1{2 "document_id": "lb_2wikimqa_0c15fb826ac59bbde9df698db9c277def2bc72fa5b7b497d",3 "family": "public_2wikimqa",4 "split": "test",5 "text": "Passage 1:\nThe Wind's Fierce\nThe Wind's Fierce (Spanish: La cólera del viento, Italian: La collera del vento, also known as Revenge of Trinity, Trinity Sees Red and The Wind's Anger) is a 1970 Spanish-Italian western-drama film written and directed by Mario Camus.\n\nPlot\nAndalusia, the late nineteenth century. Wealthy landowner Don Antonio hires two assassins, Marcos and Jacobo, to infiltrate a group of peasant revolutionaries and kill the leaders. After falling in love with the rebel Soledad, Marcos has a change of heart and decides to unite with the peasants.\n\nCast\nTerence Hill as Marcos\nMaria Grazia Buccella as Soledad\nMario Pardo as Jacobo\nMáximo Valverde as Ramón\nFernando Rey as Don Antonio\nÁngel Lombarte as José\nWilliam Layton as Don Lucas\nManuel Alexandre as Agustín\nManuel de Blas as Rafael\n\nReception\nAlthough set in Spain, this film is often classified as a spaghetti-western due to themes, scenes and settings deliberately evocative of the western genre.\nTerence Hill gives a dramatic performance in his last film before attaining international stardom with They Call Me Trinity. After the success of that movie, The Wind's Fierce was re-released in many countries as a \"Trinity\" sequel and misleadingly marketed as a comedy.\nPassage 2:\nClaude Weisz\nClaude Weisz is a French film director born in Paris.\n\nFilmography\nFeature films\nUne saison dans la vie d'Emmanuel (1972) with Germaine Montéro, Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto, etc.Festival de Cannes 1973 - Quinzaine des réalisateurs\nJury Prize: Festival Jeune Cinéma 1973\n\nLa Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, Philippe Clévenot, Dominique Pinon, Madelon Violla, Paloma Matta, Béatrice Bruno, Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cinéma français\nCompetition selections: Valencia, Valladolid, Istanbul, Montréal\n\nOn l'appelait... le Roi Laid (1987) with Yilmaz Güney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"Laurel Wreath\"\nCompetition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes, Lyon, Cairo\n\nPaula et Paulette, ma mère (2005) Documentary - Straight to DVD\n\nShort and mid-length\nLa Grande Grève (1963 - Co-directed CAS collective, IDHEC)\nL'Inconnue (1966 - with Paloma Matta and Gérard Blain - Prix CNC Hyères, Sidney)\nUn village au Québec\nMontréal\nDeux aspects du Canada (1969)\nLa Hongrie, vers quel socialisme ? (1975 - Nominated for best documentary - Césars 1976)\nTibor Déry, portrait d'un écrivain hongrois (1977)\nL'huître boudeuse\nAncienne maison Godin ou le familistère de Guise (1977)\nPassementiers et Rubaniers\nLe quinzième mois\nC'était la dernière année de ma vie (1984 - FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - Césars 1986)\nNous aimons tant le cinéma (Film of the European year of cinema - Delphes 1988)\nParticipation jusqu'en 1978 à la réalisation de films \"militants\"\n\nTelevision\nSeries of seven dramas in German\nNumerous documentary and docu-soap type films (TVS CNDP)\nInitiation à la vie économique (TV series - RTS promotion)\nContemplatives... et femmes (TF1 - 1976)\nSuzel Sabatier (FR3)\nUn autre Or Noir (FR3)\nVivre en Géorgie\nPortrait d'une génération pour l'an 2000 (France 5 - 2000)\nFemmes de peine, femmes de coeur (FR3 - 2003)\n\nTelevision documentaries\nLa porte de Sarp est ouverte (1998)\nUne histoire balbynienne (2002)\nTamara, une vie de Moscou à Port-au-Prince (unfinished)\nHana et Khaman (unfinished)\nEn compagnie d'Albert Memmi (unfinished)\nLe Lucernaire, une passion de théâtre\nLes quatre saisons de la Taillade ou une ferme l'autre\nHistoire du peuple kurde (in development)\nLes kurdes de Bourg-Lastic (2008)\nRéalisation de films institutionnels et industriels\nPassage 3:\nS.D. Jones\nConrad Efraim (March 30, 1945 – October 26, 2008) was an Antiguan professional wrestler best known by his ring name, Special Delivery Jones or S. D. Jones (sometimes referred to as S. D. \"Special Delivery\" Jones) from his time (1974–1990) in the World Wrestling Federation (WWF, now WWE). He also wrestled in Jim Crockett Promotions and the National Wrestling Alliance (NWA), and he won the NWA Americas Tag Team Championship three times.\n\nProfessional wrestling career\nBefore becoming a wrestler, Efraim worked at a telephone company. He also took part in boxing and lifting weights. While there, he began training under Johnny Rodz in the sport of professional wrestling. Upon completion of his training, he quit his job and began working for NWA Mid-Atlantic under the name \"Roosevelt Jones\" in a tag team with his partner and kayfabe cousin Rufus R. Jones. While there, they had a memorable feud with the Anderson family (Ole and Gene).On January 17, 1975, after leaving the Mid-Atlantic area for California, Jones won his first of three tag team titles, combining with Porkchop Cash to take the NWA Americas Tag Team Championship from the Hollywood Blonds (Buddy Roberts and Jerry Brown). The following month, Jones and Cash dropped the titles back to the Blonds. Jones won the title again in 1977, teaming with Tom Jones to defeat Black Gordman and Goliath. Gordman and Goliath regained the championship, but SD and Tom Jones won the belts back from them on November 18, 1977.S. D. Jones had his first match in the WWWF on April 25, 1974 facing Nikolai Volkoff in Trenton, New Jersey. Jones would continue to wrestle in the WWF (WWWF) as a mid-card babyface who would give the heels a hard time but end up losing. He did, however, win quite a few matches on smaller cards against lower card or fellow mid carders like Ron Shaw and Johnny Rodz. Jones was often featured in tag team matches partnered with Tony Atlas, and the two challenged Mr. Fuji and Mr. Saito for the WWF Tag Team Championship several times in 1981. On one occasion, the two ended up as the final men in a battle royal and flipped a coin to decide the winner, as seen on the WWF Coliseum Video 'Best of the WWF Volume 4' and 'Grand Slams' video cassettes.S. D. helped put over Greg Valentine at a 1979 TV taping when Valentine locked in his figure-four leglock and refused to let go, leading to Jones doing a stretcher job and subsequently appearing in Madison Square Garden with his leg in a cast. He was also the tag team partner of André the Giant on November 13, 1984 when André's hair was cut by Ken Patera and Big John Studd. At the inaugural WrestleMania in 1985 he famously lost to King Kong Bundy in an official match time of nine seconds, although the actual time from bell to pinfall was seventeen seconds. In any case, it would stand as the quickest match in WrestleMania history until The Rock defeated Erick Rowan in six seconds at WrestleMania 32 in 2016.Jones was a workhorse for the WWF as he wrestled 240 matches per year during his career and twice wrestled over 300 matches in a single year with (302) in 1978 and (305) in 1984. Despite mainly being used as a preliminary talent in the 1980s WWF, Jones garnered further recognition when LJN created two action figures of him for their Wrestling Superstars toy line. One was yellow with blue palm trees and the other was a red shirt. He also appeared in the WWF's music video for Land of a Thousand Dances. Jones last match was in New York City at Madison Square Garden on October 19, 1990 losing by pinfall against Iron Mike Sharpe.\nAfter WWF, he wrestled for Herb Abrams's Universal Wrestling Federation and Universal Wrestling Superstars in New York City. He retired from the sport in 1995. In 2006, S. D. Jones appeared for the WWE inducting Tony Atlas into the WWE Hall of Fame. S. D. Jones was added to the WWE Hall Of Fame on April 7, 2019 as a legacy inductee.\n\nPersonal life and death\nAfter retiring from wrestling, Jones lost a considerable amount of weight and took a job at the New York Daily News. He died in Antigua on October 26, 2008, following a stroke suffered two days earlier.Following his death, his wife recalled \"On Wednesday, he was laughing and singing and all of that… He went to feed the dogs, and when he came back, he called my name. He said, ‘Kay.’ He showed me his fingers, and the next thing I know, his body went limp. We went to the doctor’s, and he had three-quarters of his brain bleeding, covered with blood.\"\n\nChampionships and accomplishments\nNWA Hollywood Wrestling\nNWA Americas Tag Team Championship (3 times) – with Porkchop Cash (1 time) and Tom Jones (2 times)\nUniversal Superstars of America\nUSA Tag Team Championship (1 time) - with Tony Atlas\nWWE\nWWE Hall of Fame (Class of 2019)\nPassage 4:\nW. Augustus Barratt\nW. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.\n\nEarly life and songs\nWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.\nIn his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.\nBy the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.\nHe then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"The Proms\", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.\nHis setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914 Proms.\n\nAmerica\nIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:\n\non-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;\nmusical director of The Little Michus (1907), also featuring songs by Barratt;\nco-composer of Miss Pocahontas (1907), a musical comedy;\nmusical director of The Love Cure (1909–1910), a musical romance;\ncomposer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;\nmusical director of The Quaker Girl (1911–1912);\nco-composer and musical director of My Best Girl (1912);\nmusical director of The Sunshine Girl (1913);\nmusical director of The Girl who Smiles (1915), a musical comedy;\nmusical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);\ncomposer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;\ncontributor of a song to The Passing Show of 1918;\ncomposer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;\ncontributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;\nmusical director of What's in a Name? (1920), a musical revue\n\n1921 in London\nThough domiciled in the US, he made several visits back to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namely\n\nLeague of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;\nFun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics\n\nBack to Broadway\nBack in the US he returned to Broadway, working as\ncomposer and lyricist of Jack and Jill (1923), a musical comedy;\nmusical director of The Silver Swan (1929), a musical romance\n\nRadio plays\nIn later years he wrote plays and operettas mostly for radio, such as:\n\nSnapshots: a radioperetta (1929)\nSushannah and the Brush Wielders: a play in 1 act (1929)\nThe Magic Voice: a radio series (1933)\nMen of Action: a series of radio sketches (1933)\nSay, Uncle: a radio series (1933)\nSealed Orders: a radio drama (1934)\nSergeant Gabriel (with Hugh Abercrombie) (1945)\n\nPersonal\nIn 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April 1947 in New York City.\n\nNote on his first name\nThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son William Augustus Barratt\" with details that make it clear that Walter Augustus Barratt is the same person and that a \"William\" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as \"W. Augustus Barratt\", and thereafter mostly as simply \"Augustus Barratt\".\nPassage 5:\nRoscoe Arbuckle\nRoscoe Conkling \"Fatty\" Arbuckle (; March 24, 1887 – June 29, 1933) was an American silent film actor, comedian, director, and screenwriter. He started at the Selig Polyscope Company and eventually moved to Keystone Studios, where he worked with Mabel Normand and Harold Lloyd as well as with his nephew, Al St. John. He also mentored Charlie Chaplin, Monty Banks and Bob Hope, and brought vaudeville star Buster Keaton into the movie business. Arbuckle was one of the most popular silent stars of the 1910s and one of the highest-paid actors in Hollywood, signing a contract in 1920 with Paramount Pictures for $1,000,000 a year (equivalent to $14,608,000 in 2022).\nArbuckle was the defendant in three widely publicized trials between November 1921 and April 1922 for the rape and manslaughter of actress Virginia Rappe. Rappe had fallen ill at a party hosted by Arbuckle at San Francisco's St. Francis Hotel in September 1921, and died four days later. A friend of Rappe accused Arbuckle of raping and accidentally killing her. The first two trials resulted in hung juries, but Keaton testified for the defense in the third trial, which acquitted Arbuckle. The third jury took the unusual step of giving Arbuckle a written statement of apology for his treatment by the justice system.\nDespite Arbuckle's acquittal, the scandal has mostly overshadowed his legacy as a pioneering comedian. At the behest of Adolph Zukor, president of Famous Players–Lasky, his films were banned by motion picture industry censor Will H. Hays after the trial, and he was publicly ostracized. Zukor was faced with the moral outrage of various groups such as the Lord's Day Alliance, the powerful Federation of Women's Clubs and even the Federal Trade Commission to curb what they perceived as Hollywood debauchery run amok and its effect on the morals of the general public. While Arbuckle saw a resurgence in his popularity immediately after his third trial (in which he was acquitted) Zukor decided he had to be sacrificed to keep the movie industry out of the clutches of censors and moralists. Hays lifted the ban within a year, but Arbuckle only worked sparingly through the 1920s. In their deal, Keaton promised to give him 35% of the Buster Keaton Comedies Co. profits. He later worked as a film director under the pseudonym William Goodrich. He was finally able to return to acting, making short two-reel comedies in 1932–33 for Warner Bros.\n\nArbuckle died in his sleep of a heart attack in 1933 at age 46, reportedly on the day that he signed a contract with Warner Bros. to make a feature film.\n\nEarly life\nRoscoe Arbuckle was born on March 24, 1887, in Smith Center, Kansas, one of nine children of Mary E. Gordon and William Goodrich Arbuckle. He weighed in excess of 13 pounds (5.9 kg) at birth and his father believed that he was illegitimate, as both parents had slim builds. Consequently, he named him after Senator Roscoe Conkling of New York, a notorious philanderer whom he despised. The birth was traumatic for Mary and resulted in chronic health problems that contributed to her death eleven years later.Arbuckle was nearly two when his family moved to Santa Ana, California. He first performed on stage with Frank Bacon's company at age 8 during their performance in Santa Ana. Arbuckle enjoyed performing and continued on until his mother's death in 1898, when he was 11. Arbuckle's father had always treated him harshly and now refused to support him, so he got work doing odd jobs in a hotel. He was in the habit of singing while he worked, and a professional singer heard him and invited him to perform in an amateur talent show. The show consisted of the audience judging acts by clapping or jeering, with bad acts pulled off the stage by a shepherd's crook. Arbuckle sang, danced, and did some clowning around, but he did not impress the audience. He saw the crook emerging from the wings and somersaulted into the orchestra pit in obvious panic. The audience went wild, and he won the competition and began a career in vaudeville.\n\nCareer\nIn 1904, Sid Grauman invited Arbuckle to sing in his new Unique Theater in San Francisco, beginning a long friendship between the two. He then joined the Pantages Theatre Group touring the West Coast and in 1906 played the Orpheum Theater in Portland, Oregon, in a vaudeville troupe organized by Leon Errol. Arbuckle became the main act and the group took their show on tour.On August 6, 1908, Arbuckle married Minta Durfee (1889–1975), the daughter of Charles Warren Durfee and Flora Adkins. Durfee starred in many early comedy films, often with Arbuckle. They made a strange couple, as Minta was short and petite while Arbuckle tipped the scales at 300 lbs (136 kg). Arbuckle then joined the Morosco Burbank Stock vaudeville company and went on a tour of China and Japan, returning in early 1909.Arbuckle began his film career with the Selig Polyscope Company in July 1909 when he appeared in Ben's Kid. He appeared sporadically in Selig one-reelers until 1913, moved briefly to Universal Pictures, and became a star in producer-director Mack Sennett's Keystone Cops comedies. Although his large size was undoubtedly part of his comedic appeal, Arbuckle was self-conscious about his weight and refused to use it to get \"cheap\" laughs like getting stuck in a doorway or chair.Arbuckle was a talented singer. After famed operatic tenor Enrico Caruso heard him sing, he urged the comedian to \"give up this nonsense you do for a living, with training you could become the second greatest singer in the world.\"\n\nScreen comedian\nDespite his physical size, Arbuckle was remarkably agile and acrobatic. Mack Sennett, when recounting his first meeting with Arbuckle, noted that he \"skipped up the stairs as lightly as Fred Astaire\" and that he \"without warning went into a feather light step, clapped his hands and did a backward somersault as graceful as a girl tumbler\". His comedies are noted as rollicking and fast-paced, have many chase scenes, and feature sight gags. Arbuckle was fond of the \"pie in the face\", a comedy cliché that has come to symbolize silent-film-era comedy itself. The earliest known pie thrown in film was in the June 1913 Keystone one-reeler A Noise from the Deep, starring Arbuckle and frequent screen partner Mabel Normand.In 1914, Paramount Pictures made the then unheard-of offer of US$1,000 a day plus twenty-five percent of all profits and complete artistic control to make movies with Arbuckle and Normand. The movies were so lucrative and popular that in 1918 they offered Arbuckle a three-year, $3 million contract (equivalent to about $58,000,000 in 2022 dollars).By 1916, Arbuckle was experiencing serious health problems. An infection that developed on his leg became a carbuncle so severe that doctors considered amputation. Although Arbuckle was able to keep his leg, he was prescribed morphine against the pain; he would later be accused of being addicted to it. Following his recovery, Arbuckle started his own film company, Comique, in partnership with Joseph Schenck. Although Comique produced some of the best short pictures of the silent era, Arbuckle transferred his controlling interest in the company to Buster Keaton in 1918 and accepted Paramount's $3 million offer to make up to 18 feature films over three years.Arbuckle disliked his screen nickname. \"Fatty\" had also been Arbuckle's nickname since school; \"It was inevitable\", he said. Fans also called Roscoe \"The Prince of Whales\" and \"The Balloonatic\". However, the name Fatty identifies the character that Arbuckle portrayed on-screen (usually a naive hayseed), not Arbuckle himself. When Arbuckle portrayed a female, the character was named \"Miss Fatty\", as in the film Miss Fatty's Seaside Lovers. Arbuckle discouraged anyone from addressing him as \"Fatty\" off-screen, and when they did so his usual response was, \"I've got a name, you know.\"\n\nScandal\nOn September 5, 1921, Arbuckle took a break from his hectic film schedule and, despite suffering from second-degree burns to both buttocks from an on-set accident, drove to San Francisco with two friends, Lowell Sherman and Fred Fishback. The three checked into three rooms at the St. Francis Hotel: 1219 for Arbuckle and Fishback to share, 1221 for Sherman, and 1220 designated as a party room. Several women were invited to the suite. During the carousing, a 30-year-old aspiring actress named Virginia Rappe was found seriously ill in room 1219 and was examined by the hotel doctor, who concluded her symptoms were mostly caused by intoxication and gave her morphine to calm her. Rappe was not hospitalized until two days after the incident.\nAt the hospital, Rappe's companion at the party, Bambina Maude Delmont, told a doctor that Arbuckle had raped her friend. The doctor examined Rappe but found no evidence of rape. She died one day after her hospitalization from peritonitis caused by a ruptured bladder. Rappe suffered from chronic urinary tract infections, a condition that liquor irritated dramatically. \nDelmont then told police that Arbuckle had raped Rappe; the police concluded that the impact of Arbuckle's overweight body lying on top of Rappe had eventually caused her bladder to rupture. At a later press conference, Rappe's manager, Al Semnacher, accused Arbuckle of using a piece of ice to simulate sex with Rappe, thus leading to her injuries. By the time the story was reported in newspapers, the object had evolved into a Coca-Cola or champagne bottle rather than a piece of ice. In fact, witnesses testified that Arbuckle rubbed the ice on Rappe's stomach to ease her abdominal pain. Arbuckle denied any wrongdoing. Delmont later made a statement incriminating Arbuckle to the police in an attempt to extort money from Arbuckle's attorneys.Arbuckle's trial was a major media event. The story was fueled by yellow journalism, with the newspapers portraying Arbuckle as a gross lecher who used his weight to overpower innocent girls. William Randolph Hearst's nationwide newspaper chain exploited the situation with exaggerated and sensationalized stories. Hearst was gratified by the profits he accrued during the Arbuckle scandal, and he allegedly said that it had \"sold more newspapers [...] than when the Lusitania went down.\" Morality groups called for Arbuckle to be sentenced to death. The resulting scandal destroyed Arbuckle's career along with his personal life.\nArbuckle was regarded by those who knew him closely as a good-natured man who was shy around women; he has been described as \"the most chaste man in pictures\". However, studio executives, fearing negative publicity by association, ordered Arbuckle's industry friends and fellow actors (whose careers they controlled) not to publicly speak up for him. Charlie Chaplin, who was in Britain at the time, told reporters that he could not and would not believe Arbuckle had anything to do with Rappe's death; having known Arbuckle since they both worked at Keystone in 1914, Chaplin \"knew Roscoe to be a genial, easy-going type who would not harm a fly.\" Buster Keaton reportedly did make one public statement in support of Arbuckle's innocence, a decision which earned him a mild reprimand from the studio where he worked. Film actor William S. Hart, who had never met or worked with Arbuckle, made a number of damaging public statements in which he presumed that Arbuckle was guilty. Arbuckle later wrote a premise for a film parodying Hart as a thief, bully, and wife beater, which Keaton purchased from him. The resulting film, The Frozen North, was released in 1922, almost a year after the scandal first emerged. Keaton co-wrote, directed and starred in the picture; consequently, Hart refused to speak to Keaton for many years.\n\nTrials\nThe prosecutor, San Francisco District Attorney Matthew Brady, an intensely ambitious man who planned to run for governor, made public pronouncements of Arbuckle's guilt and pressured witnesses to make false statements. Brady at first used Delmont as his star witness during the indictment hearing. The defense obtained a letter from Delmont admitting to a plan to extort payment from Arbuckle. In view of Delmont's constantly changing story, her testimony would have ended any chance of going to trial. Ultimately, the judge found no evidence of rape. After hearing testimony from one of the party guests, Zey Prevon, that Rappe told her \"Roscoe hurt me\" on her deathbed, the judge decided that Arbuckle could be charged with first-degree murder. Brady had originally planned to seek the death penalty. The charge was later reduced to manslaughter.\n\nFirst trial\nOn September 17, 1921, Arbuckle was arrested and arraigned on charges of manslaughter. He arranged bail after nearly three weeks in jail. The trial began November 14, 1921, in the city courthouse in San Francisco. Arbuckle hired as his lead defense counsel Gavin McNab, a competent local attorney. The principal witness was Prevon. At the beginning of the trial Arbuckle told his already-estranged wife, Minta Durfee, that he did not harm Rappe; she believed him and appeared regularly in the courtroom to support him. Public feeling was so negative that Durfee was later shot at while entering the courthouse.Brady's first witnesses during the trial included Betty Campbell, a model, who attended the party and testified that she saw Arbuckle with a smile on his face hours after the alleged rape occurred; Grace Hultson, a local hospital nurse who testified it was very likely that Arbuckle raped Rappe and bruised her body in the process; and Dr. Edward Heinrich, a local criminologist who claimed that the fingerprints on the door to the hallway proved that Rappe had tried to flee, but that Arbuckle had stopped her by putting his hand over hers. Dr. Arthur Beardslee, the hotel doctor who had examined Rappe, testified that an external force seemed to have damaged the bladder. During cross-examination, however, Campbell revealed that Brady had threatened to charge her with perjury if she did not testify against Arbuckle. Dr. Heinrich's claim to have found fingerprints was cast into doubt after McNab produced a maid from the St. Francis Hotel who testified that she had thoroughly cleaned the room before the investigation took place. Dr. Beardslee admitted that Rappe had never mentioned being assaulted while he was treating her. McNab was furthermore able to get Nurse Hultson to admit that the rupture of Rappe's bladder could very well have been a result of cancer, and that the bruises on her body could also have been a result of the heavy jewelry she was wearing that evening.On November 28, Arbuckle testified as the defense's final witness. He was simple, direct, and unflustered in both direct and cross-examination. In his testimony, Arbuckle claimed that Rappe (whom he testified he had known for five or six years) came into the party room (1220) around noon that day, and that sometime afterward he went to his room (1219) to change clothes after Mae Taub, daughter-in-law of Billy Sunday, asked him for a ride into town. In his room, Arbuckle discovered Rappe in the bathroom vomiting into the toilet. He then claimed Rappe told him she felt ill and asked to lie down, and that he carried her into the bedroom and asked a few of the party guests to help treat her. When Arbuckle and a few of the guests re-entered the room, they found Rappe on the floor near the bed tearing at her clothing and going into violent convulsions. To calm Rappe down, they placed her in a bathtub of cool water. Arbuckle and Fischbach then took her to room 1227 and called the hotel manager and doctor. At this point all those present thought Rappe was just very drunk, including the hotel doctors. Probably assuming Rappe would simply sleep it off, Arbuckle drove Taub into town.During the whole trial, the prosecution presented medical descriptions of Rappe's bladder as evidence that she had an illness. In his testimony, Arbuckle denied he had any knowledge of Rappe's illness. During cross-examination, Assistant District Attorney Leo Friedman aggressively grilled Arbuckle over the fact that he refused to call a doctor when he found Rappe sick, and argued that he refused to do so because he knew of Rappe's illness and saw a perfect opportunity to rape and kill her. Arbuckle calmly maintained that he never physically hurt or sexually assaulted Rappe in any way during the party, and he also stated that he never made any inappropriate sexual advances against any woman in his life. After over two weeks of testimony with sixty prosecution and defense witnesses, including eighteen doctors who testified about Rappe's illness, the defense rested. On December 4, 1921, the jury returned five days later deadlocked after nearly forty-four hours of deliberation with a 10–2 not guilty verdict, and a mistrial was declared.Arbuckle's attorneys later concentrated their attention on one woman named Helen Hubbard, who had told jurors that she would vote guilty \"until hell freezes over\". She refused to look at the exhibits or read the trial transcripts, having made up her mind in the courtroom. Hubbard's husband was a lawyer who did business with the D.A.'s office, and expressed surprise that she was not challenged when selected for the jury pool. While much attention was paid to Hubbard after the trial, some former jury members told reporters that they believed that Arbuckle was indeed guilty, but not beyond a reasonable doubt. During the deliberations, some jurors joined Hubbard in voting to convict, but they all recanted except for Thomas Kilkenny. Arbuckle researcher Joan Myers describes the political climate and the media attention to the presence of women on juries (which had only been legal for four years at the time) and how Arbuckle's defense immediately singled out Hubbard as a villain; Myers also records Hubbard's account of the jury foreman August Fritze's attempts to bully her into changing her vote to 'not guilty'. While Hubbard offered explanations on her vote whenever challenged, Kilkenny remained silent and quickly faded from the media spotlight after the trial ended.\n\nSecond trial\nThe second trial began January 11, 1922, with a new jury, but with the same legal defense and prosecution as well as the same presiding judge. The same evidence was presented, but this time one of the witnesses, Zey Prevon, testified that Brady had forced her to lie. Another witness who testified during the first trial, a former Culver Studios security guard named Jesse Norgard, testified that Arbuckle had once shown up at the studio and offered him a cash bribe in exchange for the key to Rappe's dressing room. The comedian supposedly said he wanted it to play a joke on the actress. Norgard said he refused to give him the key. During cross-examination, Norgard's testimony was called into question when he was revealed to be an ex-convict who was currently charged with sexually assaulting an eight-year-old girl, and who was also looking for a sentence reduction from Brady in exchange for his testimony. Further, in contrast to the first trial, Rappe's history of promiscuity and heavy drinking was detailed. The second trial also discredited some major evidence such as the identification of Arbuckle's fingerprints on the hotel bedroom door: Heinrich took back his earlier testimony from the first trial and testified that the fingerprint evidence was likely faked. The defense was so convinced of an acquittal that Arbuckle was not called to testify. His lawyer, McNab, made no closing argument to the jury. However, some jurors interpreted the refusal to let Arbuckle testify as a sign of guilt. After five days and over forty hours of deliberation, the jury returned on February 3, deadlocked with a 10–2 majority in favour of conviction, resulting in another mistrial.\n\nThird trial\nBy the time of Arbuckle's third trial, his films had been banned, and newspapers had been filled for the past seven months with stories of Hollywood orgies, murder, and sexual perversion. Delmont was touring the country giving one-woman shows as, \"The woman who signed the murder charge against Arbuckle\", and lecturing on the evils of Hollywood.\nThe third trial began March 13, 1922, and this time the defense took no chances. McNab took an aggressive defense, completely tearing apart the prosecution's case with long and aggressive examination and cross-examination of each witness. McNab also managed to get in still more evidence about Rappe's lurid past and medical history. Another hole in the prosecution's case was opened because Prevon, a key witness, was out of the country after fleeing police custody and unable to testify. As in the first trial, Arbuckle testified as the final witness and again maintained his denials in his heartfelt testimony about his version of the events at the party. Buster Keaton is said to have been in the courtroom and provided important evidence to prove Arbuckle's innocence; Delmont was involved in prostitution, extortion, and blackmail. During closing statements, McNab reviewed how flawed the case was against Arbuckle from the very start and how Brady fell for the outlandish charges of Delmont, whom McNab described as \"the complaining witness who never witnessed\". The jury began deliberations April 12 and took only six minutes to return with a unanimous not-guilty verdict; five of those minutes were spent writing a formal statement of apology to Arbuckle for putting him through the ordeal, a dramatic move in American justice. The jury statement as read by the jury foreman stated:\n\nAcquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. We feel also that it was only our plain duty to give him this exoneration, under the evidence, for there was not the slightest proof adduced to connect him in any way with the commission of a crime. He was manly throughout the case and told a straightforward story on the witness stand, which we all believed. The happening at the hotel was an unfortunate affair for which Arbuckle, so the evidence shows, was in no way responsible. We wish him success and hope that the American people will take the judgment of fourteen men and woman who have sat listening for thirty-one days to evidence, that Roscoe Arbuckle is entirely innocent and free from all blame.\nAfter the reading of the apology statement, the jury foreman personally handed the statement to Arbuckle, who kept it as a treasured memento for the rest of his life. Then, one by one, the 12-person jury plus the two jury alternates walked up to Arbuckle's defense table, where they shook his hand and/or embraced and personally apologized to him. The entire jury proudly posed with Arbuckle for photographers after the verdict and apology.Some experts later concluded that Rappe's bladder might also have ruptured as a result of an abortion she might have had a short time before the fateful party. Her organs had been destroyed and it was now impossible to test for pregnancy. Because alcohol was consumed at the party, Arbuckle was forced to plead guilty to one count of violating the Volstead Act and had to pay a $500 fine. At the time of his acquittal, he owed over $700,000 (equivalent to approximately $12,200,000 in 2022 dollars) in legal fees to his attorneys for the three criminal trials, and he was forced to sell his house and all of his cars to pay some of the debt.The scandal and trials had greatly damaged Arbuckle's popularity among the general public. In spite of the acquittal and the apology, his reputation was not restored and the effects of the scandal continued. Will H. Hays, who served as the head of the newly formed Motion Pictures Producers and Distributors of America (MPPDA) censor board, cited Arbuckle as an example of the poor morals in Hollywood. On April 18, 1922, six days after Arbuckle's acquittal, Hays banned him from ever working in U.S. movies again. He had also requested that all showings and bookings of Arbuckle films be canceled, and exhibitors complied. In December of the same year, under public pressure, Hays elected to lift the ban. However, Arbuckle was still unable to secure work as an actor.Most exhibitors still declined to show Arbuckle's films, several of which now have no copies known to have survived intact. One of Arbuckle's feature-length films known to survive is Leap Year, which Paramount declined to release in the U.S. owing to the scandal. It was eventually released in Europe. With Arbuckle's films now banned, in March 1922 Keaton signed an agreement to give Arbuckle thirty-five percent of all future profits from his production company, Buster Keaton Comedies, in hopes of easing his financial situation.\n\nAftermath\nIn November 1923, Minta Durfee filed for divorce from Arbuckle, charging grounds of desertion. The divorce was granted the following January. They had been separated since 1921, though Durfee always claimed he was the nicest man in the world and they were still friends. After a brief reconciliation, Durfee again filed for divorce, this time while in Paris, in December 1924. Arbuckle married Doris Deane on May 16, 1925.Arbuckle tried returning to filmmaking, but industry resistance to distributing his pictures continued to linger after his acquittal. He retreated into alcoholism. In the words of his first wife, \"Roscoe only seemed to find solace and comfort in a bottle\". Keaton attempted to help Arbuckle by giving him work on his films. Arbuckle wrote the story for a Keaton short called Day Dreams (1922). Arbuckle allegedly co-directed scenes in Keaton's Sherlock Jr. (1924), but it is unclear how much of this footage remained in the film's final cut. In 1925, Carter DeHaven's short Character Studies, shot before the scandal, was released. Arbuckle appeared alongside Keaton, Harold Lloyd, Rudolph Valentino, Douglas Fairbanks, and Jackie Coogan. The same year, in Photoplay's August issue, James R. Quirk wrote: \"I would like to see Roscoe Arbuckle make a comeback to the screen.\" He also said: \"The American nation prides itself upon its spirit of fair play. We like the whole world to look upon America as the place where every man gets a square deal. Are you sure Roscoe Arbuckle is getting one today? I'm not.\"\n\nWilliam Goodrich pseudonym\nEventually, Arbuckle worked as a director under the pseudonym \"William Goodrich\". Author David Yallop cites Arbuckle's father's full name as William Goodrich Arbuckle as the inspiration behind the alias. Another tale credits Keaton, an inveterate punster, with suggesting that Arbuckle become a director under the alias \"Will B. Good\". The pun being too obvious, Arbuckle adopted the more formal pseudonym \"William Goodrich\". Keaton himself told this story during a recorded interview with Kevin Brownlow in the 1960s.Between 1924 and 1932, Arbuckle directed a number of comedy shorts under the pseudonym for Educational Pictures, which featured lesser-known comics of the day. Louise Brooks, who played the ingenue in Windy Riley Goes Hollywood (1931), told Brownlow of her experiences in working with Arbuckle:\n\nHe made no attempt to direct this picture. He just sat in his director's chair like a dead man. He had been very nice and sweetly dead ever since the scandal that ruined his career. But it was such an amazing thing for me to come in to make this broken-down picture, and to find my director was the great Roscoe Arbuckle. Oh, I thought he was magnificent in films. He was a wonderful dancer—a wonderful ballroom dancer, in his heyday. It was like floating in the arms of a huge doughnut—really delightful.\nAmong the more visible directorial projects under the Goodrich pseudonym was the Eddie Cantor feature Special Delivery (1927), which was released by Paramount and co-starred William Powell and Jobyna Ralston. His highest-profile project was arguably The Red Mill, also released in 1927, a Marion Davies vehicle.\n\nRoscoe Arbuckle's Plantation Café\nArbuckle and Dan Coombs, one of Culver City's first mayors, re-opened the Plantation Club near the Metro-Goldwyn-Mayer studios on Washington Boulevard as Roscoe Arbuckle's Plantation Café on August 2, 1928. By 1930, Arbuckle sold his interest and it became known as George Olsen's Plantation Café, later The Plantation Trailer Court and then Foreman Phillips County Barn Dance.\n\nSecond divorce and third marriage\nIn 1929, Doris Deane sued for divorce from Arbuckle in Los Angeles, charging desertion and cruelty. On June 21, 1932, Roscoe married Addie Oakley Dukes McPhail (later Addie Oakley Sheldon, 1905–2003) in Erie, Pennsylvania.\n\nBrief comeback and death\nIn 1932, Arbuckle signed a contract with Warner Bros. to star under his own name in a series of six two-reel comedies, to be filmed at the Vitaphone studios in Brooklyn, New York. These six short films constitute the only recordings of Arbuckle's voice. Silent-film comedian Al St. John (Arbuckle's nephew) and actors Lionel Stander and Shemp Howard appeared with Arbuckle. One of the films (How've You Bean?) had grocery-store gags reminiscent of Arbuckle's 1917 short The Butcher Boy, with vaudeville comic Fritz Hubert as his assistant, dressed like Buster Keaton. The Vitaphone shorts were very successful in America, although when Warner Bros. attempted to release the first one (Hey, Pop!) in the United Kingdom, the British Board of Film Censors cited the ten-year-old scandal and refused to grant an exhibition certificate.On June 28, 1933, Arbuckle had finished filming the last of the two-reelers (four of which had already been released). The next day he signed a contract with Warner Bros. to star in a feature-length film. That night he went out with friends to celebrate his first wedding anniversary and the new Warner Bros. contract when he reportedly said: \"This is the best day of my life.\" He suffered a heart attack later that night and died in his sleep. He was 46. His widow Addie requested that his body be cremated, as that was Arbuckle's wish.\n\nLegacy\nMany of Arbuckle's films, including the feature The Life of the Party (1920), survive only as worn prints with foreign-language inter-titles. As with most American films produced during the silent era, little or no effort was made to preserve original negatives and prints during Hollywood's first two decades, making most films that included him lost media or lost films. However, it is likely that due to the reputation Arbuckle received around the rape and death of Virginia Rappe, that many studios wished to avoid any negative backlash and purposely destroyed any surviving films which he had a starring role in.\n By the early 21st century, some of Arbuckle's short subjects (particularly those co-starring Chaplin or Keaton) had been restored, released on DVD, and even screened theatrically. His early influence on American slapstick comedy is widely recognised.For his contributions to the film industry, in 1960, some 27 years after his death, Arbuckle was awarded a star on the Hollywood Walk of Fame located at 6701 Hollywood Boulevard.\n\nIn popular culture\nNeil Sedaka refers to Arbuckle, along with Charlie Chaplin, Buster Keaton, Stan Laurel, and Oliver Hardy in his 1971 song \"Silent Movies\", as heard on his Emergence album.The James Ivory film The Wild Party (1975) has been repeatedly but incorrectly cited as a film dramatization of the Arbuckle–Rappe scandal. In fact it is loosely based on the 1926 poem by Joseph Moncure March. In this film, James Coco portrays a heavy-set silent film comedian named Jolly Grimm whose career is on the skids, but who is desperately planning a comeback. Raquel Welch portrays his mistress, who ultimately goads him into shooting her. This film was loosely based on the misconceptions surrounding the Arbuckle scandal, yet it bears almost no resemblance to the documented facts of the case.In Ken Russell's 1977 biopic Valentino, Rudolph Nureyev as a pre-movie star Rudolph Valentino dances in a nightclub before a grossly overweight, obnoxious, and hedonistic celebrity called \"Mr. Fatty\" (played by William Hootkins), a caricature of Arbuckle rooted in the public view of him created in popular press coverage of the Rappe rape trial. In the scene, Valentino picks up starlet Jean Acker (played by Carol Kane) off a table in which she is sitting in front of Fatty and dances with her, enraging the spoiled star, who becomes apoplectic.Before his death in 1997, comedian Chris Farley expressed interest in starring as Arbuckle in a biography film. According to the 2008 biography The Chris Farley Show: A Biography in Three Acts, Farley and screenwriter David Mamet agreed to work together on what would have been Farley's first dramatic role. In 2007, director Kevin Connor planned a film, The Life of the Party, based on Arbuckle's life. It was to star Chris Kattan and Preston Lacy. However, the project was shelved. Like Farley, comedians John Belushi and John Candy also considered playing Arbuckle, but each of them died before a biopic was made. Farley's film was signed with Vince Vaughn as his co-star.In April and May 2006, the Museum of Modern Art in New York City mounted a 56-film, month-long retrospective of all of Arbuckle's known surviving work, running the entire series twice.Arbuckle is the subject of a 2004 novel titled I, Fatty by author Jerry Stahl. The Day the Laughter Stopped by David Yallop and Frame-Up! The Untold Story of Roscoe \"Fatty\" Arbuckle by Andy Edmonds are other books on Arbuckle's life. The 1963 novel Scandal in Eden by Garet Rogers is a fictionalized version of the Arbuckle scandal.Fatty Arbuckle's was an American-themed restaurant chain in the UK named after Arbuckle.The 2009 novel Devil's Garden is based on the Arbuckle trials. The main character in the story is Dashiell Hammett, a Pinkerton detective in San Francisco at the time of the trials.NOFX's 2012 album Self Entitled has a song called \"I, Fatty\" about Arbuckle.The 2021 French graphic novel Fatty : le premier roi d'Hollywood, by Nadar and Julien Frey, portrays the period from Arbuckle's early days in Hollywood to his death.\n\nFilmography\nSee also\nList of actors with Hollywood Walk of Fame motion picture stars\nList of American comedy films\n\nNotes\nPassage 6:\nSpecial Delivery (1927 film)\nSpecial Delivery is a 1927 American silent comedy film directed by Roscoe Arbuckle starring Eddie Cantor, Jobyna Ralston and William Powell. It was written by Cantor, John F. Goodrich, and George Marion Jr. (with Larry Semon, uncredited). It was released by Paramount Pictures. The film's copyright was renewed in 1954, so it entered the public domain in the United States on January 1, 2023.\n\nPlot\nEddie, a mailman, is in love with waitress Madge but finds amongst his rivals for her affections the dishonest promoter Harold Jones. Eddie, who cannot dance, impresses Madge at the postal ball by his energetic performance of the Black Bottom after a piece of ice falls down his shirt and wins a cup. He eventually unmasks Harold as a crooked swindler.\n\nCast\nEddie Cantor as Eddie, The Mail Carrier\nJobyna Ralston as Madge, The Girl\nWilliam Powell as Harold Jones\nDonald Keith as Harrigan, The Fireman\nJack Dougherty as Flannigan, a cop\nVictor Potel as Nip, a detective\nPaul Kelly as Tuck, another detective\nMary Carr as The Mother\nMarilyn Cantor Baker as Extra (uncredited) (as Marilyn Cantor)\nMarjorie Cantor as Extra (uncredited)\nTiny Doll as Baby on Eddie's Route (uncredited)\nRobert Livingston as Extra at Postal Ball (uncredited)\nNatalie Cantor Metzger as Extra (uncredited) (as Natalie Cantor)\nSpec O'Donnell as Office Boy (uncredited)\n\nSee also\nFatty Arbuckle filmography\nPassage 7:\nMario Camus\nMario Camus García (20 April 1935 – 18 September 2021) was a Spanish film director and screenwriter. He won the Golden Bear at the 33rd Berlin International Film Festival with La colmena. His 1987 film The House of Bernarda Alba was screened in the Un Certain Regard section at the 1987 Cannes Film Festival and in the main competition at the 15th Moscow International Film Festival. His 1993 film Shadows in a Conflict was entered into the 18th Moscow International Film Festival.\n\nFilmography\nPassage 8:\nSpecial Delivery (1955 film)\nSpecial Delivery (German: Vom Himmel gefallen) is a 1955 American–West German comedy film, directed by John Brahm. It stars Joseph Cotten and Eva Bartok. Special Delivery was filmed simultaneously in an English- and German-language version.\n\nPlot\nSomewhere behind the Iron Curtain, mid 1950s. John Adams is a US embassy chargé d'affaires in a communist country in Eastern Europe. One day he has to deal with a very special case: in the front yard of the embassy, a baby has been laid down, as if it had \"fallen from heaven\"! Nobody knows how it got there, nobody saw the person who put it there. A found object in the front yard of the embassy is not all that unusual, because many a person persecuted by the regime has thrown something over the embassy fence so that it does not fall into the hands of the communist cultural barbarians. For the embassy, with its six exclusively male employees, the baby poses a serious problem: what to do? The government of the Eastern European country immediately demands the extradition of the young \"citizen\" and immediately sends a stubborn state representative, Comrade Kovacs. Adams, on the other hand, decides to stonewall and not hand the baby over to the communists. In order to ensure the care of the little one, who is simply called Sam after Uncle Sam, the host country also provides its own nanny. Sonja Novaswobida, as she is called, is also supposed to collect further information on site on behalf of her government.\nDue to mutual distrust, the men's relationships with the Eastern European state employee initially ranged from difficult to cold, especially since Kovacs turned out to be a particularly tough opponent for Ambassador Adams. He insists on returning the baby to the country as a kind of public property. Adams, however, wants to hand over just that, and instead, with some ironic ulterior motive, gives Adams another find that someone had thrown over the embassy's bridle: a supposedly ingenious, modern musical score that Kovacs plays the piano reluctantly at first, but then enthusiastically after realizing it must, how little the Americans can do with such modern music. Trust in one another begins to develop slowly. Tensions between the two governments are only resolved when the little one's parents are located. They are Olaf, the embassy's Swedish cook, and a woman from the host country who used to work here. Ambassador Adams now ensures in no time at all that marriage papers are issued to the parents, so that the toddler is considered a Swedish citizen and can leave the communist country with the parents in the direction of freedom. Adams' relationship with Sonja also soon goes beyond the purely official: both eventually become a couple.\n\nCast\nJoseph Cotten as John Adams\nEva Bartok as Sonja\nBob Cunningham as Captain Heinikan\nRené Deltgen as Kovak\nGert Fröbe as Olaf\nBruni Löbel as Lila\nUrsula Herking as Madame Debrov\n\nProduction\nIt was filmed simultaneously in English- and German-language versions.\n\nSee also\n1955 in film\nList of comedy films of the 1950s\nList of German films 1945–1959\nPassage 9:\nSepideh Farsi\nSepideh Farsi (Persian: سپیده فارسی; born 1965) is an Iranian director.\n\nEarly years\nFarsi left Iran in 1984 and went to Paris to study mathematics. However, eventually she was drawn to the visual arts and initially experimented in photography before making her first short films. A main theme of her works is identity. She still visits Tehran each year.\n\nAwards/Recognition\nFarsi was a Member of the Jury of the Locarno International Film Festival in Best First Feature in 2009. She won the FIPRESCI Prize (2002), Cinéma du Réel and Traces de Vie prize (2001) for \"Homi D. Sethna, filmmaker\" and Best documentary prize in Festival dei Popoli (2007) for \"HARAT\".\n\nRecent News\nOne of her latest films is called Tehran Bedoune Mojavez (Tehran Without Permission). The 83-minute documentary shows life in Iran's crowded capital city of Tehran, facing international sanctions over its nuclear ambitions and experiencing civil unrest. It was shot entirely with a Nokia camera phone because of the government restrictions over shooting a film. The film shows various aspects of city life including following women at the hairdressers talking of the latest fads, young men speaking of drugs, prostitution and other societal problems, and the Iranian rapper “Hichkas”. The dialogue is in Persian with English and Arabic subtitles. In December 2009, Tehran Without Permission was shown at the Dubai International Film Festival.\n\nFilmography\nRed Rose (2014)\nCloudy Greece (2013)\nZire Âb / The house under the water (2010)\nTehran bedoune mojavez / Tehran without permission (2009)\nIf it were Icarus (2008)\nHarat (2007)\nNegah / The Gaze (2006)\nKhab-e khak / Dreams of Dust (2003)\nSafar-e Maryam / The journey of Maryam (2002)\nMardan-e Atash / Men of Fire (2001)\nHomi D. Sethna, filmmaker (2000)\nDonya khaneye man ast / The world is my home (1999)\nKhabe Âb / Water dreams (1997)\nBâd-e shomal / Northwind (1993)\nPassage 10:\nSpecial Delivery (2002 film)\nSpecial Delivery (French: C'est le bouquet !) is a 2002 French comedy film directed by Jeanne Labrune.\n\nCast\nSandrine Kiberlain - Catherine\nJean-Pierre Darroussin - Raphaël\nDominique Blanc - Edith\nMathieu Amalric - Stéphane\nJean-Claude Brialy - Robert Fresnel\nMaurice Bénichou - Antoine\nHélène Lapiower - Alice\nDominique Besnehard - Laurent\nRichard Debuisne - Emmanuel Kirsch\nGisèle Casadesus - The lady\nDidier Bezace - The theater director\nLászló Szabó - The guardian\nLise Lamétrie - The maid",6 "char_len": 54904,7 "document_hash": "fd0b50d5b166fa6359659f8c0ca7d1425960ed0a4767addbb94c7c0ed429f1fd",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Which film has the director born later, The Wind'S Fierce or Special Delivery (1927 Film)?"13 }14 ]15}