Problem: Background: Amitabh Bachchan (pronounced [@mI'ta:bh 'b@tS:@n]; born 11 October 1942) is an Indian film actor, producer, television host, and former politician. He first gained popularity in the early 1970s for films such as Zanjeer, Deewaar, and Sholay, and was dubbed India's "angry young man" for his on-screen roles in Bollywood. Referred to as the Shahenshah of Bollywood, Star of the Millennium, or Big B, he has since appeared in over 190 Indian films in a career spanning almost five decades. Bachchan is widely regarded as one of the greatest and most influential actors in the history of Indian cinema as well as world cinema.
Context: In 1983, he played a triple role in Mahaan, and starred in the top-grossing film of that year, Coolie. Other releases during that year, namely Nastik, Andha Kanoon (in which he had an extended guest appearance) were hits and Pukar was an average grosser. On 26 July 1982, while filming Coolie, in the University Campus in Bangalore, Bachchan suffered a near fatal intestinal injury during the filming of a fight scene with co-actor Puneet Issar. Bachchan was performing his own stunts in the film and one scene required him to fall onto a table and then on the ground. However, as he jumped towards the table, the corner of the table struck his abdomen, resulting in a splenic rupture from which he lost a significant amount of blood. He required an emergency splenectomy and remained critically ill in hospital for many months, at times close to death. The overwhelming public response included prayers in temples and offers to sacrifice limbs to save him, while later, there were long queues of well-wishing fans outside the hospital where he was recuperating. Nevertheless, he resumed filming later that year after a long period of recuperation. The film was released in 1983, and partly due to the huge publicity of Bachchan's accident, the film was a box office success and the top-grossing film of that year. The director, Manmohan Desai, altered the ending of Coolie after Bachchan's accident. Bachchan's character was originally intended to have been killed off but after the change of script, the character lived in the end. It would have been inappropriate, said Desai, for the man who had just fended off death in real life to be killed on screen. Also, in the released film the footage of the fight scene is frozen at the critical moment, and a caption appears onscreen marking this as the instant of the actor's injury and the ensuing publicity of the accident. Later, he was diagnosed with Myasthenia gravis. His illness made him feel weak both mentally and physically and he decided to quit films and venture into politics. At this time he became pessimistic, expressing concern with how a new film would be received and stated before every release, "Yeh film to flop hogi!" ("This film will flop").
Question: What movie was he working on at the time?
Answer: starred in the top-grossing film of that year, Coolie.

Background: William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, and Anne Gibbons. In his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the street life of the metropolis and the London fairs, and amused himself by sketching the characters he saw. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St John's Gate, was imprisoned for debt in Fleet Prison for five years.
Context: In 1743-1745, Hogarth painted the six pictures of Marriage a-la-mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials. Marital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire - a genre that by definition has a moral point to convey - of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series, which is set in a Classical interior, shows the story of the fashionable marriage of Viscount Squanderfield, the son of bankrupt Earl Squander, to the daughter of a wealthy but miserly city merchant, starting with the signing of a marriage contract at the Earl's mansion and ending with the murder of the son by his wife's lover and the suicide of the daughter after her lover is hanged at Tyburn for murdering her husband. William Makepeace Thackeray wrote: This famous set of pictures contains the most important and highly wrought of the Hogarth comedies. The care and method with which the moral grounds of these pictures are laid is as remarkable as the wit and skill of the observing and dexterous artist. He has to describe the negotiations for a marriage pending between the daughter of a rich citizen Alderman and young Lord Viscount Squanderfield, the dissipated son of a gouty old Earl ... The dismal end is known. My lord draws upon the counselor, who kills him, and is apprehended while endeavouring to escape. My lady goes back perforce to the Alderman of the City, and faints upon reading Counsellor Silvertongue's dying speech at Tyburn (place of execution in old London), where the counselor has been 'executed for sending his lordship out of the world. Moral: don't listen to evil silver-tongued counselors; don't marry a man for his rank, or a woman for her money; don't frequent foolish auctions and masquerade balls unknown to your husband; don't have wicked companions abroad and neglect your wife, otherwise you will be run through the body, and ruin will ensue, and disgrace, and Tyburn.
Question: what does marriage a la mode mean
Answer:
six pictures of Marriage a-la-mode (National Gallery, London), a pointed skewering of upper-class 18th-century society.