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

Question: Which magazine was established first, Women'S Suffrage Journal or Mostar (Magazine)?

The following are given passages.
Context 1: Passage 1:
Everybody's Magazine
Everybody's Magazine was an American magazine published from 1899 to 1929  The magazine was headquartered in New York City 

History and profile
The magazine was founded by Philadelphia merchant John Wanamaker in 1899, though he had little role in its actual operations  Initially, the magazine published a combination of non-fiction articles and new fiction stories   By 1926, the magazine had become a pulp fiction magazine and in 1929 it merged with Romance magazine 
In 1903, it had a circulation of 150,000, and Wanamaker sold the magazine for $75,000 to a group headed by Erman Jesse Ridgway   A series of muckraking articles called "Frenzied Finance" in 1904 boosted circulation to well over 500,000, and it stayed above the half million mark for many years   During America's involvement in World War I, circulation declined below 300,000   By the late 1920s, it had declined to about 50,000 Beginning in 1915, the magazine began referring to itself simply as Everybody's  Writers who appeared in it include Jack London, Talbot Mundy, Victor Rousseau, O  Henry, A  A  Milne (Milne's novel The Red House Mystery was serialised in the magazine from August to December 1921 as The Red House Murder) Hugh Pendexter, Eleanor Hoyt Brainerd, Raoul Whitfield and Dornford Yates 
The last issue of Everybody's Magazine was published in March 1929  In 1931, publisher Alfred A  Cohen purchased Everybody's Magazine from the Butterick Publishing Company and attempted to revive it with F  Orlin Tremaine as editor  No known issues were produced and the magazine was soon declared discontinued 

Gallery
Passage 2:
Northern Men's League for Women's Suffrage
The Northern Men's Federation for Women's Suffrage was an organisation which was active in Scotland during the later part of the campaign for women's suffrage 

Formation
In 1907, after the imprisonment of his wife, Maggie Moffat for suffrage activity, Graham Moffat formed the Glasgow Men's League for Women's Suffrage  It was intended to offer support and solidarity for the husbands and brothers of women involved in the campaign, as well as male sympathisers Many of the members were politically active and powerful men who wanted to use their influence in the campaign In July 1913, organised by Maud Arncliffe Sennett, a large delegation of  Scottish men travelled to London for an audience with the prime minister, H  H  Asquith, to discuss extending the franchise to women  The request for a meeting was refused  A direct result of this failure to meet with them was that they formed the new campaigning organisation  The artist John Wilson McLaren wrote a verse about the trip:

We've come from the North, and the heather's on fire,
To fight for the women–our only desire;
At last we've been roused thro' the treachery shown
By knaves at Westminster–the knaves we disown!'The inaugural meeting was held in Glasgow on 11 September 1913  The founder, president, and main organiser of the July deputation was Maud Arncliffe Sennett  She had discussed the possibility of a men's campaigning organisation on the train to the funeral of Emily Davison, which she attended on behalf of the Actresses' Franchise League  The honorary secretary of the Edinburgh branch was Nannie Brown Branches were formed in Midlothian and Berwick upon Tweed 

Activities
The league had no party political loyalties, and supported all of the different suffrage groups, whether militant or constitutional  They sent petitions and resolutions to those in power, and corresponded with other organisations to rally support 
They held a meeting in Bridgeton in November 1913, which was addressed by Maud Arncliffe Sennet, Henry Harben, JP, Bailie Alston and Helen Crawfurd, who "welcomed the NMF as a new order of chivalry: it came to fight for the oppressed and sweated women worker"  In the same month they also met in the Synod Hall, Edinburgh, and were addressed by John Cockburn, Mrs Cavendish Bentinck, and Maud Arncliffe Sennett   On 14 February 1914, the Northern Men's Federation for Women's Suffrage was to hold a mass meeting in Memorial Hall, London, and the following day a Trafalgar Square demonstration  The 'War Song" titled  'Justice For Ever'  by J  Wilson McLaren was to be sung in full at these events, to the air 'The Macgregors' Gathering' , and the words printed (the day before the first event) in the Women's Freedom League newspaper The Vote:We've come from the North, and the heather's on fire,
To fight for the women – our only desire;
At last we've been roused thro' the treachery shown
By knaves at Westminster–the knaves we disown!
Then rally, rally, rally, Englishmen!
With the Scots by your side, help the Cause that is just -
The mothers who bore us, we cannot but trust -
They're voteless, voteless, voteless!
Voteless, voteless, voteless!
Then prove yourselves heroes! Oppressors? No, never!
The Women shall triumph! It's Justice for ever!
The torture of martyrs has stirred the whole nation -
Wives, sisters and mothers  - vile degradation!

It's shameful, shameful, shameful, Englishmen!
Shameful, shameful, shameful!
Then join the fray - turn the Government out
That still dares the Mandate of voters to flout:
For Freedom our forefathers fought long ago,
And the sons from auld Scotland will strike, too, a blow!
Then help us, help us, Englishmen!
The "Forcible Feeding" and "Cat-and-Mouse Bill,"
We're now more determined than ever to kill;
Then rally, rally, rally!
Rally, rally, rally!
"Votes for Women" our cry  Cease fighting? No, never!

Till victory is won, and - Justice for ever!Both Nannie Brown and Maud Arncliffe Sennett visited the City of Edinburgh Council and were welcomed and given a lunch with the Lord Provost and councillors (the week before) and were organising the deputation to London  Councillors Murray and Crawford were to take part, and a large and supportive rally on the Mound, Edinburgh took place In April 1914, the league took part in a larger demonstration at Cupar, where H  H  Asquith was standing in a ministerial by-election  They announced their intention of opposing him at the next general election The league continued their campaigning work during the war years, which included an open-air meeting at The Meadows, Edinburgh in May 1915, a demonstration in July 1915, addressed by Maud Arncliffe Sennett, and a meeting in April 1916  Their activities continued until 1919 

Notable members and speakers
Cunninghame Graham
William Graham
Charles Mabon
Maud Arncliffe Sennett
Nannie Brown
J Wilson McLaren

See also
Men's League for Women's Suffrage (United Kingdom)
Women's suffrage in the United Kingdom
Passage 3:
Budapest Business Journal
The Budapest Business Journal or BBJ is a biweekly business magazine published in Hungary  It is the largest, oldest and a leading publication in its category in the country 

History and profile
The BBJ was launched in November 1992 as a weekly  The magazine, based in Budapest, was converted into biweekly later  It was founded by a US-owned company headed by Stephen A  O'Connor, an American media entrepreneur  Mike Stone was also its founder The publisher is Absolut Media Kft  It was originally published by  New World Publishing  which also published the Warsaw Business Journal in Poland and the Prague Business Journal in Czechoslovakia (and later the Czech Republic) until January 2004 As its title implies, the BBJ exclusively focuses on business news and related analysis, targeting business professionals  In addition, it provides detailed industry and company information  The magazine publishes rankings of Hungarian companies each year in a separate publication called The Book of Lists The BBJ was one of the independent publications and provided investigative reports in the late 1990s  In 2002 the BBJ had a circulation of 8,700 copies The BBJ has a website which is one of the leading business information websites in the country  As of 15 May 2013 the Alexa rank of the website was 858437 

See also
List of magazines in Hungary
Passage 4:
Lydia Becker
Lydia Ernestine Becker (24 February 1827 – 18 July 1890) was a leader in the early British suffrage movement, as well as an amateur scientist with interests in biology and astronomy  She established Manchester as a centre for the suffrage movement and with Richard Pankhurst she arranged for the first woman to vote in a British election and a court case was unsuccessfully brought to exploit the precedent  Becker is also remembered for founding and publishing the Women's Suffrage Journal between 1870 and 1890 

Biography
Born in Cooper Street in the Deansgate area of Manchester, the oldest daughter of Hannibal Becker, whose father, Ernst Becker had emigrated from Ohrdruf in Thuringia  Becker was educated at home, like many girls at the time  Intellectually curious, she studied botany and astronomy from the 1850s onwards, winning a gold medal for an 1862 scholarly paper on horticulture  An uncle, rather than her parents, encouraged this interest  Five years later, she founded the Ladies' Literary Society in Manchester 
She began a correspondence with Charles Darwin and soon afterwards convinced him to send a paper to the society  In the course of their correspondence, Becker sent a number of plant samples to Darwin from the fields surrounding Manchester  She also forwarded Darwin a copy of her "little book", Botany for Novices (1864)  Becker is one of a number of 19th-century women who contributed, often routinely, to Darwin's scientific work  Her correspondence and work alike suggest that Becker had a particular interest in bisexual and hermaphroditic plants which, perhaps, offered her powerful 'natural' evidence of radical, alternative sexual and social order She was also recognised for her own scientific contributions, being awarded a national prize in the 1860s for a collection of dried plants prepared using a method that she had devised so that they retained their original colours  She gave a botanical paper to the Biology Section (D) at the 1868 meeting of the British Association about the effect of fungal infection on sexual development in a plant species  Botany remained important to her, but her work for women's suffrage took over the central role in her life  Her involvement in promoting and encouraging scientific education for girls and women brought these two aspects together 

Role in women's suffrage
In autumn 1866 Becker attended the annual meeting of the National Association for the Advancement of Social Science, where she was excited by a paper from Barbara Bodichon entitled "Reasons for the Enfranchisement of Women"  She dedicated herself to organising around the issue, and in January 1867 convened the first meeting of the Manchester Women's Suffrage Committee, one of the first organisations of its kind in England  She got to know there Dr  Richard Pankhurst, known as 'the red Doctor' whom Becker described as 'a very clever little man with some extraordinary sentiments about life in general and women in particular'  He married Emmeline in 1879 Several months later, a widowed shop owner, Lilly Maxwell, mistakenly appeared on the register of voters in Manchester  She was not the first but she was a good opportunity for publicity  Becker visited Maxwell and escorted her to the polling station  The returning officer found Maxwell's name on the list and allowed her to vote  Becker immediately began encouraging other women heads of households in the region to petition for their names to appear on the rolls  Their claims were presented in court by Sir John Coleridge and Richard Pankhurst in Chorlton v  Lings, but the case was dismissed On 14 April 1868, the first public meeting of the National Society for Women's Suffrage was held in the Free Trade Hall in Manchester  The three main speakers were Agnes Pochin, Anne Robinson and Becker  The meeting was presided over by Priscilla Bright McLaren  Becker moved the resolution that women should be granted voting rights on the same terms as men 
Becker subsequently commenced a lecture tour of northern cities on behalf of the society  In June 1869, Becker and fellow campaigners were successful in securing the vote for women in municipal elections  Having campaigned for the inclusion of women on school boards, in 1870 she was one of four women elected to the Manchester School Board on which she served until her death  In the same year Becker and her friend Jessie Boucherett founded the Women's Suffrage Journal and soon afterward began organising speaking tours of women – a rarity in Britain at the time  At an 1874 speaking event in Manchester organised by Becker, fifteen-year-old Emmeline Pankhurst experienced her first public gathering in the name of women's suffrage  On 24 March 1877 Lydia appeared at a public meeting alongside J W White, Henry Birchenough, Alice Cliff Scatcherd (subsequently one of the co-founders of the Women's Franchise League) and other early suffragists to discuss women's access to the vote in Macclesfield The Journal was the most popular publication relating to women's suffrage in 19th-century Britain  Roger Fulford, in his study of the movement Votes for Women: The Story of a Struggle, writes: "The history of the decades from 1860 to 1890 – so far as women's suffrage is concerned – is the history of Miss Becker " The Journal published speeches from around the country, both within and outside of Parliament  Becker published her correspondence with her supporters and her opponents, notably in 1870, when she chastised the MP for Caernarvonshire after he voted against a proposal offering women the vote In 1880, Becker and co-workers campaigned in the Isle of Man for the right of women to vote in the House of Keys elections  Unexpectedly, they were successful and they secured for women voting rights in the Isle of Man for the first time in the elections of March 1881  Becker became the chair of the Central Committee of the National Society for Women's Suffrage  This organisation had been formed in 1871 to lobby parliament  Other committee members included Helen Blackburn, Millicent Fawcett, Jessie Boucherett, Eva McLaren, Margaret Bright Lucas, Priscilla Bright McLaren and Frances Power Cobbe Becker differed from many early feminists in her disputation of essentialised femininity  Arguing there was no natural difference between the intellect of men and women, Becker was a vocal advocate of a non-gendered education system in Britain  She also differed with many suffrage activists in arguing more strenuously for the voting rights of unmarried women  Women connected to husbands and stable sources of income, Becker believed, were less desperately in need of the vote than widows and single women  This attitude made her the target of frequent ridicule in newspaper commentary and editorial cartoons 

Death and legacy
In 1890 Becker visited the spa town of Aix-les-Bains, where she fell ill and died of diphtheria, aged 63 Rather than continue publishing in her absence, the staff of the Women's Suffrage Journal decided to cease production 

Memorials
A book collection by women, with books from Helen Blackburn's collection, her friends and from second hand sources, was placed in two bookcases decorated with paintings of Becker and Caroline Ashurst Biggs, who had been chairs of the Central Committee of the National Society for Women's Suffrage before Blackburn  These bookcases were given to Girton College and are extant Becker's name is listed on the south face of the Reformers Memorial in Kensal Green Cemetery in London  Her name is also listed on her father's gravestone (Hannibal Becker) in the churchyard of the Parish Church of St James, Altham in Lancashire  A plaque commemorating her life is situated adjacent to the Moorfield Colliery Memorial on Burnley Road, Altham, (A678) at the junction with Moorfield Way 
Becker's name and image, alongside those of 58 other women's suffrage supporters, are etched on the plinth of the statue of Millicent Fawcett in Parliament Square, London In Paris, France, a street is named after her, the allée Lydia-Becker (Lydia Becker Lane), near Montmartre, close to the rue Eva-Kotchever   In Chadderton, Oldham, United Kingdom,  a street is named after her, Lydia Becker Way 

Works
Botany for Novices (1864)
"Female Suffrage" in The Contemporary Review (1867)
"Is there any Specific Distinction between Male and Female Intellect?" in Englishwoman's Review of Social and Industrial Questions (1868)
"On the Study of Science by Women" in The Contemporary Review (1869)
"The Political Disabilities of Women" in The Westminster Review (1872)

Archives
The archives of Lydia Becker are held at the Women's Library at the Library of the London School of Economics 

Lydia Becker Institute of Immunology and Inflammation
In 2018 the Lydia Becker Institute of Immunology and Inflammation  was launched at The University of Manchester 
The institute is home to internationally renowned immunology and inflammation expertise in a vast array of basic and applied disciplines  
The institute is named after Lydia Becker because she was a celebrated natural scientist who conversed with Charles Darwin and because she strongly believed that women were intellectually equal to men and deserved the same opportunities 

Notes
Passage 5:
UPraw – UK Student Magazine
UPraw Magazine was a national UK student magazine distributed through various university-related sites, student unions and selected Blackwell bookstores from 2001 - 2002  The magazine was based in Bournemouth The magazine was a full colour glossy publication and four issues were released   The cover and interviews stars included the BBC Radio 1 Disc Jockeys 'Dream Team', the RnB act 'Artful Dodger' and acting legend Robert De Niro 
The magazine was a mix of student related current affairs and mostly humour based articles   The magazine proved very popular in smaller cities but was less successful in bigger cities where local student publications were more dominant   The magazine was also criticised in some quarters for not having enough of a political agenda and not advancing student issues 
The magazine was established by Suzanne Miller who had previously edited the magazine FastTimes 
The magazine was co-edited by Nimalan Nades (also known by his real name Nimalan Nadesalingam) who had previously edited a local student magazine in Lincoln, England and who had also been a published as a writer for FastTime   Many of the UPraw writers were also Lincoln based and included James Copper who had co-edited a local student magazine with Nimalan Nades previously   Another contributor was Jon Kirk who then went on to establish Chalk, a rock-climbing magazine 
Passage 6:
Mostar (magazine)
Mostar is a monthly magazine of culture and current affairs  It began publishing in March 2005  Its name originates from the Stari Most in Bosnia-Herzegovina 

Content of Magazine
File subjects
Awards
On January 1, 2010, Mostar has been awarded as "Magazine of the Year" by Writers Union of Turkey 
On April 12, 2012, Mostar has won the reward of "Magazine of the Year" from International Association of Islamic World Journalist and Authors (ULGAYAD)

Notes
External links
Official Site
Passage 7:
Women's Suffrage Journal
The Women's Suffrage Journal was a magazine founded by Lydia Becker and Jessie Boucherett in 1870  Initially titled the Manchester National Society for Women's Suffrage Journal within a year its title was changed reflecting Becker's desire to extend its influence beyond "Manchester's radical liberal elite"  It carried news of events affecting all areas of women's lives, and particularly focused on features that demonstrated the breadth of support among the general population for women's suffrage in the United Kingdom  It also frequently published guidance on how to prepare a petition to be presented to the House of Commons Publication ceased in 1890 following Becker's death  The final edition contained this note:

For twenty years and four months this Journal has received the impress of one hand and one mind, so that its long row of volumes forms one continuous work, and now when that careful hand is laid low and the energies of that far-seeing mind are carried beyond our mortal ken, it would seem the most fitting course to close these pages where Miss Becker left them 

See also
List of suffragists and suffragettes
List of women's rights activists
Timeline of women's suffrage
Women's suffrage
Passage 8:
Lip (magazine)
Lip, A Feminist Arts Journal, or just Lip, was an Australian interdisciplinary feminist art journal, published between 1976 and 1984  It was the first of its kind in Australia The magazine was founded by Suzanne Spunner, who had been involved in the organising of the International Women's Film Festival in 1975 The magazine was self-published by a feminist collective during the era of the women's liberation movement, and its content included a very wide range of feminist positions and interdisciplinary art forms, in addition to work that connected the local scene to a more international network  The magazine was based in Carlton, Victoria The Lip collective also organised art shows, curated critical essays, and additionally published the Earthworks Poster Collective, The Women’s Theatre Group and The Women’s Film Group In 2013 Vivian Ziherl published an anthology of Lip articles 
Passage 9:
American Monthly
American Monthly magazine was the original official monthly magazine published by the National Society of the Daughters of the American Revolution (NSDAR)  The magazine was published between 1892 and 2001 

History and profile
The magazine was established in 1892 with the name The American Monthly  The headquarters of the magazine was in Washington DC  In 1913 it was renamed as Daughters of the American Revolution Magazine Later titles were Daughters of the American Revolution Magazine, and The National Historical Magazine  In 2001, the NSDAR split the content into two magazines, a new periodical called American Spirit, containing "articles pertaining to American history, historic preservation, patriotism, genealogy and education", and Daughters of the American Revolution Newsletter, a newsletter covering members' concerns from national headquarters Ellen Hardin Walworth, one of the original four founders of the DAR, was the initial editor of the magazine  She was the periodical's editor from the spring of 1892 until July 1894  Catharine Hitchcock Tilden Avery later served in that role 
Passage 10:
Everybody's Magazine
Everybody's Magazine was an American magazine published from 1899 to 1929  The magazine was headquartered in New York City 

History and profile
The magazine was founded by Philadelphia merchant John Wanamaker in 1899, though he had little role in its actual operations  Initially, the magazine published a combination of non-fiction articles and new fiction stories   By 1926, the magazine had become a pulp fiction magazine and in 1929 it merged with Romance magazine 
In 1903, it had a circulation of 150,000, and Wanamaker sold the magazine for $75,000 to a group headed by Erman Jesse Ridgway   A series of muckraking articles called "Frenzied Finance" in 1904 boosted circulation to well over 500,000, and it stayed above the half million mark for many years   During America's involvement in World War I, circulation declined below 300,000   By the late 1920s, it had declined to about 50,000 Beginning in 1915, the magazine began referring to itself simply as Everybody's  Writers who appeared in it include Jack London, Talbot Mundy, Victor Rousseau, O  Henry, A  A  Milne (Milne's novel The Red House Mystery was serialised in the magazine from August to December 1921 as The Red House Murder) Hugh Pendexter, Eleanor Hoyt Brainerd, Raoul Whitfield and Dornford Yates 
The last issue of Everybody's Magazine was published in March 1929  In 1931, publisher Alfred A  Cohen purchased Everybody's Magazine from the Butterick Publishing Company and attempted to revive it with F  Orlin Tremaine as editor  No known issues were produced and the magazine was soon declared discontinued 

Gallery
Context 3: Passage 1:
Henry Moore (cricketer)
Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand 

Life and family
Henry Moore was born in Cranbrook, Kent, in 1849  He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch  One of his brothers, Arthur, became an admiral and was knighted  Their great 
grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805  One of their sisters was a maid of honour to Queen Victoria Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch  He married Henrietta Lysaght of Hāwera in November 1879, and they had one son  In May 1884 she died a few days after giving birth to a daughter, who also died In 1886 Moore became a Justice of the Peace in Geraldine  In 1897 he married Alice Fish of Geraldine  They moved to England four years before his death in 1916 

Cricket career
Moore was a right-handed middle-order batsman  In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively  His 76 came in his first match for Canterbury, against Otago  He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a "very fine exhibition of free hitting, combined with good defence"  Canterbury were all out for 133, but went on to win the match  His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6  The New Zealand cricket historian Tom Reese said, "Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving " Canterbury won again Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34 4  Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians  In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team 
Passage 2:
Smokey and the Bandit Part 3
Smokey and the Bandit Part 3 is a 1983 American action comedy film and a second and final sequel to Smokey and the Bandit (1977) and Smokey and the Bandit II (1980), starring Jackie Gleason, Jerry Reed, Paul Williams, Pat McCormick, Mike Henry and Colleen Camp  The film also includes a cameo near the end by the original Bandit, Burt Reynolds 
With one of the main titular characters missing, the plot of the film revolves instead around Sheriff Buford T  Justice ("Smokey"), with the presence of the Bandit merely being suggested through him being impersonated by Cledus ("Snowman") 
The film received negative reviews and was a box office bomb 

Plot
Big Enos and Little Enos offer retiring Sheriff Buford T  Justice a wager, betting $250,000 against his badge on his ability to transport a large stuffed fish from Florida to Texas  Buford rejects the wager and retires, but goes through all sorts of mishaps before finally realizing retirement is not all it is cracked up to be and accepting the Enoses' wager  Buford picks up the fish and starts driving with his son, Junior 
The Enoses set many traps, but Buford dodges all of them, so they try to hire the Bandit to intercept him  Agreeing that the original Bandit is too hard to manage, they hire the Snowman to act as the Bandit  The new Snowman/Bandit parks his truck so he can drive a black and gold 1983 Pontiac Trans Am 
The Bandit picks up Dusty, who quits her job at a used car dealership  The Bandit catches up with Buford and steals the fish with Dusty's help  Buford pursues the Bandit, with another local officer who attempts to take charge of the situation  Both police cars are disabled in the chase 
Buford catches up after the Bandit and Dusty stop at a redneck bar to eat  The chase then creates mass chaos in a local town  The Bandit escapes when an 18-wheeler blocks the alleyway where the Bandit sped through  While trying to get the truck out, Buford's car is towed, but he reverses the car and escapes  The tow truck driver chases him, with Junior spinning on the hook  Buford makes the truck flip over, sending Junior flying through the air  Other cars crash into the pile-up 
Buford chases the Bandit in the Mississippi Fairgrounds  Buford's car is thrown up on two side wheels by an incline, but he continues the pursuit while driving on two wheels 
That night, the Bandit and Dusty stop at a hotel called the Come On Inn, where people are involved in an orgy  Buford sees the Bandit's Trans-Am parked there and searches for the fish, which he finds  Buford also thinks he finds the Bandit in the sauna, but it turns out to be a muscular woman who bonds with him 
The next day, one of Buford's tires are blown by the "Enos Devil Darts"  The Bandit retakes the fish  Buford pursues on the remaining three tires, first through a herd of cattle, then through parked boats, then a nudist camp, then through a field where the Enoses set off explosions, one of which destroys the car except the engine, seat, and lights, the latter of which Junior is holding above his head 
The Bandit intends to surrender the fish and let Buford win  As Buford collects his money, he sees the Snowman  Thinking he is dealing with the real Bandit, he resists "the Bandit's" (imagined as Burt Reynolds) attempts to sweet-talk him out of capturing him before Junior (in a voiceover) reminds him of what is in store for him if he retires  Buford and the Bandit both separately come to the same conclusion that they need each other in order to have meaning in their lives and the chase resumes, with Buford giving the Bandit a five-minute head start and with the muscular woman joining up with him  Junior is left behind and chases after Buford and the woman, dropping all the money in the process 

Cast
Jackie Gleason as Montague County Sheriff Buford T  Justice of Texas
Jerry Reed as Cledus "The Snowman" Snow / "The Bandit"
Paul Williams as Enos "Little Enos" Burdette
Pat McCormick as Enos "Big Enos" Burdette
Mike Henry as Junior Justice
Colleen Camp as Dusty Trails
Faith Minton as Tina
Burt Reynolds as Bo "The Bandit" Darville, The Real Bandit
Sharon Anderson as Police Woman
Silvia Arana as Latin Woman
Alan Berger as Hippie
Ray Bouchard as Purvis R  Beethoven
Connie Brighton as Girl #1
Earl Houston Bullock as Flagman
Ava Cadell as The Blonde
Cathy Cahill as Mother Trucker
David S  Cass Sr  as Local Tough Guy
Leon Cheatom as Guide
Candace Collins as French Maid
Peter Conrad as Midget
Janis Cummins as Nudist Female
Jackie Davis as Blackman #1
Dee Dee Deering as Mrs  Fernbush
Al De Luca as Flower Vendor
Raymond Forchion as Tar Worker
Dick Lowry as Sand Dumper
Sandy Mielke as Driving Instructor

Production
The film was originally entitled Smokey IS the Bandit, and did not include Jerry Reed in the cast   Contemporary newspapers refer to original plans to feature Gleason as both "Smokey" and "the Bandit", and Reed's name does not appear in early promotional materials or newspaper accounts during the film's production   According to some accounts, Jackie Gleason was to play two roles: Sheriff Buford T  Justice and a different "Bandit"  The original version was shot in October 1982  Reportedly test audiences reacted poorly, finding Gleason's two roles confusing, so the studio opted to do re-shoots in April 1983   The Bandit scenes were re-shot with Jerry Reed playing the role  Other accounts indicate that the title was more literal: that Gleason was to play only Sheriff Justice, but the character would also fill the role of "the Bandit", by taking the Enos family's challenge (as Reynolds' character had done in the previous two films)  In a teaser trailer for the film (billed as Smokey IS the Bandit), Gleason appears in character as Justice, explaining to the audience that to defeat the Bandit he would adopt the attributes of his prey, "becoming [my] own worst enemy"  A publicity still of Gleason apparently shows him in costume as the Bandit 

Soundtrack
Smokey and the Bandit Part 3: Music from the Original Motion Picture Soundtrack was released on vinyl and cassette tape by MCA Records in 1983 

Reception
Smokey and the Bandit Part 3 received negative reviews by critics and the film was generally regarded as the weakest of the three Bandit films in terms of both storyline and revenue  On Rotten Tomatoes, it has an approval rating of 17% based on reviews from six critics Janet Maslin of The New York Times gave the film a negative review: "The already skimpy running time of Smokey and the Bandit, Part 3 is padded by an opening montage of earlier Smokey scenes, including shots of Burt Reynolds lounging in a zebra-print hammock  He is grinning, as well he might, because he has been able to sit out Part 3 altogether  What has he missed? An interminable car chase punctuated by dumb stunts and even dumber dialogue, plus the well-worth-missing sight of Paul Williams in a dress"  Variety magazine staff wrote: "The sense of fun in that original is missing and the countless smashups and near-misses are orchestrated randomly" 
Despite the enormous financial success of the original film (grossing over $300 million on a budget of less than $5 million), coupled with respectable (though significantly lower) numbers generated by the sequel, the third installment was both a critical and box office flop, grossing only $7 million against the film's $9 million production budget 
Passage 3:
Smokey Bites the Dust
Smokey Bites the Dust is a 1981 car chase film from New World Pictures directed by Charles B  Griffith   Despite the title, the film is not connected to the Smokey and the Bandit series 

Plot
The stock plot deals with Roscoe Wilton (Jimmy McNichol), a teenage joyriding car thief, evading Cyco County Sheriff Turner (Walter Barnes) and his unintelligent deputies 
Turner becomes even more obsessed with catching Roscoe after he kidnaps his overly-sheltered daughter, Peggy Sue (Janet Julian), just as she is about to be crowned Homecoming Queen during a football game at their high school   In so doing, Roscoe also makes himself a target of other characters, including his best friend Harold (John Blyth Barrymore), Peggy Sue's friend Cindy (Kari Lizer), and Kenny (William Forsythe), a sanctimonius quarterback who is deeply, but vainly, in love with Peggy Sue 
While Roscoe is being chased by Sheriff Turner, Turner himself incurs the wrath of neighboring Knotsie County Sheriff Sherm Bleed after commandeering one of Bleed's cruisers   Turner's pursuit of Roscoe (and Peggy Sue, who quickly begins to enjoy being in Roscoe's company) goes through two other neighboring counties, with Turner commandeering several other police cruisers and civilian cars only to wreck each one in spectacular fashion 

Subplots
Lester (Patrick Campbell), a local moonshiner is looking to sell his "secret formula" to an Arab oil sheik for "a million clams"; the deal falls through when it turns out the sheik brought actual clams instead of money 
Harold and Cindy share a car as they join in the chase; Harold to get his dad's car back from Roscoe, and Cindy to give Peggy Sue her crown   As the chase progresses, Harold and Cindy begin to fall for one another, similar to Roscoe and Peggy Sue 
At a nearby truck stop, a preteen girl is willing to let Roscoe and Peggy Sue steal her father's station wagon (with boat in tow) in exchange for a carton of cigarettes   The girl appears several times more throughout the film, including near the end when everyone converges on Snake Lake Beach in a chaotic free-for-all; watching from a distance, the girl muses, "What, I ask you, is the point in growing up?" 
Kenny's infatuation with Peggy Sue motivates him to chase the elusive couple on his own in an attempt to rescue her; he even goes so far as to run other police cruisers off the road just so he can save Peggy Sue himself   After the fight on the beach, Kenny is eventually "arrested" by the female sheriff of neighboring Belladonna County 

Cast
Jimmy McNichol as Roscoe Wilton
Janet Julian as Peggy Sue Turner
Walter Barnes as Sheriff Hugh "Smokey" Turner
Patrick Campbell as Lester
Kari Lizer as Cindy
John Blyth Barrymore as Harold
William Forsythe (credited as 'Bill Forsythe') as Kenny
Kedric Wolfe as Deputy Bentley
Charles Howerton as Sheriff Sherman "Sherm" Bleed
Tony Cox as Desk Clerk

Production
Though the majority of the cars used in filming had California licence plates, the exact location of the storyline was more ambiguous; film dialogue mentioned the boonies, which generally refers to the Appalachian region, and also mentioned running off to "east St  Louis or west to Colorado"   Near the end of the film, Roscoe suggests they hotwire a boat and take off for St  Louis or New Orleans, both of which are on the Mississippi River 
Charles B  Griffith had made a popular film for Roger Corman's New World Pictures called Eat My Dust! (1976)  Corman wanted Griffith to make a follow up called Car Wars using stunt footage from five old New World films  Griffith wrote a script which he later called Wham Bam, Merci, Madame, which he says Corman rejected  However a few years later he reactivated the project 

He called again and offered me a lot more money than he ever had before  I guess I got flattered, and I went ahead and did it  He had Max Apple in Texas go ahead and write a script around all the wrecks and chases  But Max wasn't allowed to see the footage  It was too expensive to rent a Movieola and send Max prints or anything else, so he had only vague descriptions written down on what the stunts were—and nothing worked  So I made a lot of changes in it, and that made Roger angry  He tried to cut it just to the action of the old pictures, but he couldn't, because he needed all the distribution rights  Then he cut all the motivations and all the character development  It was a mess, a jumbled mess!
Apple later described the experience: "They wanted four or five crashes, of which they already had the footage  It was more bricklaying than writing 
Passage 4:
Smokey and the Bandit
Smokey and the Bandit is a 1977 American action comedy film starring Burt Reynolds, Sally Field, Jackie Gleason, Jerry Reed, Pat McCormick, Paul Williams and Mike Henry 
The directorial debut of stuntman Hal Needham, the film follows Bo "Bandit" Darville (Reynolds) and Cledus "Snowman" Snow (Reed), two bootleggers attempting to illegally transport 400 cases of Coors beer from Texarkana to Atlanta  While the Snowman drives the truck carrying the beer, the Bandit drives a 1977 Pontiac Trans Am to distract law enforcement (called blocking) and keep the attention off the Snowman  During their run, they are pursued by Texas county sheriff Buford T  Justice (Gleason) 
Smokey and the Bandit was the second-highest-grossing domestic film of 1977 in the United States 

Plot
Wealthy Texan Big Enos Burdette and his son Little Enos have sponsored a racer in Atlanta's Southern Classic and want to celebrate in style when he wins, so they are seeking a trucker willing to bootleg Coors Beer to Atlanta for their refreshment  They find local legend Bo "Bandit" Darville at a truck rodeo at Lakewood Fairgrounds and offer him $80,000 to haul 400 cases of Coors from Texarkana (the closest place it could be legally sold at that time) to Atlanta in 28 hours  The Bandit takes the bet on the risky and unprecedented task, and recruits his brother-in-law Cledus "Snowman" Snow to drive the truck, while Bandit drives a black Pontiac Trans Am bought in advance from the Burdettes as a "blocker" to divert attention away from the truck and its illegal cargo 
The pair arrive in Texarkana one hour early and load up the truck, but just as they head back, Carrie, a runaway bride, intercepts Bandit and jumps in his car, unwittingly making him an indirect target of Sheriff Buford T  Justice, a career Texas lawman whose witless son Junior was to have married Carrie  Buford, with Junior along, engages in a high-speed pursuit and doggedly chases Bandit all the way to Georgia to retrieve Carrie and arrest the Bandit, while various comical mishaps cause his cruiser to disintegrate on the way 
Bandit attracts more police attention across Dixie as Snowman barrels on toward Atlanta with the contraband beer, but they are helped en route by many colorful characters via CB radio  Neither Buford nor any other lawmen know of Snowman's illegal manifest, while Bandit is likewise unaware that Buford is chasing him because of Carrie, whose jumpiness inspires Bandit to give her the CB handle "Frog" 
Just after re-entering Georgia, Snowman is rescued by Bandit after being stopped by a Georgia State Patrol motorcycle trooper, as state and local police intensely pursue Bandit with roadblocks and a helicopter to track his movement  With four miles left, Bandit, discouraged by the unexpected mounting attention, is ready to give up, but Snowman, who initially thought they would fail, takes the lead and smashes through the roadblock at the fairgrounds' main entrance  They return with ten minutes remaining on their time limit, but instead of taking the payoff, Carrie and Bandit accept a double-or-nothing offer from Little Enos: a challenge to run up to Boston and bring back clam chowder in 18 hours  They quickly escape in one of Big Enos's 13 Cadillacs as police flood the racetrack 
After passing Buford's badly damaged cruiser on the roadside, Bandit gets on the CB and initially directs him to the Burdettes, but then respectfully gives his real location—right behind Buford, who continues his chase leaving Junior behind, and with more parts falling off his cruiser as he limps off after Bandit 

Cast
Burt Reynolds as Bo "The Bandit" Darville
Sally Field as Carrie "Frog"
Jerry Reed as Cledus "The Snowman" Snow
Jackie Gleason as Sheriff Buford T  Justice / "Smokey Bear"
Mike Henry as Junior Justice
Pat McCormick as Enos "Big Enos" Burdette
Paul Williams as Enos "Little Enos" Burdette
Macon McCalman as Mr  B
Susan McIver as "Hot Pants" Hillyard
George Reynolds as Sheriff George Branford
Laura Lizer Sommers as "Little Beaver"
Michael Mann as Branford's Deputy
Lamar Jackson as "Sugar Bear"
Ronnie Gay as Georgia Trooper
Quinnon Sheffield as Alabama Trooper
Alfie Wise as Alabama Patrolman
Pat Hustis as Tow Truck Driver
Ingeborg Kjeldsen as Foxy Lady
Michael McManus as Trucker "Silver Tongued Devil"
Gene Witham as Leader of The Gang
Susan Sindelar as Motorcycle Gang Member
Ben Jones as Trucker #1
Joe Klecko as Trucker #2
Hank Worden as Trucker #3
Sonny Shroyer as Motorcycle Cop (uncredited)

Production
Development
Needham originally planned the film as a low-budget B movie with a production cost of $1 million, with Reed as the Bandit  Needham had great difficulty getting any studios or producers to take his project seriously, being better known in the film industry as a stuntman  He obtained the attention of studios and aimed the film at a more mainstream release after his friend Reynolds read the script and agreed to portray the Bandit, with Reed now portraying the Bandit's friend the Snowman  Reed would eventually play the Bandit in Smokey and the Bandit Part 3, in which Reynolds only appeared in a cameo near the end  At the time, Reynolds was the top box office star in the world 
In the original script, Carrie was called Kate while Big Enos and Little Enos were called Kyle and Dickey  The Bandit's car was a second-generation Trans Am and the prize for completing the run was a new truck rather than $80,000  Reynolds revealed in his autobiography that Needham had written the first draft script on legal pads  Upon showing it to his friend, Reynolds told Needham that it was the worst script he had ever read, but that he would still make the movie  Most of the dialogue was improvised on set Universal Studios bankrolled Smokey and the Bandit for $5 3 million, figuring it was a good risk  Just two days before production was to begin, Universal sent a "hatchet man" to Atlanta to inform Needham that the budget was being trimmed by $1 million  With Reynolds' salary at $1 million, Needham was left with only $3 3 million to make the film  Needham and assistant director David Hamburger spent 30 hours revising the shooting schedule "Buford T  Justice" was the name of a real Florida Highway Patrolman known to Reynolds' father, who was once Police Chief of Riviera Beach, Florida  His father was also the inspiration for the word "sumbitch" used in the film, a variation of the phrase "son-of-a-bitch" that, according to Reynolds, he uttered quite often  Gleason was given free rein to ad-lib dialogue and make suggestions  It was his idea to have Junior alongside him throughout the film  In particular, the scene where Sheriff Justice unknowingly encounters the Bandit in a roadside diner (a "choke and puke" in CB lingo) was not in the original story but was rather Gleason's idea 
The film's theme song, "East Bound and Down", was written virtually overnight by Reed  He gave Needham a preview of the song and, getting no reaction, offered to rewrite it  In response, Needham told Reed that he liked the song so much that if Reed changed even a word or a note, Needham would "choke him"  It would become one of Reed's biggest hits and his signature song The film features the custom clothing and costuming of Niver Western Wear of Fort Worth, Texas  Niver provided much of the western attire worn in the film, as well as the custom-made sheriff's uniforms (waist size 64") that Gleason wore throughout the film 
While made to take advantage of the ongoing 1970s CB radio fad, the film added to the craze  Though the film Moonrunners (1975) is the precursor to the television series The Dukes of Hazzard (1979–1985), from the same creator and with many identical settings and concepts, the popularity of Smokey and the Bandit and similar films helped get the Dukes series on the air  Three actors from the main cast of The Dukes of Hazzard appear in small uncredited roles in Smokey and the Bandit: Ben Jones, John Schneider, and Sonny Shroyer (who played a police officer in both)  In return, Reynolds portrayed Boss Hogg (originally portrayed by Sorrell Booke) in the film adaptation The Dukes of Hazzard (2005)  Reynolds is referenced by name in several early episodes of the series 

Casting
Before Gleason was cast in the film, Richard Boone was originally considered for the role of Buford T  Justice  Sally Field only accepted the part after her agent advised her that she needed a big movie role on her résumé  Universal executives initially resisted casting Field, claiming she was not attractive enough, but Reynolds insisted on her involvement  Field enjoyed making the film, but remembers that virtually the entire project was improvised 

Filming
Principal photography of the film began on August 30, 1976  The movie was primarily filmed in Georgia, in the cities of McDonough, Jonesboro, and Lithonia  The scenes set in Texarkana were filmed in Jonesboro and the surrounding area and many of the chase scenes were filmed in the surrounding areas on Highway 54 between Fayetteville and Jonesboro for a majority of the driving scenes, Mundy's Mill Road, Main Street in Jonesboro, Georgia State Route 400, I-85 (Pleasant Hill exit) and in McDonough  However, the scene where they drive through the Shell gas station was filmed in Ojai, California, on the corner of Ojai Avenue and El Paseo Road  Much of the surrounding scene comes from that immediate vicinity  The scene featuring the racetrack was filmed at Lakewood Speedway at the old Lakewood Fairgrounds on Atlanta's south side  The roller coaster in the movie was the Greyhound  It had not been used for some time and was repainted for the film  It was destroyed in Smokey and the Bandit II and in a flashback scene in Part 3  The area around Helen, Georgia, was used for some locations  The scene where Sheriff Justice's car has the door knocked off by a passing semi-truck was shot on Georgia State Route 75, 3 miles (4 8 km) north of Helen  The tow truck driver was a local garage owner, Berlin Wike  Reynolds and Field began dating during the filming According to an interview with Susie McIver Ewing on The RetroZest Podcast, she was picked to play the role of Hot Pants Hilliard after the dailies footage (shot in the Atlanta area) of the original actress playing the role was inadvertently destroyed on its way from Atlanta to Los Angeles  The new Hot Pants scene had to quickly be refilmed as a part of a second unit in the San Fernando Valley and was shot at a drive-in restaurant near Hansen Dam named Baby Beef Burgers, which has since been demolished  This same restaurant was used for a scene in the 1983 Stephen King Movie Christine, which was ultimately cut in the final film (it can be viewed as a deleted scene on the DVD release of the film) 

Vehicles
Hal Needham saw an advertisement for the soon-to-be-released 1977 Pontiac Trans Am and knew right away that it would be the Bandit's car, or, as Needham referred to it, a character in the movie  He contacted Pontiac and an agreement was made that four 1977 Trans Ams and two Pontiac LeMans four-door sedans would be provided for the movie  The Trans Ams were actually 1976-model cars with 1977 front ends (from 1970 to 1976, both the Firebird/Trans Am and Chevrolet Camaro have two round headlights and in 1977, the Firebird/Trans Am was changed to four rectangular headlights, and the Camaro remained unchanged)  The decals were changed to 1977-style units, as evidenced by the engine size callouts on the hood scoop being in liters rather than cubic inches, as had been the case in 1976  The hood scoop on these cars says "6 6 LITRE", which, in 1977, would have denoted an Oldsmobile 403-equipped car or a non-W-72, 180 hp version of the 400 Pontiac engine 
The cars were 1976 models, the engines fitted to them were 455ci power plants, the last year these engines were offered for sale before withdrawal  All four of the cars were badly damaged during production, one of which was all but destroyed during the jump over the dismantled Mulberry bridge  The Trans Am used for said jump was equipped with a booster rocket, the same type that was used by Evel Knievel during his failed Snake River Canyon jump  Needham served as the driver for the stunt (in place of Reynolds), while Lada St  Edmund was in the same car (in place of Field)  By the film's ending, the final surviving Trans Am and LeMans were both barely running and the other cars had become parts donors to keep them running  This gives rise to various continuity errors with Justice's patrol car, which during some chase sequences is shown with a black rear fender, which then reverts to the car's bronze color again in later scenes  When it is finally torn off along with the car's roof in the impact with the girder, the missing fender still reappears later on in the film  The Burdettes' car is a 1974 Cadillac Eldorado convertible painted in a "Candy Red" color scheme and is seen briefly at the beginning of the movie and in the final scene as the Bandit, the Snowman, Fred the dog, and Frog use it to make their escape  Three Kenworth W900A short-frame semi trucks, driven by Reed, were each equipped with 38-inch sleepers  Two units were 1974 models, as evidenced by standard silver Kenworth emblems on the truck grille, and one unit was a 1973 model, as evidenced by the gold-painted Kenworth emblem on the truck's grille, signifying Kenworth's 50 years in business  The paint code for each truck was coffee brown with gold trims and the 48-foot (15 m) mural trailer used was manufactured by Hobbs Trailers in Texas with a non-operational Thermo King Refrigeration unit  This is obvious, because there is no fuel tank on the underside of the trailer to power the refrigeration unit, and the unit is never heard running 

Legal status of Coors beer
In 1977, Coors was unavailable for sale east of Oklahoma  Its lack of additives and preservatives meant that Coors could spoil in one week without refrigeration, explaining the film's 28-hour deadline  A 1974 Time magazine article explains that Coors was so coveted for its lack of stabilizers and preservatives, and Coors Banquet Beer had a brief renaissance  Future President Gerald Ford, after a trip to Colorado, hid it in his luggage to take it back to Washington, D C  President Dwight D  Eisenhower had a steady supply airlifted by the Air Force to Washington  Carl Yastrzemski of the Boston Red Sox would bring several cases after playing on the West Coast, by stashing them in the equipment trunks on the team's plane  Frederick Amon smuggled it from Colorado to North Carolina and sold it for four times the retail price Coors is still brewed just outside Denver, Colorado  It is now sold in all states as Coors ships it in refrigerated train cars and bottled locally and sold in different parts of the country including the eastern US states 

Soundtrack
The theme music "East Bound and Down" was sung and co-written by Reed (credited under his birth name, Jerry Hubbard) and Dick Feller  It became Reed's signature song and is on multiple albums, including Country Legends and his live album Jerry Reed "Live!" (Still)  In 1991, it was arranged for orchestra by Crafton Beck and recorded by Erich Kunzel and the Cincinnati Pops Orchestra for their album Down on the Farm  Several other groups, such as the U S  rock band Tonic and U K -based country cover band We Be Ploughin' have also covered it  Reed also penned and performed the song for the opening credits, entitled "The Legend", which tells of some of the Bandit's escapades before the events of the film, and the ballad "The Bandit", which is in several versions in the movie and on the soundtrack  Bill Justis is the first name on the credits for the soundtrack, as he composed and arranged original music throughout the film  Musicians such as Beegie Adair and George Tidwell played on the soundtrack  Five-string banjo player Bobby Thompson is prominent toward the end of "East Bound and Down"  The soundtrack album was released in 1977 on vinyl, cassette, and 8-track through MCA Records 

Track listing
Reception
Box office
Smokey and the Bandit was a sleeper hit  It premiered at Radio City Music Hall in New York City, where it performed badly  It then opened in just the South of the United States over the Memorial Day weekend and grossed $2,689,851 in 386 theaters  By the end of June, it had played in major Southern markets, including Charlotte, Atlanta, Jacksonville, New Orleans, Memphis, Dallas, and Oklahoma City, grossing $11 9 million  It opened in other Northern states at the end of July  With an original budget of $5 3 million (cut to $4 3 million two days before initial production), the film eventually grossed $126,737,428 in North America, making it the second-highest-grossing movie of 1977 (only Star Wars earned more, with $221 3 million)  The worldwide gross is estimated at over $300 million  Reynolds said in 2015 that he most enjoyed this film, and had the most fun making it, of his career 

Critical response
Critical reception was largely positive  On the review aggregation website Rotten Tomatoes, it has a 78% rating based on 32 reviews  The site's consensus states: "Not much in the head but plenty beneath the hood, Smokey and the Bandit is infectious fun with plenty of car wrecks to keep your eyes glued" Film critic Leonard Maltin gave the film a good rating (3 stars out of a possible 4) and characterized it as "about as subtle as The Three Stooges, but a classic compared to the sequels and countless rip-offs which followed"  In his review in the Chicago Tribune, Gene Siskel gave the film two stars and complained that the film failed to tell the audience when the clock started on the beer run, thus reducing suspense  He claimed that the Bandit is never made aware of Frog's leaving Junior at the altar, which is why the Bandit continually asks why a Texas sheriff is chasing him  The film's editors, Walter Hannemann and Angelo Ross, were nominated for the Academy Award for Best Film Editing 
Alfred Hitchcock claimed that the film was one of his favorites  Upon meeting Reynolds, Billy Bob Thornton told him that Americans from the region where the film is set consider the film to be less cinema and more documentary  Smokey and the Bandit was released in the United Kingdom on August 28 and was a success there, garnering positive reviews 
American Film Institute Lists
AFI's 100 Years   100 Laughs – Nominated
AFI's 100 Years   100 Thrills – Nominated
AFI's 100 Years   100 Heroes and Villains:
Bandit (Bo Darville) – Nominated Hero

Cultural impact
Pontiac Trans Am
After the debut of the film, the Pontiac Trans Am became wildly popular, with sales almost doubling within two years of the film's release  It outsold its Chevrolet Camaro counterpart for the first time  Reynolds was given the 1977 vehicle used during promotion of the film as a gift, though the car itself never actually appeared in the film  Because of the popularity of the film and the sales success of the Trans Am, the president of Pontiac Alex Mair promised to supply Reynolds with a Trans Am each year  Due to his financial difficulties in 2014, Reynolds put his vast collection of artwork and memorabilia up for auction, including the Trans Am  High estimates for the car were up to $80,000, but the actual sale price was $450,000  Also up for auction was a go-kart replica of the car, which sold for nearly $14,000  In 2015 a Florida-based automobile customization company built 77 Trans Ams modeled after the car that Reynolds drove in the film  These new models were built off the same Camaro platform, came with the Pontiac arrowhead, flaming bird, and Bandit logos, and the instrument panels, center consoles, and hood scoops emulating their 1977 counterparts, and were signed by Reynolds  Some differences included the use of a supercharged 454-CID (7 4-liter) Chevrolet-sourced engine that put out 840 HP, and four round headlights, which appeared on the 1967–69 Firebirds/Trans Ams only; the actual 1977–81 models had rectangular headlights 

Diablo sandwich
The "diablo sandwich" ordered by Sheriff Justice in the Arkansas barbecue restaurant scene has entered popular culture as a minor reference to the film  Though no authoritative source identifies the composition of the sandwich, there are several possibilities  A segment of the CMT program Reel Eats used a sloppy joe-style recipe consisting of seasoned ground beef, corn, and sour cream  Another proposal, based more closely on images from the film and the shooting location of the scene (at an Old Hickory House restaurant in Georgia), is pulled pork and hot sauce on a hamburger bun  Other sources in East Texas (from whence Sheriff Justice hails) are familiar with the popular regional delicacy known as the Diablo Sandwich  It consists of any of the various Louisiana-style hot sauces on Texas toast-style bread alongside the fourth most famous product of Pittsburg, Texas (behind Pilgrim's Pride, Cavender's, and Carroll Shelby)—Pittsburg Hot Links 

The Bandit Run
The first run in 2007 to celebrate the 30th anniversary of the movie, The Bandit Run was the brainchild of Dave Hall, owner of Restore A Muscle Car  A group of Trans Am owners and fans of the movie take part in an annual road trip from Texarkana to Jonesboro, recreating the route taken by the characters in the film  The Bandit Run quickly became a fixture, celebrating the 40th anniversary of the movie with a special 2017 screening of the film attended by Reynolds and a recreation of the jump undertaken by the Bandit and Frog across a river 

Mobil 1 commercial
In 2014, petroleum company Mobil 1 produced television commercials, featuring then-NASCAR driver Tony Stewart, closely based on the film  Called Smoke is the Bandit and playing on Stewart's nickname, the commercials featured him as the Bandit opposite commentators Darrell Waltrip as the Snowman and Jeff Hammond as Buford T  Justice  The story replaced the Coors beer with Mobil 1 products  The advertisements lampoon the film and feature a Pontiac Trans Am and a cover version of the song East Bound and Down  The commercials were produced after Stewart mentioned that the movie was one of his favorites 

Television censorship and alternative versions
When Smokey and the Bandit first aired on American network television in the early 1980s, censors were faced with the challenge of toning down the raw language of the original film  For this purpose, they overdubbed dialogue deemed offensive, which was common practice  The most noted change made for network broadcast was the replacing of Buford's often-spoken phrase "sumbitch" (a contraction of "son of a bitch"; usually in reference to the Bandit) with the phrase "scum bum"  This phrase achieved a level of popularity with children and the 2007 Hot Wheels release of the 1970s Firebird Trans Am has "scum bum" emblazoned on its tail 
Except for Gleason, the original actors mostly redubbed their lines for the television version  Actor Henry Corden, who voiced Fred Flintstone after original performer Alan Reed died the same year the film was released, was used to replace a considerable amount of Sheriff Justice's dialogue  In the U K , the heavily dubbed version was shown for several years, particularly by the BBC  However, in more recent years, the original version has been shown (on ITV, a commercial channel), usually with the stronger language edited out, often quite awkwardly  The theatrical release has a few lines deleted, including an edit in which Sheriff Justice tells a state trooper to "fuck off" after the sheriff called his vehicle "a piece of crap"  His expletive is obscured when a passing big rig sounds its horn  At the time, using "fuck" would immediately require an R rating and this self-censorship allowed the film to avoid this rating and reach a much larger audience  However, the scene and the obscured expletive were played for comedy value and written as such, with the passing truck being the gag of the scene more than a way to avoid the censors 
In 2006, a DVD re-release was issued of Smokey and the Bandit featuring a digitally remastered audio track with 5 1 Dolby-compatible surround sound  Many of the film's original sounds were replaced  For instance, the diesel engine start and run-up sequence in the opening sequence of the film were completely dubbed over with a new sound  A few other examples of sound effect replacement occur when the Bandit takes off after getting the reluctant Cletus involved in the bet, the Bandit comes to a screeching halt on a roadway moments before picking up Carrie, and when Buford's car top comes off  Some of the original sound effects (such as Cletus's dog Fred barking) and music (such as the final chase to the Southern Classic) were removed and not replaced  Earlier DVD releases and the 40th Anniversary Blu-ray of the film have the original soundtrack intact  Major portions of the audio background have been modified with different engine sounds or tire squeals from the original film  The updated version of the film features sound inaccurate for what would be produced by the Trans Am or the numerous other Pontiac vehicles in the film  The original film had correct sounds that were usually recorded live as the action took place 

Sequels
The film was followed by two sequels: Smokey and the Bandit II (1980) and Smokey and the Bandit Part 3 (1983)  The second film was a modest box office success, earning $66 1 million against a $17 million budget 
The third film – which had no involvement from either Hal Needham or Sally Field and contained only a short cameo appearance by Burt Reynolds – revolved entirely around Jackie Gleason's character, was panned by critics, and was a box office bomb, earning only $7 million against a $9 million budget 

Television spin-off films
A series of four made-for-TV spin-off films (Bandit Goes Country, Bandit Bandit, Beauty and the Bandit, and Bandit's Silver Angel) were produced in 1994 for Universal Television's Action Pack with actor Brian Bloom playing a younger version of the Bandit  The three original films introduced two generations of the Pontiac Trans Am and the Dodge Stealth in the television movies 

Television series
In October 2020, a Smokey and the Bandit TV series was revealed to be in development, with a pilot written by David Gordon Green and Brian Sides and also executive produced with his Rough House confederates Jody Hill, Danny McBride and Brandon James, as well as Seth MacFarlane and Erica Huggins of Fuzzy Door 

See also
The Cannonball Run
Hooper
Passage 5:
Smokey and the Bandit II
Smokey and the Bandit II is a 1980 American action comedy film directed by Hal Needham, and starring Burt Reynolds, Sally Field, Jerry Reed, Jackie Gleason and Dom DeLuise  The film is the sequel to the 1977 film Smokey and the Bandit 
The film was originally released in the United Kingdom, New Zealand, Australia and several other, mainly Commonwealth, countries as Smokey and the Bandit Ride Again 
The plot centers on Bo "Bandit" Darville (Burt Reynolds) and Cledus "Snowman" Snow (Jerry Reed), transporting an elephant to the GOP National Convention, with Sheriff Buford T  Justice (Jackie Gleason) once again in hot pursuit 

Plot
Big Enos Burdette is in a literal mudslinging campaign against John Conn for Governor of Texas  After failing to get the outgoing governor's endorsement, Big Enos overhears him on the phone ordering a crate in Miami to be delivered in nine days to the Republican National Convention in Dallas  Burdette schemes to earn the governor's endorsement and have the crate delivered to the convention in his name and tracks down Cledus "Snowman" Snow and offers him and Bo "Bandit" Darville $200,000 to do the run  Cledus takes the Burdettes to Bandit to make the offer in person, but Bandit has become a heavy drinker since breaking up with Carrie ("Frog") and is drunk when the Burdettes arrive and double the payoff to $400,000  Cledus accepts on Bandit's behalf, but adds that Big Enos should give them half in advance, to which they agree  Cledus is ecstatic, but Bandit begins to miss Carrie 
Cledus calls Carrie, who is back in Texarkana and again about to marry Junior when Cledus calls offering her $50,000 to help out; she agrees and again becomes a runaway bride  Though she still has feelings for Bandit, when Carrie arrives, she initially intones she is only in it for the money, and she and Cledus work on getting Bandit off the booze and back into shape  She then trades in Junior's car for a new Trans Am  The group arrive at the pier in Miami only to find out the manifest is quarantined for three weeks  They return later that night to steal it, only to find the "package" is a live elephant (the G O P  mascot) which Cledus names "Charlotte" after his aunt  When Bandit removes a splinter from Charlotte's foot, she takes a liking to him 
Soon after the trio start off for Dallas, they are accosted for the first of several times by Sheriff Justice, but Bandit outwits him and they escape  En route, they stop at a remote fuel station and notice something wrong with Charlotte  Moments later, an ambulance pulls in with an Italian gynecologist in the back; "Doc" is initially reluctant to help, but when his driver speeds off unknowingly leaving him stranded, he asks to hitch a ride with them, agreeing to watch Charlotte 
Doc later finds that Charlotte is pregnant and due to give birth any time, but Bandit is determined to stay on schedule, but Cledus and Frog refuse to they wanted to make Charlotte comfortable  Entering Louisiana, Doc says that Charlotte is almost in labor and needs to be off her feet  Cledus chooses they all need a break and they go to a nearby nightclub where Don Williams is headlining   When Carrie sees Bandit scribbling on a napkin a picture of Charlotte cradled by suspended netting to keep her off her feet, she angrily leaves, but not before telling Bandit that she will come back only when he likes himself again  Later that night, a drunken Bandit makes his drawing a reality, and Doc agrees that his idea will work 
Buford intends to call for help from his brothers Reggie, a Mountie Sergeant in Quebec, and Gaylord, an effeminate Texas State Patrolman  Later, as Bandit and Cledus enter Texas, Buford lures the Bandit into a trap: a mass of 40 Texas Patrol and Mountie cruisers pursuing him across a desert basin  Bandit orders Cledus to get to Dallas, but he enlists a large convoy of his trucker pals and comes to Bandit's rescue instead, wrecking nearly all of the cruisers in a giant demolition derby while Doc and Charlotte watch from the sidelines  The two escape by crossing a makeshift trailer bridge with Buford and his brothers in pursuit  Two of the trucks pull away, resulting in Gaylord and Reggie's cruisers crashing in the ensuing gap before they can cross, but Buford is still in pursuit, though his cruiser is barely functioning 
Cledus begs Bandit to stop at a safari reserve, where Charlotte finally gives birth to her baby  Bandit is ready to load them both back up in the truck, but Cledus refuses and then knocks Bandit down when he insults him and was fed with Bandit's selfishness  When he sees Charlotte in tears, Bandit finally comes to his senses and apologizes and realises that taking care of Charlotte and caring for others is more important than $400,000 
Bandit later finds Carrie and tells her that he likes himself now, and that he does not want to be without her  He then tells her that he has not yet taken Charlotte to Dallas, but they can still make it  Carrie is overjoyed when she sees Charlotte's baby, and Bandit asks Charlotte's permission for him and Carrie to get hitched, to which Charlotte trumpets her approval; Doc, now riding in the cab with Cledus and Fred, also voices his approval, and they all drive away with Charlotte and her baby in tow in circus carts on their way to Dallas, with Buford still in pursuit, now driving a Greyhound bus 

Cast
Burt Reynolds as Bo "The Bandit" Darville
Jackie Gleason as Sheriff Buford T  Justice / Gaylord Justice (credited as Ms  Jackie Gleason) / Reginald Van Justice
Jerry Reed as Cledus "The Snowman" Snow
Dom DeLuise as Dr  Frederico "Doc" Carlucci
Sally Field as Carrie "Frog"
Pat McCormick as Enos "Big Enos" Burdette
Paul Williams as Enos "Little Enos" Burdette
David Huddleston as John Conn
Mike Henry as Junior Justice
John Anderson as The Governor
Brenda Lee as Nice Lady
The Statler Brothers as Themselves:
Phil Balsley
Lew DeWitt
Don Reid
Harold Reid
"Mean Joe" Greene as himself
Mel Tillis as Fairground Owner
Joe Klecko as himself
Don Williams as himself
Terry Bradshaw as himself
Nancy Lenehan as Ramona
John Megna as P T 
Chuck Yeager as Party Guest
John Robert Nicholson as The Patient
1980 Pontiac Trans Am as "Son of Trigger"

Production
Smokey and the Bandit II was filmed simultaneously with The Cannonball Run, in which Burt Reynolds and Dom DeLuise also starred  Football players Joe Klecko and Terry Bradshaw also appear in both films 
It is the first film to feature director Hal Needham's "Blooper Reel Credit Crawl" at the end, in that a collection of bloopers and outtakes from the film showed on one side of the screen while the closing credits slowly scrolled up the other side  Cannonball Run, also directed by Needham, used this same technique 
Buford's brothers were both portrayed by Gleason; "Reggie" was a Canadian version of "Reginald Van Gleason III", a popular character from Gleason's television show 
The film was written and produced before it was announced that the 1980 Republican National Convention would be held in Detroit rather than Dallas 
Many of the movie's scenes take place in northern Palm Beach County, especially at Burt Reynolds' ranch in Jupiter, Florida 
Although the Bandit again sticks to a Pontiac Trans Am, this time a 1980 Turbo model with five color decals unlike 1981's single color decals, the Snowman switches to a 1980 GMC General, silver with blue trim with the same mural on the trailer as in the original film  This "new rig" suggests that the pair were successful in the "double or nothing" wager offered by the Burdettes at the end of the first film, where they were persuaded to drive from Atlanta to Boston and back in 18 hours to buy clam chowder and bring it to the Burdettes 
A world-record automobile jump was captured on film during the "roundup sequence", when stuntman Gary Davis jumped a 1974 Dodge Monaco over 150 feet  Davis suffered compressed vertebrae as a result of a hard landing 
The roundup sequence in the desert shows many new Pontiac Le Mans sedans decorated as police cars being destroyed  The cars were originally ordered by a car rental agency in Phoenix, who refused to accept the delivery when they discovered the cars were not equipped with air conditioning  Pontiac took the cars back and eventually gave them to the producers to be used in the film 

Soundtrack
Smokey and the Bandit 2: Original Soundtrack was released on vinyl, cassette tape and 8-track tape by MCA Records in 1980 

Track listing
Reception
Box office
Smokey and the Bandit II grossed $10,883,835 in its opening weekend, the second highest ever at the time, behind Star Trek: The Motion Picture  It also set a record for an opening week, with a gross of $18,108,031  It was the eighth-most-popular 1980 film at the United States and Canada box office earning $66,132,626  This box office income inspired a third film 

Critical response
The film received almost completely negative reviews from critics who felt that it suffered badly in comparison to the original  On Rotten Tomatoes, it has an approval rating of 29% based on reviews from seven critics  Roger Ebert gave it a one out of four stars and stated that there was "[in 1980] no need for this movie  That's true of most sequels, but it's especially true of Smokey and the Bandit II, which is basically just the original movie done again, not as well     how can I say it's lazy when it has 50 trucks doing stunts in it? Because it takes a lot less thought to fill up a movie with stunts than to create a comedy that's genuinely funny" Burt Reynolds later said that he did not enjoy working on the film at all, feeling that it was an unnecessary sequel put together by Universal purely for money-making reasons rather than to try making a good picture 

Sequel
The film was followed by another sequel three years later, Smokey and the Bandit Part 3 (1983), in which Reynolds only made a brief cameo appearance, and Sally Field did not appear 
Passage 6:
The Nun and the Bandit
The Nun and the Bandit is an Australian film directed by Paul Cox 

Plot summary
In the 1940s, two outlaw brothers kidnap their wealthy 14-year-old second cousin, but things get complicated when her chaperoning nun refuses to abandon her charge 

Production
The film was made with finance from Film Victoria and the FFC  It was shot near Bacchus Marsh, Maldon in Victoria 

Release
According to Ozmovies: 

Roadshow was the nominal domestic distributor but refused to release it  The film went straight to video, though it had a small theatrical release in Canada thanks to Alliance 
The film was screened at the short-lived Halls Gap Film Festival in the Grampians on Sunday, 8 November 1992, with Cox present, though it had also had a "world premiere" at the Melbourne Film Festival earlier in the year Cox called the movie "minimal filmmaking":

It's the very first time I read a book that I wanted to film, because I normally don't believe the film has much to do with the novel  I wasn't at the screening at the Melbourne Film Festival but I never want to screen a film at a festival again  That screening actually killed the release  It got bad reviews in a few places, so Roadshow wouldn't even release it  I think that as an Australian bush film, it is a very, very original film, a highly original piece  The forest, the beauty of the land, that's the altar, and the sacrifice is the innocence and youth  You have a sacrifice on an altar  But it gave me enormous satisfaction because the finished film is very nicely tuned, minimal when you look at the way it's crafted    But that's not what the reviewers want, a bush film like this  That's not very Australian, is it?
Passage 7:
Hal Needham
Hal Brett Needham (March 6, 1931 – October 25, 2013) was an American stuntman, film director, actor, writer, and NASCAR team owner  He is best known for his frequent collaborations with actor Burt Reynolds, usually in films involving fast cars, such as Smokey and the Bandit (1977), Hooper (1978), The Cannonball Run (1981) and Stroker Ace (1983)  
In his later years, Needham moved out of stunt work, and focused his energy on the world land speed record project  In 2001, Needham received a Lifetime Achievement Award from the Taurus World Stunt Awards, and in 2012, he was awarded a Governors Award by the Academy of Motion Picture Arts and Sciences 

Early years
Needham was born in Memphis, Tennessee, the son of Edith May (née Robinson) and Howard Needham  He was the youngest of three children  Raised in Arkansas and Missouri, Needham served in the United States Army as a paratrooper during the Korean War, worked as a treetopper (an arborist who performs tree topping services),
and was a billboard model for Viceroy Cigarettes while beginning a career in Hollywood as a motion picture stuntman 

Career
Needham's first break was as the stunt double for actor Richard Boone on the popular TV western Have Gun, Will Travel   Needham trained under John Wayne's stunt double Chuck Roberson and quickly became one of the top stuntmen of the 1960s on such films as How the West Was Won, The Bridge at Remagen, McLintock!, The War Lord, and Little Big Man  He doubled regularly for Clint Walker and Burt Reynolds  He played a cowboy in an episode of the TV Western Gunsmoke (S8E36 - “The Odyssey of Jubal Tanner”)  Needham moved into stunt coordinating and directing second unit action, while designing and introducing air bags and other innovative equipment to the industry  Needham at one time lived in Reynolds' guesthouse for the better part of 12 years In 1971, he and fellow stuntmen Glenn Wilder and Ronnie Rondell formed Stunts Unlimited  Needham had written a screenplay titled Smokey and the Bandit and his friend Reynolds offered him the chance to direct  The film was a huge hit, and the two followed it with Hooper, Smokey and the Bandit II, The Cannonball Run, and Stroker Ace  Needham also directed the TV pilots Stunts Unlimited (1980) and Stockers (1981), neither of which was picked up as a series  His final theatrical release as director was the 1986 BMX film Rad 
In 1977, Gabriel Toys introduced the "Hal Needham Western Movie Stunt Set" complete with a cardboard old west saloon movie set, lights and props, a toy movie camera and a spring-launched Hal Needham action figure that would break through a balcony railing, land on breakaway table and chairs and crash through a window  They were only manufactured for a short time and have since become highly collectible 
Needham moved out of stunt work, focusing his energy on the World Land Speed Record project that eventually became the Budweiser Rocket, driven by stuntman Stan Barrett  The team failed to set an officially sanctioned World land speed record with the vehicle, and their claims to have broken the sound barrier in 1979 have been heavily disputed  In the 1980s, he and Reynolds co-owned the Mach 1 Racing team, which fielded the Skoal Bandit No  33 car in the NASCAR Winston Cup Series for Harry Gant  In 1986, Needham, alongside William L  Fredrick, was awarded a Scientific and Engineering Award for his efforts in developing the Shotmaker Elite camera car and crane In 2001, Needham received a Lifetime Achievement Award from the Taurus World Stunt Awards  In 2012, he was awarded a Governors Award by the Academy of Motion Pictures Arts and Sciences, where he was introduced by Quentin Tarantino Needham and his relationship with Reynolds inspired the Cliff Booth/Rick Dalton friendship in Tarantino's 2019 film Once Upon a Time in Hollywood 

Rocket car
Needham was the owner of the Budweiser Rocket car, a vehicle intended to break the speed of sound on land 

Death
Needham died on October 25, 2013 in Los Angeles, California, aged 82, shortly after being diagnosed with cancer 

Bibliography
Needham, Hal (2011)  Stuntman!: My Car-Crashing, Plane-Jumping, Bone-Breaking, Death-Defying Hollywood Life  New York: Little, Brown and Company  ISBN 978-0-316-07899-3  OCLC 548642135 

Filmography as actor
Filmography as director
Passage 8:
Perdón, viejita
Perdón, viejita is a 1927 silent Argentine film directed and written by José A  Ferreyra  Ferreyra was born on 28 August 1889 in Buenos Aires, Argentina  He was a director and writer also known for Bewitching Kisses (1937) and La vuelta al Bulín (1926)  Ferreyra died on 29 January 1943, at age 53  A fragment (34-minutes) of the film is currently available on YouTube  The restored version will be presented in the San Isidro Film and Music Festival on 15 November  2016  The nitrate copy of the film was provided by the Fundación Cinemateca Argentina and the restoration work was done by GOTIKA,

Synopsis
Perdón, viejita (which means "Sorry, Old Woman" in English) revolves around a lower-class family: Doña Camila, the aging mother, and Elena and Carlos, her children  Carlos is, unbeknownst to her, a reformed thief  One day he meets Nora, a prostitute, in the park, and decides to bring her home after falling in love with her  Elena, who is being courted by a shady Don Juan, is given a ring as a gift, but Nora takes it away from her complaining that she knows men like Don Juan and the ring is probably stolen  This is evidenced when the police arrive in search for the ring, and Nora takes the fall for Elena 
Prudencio, Elena's other pretender, takes an interest in Don Juan and after following him forces him to accompany him to the police and confess about the stolen ring  Don Juan is then imprisoned and Nora let go, but she feels her honor has been tainted and her meddling has caused trouble to the family, so she leaves and goes back to her job under the wing of El Gavilán ("The Hawker")  Carlos follows suit, and confronts El Gavilán, who in the confrontation wounds Nora from gunshot 
In the epilogue, Nora recovers in bed, nursed by Carlos and Prudencio  Elena, who had confessed to accepting the ring from Don Juan to her mother, comes visit with Doña Camila, who apologizes for her mistrust and scorn of Nora  The family reconciles, and live happily ever after 
Passage 9:
José A  Ferreyra
José A(gustín) Ferreyra (28 August 1889 – 29 January 1943), popularly known as "Negro Ferreyra" (Black Ferreyra, due to his partially African ancestry), was an early Argentine film director, screenwriter and film producer  He was also sometimes credited as production designer 
Ferreyra was born in Vicente López, Gran Buenos Aires  His father was of White European descent, while his mother was Afro-Argentine, likely descended from slaves He began simultaneously directing and screenwriting for film in 1915, and moved on to success directing films such as Palomas rubias in 1920  His films tended to focus on lower-class family drama, most notably Perdón, viejita (1927), and were filmed on a low budget and with little to no script as a guide  Ferreyra prevailes through the 1920s and 1930s as a distinguished filmmaker of the masses, but was displaced in the late 1930s and early 1940s by big budget cinema  He directed over 40 films and wrote the scripts for the majority of them between 1915 and 1941, working with noted actors such as Libertad Lamarque and Mario Soffici on his screen debut, before moving on to directing 
He died on 29 January 1943 from laryngeal cancer 

Filmography
Chimbela (1939)
La Ley que olvidaron (1938)
Besos Brujos (1937)
Ayúdame a Vivir (1936)
Puente Alsina (1935)
Streets of Buenos Aires (1934)
El Cantar de mi ciudad (1930)
Perdón, viejita (1927)
Muchachita de Chiclana (1926)
La costurerita que dio aquel mal paso (1926)
La vuelta al Bulín (1926)
Mi último tango (1925)
El organito de la tarde (1925)
El arriero de Yacanto (1924)
Mientras Buenos Aires duerme (1924)
Odio serrano (1924)
La Leyenda del puente inca (1923)
Melenita de oro (1923)
Corazón de criolla (1923)
La Maleva (1923)
La Chica de la calle Florida (1922)
La Muchacha del arrabal (1922)
Buenos Aires, ciudad de ensueño (1922)
La Gaucha (1921)
Palomas rubias (1920)
De vuelta al pago (1919)
Campo ajuera (1919)
El tango de la muerte (1917)
Venganza gaucha (1917)
La fuga de Raquel (1916)
La isla misteriosa (1916)
Una noche de garufa (1915)
Passage 10:
The Bandit Trail
The Bandit Trail is a 1941 Western film 

Plot
A cowboy helps rob a bank to get revenge on an unscrupulous banker 

Cast
Tim Holt as Steve Haggerty
Ray Whitley as Smokey
Janet Waldo	as Ellen Grant
Lee 'Lasses' White as Whopper
Morris Ankrum as Red Haggerty
Roy Barcroft as Joel Nesbitt
Glenn Strange as Gang member



ground_truth: Women'S Suffrage Journal

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 came out first, Una Prostituta Al Servizio Del Pubblico E In Regola Con Le Leggi Dello Stato or The Bag Man?

The following are given passages.
Context 2: Passage 1:
The Police Serve the Citizens?
La polizia è al servizio del cittadino? (internationally released as The Police Serve the Citizens?) is a 1973 Italian giallo-poliziottesco film directed by Romolo Guerrieri  The film is set in Genova 

Cast
Enrico Maria Salerno: Commissioner Nicola Sironi
Giuseppe Pambieri: Commissioner Marino
John Steiner: Lambro
Venantino Venantini: Mancinelli
Alessandro Momo: Michele Sironi
Memmo Carotenuto: Baron
Marie Sophie Persson: Cristina
Daniel Gélin: Ing  Pier Paolo Brera
Gabriella Giorgelli: Eros, Prostitute
Enzo Liberti: Greengrocer

Release
The film was released on August 25, 1973  It was distributed by P I C  in Italy  The film grossed a total of ₤1 033 billion in Italy 
Passage 2:
Bag-in-box
A bag-in-box or BiB is a container for the storage and transportation of liquids   It consists of a strong bladder (or plastic bag), usually made of several layers of metallised film or other plastics, seated inside a corrugated fiberboard box 

Features
The bag is supplied to the company which will fill it as an empty pre-made bag  The company filling the bag with its product generally removes the tap, fills the bag (with wine, juice or other liquid) and replaces the tap and then the bag is placed in the box  
The bags are available as singles for semi-automatic machines or as web bags, where the bags have perforations between each one  These are used on automated filling systems where the bag is separated on line either before the bag is automatically filled or after  Depending on the end use, there are a number of options that can be used on the bag instead of the tap  The bags can be filled from chilled product temperatures up to 85 °C (185 °F) 
BiB packaging can be made using form seal fill (FSF) technology, where the bags are manufactured on-line from reels of film, then the FlexTap is inserted then filled on an integral rotary head filler  The BiB is currently used to package wine, soda fountain syrup products, milk, liquid chemicals, and water 

History
The first commercial BiB system was invented by American chemist William R  Scholle in 1955 for the safe transportation and dispensing of battery acid  Scholle's invention inspired a "packaging revolution " In 1991, Scholle was inducted into the packaging hall of fame for his invention 

Uses
BiB has many common commercial applications  Among the most common ones are to supply syrup to soft drink fountains and to dispense bulk supplied condiments such as ketchup or mustard in the foodservice industry (especially in fast food outlets)  BiB technology is still used for its original application of dispensing sulfuric acid for filling lead-acid batteries in garages and dealerships  As explained further below, BiBs have also been implemented for consumer applications like boxed wine For commercial syrup applications, the customer opens one end of the box (sometimes via a pre-scored opening) and connects a compatible connector to a built-in port on the bag to pump out its contents  The port itself contains a one-way valve which opens only under pressure from the attached connector and which prevents contamination of the syrup in the bag  For consumer applications like boxed wine, there is a tap already present on the bag which protrudes through a pre-cut hole on the box, so all the consumer has to do is locate the tap on the outside of the box 
Producers like BiB packaging because it is inexpensive  BiB also offers environmental benefits by allowing contents of 1 5–1000 liters, so that less packaging or labeling is required  The material it is made from is lighter than the other plastic alternatives, providing it with a better carbon footprint 

Wine cask
The 'wine cask' was invented by Thomas Angove (1918–2010) of Angove's, a winemaker from Renmark, South Australia, and patented by the company on April 20, 1965  Polyethylene bladders of 1 gallon (4 5 litres) were put into corrugated boxes for sale to consumers  An original design required that the consumer cut the corner off the bladder inside the box, pour out the desired quantity of wine and then reseal it with a special peg In 1967, Charles Malpas and Penfolds Wines patented a plastic, air-tight tap welded into an aluminised film bladder, making storage much more convenient for consumers  All modern wine casks now utilise some sort of plastic tap, which is exposed by tearing away a perforated panel on the box 
The main advantage of BiB packaging is that it prevents oxidation of the wine during dispensing  Rather than working as a conventional tap, the bladder uses gravity pressure to squeeze the liquid out of the bladder, whereas a conventional barrel tap works by allowing incoming air to displace the contents  After opening wine in a bottle, it is oxidized by air in the bottle which has displaced the wine poured; wine in a bag is not touched by air and thus not subject to oxidation until it is dispensed  Cask wine is not subject to cork taint or spoilage due to slow consumption after opening Although a promising technology, there have been production and design problems  The impermeable bladders tend to delaminate around the tap and where the two halves are joined  If tap components are deposited in the bladder during assembly, all the bladders must be destroyed to find the components as the bladders are opaque  It has also been difficult to manufacture taps that do not leak air into the bladder since tap parts usually do not join neatly, although there have been significant improvements  Most red wines require breathing before consumption which is not possible with casks, so the wine has air circulated through it before bottling (usually by running through a centrifuge), which reduces shelf life considerably  Most casks will have a best-before date stamped  As a result, it is not intended for cellaring and should be consumed within the prescribed period 

Aseptic packaging
BiB is also used extensively in the packaging of processed fruit and dairy products in aseptic processes  Using aseptic packaging equipment, products can be packed in aseptic packaging  Pasteurized or UHT treated products packed into this format can be "shelf-stable", requiring no refrigeration  Some products can have a shelf life of up to 2 years, depending on the type of bag that is used 
The key to this unique system is that the product being filled is not exposed to the external environment at any stage during the process and as such, there is no possibility of a bacterial load being added to the product during the filling process  To ensure there is no contamination from the packaging, the bag is irradiated after the bag manufacturing process 
These packs are typically from 10 to 1200 liters and offer the advantage of cheap, disposable and transport efficient packaging 

See also
Corrugated box design
Tetra Brik

Notes
Passage 3:
Bagman (disambiguation)
A bagman or bag man is a collector of dirty money for organized crime 
Bagman may also refer to:

Bagman (video game), a 1982 French platform arcade game
Bagman, a biochip containing the personality of a fallen comrade in the 2000AD comic Rogue Trooper
Bagman (film), a 2010 film about Jack Abramoff
Sack Man or Bag Man, a bogeyman-figure
Ludo Bagman, a character in J  K  Rowling's Harry Potter series
The Bag Man, a 2014 film
Bag Man (podcast), a 2018 podcast about Spiro Agnew's 1973 bribery and corruption scandal
"Bagman" (Better Call Saul), an episode of the television series Better Call Saul

See also
Bağban (disambiguation)
Bag boy (disambiguation)
Bag lady (disambiguation)
Passage 4:
Donne con le gonne
Women in Skirts (Italian: Donne con le gonne) is a 1991 Italian romantic comedy film directed by Francesco Nuti  It was the highest-grossing Italian film in Italy in 1992  The film was nominated for two awards, Best Supporting Actress and Best Costume Design 

Cast
Francesco Nuti as Renzo Calabrese
Carole Bouquet as Margherita
Barbara Enrichi as Renzo's mother
Cinzia Leone as Cinzia
Gastone Moschin as lawyer Carabba
Didi Perego as Pubblico Ministero
Daniele Dublino as count Ugolino
Passage 5:
Io piaccio
Io piaccio (also known as La via del successo    con le donne) is a 1955 Italian comedy film directed by Giorgio Bianchi 

Plot
Professor Maldi, a researcher on the company held by Commendatore Tassinetti (Aldo Fabrizi), experiments on various animals, and especially on the capon Gildo, its preparation which should give courage to the men  Pressed by Tassinetti Maldi decides to experiment on himself the latest version of its compound, without waiting to know the reaction of the capon 
Soon, the shy Maldi finds himself desired by every woman he meets: rather than courage, his discovery provides an irresistible fascination for twenty-four hours 

Cast
Walter Chiari: Prof  Roberto Maldi
Aldo Fabrizi: Commendatore Tassinetti
Peppino De Filippo: Nicolino Donati
Dorian Gray: Doriana Paris
Bianca Maria Fusari: Sandra, Maldi's assistant
Tina Pica: Sibilla
Mario Carotenuto: Marassino
Sandra Mondaini:Giovanna
Lina Volonghi: Lucia, Tassinetti's wife
Valeria Fabrizi: Wardrobe supervisor
Enrico Glori: Butler at Caprice nightclub
Riccardo Billi: Husband
Erminio Spalla: Doriana's confidence man
Bruno Corelli: Director
Dina Perbellini: Marassino's wife
Passage 6:
It's in the Bag
It's in the Bag can refer to:

It's in the Bag, a pricing game on The Price Is Right
It's in the Bag (game show), a long-running New Zealand game show
L'affaire est dans le sac (English: It's in the Bag), a 1932 French film
It's in the Bag (1936 film), a British film
It's in the Bag (1944 film), a British film
It's in the Bag! (1945 film), a 1945 American film starring Fred Allen
Passage 7:
The Bag Man
The Bag Man (also known as Motel or The Carrier) is a 2014 neo-noir crime thriller film directed by David Grovic  It is based on an original screenplay by James Russo and a rewrite by David Grovic and Paul Conway and an inspiration of The Cat: A Tale of Feminine Redemption by Marie-Louise von Franz  The film stars John Cusack, Rebecca Da Costa, Crispin Glover, Dominic Purcell, Robert De Niro, and Sticky Fingaz  The film premiered on February 28, 2014, in New York and Los Angeles 

Plot
Brutal gangster Dragna recruits professional killer Jack to pick up a bag and wait for his arrival at a motel   Dragna stresses that Jack is not to open the bag or allow anyone to view its contents under any circumstances   Confused as to why Dragna wants him to do such an apparently easy job, Jack presses for more details, but Dragna only reiterates the rules   When Jack acquires the bag and a henchman of Dragna's shoots him in the hand, Jack kills him and stuffs the body in his car's trunk   Dragna is unsympathetic when Jack calls him and instructs Jack to stick to the plan 
At the motel, Jack meets several people: Ned, the desk clerk who uses a wheelchair; Rivka, a tall hooker; and Lizard and Guano, a pair of pimps  Jack requests room number thirteen, and Ned cautions him that it is a deathtrap, as it is unconnected   When two suited men become curious about Jack, he abruptly breaks into their room and kills both  A subsequent search reveals FBI badges and a briefcase  Jack sets the briefcase aside and leaves to dump the corpse stored in his car, but promptly returns upon being spotted, only to discover that Rivka has broken into his room  Fearful that Lizard will kill her, she requests that he allow her to stay 
Jack initially demands that she leave, then detains her when he cannot be sure whether she opened the bag  Rivka points out that the briefcase contains a photo of the bag, and Jack becomes worried that others may attempt to acquire it  When Jack attempts to drive Rivka to a bus station, she spots the corpse in the back of his car  Lizard and Guano first question Jack about Rivka and later, on the road, attack him  On their corpses he finds another photo of the bag  Unsure what to do with Rivka, or of her involvement, he returns to the hotel with her to await Dragna's arrival 
Ned becomes suspicious that Jack has a guest in his room and calls the sheriff when Jack refuses to pay the double occupancy fee  Sheriff Larson briefly questions Jack, and, after Larson leaves, Jack threatens Ned  Increasingly worried about the safety of the bag, Jack buries it near the motel, only to be caught by Ned, who is now out of his wheelchair  Jack kills Ned and returns to the motel, where Larson arrests him under suspicion of Ned's disappearance 
As Larson prepares to torture Jack for information, Rivka shows up  Larson threatens to rape her, but she overpowers a deputy and frees Jack, who then kills Larson  When Rivka demonstrates detailed knowledge of the bag, Jack becomes suspicious of her again, but she points out that she has saved his life   Somewhat mollified, he retrieves the bag and waits in room fourteen  Dragna finally appears, disappointed in Jack's apparent lack of trust  Nonetheless satisfied that Jack has not looked in the bag, Dragna explains that the whole situation was a test of Jack's skills and character, as he doubted Jack's resolve in the wake of Jack's fiancee's unsolved murder some months earlier  The motel and the local cops are all on Dragna's payroll, and were all (unwittingly) part of the test 
As Dragna prepares to leave, Rivka spontaneously tells Jack that she looked in the bag  Frustrated, Jack points out that Dragna will now kill them both  Jack dutifully reports Rivka's action to Dragna, who orders her killed  Jack instead kills Dragna's bodyguard, who wounds Rivka  Jack hunts down Dragna, and both are wounded  Jack looks in the bag and discovers the head of his fiancee, whom Dragna had killed in order to prevent Jack from quitting the murder-for-hire business  Trying to persuade Jack to surrender, Dragna destroys the hotel (where Rivka supposedly is) with remote-detonated explosives  Moments later, Rivka appears and saves Jack by killing Dragna, but she is shot again  Later, in Dragna's lawyer's office, Rivka reveals herself as Dragna's mistress and personal assassin who was sent to the motel to ensure things went Dragna's way  She collects a five million dollar reward for Jack's assassination, and she and Jack drive off together 

Cast
John Cusack as Jack
Rebecca Da Costa as Rivka
Robert De Niro as Dragna
Crispin Glover as Ned Stensen
Dominic Purcell as Sheriff Larson
Sticky Fingaz as Lizard
Martin Klebba as Guano
Theodus Crane as Goose
David Shumbris as Pike
Mike Mayhall as Deputy Jones
Danny Cosmo as Bishop
David Grovic as Dragna's lawyer

Reception
Rotten Tomatoes, a review aggregator, reports that 10% of 42 surveyed critics gave the film a positive review; the average rating was 3 4/10   Metacritic rated it 28/100 based on 18 reviews   Scott Foundas of Variety called it "a tedious, self-consciously quirky postmodern noir"   Stephen Farber of The Hollywood Reporter wrote, "If it weren't for the touches of cruelty, this might have been a passable B-movie, but Bag Man ends up wasting the A-list talent caught up in the lurid exercise "  Stephen Holden of The New York Times described the plot as "a protracted and increasingly tedious cat-and-mouse game" that "pathetically tries to build up expectations about what might be in the bag"   Mike D'Angelo of The A V  Club called it a Quentin Tarantino knock-off made two decades too late 
Passage 8:
Una prostituta al servizio del pubblico e in regola con le leggi dello stato
Una prostituta al servizio del pubblico e in regola con le leggi dello stato (literally "A prostitute serving the public and complying with the laws of the state", also known as Prostitution Italian Style) is a 1970  Italian comedy-drama film written and directed by Italo Zingarelli For her performance Giovanna Ralli won the Grolla d'oro for best actress 

Cast
Giovanna Ralli: Oslavia
Giancarlo Giannini: Walter
Jean-Marc Bory: François Coly
Denise Bataille
Paolo Bonacelli
Roberto Chevalier
Passage 9:
The Man with the Bag
"The Man with the Bag" may refer to:

The Sack Man, a mythical figure
"(Everybody's Waitin' for) The Man with the Bag", a Christmas song
"The Man with the Bag", an episode of Ally McBeal
Passage 10:
The Police Serve the Citizens?
La polizia è al servizio del cittadino? (internationally released as The Police Serve the Citizens?) is a 1973 Italian giallo-poliziottesco film directed by Romolo Guerrieri  The film is set in Genova 

Cast
Enrico Maria Salerno: Commissioner Nicola Sironi
Giuseppe Pambieri: Commissioner Marino
John Steiner: Lambro
Venantino Venantini: Mancinelli
Alessandro Momo: Michele Sironi
Memmo Carotenuto: Baron
Marie Sophie Persson: Cristina
Daniel Gélin: Ing  Pier Paolo Brera
Gabriella Giorgelli: Eros, Prostitute
Enzo Liberti: Greengrocer

Release
The film was released on August 25, 1973  It was distributed by P I C  in Italy  The film grossed a total of ₤1 033 billion in Italy 



ground_truth: Una Prostituta Al Servizio Del Pubblico E In Regola Con Le Leggi Dello Stato

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 was born first, Perdón, Viejita or Smokey And The Bandit?

The following are given passages.
Context 4:  She acted in the 1997 film Praner Cheye Priyo with Riaz  She also appeared in Sabdhan and Dolopoti, again opposite Riaz 

Selected filmography
Praner Cheye Priyo
Sabdhan
Dolopoti
Passage 7:
Querelle
Querelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest  It was Fassbinder's last film, released shortly after his death at the age of 37 

Plot
The plot centers on the handsome Belgian sailor Georges Querelle, who is also a thief and murderer  When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother  Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly  Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario 
Querelle makes a deal to sell opium to Nono  During the execution of the deal, he murders his accomplice Vic by slitting his throat   After delivering the drugs, Querelle announces that he wants to sleep with Lysiane   He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers  If Nono loses, the suitor is allowed to proceed with his affair  If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that "That way, I can say my wife only sleeps with arseholes " Querelle deliberately loses the game, allowing himself to be sodomized by Nono  When Nono gloats about Querelle's "loss" to Robert, who won his dice game, the brothers end up in a violent fight   Later, Querelle becomes Lysiane's lover, and also has sex with Mario 
Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him   Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee  Querelle falls in love with Gil, who closely resembles his brother   Gil returns his affections, but Querelle betrays Gil by tipping off the police  Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil 
Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him  Seblon is aware that Querelle murdered Vic, but chooses to protect him   Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to Le Vengeur 

Cast
Brad Davis as Querelle
Franco Nero as Lieutenant Seblon
Jeanne Moreau as Lysiane
Laurent Malet as Roger Bataille
Hanno Pöschl as Robert / Gil
Günther Kaufmann as Nono
Burkhard Driest as Mario
Roger Fritz as Marcellin
Dieter Schidor as Vic Rivette
Natja Brunckhorst as Paulette
Werner Asam as Worker
Axel Bauer as Worker
Neil Bell as Theo
Robert van Ackeren as Drunken legionnaire
Wolf Gremm as Drunken legionnaire
Frank Ripploh as Drunken legionnaire

Production
According to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor  However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and Sam Peckinpah, before finally settling on Fassbinder  Driest wrote a radically different script for Fassbinder, who then "took the linear narrative and jumbled it up"  White quotes Schidor as saying "Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story  The story became totally unimportant for him  He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it" Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio  Edmund White comments that the result is a film in which, "Everything is bathed in an artificial light and the architectural elements are all symbolic "

Soundtrack
Jeanne Moreau – "Each Man Kills the Things He Loves" (music by Peer Raben, lyrics from Oscar Wilde's poem "The Ballad of Reading Gaol")
"Young and Joyful Bandit" (Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for "Worst Original Song" 

Release
Querelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a gay theme had achieved such success  On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14 critics comments  By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6 10/10  Writing for The New York Times critic Vincent Canby noted that Querelle was "a mess   a detour that leads to a dead end "
Penny Ashbrook calls Querelle Fassbinder's "perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker " Edmund White considers Querelle the only film based on Genet's book that works, calling it "visually as artificial and menacing as Genet's prose " Genet, in discussion with Schidor, said that he had not seen the film, commenting "You can't smoke at the movies "
Passage 8:
Claude Chabrol
Claude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s  Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker 
Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943)  Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity  This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time 
Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career  In 1978, he cast Isabelle Huppert as the lead in Violette Nozière  On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1995)  Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium   Some of his films become almost private jokes, made to amuse himself " James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard "

Life and career
Early life
Claude Henri Jean Chabrol was born on 24 June 1930 to Yves Chabrol and Madeleine Delarbre in Paris and grew up in Sardent, France, a village in the region of Creuse 400 km (240 miles) south of Paris  Chabrol said that he always thought of himself as a country person, and never as a Parisian  Both Chabrol's father and grandfather had been pharmacists, and Chabrol was expected to follow in the family business  But as a child, Chabrol was "seized by the demon of cinema" and ran a film club in a barn in Sardent between the ages of 12 and 14  It was at this time that he developed his passion for the thriller genre, detective stories and other forms of popular fiction 

Early years in Paris
After World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, where he received a licence en lettres  Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques  While living in Paris Chabrol became involved with the postwar cine club culture and frequented Henri Langlois's Cinémathèque Française and the Ciné-Club du Quartier Latin, where he first met Éric Rohmer, Jacques Rivette, Jean-Luc Godard, François Truffaut and other future Cahiers du Cinéma journalists and French New Wave filmmakers  After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant  Chabrol has said that while in the army he worked as a film projectionist  After he was discharged from the army, he joined his friends as a staff writer for Cahiers du Cinéma, who were challenging then-contemporary French films and championing the concept of Auteur theory  As a film critic, Chabrol advocated realism both morally and aesthetically, mise-en-scene, and deep focus cinematography, which he wrote "brings the spectator in closer with the image" and encourages "both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress " He also wrote for Arts magazine during this period  Among Chabrol's most famous articles were "Little Themes", a study of genre films, and "The Evolution of Detective Films" In 1955 Chabrol was briefly employed as a publicity man at the French offices of 20th Century Fox, but was told that he was "the worst press officer they'd ever seen" and was replaced by Jean-Luc Godard, who they said was even worse  In 1956 he helped finance Jacques Rivette's short film Le coup du berger, and later helped finance Rohmer's short Véronique et son cancre in 1958  Unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors' work before making his feature film debut  In 1957 Chabrol and Eric Rohmer co-wrote Hitchcock (Paris: Éditions Universitaires, 1957), a study of the films made by director Alfred Hitchcock through the film The Wrong Man  Chabrol had said that Rohmer deserves the majority of the credit for the book, while he mainly worked on the sections pertaining to Hitchcock's early American films, Rebecca, Notorious, and Stage Fright  Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of To Catch a Thief, where the two famously walked into a water tank after being starstruck by Hitchcock  Years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw "ice cubes in a glass of whiskey "

1957–67: Early film career
The most prolific of the major New Wave directors, Chabrol averaged almost one film a year from 1958 until his death  His early films (roughly 1958–1963) are usually categorized as part of the New Wave and generally have the experimental qualities associated with the movement; while his later early films are usually categorized as being intentionally commercial and far less experimental  In the mid-sixties it was difficult for Chabrol to obtain financing for films so he made a series of commercial "potboilers" and spy spoofs, which none of the other New Wave filmmakers did Chabrol had married Agnès Goute in 1952 and in 1957 his wife inherited a large sum of money from relatives  In December of that year Chabrol used the money to make his feature directorial debut with Le Beau Serge  Chabrol spent three months shooting in his hometown of Sardent using a small crew and little known actors  The film's budget was $85,000  The film starred Jean-Claude Brialy as François and Gérard Blain as Serge, two childhood friends reunited when the recent medical school graduate François returns to Sardent and discovers that Serge has become an alcoholic after the stillbirth of his physically retarded first child  Despite suffering from tuberculosis, François drags Serge through a snowstorm to witness the birth of his second child, thus giving Serge a reason to live while killing himself in the process  Le Beau Serge is considered the inaugural film of the French New Wave Film movement that would peak between 1959 and 1962  Chabrol was the first of his friends to complete a feature film (although Jacques Rivette had already begun filming his first feature Paris nous appartient), and it immediately received critical praise and was a box office success  It won the Grand Prix at the Locarno Film Festival and the Prix Jean Vigo  Critics noticed similarities to Hitchcock's films, such as the motifs of doubling and re-occurrences and the "Catholic guilt transference" that Chabrol had also written about extensively in his and Rohmer's book the year earlier  Chabrol stated that he made the film as a "farewell to Catholicism", and many critics have called his first film vastly different from any of his subsequent films Chabrol quickly followed this success up with Les Cousins in 1958  The film is a companion piece and a reversal to Le Beau Serge in many ways, such as having the responsible student Brialy now play the decadent and insensitive Paul while the reckless Blain now plays the hard-working law student Charles  In this film, the country cousin Charles arrives in the big city of Paris to live with his corrupt cousin Paul while attending school  This was the first of many Chabrol films to include characters named Paul and Charles, and later films would often include a female named Hélène  More so than his first film, Les Cousins features many characteristics that would be seen as "Chabrolian", including the Hitchcock influence, a depiction of the French bourgeoisie, characters with ambiguous motives and a murder  It was also Chabrol's first film co-written with his longtime collaborator Paul Gégauff, of whom Chabrol once said "when I want cruelty, I go off and look for Gégauff  Paul is very good at gingering things up   He can make a character look absolutely ridiculous and hateful in two seconds flat " Les Cousins was another box office success in France and won the Golden Bear at the 9th Berlin International Film Festival Chabrol formed his own production company AJYM Productions (acronym based on the initials of his wife's and children's names) at the time of making Le Beau Serge   After the success of Le Beau Serge and Les Cousins, Chabrol began funding many of the films of his friends  AJYM helped fund Eric Rohmer's feature debut The Sign of Leo, partially funded Rivette's Paris nous appartient, and Philippe de Broca's films Les Jeux de l'amour and Le farceur  He also donated excess film stock from Les Cousins to Rivette to complete Paris nous appartient  Chabrol was also a technical advisor on Jean-Luc Godard's feature debut Breathless and acted in small parts in many of his friends' and his own early films  For his support to the early careers of so many of his friends, Chabrol has been referred to as "the godfather of the French New Wave", although many film histories tend to overlook this contribution and dismiss Chabrol altogether After two box office hits in a row, Chabrol was given a big budget to make his first color film, À double tour (Léda) in the spring of 1959  The film stars Jean-Paul Belmondo as Laszlo and Antonella Lualdi as Léda, two outsiders of a bourgeois family who experience different results when attempting to enter that family  Chabrol adapted the script with Paul Gégauff from a novel by Stanley Ellin, and the film is known for its oedipal sex triangle and murder scenario  The film was shot on location in Aix-en-Provence with cinematographer Henri Decaë and includes choppy, hand-held camera footage that is atypical of a Chabrol film despite being present in many of the New Wave films made at the same time  The film was both a box office and critical disappointment, and critic Roy Armes criticized "Chabrol's lack of feeling for his characters and love of overacting "In 1960 Chabrol made what is considered by many critics as his best early film, Les Bonnes Femmes  The film stars Bernadette Lafont, Clotilde Joano, Stéphane Audran and Lucile Saint-Simon as four Parisian appliance store employees who all dream of an escape from their mediocre lives, and the different outcomes for each girl  Most critics praised the film, such as Robin Wood and James Monaco  However some left-wing critics disliked Chabrol's depiction of working-class people and accused him of making fun of their lifestyles  The film was another box office disappointment for Chabrol  It was followed with two films that were also financially unsuccessful and which Chabrol has admitted to making purely for "commercial reasons"  Les Godelureaux was made in 1960 and hated by Chabrol  The Third Lover (L'Œil du Malin), released in 1961, received better reviews than Chabrol's previous films, with critics pointing out that the films that Chabrol wrote without Paul Gégauff were much more compassionate and realistic than the ones with Gégauff  It was shot on location in Munich  Although she had appeared in supporting roles in several Chabrol films before, The Third Lover was the first Chabrol film in which Stéphane Audran appeared as the female lead  They later married in 1964 and worked together until the late 1970s In 1962 Chabrol made Ophelia, a loose adaptation of Hamlet that was another box office disappointment  Later that year he had a minor hit film with Landru, written by Françoise Sagan and starring Charles Denner, Michèle Morgan, Danielle Darrieux and Hildegard Knef  The film depicts the famous French serial killer Henri Désiré Landru, a story that had previously inspired Charlie Chaplin's film Monsieur Verdoux From 1964 to 1967 Chabrol made six films and one short that were critically and commercially disastrous, and this period is considered a low point of his career  Four of these films were in the then-popular genre of spy spoof films, including Le Tigre aime la chair fraiche and Le Tigre se parfume à la dynamite  Chabrol had said that "I like to get to the absolute limit of principles   In drivel like the Tiger series I really wanted to get the full extent of the drivel  They were drivel, so OK, let's get into it up to our necks " During this period a Variety headline read "Vital To Keep Making Pictures, and What Sort Not Relevant; Chabrol No 'Doctrinaire' Type " In 1965 Chabrol also contributed to the New Wave portmanteau film Six in Paris with the segment "La Muette"  Chabrol co-starred with Stéphane Audran as a middle aged couple dealing with their rebellious teenage daughter  In 1964 Chabrol also directed a stage production of MacBeth for the Théâtre Récamier 

1968–78: "Golden Era"
In 1968 Chabrol began working with film producer André Génovès and started to make more critically acclaimed films that would later be considered his "Golden Era"  Most of these films revolved around themes of bourgeois characters and a murder is almost always part of the plot  Unlike his earlier films, most of these films centered around middle aged people  Chabrol often worked with the same people during this period including actors Audran and Michel Bouquet, cinematographer Jean Rabier, editor Jacques Gaillard, sound technician Guy Chichignoud, composer Pierre Jansen, set designer Guy Littaye, as well as producer Génovés and co-writer Paul Gégauff In 1968 Chabrol made Les Biches, one of his most acclaimed works  The film stars Stéphane Audran as the dominant and bisexual Frédérique, who finds a young protege in the bisexual Why (Jacqueline Sassard), until they both become the lover of a young architect named Paul (Jean-Louis Trintignant)  Why ends up killing Frédérique, but it is unclear whether she murdered her cheating lover or the person that her lover was cheating with  The film received critical praise and was a box office hit  Chabrol followed this with a similar film The Unfaithful Wife (La Femme infidèle), in which a husband named Charles murders the lover of his cheating wife  It was later remade in 2002 by director Adrian Lyne  Chabrol finished the decade with This Man Must Die (Que la bête meure) in 1969  Based on an original story by Cecil Day-Lewis, in the film Charles (Michel Duchaussoy) plots to kill Paul (Jean Yanne) after Paul killed Charles' son in a hit and run car accident  However the film's ending is left intentionally ambiguous, and Chabrol has stated that "you'll never see a Charles kill a Paul  Never " The film was especially praised for its landscape cinematography In 1970 Chabrol made The Butcher (Le boucher) starring Jean Yanne and Stéphane Audran  Yanne plays Popaul, a former war hero known for his violent behavior, much like that depicted in the prehistoric cave drawings that the characters look at in their Périgord community  The French newspaper Le Figaro called it "the best French film since the liberation " After another examination of bourgeois life in The Breach (La Rupture) in 1970, Chabrol made Just Before Nightfall (Juste avant la nuit) in 1971  The film stars Michel Bouquet as an ad executive named Charles who kills his mistress but cannot handle the guilt, so he confesses his crime to her husband (François Périer) and his wife (Stéphane Audran), expecting their condemnation  To his surprise they are only compassionate and forgiving to his crime and Charles cannot find relief from the guilt of what he has done  Later in 1971 Chabrol made Ten Days' Wonder (La Décade prodigieuse), based on a novel by Ellery Queen  The film was shot in English and starred Michel Piccoli, Anthony Perkins and Orson Welles  It received poor critical reviews  He followed this with the equally disliked Dr  Popaul, starring Jean-Paul Belmondo and Mia Farrow  Critics compared the film unfavorably with Chabrol's earlier film that centered on a "Landru-like" theme  Critic Jacques Siclier said that "the novelty of Docteur Popaul comes from the offhandedness with which the criminal history is treated "Chabrol took a slight change of pace with his 1973 film Wedding in Blood (Les Noces rouges) by making his first film with political themes  The film stars Audran and Michel Piccoli as lovers who plot to murder Audran's husband, who is the corrupt gaullist mayor of their town  To their surprise the President of France orders that no investigation be made of the mayor's death, leading the murdering couple to suspect political interest in their crime  In the spring of 1973 the French government banned the film for one month, allegedly so that it would not influence members of the jury of a controversial criminal trial  Chabrol followed this political theme with Nada, in which a group of young anarchists kidnap an American ambassador  It was Chabrol's first film to not center on the bourgeois since Le Beau Serge  Chabrol returned to more familiar ground in 1975 with A piece of pleasure (Une partie de plaisir)  In this film screenwriter Paul Gégauff plays a writer with a troubled marriage that ends in tragedy  (In 1983, Gégauff was stabbed to death in real life by his second wife ) Gégauff's wife is played by his real-life first wife Danièle Gégauff (already divorced when this film was made) and his daughter is played by real life daughter Clemence Gégauff  The film received poor critical reviews, with Richard Roud calling it "rather interestingly loathsome "Chabrol ended his Golden Period with one of his most admired and his most controversial films Violette Nozière in 1978  The film starred a young Isabelle Huppert as a real life Parisian girl from a respectable petit-bourgeois family in the 1930s  At night Violette sneaks out to pick up men and eventually contracts syphilis, which she convinces her parents must be hereditary before she kills them  The film was controversial in France but praised in other countries 

1979–2009: Later work
In the 1980's and 1990's Chabrol engaged himself with many different projects for both TV and the silver screen  His films Poulet au vinaigre (1985) and Masques (1987) were entered into the 38th Cannes Film Festival and 37th Berlin International Film Festival respectively  Madame Bovary (1991) was nominated for the Golden Globe Award for Best Foreign Language Film and for the Academy Award for Best Costume Design  It was also entered into the 17th Moscow International Film Festival  La Cérémonie (1995) is perhaps his most acclaimed film from this period, as it was nominated for numerous César Awards and was entered into the 52nd Venice International Film Festival among other  His 1999 film The Color of Lies was entered into the 49th Berlin International Film Festival In 1995 Chabrol was awarded the Prix René Clair from the Académie française for his body of work 
Chabrol continued directing films and TV series well into the 2000's 

Personal life
Chabrol's first marriage to Agnès Goute (1956–1962) produced a son, Matthieu Chabrol, a composer who scored most of his father's films from the early 1980s  He divorced Agnès to marry the actress Stéphane Audran, with whom he had a son, actor Thomas Chabrol  They remained married from 1964 to 1978  His third wife was Aurore Paquiss, who has been a script supervisor since the 1950s  He had four children  Chabrol was a known gourmet chef and shot 10 Days Wonder in Alsace only because he wanted to visit its restaurants  Although he acknowledges the influence of Alfred Hitchcock in his work, Chabrol has stated that "others have influenced me more  My three greatest influences were Murnau, the great silent film director   Ernst Lubitsch and Fritz Lang "Chabrol died on 12 September 2010 of leukemia  He is buried in Pere Lachaise Cemetery in north-eastern Paris 

Filmography
As director
As actor
TV work
Histoires insolites (1974), 5 episodes
Nouvelles de Henry James (1974), 2 episodes – based on stories by Henry James
Il était un musicien (1978), 3 episodes
Madame le juge (1978), 1 episode
"Jeunesse et Spiritualité" Cyprien Katsaris (1979) Official site
Fantômas (1980), 2 episodes – Remake of Fantômas
Le système du docteur Goudron et du professeur Plume (1981) – based on The System of Doctor Tarr and Professor Fether by Edgar Allan Poe
Les affinités électives (1982) – based on Elective Affinities by Johann Wolfgang von Goethe
M  le maudit (1982, short)
La danse de mort (1982) – based on The Dance of Death by August Strindberg
Les dossiers secrets de l'inspecteur Lavardin (1988), 2 episodes
Les redoutables (2001), 1 episode
Chez Maupassant (2007), 2 episodes – based on stories by Guy de Maupassant
Au siècle de Maupassant: Contes et nouvelles du XIXème siècle (2010), 2 episodes
Passage 9:
Le Masque de la Méduse
Le masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin  The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans  It was Rollin's final film, as the director died in 2010 

Cast
Simone Rollin as la Méduse
Sabine Lenoël as Euryale
Marlène Delcambre as Sthéno
Juliette Moreau as Juliette
Delphine Montoban as Cornelius
Jean-Pierre Bouyxou as le gardien
Bernard Charnacé as le collectionneur
Agnès Pierron as la colleuse d'affiche au Grand-Guignol
Gabrielle Rollin as la petite contrebassiste
Jean Rollin as l'homme qui enterre la tête
Thomas Smith as Thomas

Production
It was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past  However, in 2009, Rollin began preparation foe Le masque de la Méduse  Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire   The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longest part of the film takes place  It was shot on HD video on a low budget of €150,000  Before the release, it was transferred to 35mm film 

Release
The film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse  As part of "An Evening with Jean Rollin", it was shown as a double feature with Rollin's 2007 film La nuit des horloges 

Home media
No official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume 1 
Passage 10:
Thulasi (1987 film)
Thulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan  The film stars Murali and Seetha  It was released on 27 November 1987 

Plot
Thirunavukarasu is considered as a God by his villagers  Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power  Sammadham and Ponni, a low caste girl, fall in love with each other  Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully  Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva 
Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference  Sammadham then challenges him to marry her  Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water  In the meantime, Siva also falls in love with Thulasi  The rest of the story is what happens to Siva and Thulasi 

Cast
Murali as Sivalingam "Siva"
Seetha as Thulasi
Chandrasekhar as Sammadham
Major Sundarrajan as Thirunavukarasu
Senthil
Charle as Khan
Thara as Ponni
Mohanapriya as Sarasu
Vathiyar Raman
A  K  Veerasamy as Kaliyappan

Soundtrack
The music was composed by Sampath Selvam, with lyrics written by Vairamuthu 

Reception
The Indian Express gave a negative review calling it "thwarted love" 



ground_truth: Perdón, Viejita