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

Question: Why did the director of film Port Of Seven Seas die?

The following are given passages.
Context 1: Passage 1:
Lamman Rucker
Lamman Rucker  (born October 6, 1971) is an American actor  Rucker began his career on the daytime soap operas As the World Turns and All My Children, before roles in The Temptations, Tyler Perry's films Why Did I Get Married?, Why Did I Get Married Too?, and Meet the Browns, and its television adaptation  In 2016, he began starring as Jacob Greenleaf in the Oprah Winfrey Network drama series, Greenleaf  Rucker is married to Kelly Davis Rucker, a graduate of Hampton University  As of 2022, he stars in BET+ drama The Black Hamptons 

Early life
Rucker was born in Pittsburgh, Pennsylvania, the son of Malaya (née Ray) and Eric Rucker  He has partial ancestry from Barbados  Rucker spent his formative years in the greater Washington, DC, Maryland area  He first had an interest in acting after he was placed in many child pageants   His first acting role was as Martin Luther King in the 4th grade  He was in the drama club in 7th grade and then attended high school at the Duke Ellington School of the Arts in Washington, D C  Rucker studied at Carnegie-Mellon University and Duquesne University On August 29, 2019, he shared personal life experiences that he credits for his success with the Hampton University football team 

Career
His major role came in 2002 when he assumed the role of attorney T  Marshall Travers on the CBS daytime soap opera As the World Turns opposite Tamara Tunie  He left the series the following year and portrayed Garret Williams on ABC soap opera All My Children in 2005  He also had the recurring roles on the UPN sitcoms All of Us and Half & Half 
Rucker is best known for his roles in the Tyler Perry's films  He co-starred in Why Did I Get Married? (2007) and  Why Did I Get Married Too? (2010)  He played Will Brown in 2008 film Meet The Browns  He later had a starring role on Perry's sitcom Meet the Browns reprising his role as Will from 2009 to 2011  The following year after Meet the Browns, Rucker was cast in the male lead role opposite Anne Heche in the NBC comedy series Save Me, but left after pilot episode  He later had roles in a number of small movies and TV movies  Rucker also had regular role opposite Mena Suvari in the short-lived WE tv drama series, South of Hell In 2015, Rucker was cast as one of leads in the Oprah Winfrey Network drama series, Greenleaf  He plays Jacob Greenleaf, the eldest son of Lynn Whitfield' and Keith David's characters 

Filmography
Film
Television
Award nominations
Passage 2:
Richard T  Jones
Richard Timothy Jones (born January 16, 1972) is an American actor  He has worked extensively in both film and television productions since the early 1990s  His television roles include Ally McBeal (1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017)  Since 2018, he has played Police Sergeant Wade Grey on the ABC police drama The Rookie His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle (2003), Laveinio "Slim" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014) 

Early life
Jones was born in Kobe, Japan, to American parents and grew up in Carson, California  He is the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing for the Nankai Hawks in Osaka  He has an older brother, Clarence Jones Jr , who works as a high school basketball coach  They would return to North America after Clarence's retirement following the 1978 season  His parents later divorced  Jones attended Bishop Montgomery High School in Torrance, California, then graduated from Tuskegee University 

Career
Since the early 1990s, Jones has worked in both film and television productions His first television role was in a 1993 episode of the series California Dreams  That same year, he appeared as Ike Turner, Jr  in What's Love Got to Do with It  From 1999 to 2005, he starred as Bruce Calvin van Exel in the CBS legal drama series Judging Amy Over the next two decades, Jones starred or guest-starred in high-profile television series such as Ally McBeal (1997), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017) His film roles include portrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio "Slim" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), and Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014) From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama series Wisdom of the Crowd Since February 2018, Jones has played the role of Sergeant Wade Gray in the ABC police procedural drama series The Rookie with Nathan Fillion 

Personal life
Joshua Media Ministries claims that its leader, David E  Taylor, mentors Jones in ministry, and that Jones has donated $1 million to its efforts 

Filmography
Film
Television
Passage 3:
Port of Seven Seas
Port of Seven Seas is a 1938 drama film starring Wallace Beery and featuring Frank Morgan and Maureen O'Sullivan   The movie was written by Preston Sturges based on the plays of Marcel Pagnol and the films based on them, and was directed by James Whale, the director of Frankenstein (1931) and The Invisible Man (1933)  The cinematography is by Karl Freund, who filmed Fritz Lang's Metropolis (1927) and I Love Lucy (1951-1957) 

Plot
TCM Synopsis:
In the port of Marseilles, France, Honore Panisse, a well-to-do sailmaker in his fifties, is enamored of the lovely Madelon, the daughter of a widowed fishmonger  For many years Panisse has played cards with Bruneau, Captain Escartefigue and tavern-owner Cesar, the father of Marius, the boy with whom Madelon is in love  Though Cesar and Marius are great friends, they argue constantly, especially over Panisse's infatuation with Madelon, whom Cesar considers one of the family  One day, Marius sends Madelon a note saying that he is going to sea for three years, but cannot say goodbye in person because it would break his heart  Madelon rushes to the docks and faints as his ship sails away  Because Panisse has just arrived, he tries to carry her home, but Cesar insists on taking her himself, not realizing that Marius has gone  Panisse tries to tell him why she fainted, but cannot, and listens fretfully as Cesar tells him that the two young people will soon be married  When he tells Madelon's mother Honorine this, Madelon, now revived, tells them that Marius has gone  Despite her love, she did not stop him because she knew how much he loved the sea  One month later, As Cesar pretends not to care that Marius has not written, the postman arrives with a letter from the boy  When Madelon arrives he reads the letter aloud, saddening Madelon, who is barely mentioned  Soon Panisse goes to Honorine to ask once again for the hand of Madelon  At the same time, Madelon finds out that she is pregnant and prays that she will have the strength to tell her mother  Madelon later goes to Panisse and tells him why she cannot marry him, but he is overjoyed with the news of her pregnancy because he has always wanted a son and his late wife was never able to bear a child  Because Panisse is so kind, Madelon agrees to marry him for the sake of the little one, and when Cesar arrives, quells his anger by telling him the truth  Cesar finally relents in his anger at Panissse for "stealing" his grandchild when Panisse says that he will make Cesar the godfather  They agree to call the boy Cesar Marius Panisse  After the baby is born, he is the apple of Panisse's eye, and Madelon gains the gratitude of Panisse's aged relatives, as well as the continued devotion of Panisse  One year later, just after Panisse has reluctantly boarded the train to go to Paris on business, Marius unexpectedly shows up at his father's house, returned to France to obtain some equipment for his ship  During the night, Marius goes to see Madelon, knowing that she has married Panisse, and Madelon lies to him, saying that Panisse is asleep  Marius confesses how much he has missed her, but she tells him it's too late  When the baby cries, she goes to him and Marius realizes that the child is his  When she tearfully confesses that Panisse is actually in Paris, Marius asks her to come away with him, but she tells him to go away  Just then Cesar comes back  He has returned home because he ran into the town doctor on the train and learned that a neighbor's child has contracted scarlet fever  He tells Marius to go away because that the baby now belongs to Panisse  She wants to go away with him and the baby, but just as they are talking, Panisse comes home because he was worried about the baby  Soon Cesar arrives also and tells Marius to go, but he refuses to leave without Madelon and the baby  Though Panisse sadly says that Madelon can have her freedom, he adds that he cannot give the baby up  When Panisse goes to check on the baby, Madelon and Cesar make Marius realize that the baby belongs as much to Panisse as Marius or Madelon  When Panisse returns, Marius shakes his hand and goes away, after which Panisse and Madelon happily look at their baby's first tooth 
In the French port of Marseille, a lovely young woman named Madelon is in love with a young sailor, Marius  Madelon in turn is loved by Honore Panisse, a well-to-do middle-aged sailmaker   When Marius finds out he must go to sea for three years, he leaves without saying goodbye to Madelon; in a note he tells her that it would break his heart to tell her in person   She rushes to the dock, but sees his ship sailing away and faints   Marius's father Cesar, who already thinks of Madelon as one of the family, carries her to her home 
Later, Madelon finds out that she is pregnant, and to spare her the shame of a child born out of wedlock, Panisse asks Madelon to get an abortion  She agrees, and goes to find a rusty clotheshanger  She proceeds with her attempt to kill her fetus  She did not succeed, and was rushed to the hospital bleeding 
A year later Marius unexpectedly returns from sea to buy some equipment for his ship   Visiting Madelon that night, he sees the baby and realizes that he is the father  He asks her to steal away with him, but she refuses  Despite her love for Marius, she knows that Panisse, who adores the child, will be a better father than Marius, who will be away at sea for many years at a time   Marius leaves, shaking Panisse's hand before he goes, and Panisse and Madelon happily look at their baby's first tooth 

Cast
Wallace Beery as Cesar
Frank Morgan as Panisse
Maureen O'Sullivan as Madelon
John Beal as Marius
Jessie Ralph as Honorine
Cora Witherspoon as Claudine
Etienne Girardot as Bruneau
E  Alyn Warren as Captain Escartefigue
Jerry Colonna as Arab Rug Dealer (uncredited)
Henry Hull as Uncle Alzear (uncredited)
Doris Lloyd as Customer (uncredited)
Fred Malatesta as Bird Seller (uncredited)
Robert Spindola as Boy (uncredited)

Production
Although the credited basis of Port of Seven Seas was Marcel Pagnol's 1931 play Fanny, the screenplay incorporated some incidents from three French films written by Pagnol based on his plays: Marius (1931), directed by Alexander Korda, Fanny (1932), directed by Marc Allégret, and César (1936), which Pagnol directed  The play "Marius" was a great success and was played more than one thousand times in Paris 
William Wyler was slated to direct the film at the time that Preston Sturges was brought into the project, the working titles for which were "Fanny", "Madelon", "Life on the Waterfront" and "Man of the Waterfront"   Ernest Vajda had been reported to be one of the screenwriters, but was not credited   The project was considered by Universal Studios in late 1933 or early 1934, but was dropped sometime after Joseph Breen, who supervised the Production Code, rejected the submitted script  Paramount Pictures had some interest in it, before the script ended up at MGM by July 1936  Although the MGM script was still essentially the one that Universal had submitted to the Hays Office, this time the censors found it "acceptable", and it was approved on 15 March 1938   This did not prevent the Legion of Decency from protesting that the film "lower[ed] the standards" that the Production Code was designed to uphold Port of Seven Seas was in production from late December 1937 through 28 January 1938, with retakes completed on 23 February   Shortly before production started, Luise Rainer, who was to have played "Madelon" was replaced by Maureen O'Sullivan because of a bad cold 
The film was released on 1 July 1938, the long delay coming about because the studio considered the subject matter "dangerous" for the film industry while Congress was considering legislation which had implications for film censorship The movie was premiered on July 1, 1938 in New York City  Marcel Pagnol and Raimu (the great French actor who played Cesar in the French plays and movies) were invited but did not come, supposedly for fear of air travel  The movie was premiered in France in Marseille, later in 1938, at the movie theatre "Le Noailles" with Wallace Beery, Marcel Pagnol and Raimu in attendance 

Other versions
Pagnol's plays provided source material for the three French films noted above, a 1933 Italian film named Fanny, the 1934 German film Der Schwarze Walfisch ("The Black Whale"), the 1954 Broadway musical Fanny, and the 1961 non-musical film based in part on it   Even though many situations and incidents in the 1961 film originated in Port of the Seven Seas, neither it nor Preston Sturges was credited 

Notes
External links
Port of Seven Seas at IMDb 
Port of Seven Seas at the TCM Movie Database 
Port of Seven Seas at AllMovie
Passage 4:
Olav Aaraas
Olav Aaraas (born 10 July 1950) is a Norwegian historian and museum director 
He was born in Fredrikstad  From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History  In 2010 he was decorated with the Royal Norwegian Order of St  Olav 
Passage 5:
Dana Blankstein
Dana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School  She was appointed by the board of directors  in November 2019   Previously she was the CEO of the Israeli Academy of Film and Television  She is a film director, and an Israeli culture entrepreneur 

Biography
Dana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein  She moved to Israel in 1983 and grew up in Tel Aviv 
Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors  During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners   She also directed and shot 'the making of' film on Gavison's film Lost and Found  Her debut film Camping competed at the Berlin International Film Festival, 2007 

Film and academic career
After her studies, Dana founded and directed the film and television department at the Kfar Saba municipality  The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities 
Blankstein directed the mini-series "Tel Aviviot" (2012)  From 2016-2019 was the director of the Israeli Academy of Film and Television 
In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab  In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem 

Filmography
Tel Aviviot (mini-series; director, 2012)
Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)
Camping (debut film, Sam Spiegel; director and screenwriter, 2006)
Passage 6:
Michael Ning
Michael Ning  (Chinese: 凌智豪; Jyutping: ling4 zi3 hou4 born 5 November 1979) known professionally as Chinese: 白只; pinyin: bái zhī; Jyutping: baak6 zi2
is a Hong Kong born Chinese actor best known for his role in the 2015 film Port of Call 

Filmography
Passage 7:
Peter Levin
Peter Levin is an American director of film, television and theatre 

Career
Since 1967, Levin has amassed a large number of credits directing episodic television and television films  Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films  He directed "Heart in Hiding", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s 
Prior to becoming a director, Levin worked as an actor in several Broadway productions  He costarred with Susan Strasberg in "[The Diary of Ann Frank]" but had to leave the production when he was drafted into the Army  He trained at the Carnegie Mellon University  Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company  He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company 
Passage 8:
Ian Barry (director)
Ian Barry is an Australian director of film and TV 

Select credits
Waiting for Lucas (1973) (short)
Stone (1974) (editor only)
The Chain Reaction (1980)
Whose Baby? (1986) (mini-series)
Minnamurra (1989)
Bodysurfer (1989) (mini-series)
Ring of Scorpio (1990) (mini-series)
Crimebroker (1993)
Inferno (1998) (TV movie)
Miss Lettie and Me (2002) (TV movie)
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)
The Doctor Blake Mysteries (2013)
Passage 9:
James Whale
James Whale (22 July 1889 – 29 May 1957) was an English film director, theatre director and actor, who spent the greater part of his career in Hollywood  He is best remembered for several horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935), all considered classics  Whale also directed films in other genres, including the 1936 film version of the musical Show Boat 
Whale was born into a large family in Dudley, Worcestershire now Metropolitan Borough of Dudley  He discovered his artistic talent early on and studied art  With the outbreak of World War I he enlisted in the British Army and became an officer  He was captured by the Germans and during his time as a prisoner of war he realised he was interested in drama  Following his release at the end of the war he became an actor, set designer and director  His success directing the 1928 play Journey's End led to his move to the US, first to direct the play on Broadway and then to Hollywood, California, to direct films  He lived in Hollywood for the rest of his life, most of that time with his longtime romantic partner, producer David Lewis  Apart from Journey's End (1930), which was released by Tiffany Films, and Hell's Angels (1930), released by United Artists, he directed a dozen films for Universal Pictures between 1931 and 1937, developing a style characterised by the influence of German Expressionism and a highly mobile camera 
At the height of his career as a director, Whale directed The Road Back (1937), a sequel to All Quiet on the Western Front  Studio interference, possibly spurred by political pressure from Nazi Germany, led to the film's being altered from Whale's vision, and it was a critical failure  A run of box-office disappointments followed and, while he would make one final short film in 1950, by 1941 his film directing career was effectively over  He continued to direct for the stage and also rediscovered his love for painting and travel  His investments made him wealthy and he lived a comfortable retirement until suffering strokes in 1956 that robbed him of his vigor and left him in pain  He committed suicide on 29 May 1957 by drowning himself in his swimming pool 
Whale was openly gay throughout his career, something that was very rare in the 1920s and 1930s  As knowledge of his sexual orientation has become more widespread, some of his films, Bride of Frankenstein in particular, have been interpreted as having a gay subtext and it has been claimed that his refusal to remain in the closet led to the end of his career 

Early years
Whale was born in Dudley, Worcestershire, at the heart of the Black Country, the sixth of seven children of William, a blast furnaceman, and Sarah, a nurse  He attended Kates Hill Board School, followed by Bayliss Charity School and finally Dudley Blue Coat School  His attendance stopped in his teenage years, because the cost would have been prohibitive and his labor was needed to help support the family  Thought not physically strong enough to follow his brothers into the local heavy industries, Whale started work as a cobbler, reclaiming the nails he recovered from replaced soles and selling them for scrap for extra money  He discovered he had some artistic ability and earned additional money lettering signs and price tags for his neighbors  He used his additional income to pay for evening classes at the Dudley School of Arts and Crafts World War I broke out in early August 1914  Although Whale had little interest in the politics behind the war, he realized that conscription was inevitable, so he voluntarily enlisted just before it was introduced, into the British Army's Inns of Court Officer Training Corps in October 1915, and was stationed initially at Bristol  He was subsequently commissioned as a second lieutenant into the Worcestershire Regiment in July 1916  He was taken prisoner of war in battle on the Western Front in Flanders in August 1917, and was held at Holzminden Officers' Camp, where he remained until the war's end, being repatriated to England in December 1918  While imprisoned he became actively involved, as an actor, writer, producer and set-designer, in the amateur theatrical productions that took place in the camp, finding them "a source of great pleasure and amusement"  He also developed a talent for poker, and after the war he cashed in the chits and IOUs from his fellow prisoners that he had amassed in gambling to provide himself with finances for re-entry into civilian life 

Career
Theatre
After the armistice, he returned to Birmingham and tried to find work as a cartoonist  He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position  Later that year he embarked on a professional stage career  Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director  In 1922, while with Playfair, he met Doris Zinkeisen  They were considered a couple for some two years, despite Whale's living as an openly gay man  They were reportedly engaged in 1924, but by 1925 the engagement was off In 1928 Whale was offered the opportunity to direct two private performances of R  C  Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays  Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I  The key conflict is between Capt  Stanhope, the company commander, and Lt  Raleigh, the brother of Stanhope's fiancée  Whale offered the part of Stanhope to the then barely known Laurence Olivier  Olivier initially declined the role, but after meeting the playwright agreed to take it on  Maurice Evans was cast as Raleigh  The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929  A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste  The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations  As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like"  After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

See also
Flame of Araby (1951), with Barbarossa and his brother as villains
List of films featuring slavery
Context 3: Passage 1:
My Little Eye
My Little Eye is a 2002 British horror film directed by Marc Evans about five adults who agree to spend six months together in an isolated mansion while being filmed at all times  The idea for the film came from reality television shows such as Big Brother  The title refers to the guessing game I spy 

Plot
Five contestants, Matt (Sean Cw Johnson), Emma (Laura Regan), Charlie (Jennifer Sky), Danny (Stephen O'Reilly) and Rex (Kris Lemche), agree to take part in a reality webcast, where they must spend six months in a house to win $1 million  If anyone leaves, then no one wins the money  Nearing the end of the six months, tension between the contestants rises after Emma finds strange messages she believes are from a man from her past and the food packages arrive containing a letter that claims Danny's grandfather has died, and a gun with five bullets 
One night, a man named Travis Patterson (Bradley Cooper) arrives, claiming he is lost in the woods and that his GPS has died  Despite claiming to be an internet programmer, he claims to not recognize any of the contestants or ever having heard of the show  Later that night, Travis has sex with Charlie, and then secretly talks directly into a camera, to communicate with whoever is watching them  The next morning, Travis leaves and Danny discovers his backpack outside covered in blood and shredded to pieces  The contestants assume he was attacked by an animal but Rex believes Travis works for the people running their show and that it is all a trick to make them leave the house and forfeit the prize money 
Emma discovers her underwear among Danny’s belongings and confronts him, unaware that Travis planted them there the previous night  Danny denies it and attempts to make peace by giving her a crudely carved wooden cat, which Emma and Charlie ridicule, while Danny overhears 
The next morning, the group finds Danny has committed suicide by hanging himself from the staircase balcony with a rope  The guests finally decide to leave, but after being unable to contact anyone via radio, decide to wait until the next morning  Rex uses the GPS unit from Travis' bag and his laptop to gain access to the internet to find out more about the show but is unable to find any evidence of their show online 
Rex is only able to find a heavily encrypted beta site, that requires a $50,000 fee to access, and displays a web page with their pictures and betting odds  The group decides they will leave the next morning, though Rex and Emma go up to the roof to set off a flare  While Charlie and Matt remain in the house, Matt asks a camera if he should kill her, before suffocating her with a plastic bag 
Later, while Emma is sleeping, Rex comes downstairs and is decapitated with an axe by Matt  Matt awakens Emma and brings her up to the attic, telling her he is being chased and the others are dead  He then makes advances on Emma, who refuses, and attempts to rape her, before she stabs him in the back and runs off 
Emma runs outside and finds a police officer, who handcuffs her inside the car and enters the house  An injured Matt then crawls out, begging the cop to let him kill Emma, since he spent six months in the house with her  Realizing they are working together, Emma escapes the car and tries to run but is shot in the back with a rifle by the cop 
Matt and the cop sit in the kitchen discussing the setup they created with Travis for their high paying clients who want to witness the murders  When the cop says there are always "five suckers" to play the game with, Matt corrects him to four, and is then shot in the head  The cop then leaves, talking to Travis over the radio, while Emma is seen locked in a small room, unable to escape  As she collapses screaming, the cameras filming all shut off, one by one 

Cast
Sean Cw Johnson as Matt
Kris Lemche as Rex
Stephen O'Reilly as Danny
Laura Regan as Emma
Jennifer Sky as Charlie
Nick Mennell as The Cop
Bradley Cooper as Travis Patterson

Home media
My Little Eye is available on DVD from MCA/Universal Home Video with most of the special features available on the Region 2 Special Edition including a filmmakers' commentary and deleted scenes  There is an audio mode "Conversations of the Company (Eavesdropping Audio Track)" which allows the viewer to listen to the radio conversations between the members of the company: Travis and "the cop"  However, during this mode, the viewer cannot hear all of the dialogue of the cast in the scene  A UK release contains a 'Special Mode' where viewers see the film from the perspective of an internet subscriber, and more extra features become unlocked as the film goes on  You can watch other things going on in 'the house' in real time to what's happening in the film 

Reception
The film received polarized but positive reviews and holds 67% on Rotten Tomatoes based on 21 reviews, with an average score of 5 2/10 

See also
List of films featuring surveillance
Passage 2:
The PyraMMMid
The PyraMMMid (Russian: ПираМММида, romanized: PiraMMMida) is a 2011 Russian crime drama directed by Eldar Salavatov  The plot is based on the partially biographical story "Pyramid" by Sergei Mavrodi 

Plot
Russia, early 1990s  Sergei Mamontov is looking for where to apply himself and his intellect  And so he orders a mock-up of a security paper with imperial script, rich ornament, watermarks and his own portrait in the center 
An active advertising campaign begins  A little more than two weeks is enough to make people line up for the "mamontovs" ("mamontovki" in Russian)  Powerful bankers and state structures are in confusion – no one has a clue how to stop it, and the MMM has already accumulated more than 10 million investors 
Furthermore, Mamontov is concerned that there are no rich people in the country, and all Soviet industry is exposed to privatization  He accumulates "private greeds" and decides to carry out an honest privatization  His way is blocked by the agent of Western imperialism - Belyavsky (an allusion to Boris Berezovsky) with his MegaVAZ-bank (an allusion to LogoVAZ)  Belyavsky comes from the top - he makes connections in the Kremlin and is in charge of television  Belyavsky proposes to share Russia  Mamontov refuses: "I do not trade with Russia!", which attracts the financial inspectorate, who, without checking documents, imposes unthinkable demands for paying taxes upon him, which Mamontov executes  There is still enough money to ruin the bank of Belyavsky  In the country by that time are already 20 million investors and every week the number increases by a million, the "mamontov's" goes on par with ruble  Mamontov threatens to seize power with the help of investors who are facing ruin  During a one-minute audience with the President, Mamontov appears as a guardian for the state amid a corrupt environment and asks for a change in the law - to allow foreigners to be involved in their financial system in order to subordinate the Western oligarchy and thereby make Boris Yeltsin's Russia leader of the world  But Belyavsky begins to threaten the life of Mamontov's daughter and he eventually falls into a trap  On the Ostankino Tower, the battered Mamontov again refuses to cooperate with Belyavsky, despite the proposed opportunity to become the "head of state"  Mamontov hopes to leave with his daughter, defending himself by having a recording of a conversation with a representative of the FCS (where he offered similar "privileges"), from his assistant Vera, but she, escaping from the people of Belyavsky, drops the recording in a park and on charges of non-payment of taxes, Mamontov gets in prison and comes out after 7 years 

Cast
Aleksei Serebryakov – Sergey Mamontov
Fyodor Bondarchuk – Belyavsky
Pyotr Fyodorov – Anton
Ekaterina Vilkova – Vera
Anastasia Richie – Button
Nikita Salopin – Zotik
Sergey Koltakov – Prime Minister
Yuri Tsurilo – General
Oleksiy Gorbunov – Colonel
Artyom Mikhalkov – major
Igor Yatsko – Rezo
Daniil Spivakovsky – Gutov
Anna Mikhalkova  – wife of Mamontov
Vladimir Permyakov – Lyonya Golubkov (cameo)
Bogdan Titomir – cameo

See also
Sergei Mavrodi
MMM
Passage 3:
The Fabulous Senorita
The Fabulous Senorita is a 1952 American musical comedy film directed by R  G  Springsteen and starring Estelita Rodriguez, Robert Clarke and Nestor Paiva  The film came at the tail-end of a cycle of Latin American-themed films, though it did introduce a new star, Rita Moreno 

Plot
Cast
Estelita Rodriguez as Estelita Rodriguez
Robert Clarke as Jerry Taylor
Nestor Paiva as José Rodriguez
Marvin Kaplan as Clifford Van Kunkle
Rita Moreno as Manuela Rodríguez
Leon Belasco as Señor Gonzales
Tito Renaldo as Pedro Sanchez
Tom Powers as Delaney
Emory Parnell as Dean Bradshaw
Olin Howland as Justice of the Peace
Vito Scotti as Esteban Gonzales
Martin Garralaga as Police Captain Garcia
Nita Del Rey as Felice
Joan Blake as Betty
Frances Dominguez as Amelia
Betty Farrington as Janitress
Norman Field as Dr  Campbell
Clark Howat as Davis
Frank Kreig as Cab Driver
Dorothy Neumann as Mrs  Black
Elizabeth Slifer as Wife of Justice of the Peace
Charles Sullivan as Cab Driver
Arthur Walsh as Pete
Passage 4:
Revolt of Ghent
Revolt of Ghent may refer to:

Revolt of Ghent (1379–1385), a rebellion by the city of Ghent against Louis II, Count of Flanders
Revolt of Ghent (1449–53), a rebellion by the city of Ghent against Charles the Bold, Duke of Burgundy
Revolt of Ghent (1539), an uprising by the citizens of Ghent against Charles V, Holy Roman Emperor
Passage 5:
The Night of Nights
The Night of Nights is a 1939 black-and-white drama film written by Donald Ogden Stewart and directed by Lewis Milestone for Paramount Pictures that starred Pat O'Brien, Olympe Bradna, and Roland Young The film received positive contemporary reviews from publications such as The New York Times  Director Milestone went on to other successful productions after the film came out, including Ocean's 11 and Pork Chop Hill 

Background
Milestone directed The Night of Nights nine years after winning the 1930 Academy Award for Best Director for All Quiet on the Western Front 

Plot
Dan O'Farrell (Pat O'Brien) is a brilliant Broadway theater playwright, actor, and producer who has left the business   When he was younger, he and his partner Barry Keith-Trimble (Roland Young) were preparing for the opening night of O'Farell's play Laughter by getting drunk   When it was time to perform, they were so intoxicated they ended up brawling on stage and fell into the orchestra pit   The two left the theater and continued drinking, until they learn that they have been suspended  At the same time, O'Farrell learns that his wife, actress Alyce Martelle, is pregnant and has left him for ruining her performance in Laughter as Toni   Despondent, he in left the business and went into seclusion 
Years later, his daughter Marie (Olympe Bradna) locates him and inspires him to return to Broadway   He decides to restage Laughter with its original cast, but with Marie substituting for Alyce in the part of Toni   Hoping to make a glorious return with a show that would be a hit with critics and the public alike, O'Farrell enlists the aid of friends to embark on a full-fledged comeback 

Cast
Reception
Frank S  Nugent wrote for The New York Times that the work of actors Pat O'Brien and Roland Young, had "been a labor of love and the film has profited accordingly " In noting that the plot centered on "the theatre and some of the curious folk who inhabit it", the newspaper's review stated that the film had an acceptable sentimentality and shared that the story was "an uncommonly interesting study of a man's mind, subtly written and directed, presented with honesty and commendable sincerity by Mr  O'Brien, Mr  Young and Olympe Bradna, and well worth any one's attention " The only objection in the review was that the stage play Laughter, the piece being produced within the film by O'Brien's character of Dan O'Farrell, "seemed to be the most awful tripe "
Passage 6:
Revolt of the Barbarians
Revolt of the Barbarians (Italian: La rivolta dei barbari) is a 1964 Italian film directed by Guido Malatesta 

Plot
After several years abroad fighting numerous campaigns in Gaul, Darius, commander of the 10th Legion, is finally able to return to Rome with his men  After discovering an ambushed Roman convoy and shortly meeting First Proconsul Claudius, Darius learns of a theft made on the convoy with gold intended to pay Roman legionnaires for their service  Darius then must track down the thieves and recover the gold before he is allowed to return home with his legion 

Cast
Roland Carey as Darius
Maria Grazia Spina as Lydia
Mario Feliciani
Gabriele Antonini as Domitius
Andrea Aureli
Susan Sullivan
Gaetano Scala
Franco Beltramme
Gilberto Galimberti

External links
Revolt of the Barbarians at IMDb
Revolt of the Barbarians (dubbed in English) is available for free viewing and download at the Internet Archive
Passage 7:
Revolt of the Praetorians
La Rivolta dei Pretoriani (AKA: Revolt of the Praetorians) is a 1964 sword and sandal film about the conspiracy to assassinate the emperor Domitian in the year AD 96, though the historical facts have been heavily fictionized  This film was written by Gian Paolo Callegari, directed by Alfonso Brescia in his directorial debut and starred Richard Harrison, Moira Orfei, Giuliano Gemma and Piero Lulli as Emperor Domitian 

Plot
In Ancient Rome, at about 96 AD, Emperor Domitian has become a highly paranoid and tyrannical despot who keeps the people oppressed in constant fear of a revolt  He has only a few retainers left whom he perceives as loyal: his lover Artamne, a scheming Egyptian priestess of Isis; his diminutive jester, Elpidion; his gladiator bodyguards under the command of Soterus; his palace guards; and his Imperial Praetorian Guard under the command of their centurion, Valerius Rufus  Anyone who dares speak up against the Emperor - and may it be only a minor complaint - or is suspected of treason is either imprisoned or summarily executed 
Although Valerius appears loyal, he secretly harbors resentment against the tyrant, but is careful not to reveal it  He begins fighting Domitian's rule in a masked identity; when he begins to use a red wolf's coat to hide his face, he becomes known as the "Red Wolf"  Among his allies are the young senator Nerva and the old patrician Fabius Lucillius and his family, especially Fabius' daughter Lucilla, Valerius' love interest 
One day, Artamne persuades Domitian to hold a sacrificial celebration in the Imperial palace, forcing Lucilla and other patrician daughters to attend and to be subjected to exploitation by the Emperor's lust  Valerius manages to prevent this, but as he hides his mask in a secret cache in the palace garden, he is spotted by Elpidion  The next day, Valerius arranges for Lucilla, the other girls and the fugitives he has rescued to flee to Lucillius' country estate  When he returns to his quarters, he discovers Elpidion, clad in his wolfpelt mask, waiting for him, but the dwarf declares that he, too, hates Domitian and wants to join his cause  He tells of Domitian and Artamne's plan to arrest and execute all patricians suspected of treason, and Valerius, as the Red Wolf, arrives just in time to help his friends escape to Lucillius' estate 
The fugitives finally decide to organize an armed resistance movement, and Valerius kidnaps Artamne as a hostage  But in time, Artamne manages to charm one of her guards into releasing her; she returns to Domitian and reveals the location of the rebels' hideout  Domitian sends out Soterus and his gladiators to eliminate the rebels  Valerius, alerted by Elpidion, fights them, allowing his friends to escape, but is wounded in the arm and Lucilla is captured  While Valerius manages to temporarily hide his secret by putting his mask onto one of his killed friends, Soterus notices the injury and exposes him  Valerius manages to escape, but as he later tries to free Lucilla from captivity, he is captured himself and both are sentenced to death 
In the dungeons, however, Valerius is approached by his loyal friend and subordinate in the guard, Sejanus, who reveals that the Praetorian Guards are also resentful of Domitian's tyranny and wish to overthrow him  Valerius sends him to contact his fugitive friends, and together with a group of disgruntled travelling artists the rebels prepare to free the two and overthrow Domitian when Valerius and Lucilla are to be executed in the palace garden the following night 
With Elpidion's aid, the rebel's main group enters the palace through the dungeons and takes the Emperor and his retinue by surprise  Artamne and Soterus are killed in the struggle, and with the appearance of the Praetorian Guardsmen, the battle is quickly ended  Domitian makes it as far as his throne room with Lucilla as his hostage, but Valerius follows him and kills him in the ensuing duel, ending his tyranny 

Cast
Richard Harrison as Valerius Rufus
Moira Orfei as Artamne
Piero Lulli as Domitian
Giuliano Gemma as Nerva
Paola Pitti as Lucilla
Ivy Holzer as Zusa
Fedele Gentile as Fabius Lucilius
Amedeo Trilli as Il guardiano della cava ("the Cave Guard")
Mirko Ellis as Sejanus
Renato Montalbano as Soterus
Salvatore Furnari as Elpidion
Massimo Carocci
Aldo Cecconi as Soterus

See also
List of historical drama films
Passage 8:
The Revolt of the Slaves
The Revolt of the Slaves (Italian: La rivolta degli schiavi) is a 1960 Italian film directed by Nunzio Malasomma  It is based on the 1854 novel Fabiola by Nicholas Wiseman 

Cast
Rhonda Fleming: Claudia
Lang Jeffries: Vibio
Darío Moreno: Massimiano
Ettore Manni: Sebastiano
Wandisa Guida: Agnese
Gino Cervi: Claudio
Fernando Rey: Valerio
Serge Gainsbourg: Corvino
José Nieto: Sesto, servitore di Claudia
Rainer Penkert: Massimo
Antonio Casas: Tertulio
Dolores Francine: Liubaia

Release
The Revolt of the Slaves was released in Italy on 20 December 1960 with a 100-minute running time and in the United States with a 102-minute running time in June 1961  It was released in West Germany as Die Sklaven Roms on 17 March 1961 

See also
List of Italian films of 1960
Passage 9:
Operation Leopard
La légion saute sur Kolwezi, also known as Operation Leopard, is a French war film directed by Raoul Coutard and filmed in French Guiana  The script is based on the true story of the Battle of Kolwezi that happened in 1978  It was diligently described in a book of the same name by former 1st Foreign Parachute Regiment Captain Pierre Sergent  He published his book in 1979, and the film came out in 1980  Coutard shot the film in a documentary style 

Plot
The film is based on true events  In 1978, approximately 3,000 heavily armed fighters from Katanga crossed the border to the Zaire and marched into Kolwezi, a mining centre for copper and cobalt  They took 3,000 civilians as hostages  Within a few days, between 90 and 280 hostages were killed  The rebels appeared to be unpredictable and are reported to have threatened to annihilate all civilians 
Mobutu Sese Seko, Zaire's head of state, urged Belgium, France and the United States to help  France sent the Foreign Legion's 2nd Foreign Parachute Regiment, which were flown from Corsica to Kolwezi  Following their arrival, they secured the perimeter, in co-operation with Belgian soldiers from Zaire, and then started to evacuate the civilians  Within two days more than 2,000 Europeans and about 3,000 African citizens were saved  The film strives to depict the events in a dramatised form, concentrating on the Europeans' plight 

Production
The late Jean Seberg had filmed scenes on location for the film, but her death caused her to be replaced by another French American actress, Mimsy Farmer, who reshot Seberg's scenes 

Cast
Bruno Cremer: Pierre Delbart
Jacques Perrin:Ambassador Berthier
Laurent Malet: Phillipe Denrémont
Pierre Vaneck: Colonel Grasser
Mimsy Farmer: Annie Devrindt
Giuliano Gemma: Adjudant Fédérico
Robert Etcheverry : Colonel Dubourg
Jean-Claude Bouillon : Maurois
Passage 10:
Army of Lovers or Revolt of the Perverts
Army of Lovers or Revolt of the Perverts (German: Armee der Liebenden oder Aufstand der Perversen)  is a 1979 German documentary film directed by Rosa von Praunheim For example, the film was shown at the University of California's Berkeley Art Museum and Pacific Film Archive in 1982 

Plot
The film is about the state and development of the LGBT movement in the US after the Stonewall riots of 1969 

Awards
1979: Nomination for the Gold Hugo at the Chicago International Film Festival

Reception
J  Hoberman wrote in the Village Voice: "Army of Lovers has its own moments of sentimental stridency, but it´s a heartfelt, challenging, and often stirring film that deserves the widest possible audience "

Notes



ground_truth: drowning

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

Question: Are Gut (Crișul Alb) and Gepiș both located in the same country?

The following are given passages.
Context 2: Passage 1:
Gepiș
The Gepiș is a right tributary of the river Crișul Repede in Romania  It discharges into the Crișul Repede in Groși  Its length is 9 km (5 6 mi) and its basin size is 23 km2 (8 9 sq mi) 
Passage 2:
Valea Satului (Crișul Alb)
The Valea Satului is a left tributary of the river Crișul Alb in Romania  It flows into the Crișul Alb near Buceș  Its length is 18 km (11 mi) and its basin size is 105 km2 (41 sq mi) 
Passage 3:
Chisindia (river)
The Chisindia is a left tributary of the river Crișul Alb in Romania  It discharges into the Crișul Alb near Berindia  Its length is 21 km (13 mi) and its basin size is 102 km2 (39 sq mi) 
Passage 4:
Potoc
The Potoc is a left tributary of the river Crișul Alb in Romania  It flows into the Crișul Alb near Bocsig  Its length is 12 km (7 5 mi) and its basin size is 29 km2 (11 sq mi)  Part of its flow is diverted into the Canalul Morilor, which flows parallel to the south of the Crișul Alb 
Passage 5:
Bodești (river)
The Bodești is a left tributary of the river Crișul Alb in Romania  It discharges into the Crișul Alb near Pescari  Its length is 16 km (9 9 mi) and its basin size is 33 km2 (13 sq mi) 
Passage 6:
Canalul Morilor
The Canalul Morilor is a canal in the lowland area south of the river Crișul Alb in Arad County, western Romania  Constructed in the 19th century for water-mills, it is now used for irrigation  It takes water from the Crișul Alb near Berindia, flows more or less parallel to the Crișul Alb towards the west and discharges into the Crișul Alb in Vărșand  It is 92 km (57 mi) long  It passes through the communes Buteni, Bârsa, Bocsig, Ineu, Seleuș, Zărand, Olari, Chișineu-Criș, Socodor and Pilu  It intercepts several former left tributaries of the Crișul Alb, including Chișer, Rât and Budieru 
Passage 7:
Gut (Crișul Alb)
The Gut (also: Condratău) is a left tributary of the river Crișul Alb in Romania  It discharges into the Crișul Alb near Șicula  Its length is 23 km (14 mi) and its basin size is 75 km2 (29 sq mi) 
Passage 8:
Cleceova
The Cleceova is a left tributary of the river Crișul Alb in Romania  It flows into the Crișul Alb near Buteni  Its length is 13 km (8 1 mi) and its basin size is 21 km2 (8 1 sq mi)  Most of its flow is diverted into the Canalul Morilor, which flows parallel to the south of the Crișul Alb 
Passage 9:
Hodiș (river)
The Hodiș is a left tributary of the river Crișul Alb in Romania  It flows into the Crișul Alb near Bârsa  Its length is 16 km (9 9 mi) and its basin size is 48 km2 (19 sq mi)  Part of its flow is diverted into the Canalul Morilor, which flows parallel to the south of the Crișul Alb 
Passage 10:
Brad (Crișul Alb)
The Brad is a right tributary of the river Crișul Alb in Romania  It discharges into the Crișul Alb in the city Brad  Its length is 12 km (7 5 mi) and its basin size is 28 km2 (11 sq mi) 



ground_truth: yes

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, The Pyrammmid or Revolt Of The Praetorians?

The following are given passages.
Context 4:  Nelson also worked on a variety of other conservation projects throughout the Los Angeles region in the 1980s and 1990s, including areas such as Malibu Creek State Park, Point Mugu, Hollywood, Temescal Canyon, and Topanga Canyon  She also voiced her vocal opposition, through newspaper opinion pieces and town hall meetings, to development projects such as the Malibu Canyon Freeway, the Pacific Coast Freeway, and the Mulholland Highway  In addition, Nelson sounded a warning bell against the privatization of public parklands  Her persistence led some to call her ruthless, but also warmhearted and feisty 

Personal life
Nelson married Earl Nelson in 1948   Together they had four children, but the marriage ended in divorce   Nelson's son-in-law was the composer James Horner   She died on May 4, 2003, after she was hit by a car near her home in Echo Park, Los Angeles 

Legacy
Nelson's archives are held in Special Collections and Archives at the University Library of California State University, Northridge 
Passage 7:
Fatima bint Mubarak Al Ketbi
Sheikha Fatima bint Mubarak Al Ketbi (Arabic: فاطمة بنت مبارك الكتبي) is the third wife of Sheikh Zayed bin Sultan Al Nahyan, the founder and inaugural president of United Arab Emirates  She is referred to as the mother of sheikhs, the mother of the UAE and as The mother of Nation 

Early life
Sheikha Fatima was born in Al-Hayer, Al Ain Region, as the only daughter to her parents  Her family is Bedouin and religious 

Achievements
Sheikha Fatima is a supporter of women's rights in the UAE  She is the supreme chairperson of the Family Development Foundation (FDF) and significantly contributed to the foundation of the first women's organization in 1976, the Abu Dhabi Society for the Awakening of Women  She was also instrumental in a nationwide campaign advocating for girls' education and heads the UAE's General Women Union (GWU), which she founded in 1975  She is also the President of the Motherhood and Childhood Supreme Council  At the end of the 1990s, she publicly announced that women should be members of the Federal National Council of the Emirates Sheikha Fatima also supports efforts concerning adult literacy and provision of free public education for girls  An award named the Sheikha Fatima Award for Excellence has been presented in her honor since 2005 for the outstanding academic performance and commitment to the environment and world citizenship of the female recipients  The reward includes a full-tuition scholarship that extends to schools across the Middle East and in 2010 expanded to India  She has consistently supported women in sport and initiated an award called the Sheikha Fatima bint Mubarak Award for Woman Athletes  Sheikha Fatima bint Mubarak also created a women's sports academy called Fatima Bint Mubarak Ladies Academy in Abu Dhabi  The Sheikha Fatima Institute of Nursing and Health Sciences in Lahore, Pakistan, is named after her On 30 March 2021, Sheikha Fatima launched a National Action Plan on women, peace and security - the first National Action Plan developed in a Gulf Cooperation Council (GCC) country  The plan aims to empower and support women globally by promoting the UN Security Council Resolution 1325 

Awards
In 1997, five different organizations of the United Nations had awarded Sheikha Fatima for her significant efforts for women's rights  The UNIFEM stated, "she is the champion of women's rights " She was also awarded the Grand Cordon of the Order of November 7th by the Tunisian president Zine El Abidine Ben Ali on 26 June 2009 for her contributions to raise the status of Arab women  She was also given the UNESCO Marie Curie Medal for her efforts in education, literacy and women's rights, being the third international and the first Arab recipient of the award On March 16, 2005, she received the Athir Class of the National Order of Merit of Algeria 

Marriage and children
Fatima bint Mubarak Al Ketbi married Sheikh Zayed Al Nahyan when he was the ruler of the Eastern region in 1960  Sheikh Zayed met her in a mosque  They moved to Abu Dhabi when Sheikh Zayed became the ruler in August 1966  She was his most influential and favorite spouse because of her influential personality  She is the mother of Sheikh Mohamed, the current President of the United Arab Emirates and the ruler of Abu Dhabi; Sheikh Hamdan, Sheikh Hazza, Sheikh Tahnoun, Sheikh Mansour, Sheikh Abdullah, Sheikha Shamma and Sheikha Alyazia  They are the most powerful block in the ruling family of Abu Dhabi, the Al Nahyans 
Passage 8:
Kekuʻiapoiwa II
Kekuʻiapoiwa II was a Hawaiian chiefess and the mother of the king Kamehameha I 

Biography
She was named after her aunt Kekuʻiapoiwa Nui (also known as Kekuʻiapoiwa I), the wife of King Kekaulike of Maui 
Her father was High Chief Haʻae, the son of Chiefess Kalanikauleleiaiwi and High Chief Kauaua-a-Mahi of the Mahi family of the Kohala district of Hawaiʻi island, and brother of Alapainui  Her mother was Princess Kekelakekeokalani-a-Keawe (also known as Kekelaokalani), daughter of the same Kalanikauleleiaiwi and Keaweʻīkekahialiʻiokamoku, king of Hawaii  Her mother had been sought after by many who wished to marry into the Keawe line  She was the niece of Alapainui through both her father and mother 
She married the High Chief Keōua to whom she had been betrothed since childhood  Through her double grandmother Kalanikauleleiaiwi, Keōua's own paternal grandmother, she was the double cousin of Keōua  When her uncle was staying at Kohala superintending the collection of his fleet and warriors from the different districts of the island preparatory to the invasion of Maui, in the month of Ikuwa (probably winter) Kamehameha was born probably in November 1758 : 135–136   
He had his birth ceremony at the Moʻokini Heiau, an ancient temple which is preserved in Kohala Historical Sites State Monument Many stories are told about the birth of Kamehameha 
One says that when Kekuʻiapoiwa was pregnant with Kamehameha, she had a craving for the eyeball of a chief  She was given the eyeball of a man-eating shark and the priests prophesied that this meant the child would be a rebel and a killer of chiefs  Alapainui, the old ruler of the island of Hawaiʻi, secretly made plans to have the newborn infant killed Kekuʻiapoiwa's time came on a stormy night in the Kohala district, when a strange star with a tail of white fire appeared in the western sky  This could have been Halley's Comet which appeared near the end of 1758  According to one legend, the baby was passed through a hole in the side of Kekuiapoiwa's thatched hut to a local Kohala chief named Naeʻole, who carried the child to safety at Awini  on the island's north coast  By the time the infant in Naeʻole's care was five, Alapainui had accepted him back into his household After Kamehameha, Kekuʻiapoiwa bore a second son, Keliimaikai  A few years later, Keōua died in Hilo, and the family moved with Alapainui to an area near Kawaihae, where she married a chief of the Kona district (and her uncle) Kamanawa 
She had one daughter, Piʻipiʻi Kalanikaulihiwakama, from this second husband, who would later become an important military ally of Kamehameha, who was both step son and cousin through several relationships  Piʻipiʻi became first the wife of Keholoikalani, the father of her son Kanihonui, and later she married Kaikioewa, who she had a daughter Kuwahine with : 18

Kamehameha dynasty
Passage 9:
Minamoto no Chikako
Minamoto no Chikako (源 親子) was the daughter of Kitabatake Morochika, and Imperial consort to Emperor Go-Daigo  She had earlier been Imperial consort to Go-Daigo's father, Emperor Go-Uda 
She was the mother of Prince Morinaga 
Passage 10:
Trinidad Tecson
Trinidad Perez Tecson (November 18, 1848 – January 28, 1928), known as the "Mother of Biak-na-Bato" and "Mother of Mercy", fought to gain Philippines independence 
She was given the title "Mother of Biak-na-Bato" by Gen  Emilio Aguinaldo  She was also cited as the "Mother of the Philippine National Red Cross" for her service to her fellow Katipuneros 

Early life
Tecson was born in San Miguel de Mayumo, Bulacan, one of sixteen children of Rafael Tecson and Monica Perez  She learned to read and write from schoolmaster Quinto  She practiced fencing with Juan Zeto and was feared throughout the province, called "Tangkad" (tall) by her peers  Orphaned at a very young age, she stopped school and went with her siblings to live with relatives  She married at 19 and had two children, Sinforoso and Desiderio, who both died  Tecson and her husband were engaged in the purchase and sale of cattle, fish, oysters, and lobsters to be sold in Manila 

Revolutionary
Philippine-American War
She joined the revolutionary forces led by Gen  Gregorio del Pilar and participated in the assault on the province of Bulacan and Calumpit  She also served in the Malolos Republic and was designated as the Commissary of War  During the American drive northward, she was in Cabanatuan  Bringing with her sick and wounded revolutionaries, Tecson crossed the Zambales mountains to Santa Cruz then to Iba 

Life after the war
After the war, her second husband died and she continued in business in Nueva Ecija, concentrating on selling meat in the towns of San Antonio and Talavera  She married her third husband, Doroteo Santiago, and after his death, married Francisco Empainado  On January 28, 1928, she died in Philippine General Hospital at age 79  Her remains lie in the Plot of the Veterans of the Revolution in Cementerio del Norte 



ground_truth: Revolt Of The Praetorians