richard  Meanwhile, Lisa returns home and enters the apartment  Running into her room, she is attacked by Richard who has knocked her mother unconscious  Richard brings Lisa into Katherine's bedroom and plans to assault her; Lisa sees the candles and realizes he is the Candlelight Killer  However, Katherine regains consciousness and knocks out Richard from behind and sends him through a window to his death  Relieved to be alive, mother and daughter collapse into each other's arms 

Cast
Cheryl Ladd as Katherine Holland
D  W  Moffett as Richard / The Candlelight Killer
Staci Keanan as Lisa Holland
Tanya Fenmore as Wendy Marks
Jeffrey Tambor as Mr  Marks, Wendy's Father
Julie Cobb as Mrs  Marks, Wendy's Mother
Edan Gross as Ralph Marks, Wendy's Brother

Release
Lisa released to theaters on April 20, 1990 through United Artists  It achieved a domestic gross of $4,347,648, with an opening night of $1,119,895 

Home media
Lisa received a home video release in December 1990  The movie received a DVD release as part of MGM MOD Wave 16 and was released on June 28, 2012  A Blu-ray edition, featuring a commentary track from director Gary Sherman and an interview with D  W  Moffett supervised by Scorpion Releasing, was released in December 2015 by Kino Lorber 

Reception
Critical reception for the film was negative; praise tended to center upon Ladd's performance while criticism centered around the script and tropes  Roger Ebert gave the film 1 1/2 stars, stating that it was "a bludgeon movie with little respect for the audience's intelligence, and simply pounds us over the head with violence whenever there threatens to be a lull " A reviewer for The Ottawa Citizen was also critical, praising Ladd's performance while also criticizing the film as "hysterical and transparent in its attempt to scare audience members into hosing down their hormones "
Context 3:  Griffith and made his first full-length feature film, The Life of General Villa, shot on location in Mexico with Pancho Villa playing the lead, and with actual ongoing battles filmed in progress as well as battle recreations   Walsh played John Wilkes Booth in Griffith's epic The Birth of a Nation (1915) and also served as an assistant director  This movie was followed by the critically acclaimed Regeneration in 1915, the earliest feature gangster film, shot on location in Manhattan's Bowery district 
Walsh served as an officer in the United States Army during World War I  He later directed The Thief of Bagdad (1924), starring Douglas Fairbanks and Anna May Wong, and Laurence Stallings' What Price Glory? (1926), starring Victor McLaglen and Dolores del Río 

In Sadie Thompson (1928), starring Gloria Swanson as a prostitute seeking a new life in Samoa, Walsh starred as Swanson's boyfriend in his first acting role since 1915; he also directed the film  He was then hired to direct and star in In Old Arizona, a film about O  Henry's character the Cisco Kid  While on location for that film Walsh was in a car crash when a jackrabbit jumped through the windshield as he was driving through the desert; he lost his right eye as a result  He gave up the part and never acted again  Warner Baxter won an Oscar for the role Walsh was originally slated to play  Walsh would wear an eyepatch for the rest of his life 

In the early days of sound with Fox, Walsh directed the first widescreen spectacle, The Big Trail (1930), an epic wagon train western shot on location, across the West  The movie starred John Wayne, then unknown, whom Walsh discovered as prop man named Marion Morrison, and he was renamed after the Revolutionary War general Mad Anthony Wayne; Walsh happened to be reading a book about him at the time  Walsh directed The Bowery (1933), featuring Wallace Beery, George Raft, Fay Wray and Pert Kelton; the energetic movie recounts the story of Steve Brodie (Raft), supposedly the first man to jump off the Brooklyn Bridge and live to brag about it 
An undistinguished period followed with Paramount Pictures from 1935 to 1939, but Walsh's career rose to new heights after he moved to Warner Brothers, with The Roaring Twenties (1939), featuring James Cagney and Humphrey Bogart; Dark Command (1940), with John Wayne and Roy Rogers (at Republic Pictures); They Drive By Night (1940), with George Raft, Ann Sheridan, Ida Lupino and Bogart; High Sierra (1941), with Lupino and Bogart again; They Died with Their Boots On (1941), with Errol Flynn as Custer; The Strawberry Blonde (1941), with Cagney and Olivia de Havilland; Manpower (1941), with Edward G  Robinson, Marlene Dietrich and George Raft; and White Heat (1949), with Cagney  Walsh's contract at Warners expired in 1953 
He directed several films afterwards, including three with Clark Gable: The Tall Men (1955), The King and Four Queens (1956) and Band of Angels (1957)  Walsh retired in 1964  He died of a heart attack in 1980 

Outside interests
Raoul Walsh was a breeder and owner of Thoroughbred racehorses  For a time, his brother George Walsh trained his stable of horses  Their horse Sunset Trail competed in the 1937 Kentucky Derby won by War Admiral who went on to win the U S  Triple Crown  Sunset Trail finished sixteenth in a field of twenty runners Some of Walsh's film-related material and personal papers are contained in the Wesleyan University Cinema Archives 

Selected filmography
Miscellaneous
The Conqueror (writer, 1917)
The Big Trail (story contributor, uncredited, 1930)
Captain Horatio Hornblower R N  (producer, uncredited, 1951)
The Lawless Breed (producer, uncredited, 1953)
Esther and the King (screenplay, 1960)
The Men Who Made the Movies: Raoul Walsh (TV documentary)
Himself (1973)

Notes
Passage 6:
Logan Sandler
Logan Sandler is an American writer and director who is best known for his first feature film Live Cargo 

Early life and education
Sandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B A  in Film Production, and three years later, while earning an M F A  from AFI in Film Directing, he developed his first feature film, Live Cargo  He developed the script with the late Seth Winston and co-writer Thymaya Payne  In 2015, Sandler was awarded the Institute's Franklin J  Schaffner Fellow Award for his short film, Tracks 

Career
Sandler's senior thesis, All It Will Ever Be premiered at the Bermuda International Film Festival in 2012  Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival  The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016  The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom  In addition to the 2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single Gas  The music video premiered on Vice’s music channel Noisey IONCINEMA com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema  When asked about his favorite films of his formative years Sandler said, "I fell in love with Jean Luc Godard’s Contempt and Weekend  I was blown away by Agnes Varda’s Cleo from 5 to 7  Michelangelo Antonioni’s films really struck a chord with me as well  After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find  The Passenger’s penultimate shot blew me away  I watched that 7 minute shot over and over  It’s probably my favorite shot in the history of cinema "

Critical reception
Angelica Jade Bastien for Roger Ebert wrote of the film, "In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions "Chuck Wilson for The Village Voice wrote, "The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach ” Wilson as well called Sandler "a filmmaker to watch "Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft ”  Walsh gave the film an A - grade Stephen Saito for The Moveable Fest in his review and interview wrote, "While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey ”H  Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come ”Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects ”

Awards/Nominations
Passage 7:
Blue Blood (2014 film)
Blue Blood (Portuguese: Sangue azul) is a 2014 Brazilian drama film directed by Lírio Ferreira  It was screened in the Panorama section of the 65th Berlin International Film Festival 

Cast
Daniel de Oliveira
Caroline Abras
Sandra Coverloni
Rômulo Braga
Passage 8:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director 
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020)  Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015) 

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness  He attended Chetwynde School His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis  Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively 

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)
Passage 9:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director  He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977)  His television work includes four episodes of The Twilight Zone (1961–1964) 

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century  The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin 
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire 
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt 
While Silverstein was not a prolific director, his films were often decorated  Cat Ballou, for instance, earned one Oscar and was nominated for four more  His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America 

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou 
He was also nominated for the Golden Berlin Bear In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou) 
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris In 1985, he won the Robert B  Aldrich Achievement Award from the Directors Guild of America 
In 1990, he was awarded the DGA Honorary Life Member Award 

Personal life
Silverstein has been married three times, each ending in divorce  His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968  His second marriage was to Alana King  During his first marriage, he was the step-father of David Cassidy 
He currently lives in North Hollywood, Los Angeles  Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects 

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr  Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)
Passage 10:
The Longshot
The Longshot is a 1986 American comedy film directed by Paul Bartel and starring Tim Conway 

Plot
Four friends enjoy betting on horses at the race track  Someone tells them that he's got something to give his horse to make it run faster, and they can win a lot of money if they bet  Dooley tries to romance Nicki Dixon to get the money, but he finds out she's a lunatic who tries to kill him when he reminds her of her ex  Later, they borrow an envelope of money from the mob, who expect them to pay back within a week  They find out that the man who gave them the tip was a fraud, but Dooley remembered someone saying that the horse would run fast if he saw red  He ran out to the track, waved a red dress and the horse won the race 

Cast
Tim Conway as Dooley
Harvey Korman as Lou
Jack Weston as Elton
Ted Wass as Stump
Stella Stevens as Nicki Dixon
Anne Meara as Madge
George DiCenzo as DeFranco
Jorge Cervera as Santiago
Jonathan Winters as Tyler
Frank Bonner as Realtor
Eddie Deezen as Parking Attendant
Nick Dimitri as Track Cop
Garry Goodrow as Josh
Edie McClurg as Donna
Joseph Ruskin as Fusco

Theme Song
"The Longshot", the film's title track, is performed by Irene Cara 



ground_truth: Miley Naa Miley Hum

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film has the director who is older than the other, Blue Blood And Red or The Longshot? 

The following are given passages.
Context 4:  After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years 

With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh  Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929  The play ran for over a year and cemented its reputation as the greatest play about World War I 

Early work in Hollywood
The success of the various productions of Journey's End brought Whale to the attention of movie producers  Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue  Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures  He was assigned as "dialogue director" for a film called The Love Doctor (1929)  He completed work on the film in 15 days and his contract was allowed to expire  It was at around this time that he met David Lewis Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie  Whale directed the dialogue sequences  When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film  The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York  Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh  Filming got underway on 6 December 1929 and wrapped on 22 January 1930  Journey's End was released in Great Britain on 14 April and in the United States on 15 April  On both sides of the Atlantic the film was a tremendous critical and commercial success 

With the Laemmles at Universal
Universal Studios signed Whale to a five-year contract in 1931 and his first project was Waterloo Bridge  Based on the Broadway play by Robert E  Sherwood, the film stars Mae Clarke as Myra, a chorus girl in World War I London who becomes a prostitute  It too was a critical and popular success  At around this time, Whale and Lewis began living together In 1931, Universal chief Carl Laemmle, Jr  offered Whale his choice of any property the studio owned  He chose Frankenstein, mostly because none of Universal's other properties particularly interested him, and he wanted to make something other than a war picture  While Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus itself was in the public domain, Universal owned the filming rights to a stage adaptation by Peggy Webling  Whale cast Colin Clive as Henry Frankenstein and Mae Clarke as his fiancée Elizabeth  For the Monster, he turned to the little known Boris Karloff, who had wide-ranging experience in supporting roles  Shooting began on 24 August 1931 and wrapped on 3 October  Previews were held 29 October, with wide release on 21 November  Frankenstein was an instant hit with critics and the public  The film received glowing reviews and shattered box office records across the United States, earning Universal $12 million on first release Next from Whale were The Impatient Maiden and The Old Dark House (both 1932)  The Impatient Maiden made little impression but The Old Dark House, starring Karloff and Charles Laughton, is credited with reinventing the "dark house" subgenre of horror films  Thought lost for some years, a print was found by filmmaker Curtis Harrington in the Universal vaults in 1968  It was restored by George Eastman House, and released on Blu-ray disk in 2017 
Whale's next film was The Kiss Before the Mirror (1933), a critical success but a box-office failure  He returned to horror with The Invisible Man (1933)  Shot from a script approved by H  G  Wells, the film blended horror with humor and confounding visual effects  Much admired, The New York Times placed it in their list of the ten best films of the year, and the film broke box-office records in cities across America  So highly regarded was the film that France, which restricted the number of theatres in which undubbed American films could play, granted it a special waiver because of its "extraordinary artistic merit" Also in 1933 Whale directed the romantic comedy By Candlelight which gained good reviews and was a modest box office hit  In 1934 he directed One More River, an adaptation of the novel of the same name by John Galsworthy  The film tells the story of a woman desperate to escape her abusive marriage to a member of the British aristocracy  This was the first of Whale's films for which Production Code Administration approval was required and Universal had a difficult time securing that approval because of the elements of sexual sadism implicit in the husband's abusive behavior 

Bride of Frankenstein (1935) was Whale's next project  He had resisted making a sequel to Frankenstein as he feared being pigeonholed as a horror director  Bride hearkened back to an episode from Mary Shelley's original novel in which the Monster promises to leave Frankenstein and humanity alone if Frankenstein makes him a mate  He does, but the mate is repelled by the monster who then, setting Frankenstein and his wife free to live, chooses to destroy himself and his "bride"  The film was a critical and box office success, having earned some $2 million for Universal by 1943  Lauded as "the finest of all gothic horror movies", Bride is frequently hailed as Whale's masterpiece 
With the success of Bride, Laemmle was eager to put Whale to work on Dracula's Daughter (1936), the sequel to Universal's first big horror hit of the sound era  Whale, wary of doing two horror films in a row and concerned that directing Dracula's Daughter could interfere with his plans for the first all-sound version of Show Boat (previously filmed as a part-talkie by Harry A  Pollard), instead convinced Laemmle to buy the rights to a novel called The Hangover Murders  The novel is a comedy-mystery in the style of The Thin Man, about a group of friends who were so drunk the night one of them was murdered that none can remember anything  Retitled Remember Last Night?, the film was one of Whale's personal favorites, but met with sharply divided reviews and commercial uninterest 

With the completion of Remember Last Night? Whale immediately went to work on Show Boat (1936)  Whale gathered as many of those as he could who had been involved in one production or another of the musical, including Helen Morgan, Paul Robeson, Charles Winninger, Sammy White, conductor Victor Baravalle, orchestrator Robert Russell Bennett, and, as Magnolia, Irene Dunne, who believed that Whale was the wrong director for the piece  The 1936 version of Show Boat, faithfully adapted from the original stage production, is believed to be the definitive film version of the musical by many critics, but became unavailable following the 1951 remake  In 2014, a restoration of the film became available on DVD in the U S  as part of Warner Home Video's Archive Collection line; and in 2020, a 4K restoration Blu-Ray was released by The Criterion Collection Show Boat was the last of Whale's films to be produced under the Laemmle family  The studio was now bankrupt, and the Laemmles lost control to J  Cheever Cowdin, head of the Standard Capital Corporation, and Charles R  Rogers, who was installed in Junior Laemmle's old job 

Career decline
Whale's career went into sharp decline following the release of his next film, The Road Back (1937)  The sequel to Erich Maria Remarque's All Quiet on the Western Front, which Universal had filmed in 1930, the novel and film follow the lives of several young German men who have returned from the trenches of World War I and their struggles to re-integrate into society  The Los Angeles consul for Nazi Germany, Georg Gyssling, learned that the film was in production  He protested to PCA enforcer Joseph Breen, arguing that the film gave an "untrue and distorted picture of the German people"  Gyssling eventually met Whale, but nothing came of it  Gyssling then sent letters to members of the cast, threatening that their participation in the film might lead to difficulties in obtaining German filming permits for them and for anyone associated in a film with them  While the low volume of business conducted by Universal in Germany made such threats largely hollow, the State Department, under pressure from the Hollywood Anti-Nazi League and the Screen Actors Guild, stepped in and the German government backed down  Whale's original cut of the film was given generally positive reviews, but some time between preview screenings and the film's general release, Rogers capitulated to the Germans, ordering that cuts be made and additional scenes be shot and inserted  Whale was furious, and the altered film was banned in Germany anyway  The Germans were successful in persuading China, Greece, Italy and Switzerland to ban the film as well Following the debacle of The Road Back, Charles Rogers tried to get out of his contract with Whale; Whale refused  Rogers then assigned him to a string of B movies to run out his contractual obligation  Whale only made one additional successful feature film, The Man in the Iron Mask (1939), before retiring from the film industry in 1941 

Post-film life
With his film career behind him, Whale found himself at a loose end  He was offered the occasional job, including the opportunity to direct Since You Went Away for David O  Selznick, but turned them down  Lewis, meanwhile, was busier than ever with his production duties and often worked late hours, leaving Whale lonely and bored  Lewis bought him a supply of paint and canvasses and Whale re-discovered his love of painting  Eventually he built a large studio for himself With the outbreak of World War II, Whale volunteered his services to make a training film for the United States Army  He shot the film, called Personnel Placement in the Army, in February 1942  Later that year, in association with actress Claire DuBrey, he created the Brentwood Service Players  The Players took over a 100–seat theatre  Sixty seats were provided free of charge to service personnel; the remaining were sold to the public, with the box office proceeds donated to wartime charities  The group expanded to the Playtime Theatre during the summer, where a series of shows ran through October Whale returned to Broadway in 1944 to direct the psychological thriller Hand in Glove  It was his first return to Broadway since his failed One, Two, Three! in 1930  Hand in Glove would fare no better than his earlier play, running the same number of performances, 40 Whale directed his final film in 1950, a short subject based on the William Saroyan one-act play Hello Out There  The film, financed by supermarket heir Huntington Hartford, was the story of a man in a Texas jail falsely accused of rape and the woman who cleans the jail  Hartford intended for the short to be part of an anthology film along the lines of Quartet  However, attempts to find appropriate short fiction companion pieces to adapt were unsuccessful and Hello Out There was never commercially released Whale's last professional engagement was directing Pagan in the Parlour, a farce about two New England spinster sisters who are visited by a Polynesian whom their father, when shipwrecked years earlier, had married  The production was mounted in Pasadena for two weeks in 1951  Plans were made to take it to New York, but Whale suggested taking the play to London first  Before opening the play in England, Whale decided to tour the art museums of Europe  In France he renewed his acquaintanceship with Curtis Harrington, whom he had met in 1947  While visiting Harrington in Paris, he went to some gay bars  At one he met a 25-year-old bartender named Pierre Foegel, whom Harrington believed was nothing but "a hustler out for what he could get"  The 62-year-old Whale was smitten with the younger man and hired him as his chauffeur A provincial tour of Pagan in the Parlour began in September 1952 and it appeared that the play would be a hit  However, Hermione Baddeley, starring in the play as the cannibal "Noo-ga", was drinking heavily and began engaging in bizarre antics and disrupting performances  Because she had a run of the play contract she could not be replaced and so producers were forced to close the show Whale returned to California in November 1952 and advised David Lewis that he planned to bring Foegel over early the following year  Appalled, Lewis moved out of their home  While this ended their 23-year romantic relationship, the two men remained friends  Lewis bought a small house and dug a swimming pool, prompting Whale to have his own pool dug, although he did not himself swim in it  He began throwing all-male swim parties and would watch the young men cavort in and around the pool  Foegel moved in with Whale in early 1953 and remained there for several months before returning to France  He returned in 1954 permanently, and Whale installed him as manager of a gas station that he owned Whale and Foegel settled into a quiet routine until the spring of 1956, when Whale suffered a small stroke  A few months later he suffered a larger stroke and was hospitalized  While in the hospital he was treated for depression with shock treatments Upon his release, Whale hired one of the male nurses from the hospital to be his personal live-in nurse  A jealous Foegel maneuvered the nurse out of the house and hired a female nurse as a non-live-in replacement  Whale suffered from mood swings and grew increasingly and frustratingly more dependent on others as his mental faculties were diminishing 

Death
Whale died by suicide by drowning himself in his Pacific Palisades swimming pool on 29 May 1957 at the age of 67  He left a suicide note, which Lewis withheld until shortly before his own death decades later  Because the note was suppressed, the death was initially ruled accidental  The note read in part:

To ALL I LOVE,
Do not grieve for me  My nerves are all shot and for the last year I have been in agony day and night—except when I sleep with sleeping pills—and any peace I have by day is when I am drugged by pills 

I have had a wonderful life but it is over and my nerves get worse and I am afraid they will have to take me away  So please forgive me, all those I love and may God forgive me too, but I cannot bear the agony and it [is] best for everyone this way  The future is just old age and illness and pain  Goodbye and thank you for all your love  I must have peace and this is the only way 
Whale's body was cremated per his request, and his ashes were interred in the Columbarium of Memory at Forest Lawn Memorial Park, Glendale  Because of his habit of periodically revising his date of birth, his niche lists the incorrect date of 1893  When his longtime partner David Lewis died in 1987, his executor and Whale biographer James Curtis had his ashes interred in a niche across from Whale's 

Sexual orientation
James Whale lived as an openly gay man throughout his career in the British theatre and in Hollywood, something that was virtually unheard of in that era  He and David Lewis lived together as a couple from around 1930 to 1952  While he did not go out of his way to publicize his homosexuality, he did not do anything to conceal it either  As filmmaker Curtis Harrington, a friend and confidant of Whale's, put it, "Not in the sense of screaming it from the rooftops or coming out  But yes, he was openly homosexual  Any sophisticated person who knew him knew he was gay " While there have been suggestions that Whale's career was terminated because of homophobia, and Whale was supposedly dubbed "The Queen of Hollywood", Harrington states that "nobody made a thing out of it as far as I could perceive" With knowledge of his sexuality becoming more common beginning in the 1970s, some film historians and gay studies scholars have detected homosexual themes in Whale's work, particularly in Bride of Frankenstein in which a number of the creative people associated with the cast, including Ernest Thesiger and Colin Clive, were alleged to be gay or bisexual  Scholars have identified a gay sensibility suffused through the film, especially a camp sensibility, particularly embodied in the character of Pretorius (Thesiger) and his relationship with Henry Frankenstein (Clive)  Minnie introduces Pretorius to Frankenstein with the line, "He's a very queer-looking old gentleman, sir    " at 16:56 in the film 
Gay film historian Vito Russo, in considering Pretorius, stops short of identifying the character as gay, instead referring to him as "sissified" ("sissy" itself being a Hollywood's gay stock character)  Pretorius serves as a "gay Mephistopheles", a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of non-procreative life  A novelisation of the film published in England made the implication clear, having Pretorius say to Frankenstein "'Be fruitful and multiply ' Let us obey the Biblical injunction: you of course, have the choice of natural means; but as for me, I am afraid that there is no course open to me but the scientific way " Russo goes so far as to suggest that Whale's homosexuality is expressed in both Frankenstein and Bride as "a vision both films had of the monster as an antisocial figure in the same way that gay people were 'things' that should not have happened" Whale's partner David Lewis stated flatly that Whale's sexual orientation was "not germane" to his filmmaking  "Jimmy was first and foremost an artist, and his films represent the work of an artist—not a gay artist, but an artist " Whale's biographer Curtis rejects the notion that Whale would have identified with the Monster from a homosexual perspective, stating that if the highly class-conscious Whale felt himself to be an antisocial figure, it would have been based not in his sexuality but in his origin in the lower classes 

Film style
Whale was heavily influenced by German Expressionism  He was a particular admirer of the films of Paul Leni, combining as they did elements of gothic horror and comedy  This influence was most evident in Bride of Frankenstein  Expressionist influence is also in evidence in Frankenstein, drawn in part from the work of Paul Wegener and his films The Golem (1915) and The Golem: How He Came into the World (1920) along with The Cabinet of Dr  Caligari (1920) from Robert Wiene, which Whale reportedly screened repeatedly while preparing to shoot Frankenstein  Frankenstein roughly alternates between distorted expressionistic shots and more conventional styles, with the character of Dr  Waldman serving as "a bridge between everyday and expressionist spaces"  Expressionist influence is also evident in the acting, costuming and the design of the Monster  Whale and makeup artist Jack Pierce may also have been influenced by the Bauhaus school of design  The expressionist influence lasted throughout Whale's career, with Whale's final film, Hello Out There, praised by Sight & Sound as "a virtuoso pattern of light and shade, a piece of fully blown expressionist filmmaking plonked down unceremoniously in the midst of neo-realism's heyday" Whale was known for his use of camera movement  He is credited with being the first director to use a 360-degree panning shot in a feature film, included in Frankenstein  Whale used a similar technique during the Ol' Man River sequence in Show Boat, in which the camera tracked around Paul Robeson as he sang the song  (The sequence also uses expressionist montages illustrating some of the lyrics ) Often singled out for praise in Frankenstein is the series of shots used to introduce the Monster: "Nothing can ever quite efface the thrill of watching the successive views Whale's mobile camera allows us of the lumbering figure"  These shots, starting with a medium shot and culminating in two close-ups of the Monster's face, were repeated by Whale to introduce Griffin in The Invisible Man and the abusive husband in One More River  Modified to a single cut rather than two, Whale uses the same technique in The Road Back to signal the instability of a returning World War I veteran 

Legacy
Influential film critic Andrew Sarris, in his 1968 ranking of directors, lists Whale as "lightly likable"  Noting that Whale's reputation has been subsumed by the "Karloff cult", Sarris cites Bride of Frankenstein as the "true gem" of the Frankenstein series and concludes that Whale's career "reflects the stylistic ambitions and dramatic disappointments of an expressionist in the studio-controlled Hollywood of the thirties" Whale's final months are the subject of the novel Father of Frankenstein (1995) by Christopher Bram  The novel focuses on the relationship between Whale and a fictional gardener named Clayton Boone  Father of Frankenstein served as the basis of the 1998 film Gods and Monsters with Ian McKellen as Whale and Brendan Fraser as Boone  McKellen was nominated for an Academy Award for his portrayal of Whale  Bram's novel has also been adapted as a play which premiered in London at the Southwark Playhouse in February 2015 Only two of Whale's films received Oscar nominations: The Man in the Iron Mask (for its musical score), and Bride of Frankenstein (for its sound recording) 
A memorial sculpture was erected for Whale in September 2001 on the grounds of a new multiplex cinema in his home town of Dudley  The sculpture, by Charles Hadcock, depicts a roll of film with the face of Frankenstein's monster engraved into the frames, and the names of his most famous films etched into a cast concrete base in the shape of film canisters  Other sculptures related to Whale's cinema career were planned, referencing his early work in a local sheet metal factory, but none had been installed as of 2019 Horror in Hollywood: The James Whale Story, a retrospective of Whale's artwork, opened at the Dudley Museum and Art Gallery in October 2012 and ran through to January 2013 

Filmography
Passage 10:
Raiders of the Seven Seas
Raiders of the Seven Seas is a 1953 American swashbuckler film directed by Sidney Salkow and starring John Payne and Donna Reed   The supporting cast features Gerald Mohr, Lon Chaney Jr  and Anthony Caruso 

Plot
The pirate Barbarossa raids the Sultan of Morocco's ships and captures a betrothed woman 

Cast
John Payne as Barbarossa
Donna Reed as Alida
Gerald Mohr as Capt  Jose Salcedo
Lon Chaney Jr  as  Peg Leg
Anthony Caruso as Renzo
Henry Brandon as Capt  Goiti
Skip Torgerson as Datu
Frank De Kova as Capt  Romero
William Tannen as Ramon
Christopher Dark as Pablo
Claire DuBrey as Señora Salcedo
Howard Freeman as Mayor Pompano

Production
The film was originally known as Storm over the Caribbean, Barbarossa and Swords Against the Mast  It was an original story co written by director Sidney Salkow, who subsequently signed a long-term contract with producer Edward Small 

See also
Flame of Araby (1951), with Barbarossa and his brother as villains
List of films featuring slavery



ground_truth: Blue Blood And Red