who played the doctor on the love boat

Bernard Morton "Bernie" Kopell[3] (born June 21, 1933) is an American character actor known for his roles as Siegfried in Get Smart from 1966 to 1969[4] and as Dr. Adam Bricker ("Doc") in ABC's The Love Boat from 1977 to 1986.[4]

Bernie Kopell

Kopell was born in the Brooklyn borough of New York City, the son of Pauline (née Taran) and Al Bernard Kopell.[3] For a time, he served in the United States Navy. He served on board the USS Iowa (BB-61) as a librarian.[5]

Kopell's longest-running role was as Dr. Adam Bricker on The Love Boat, an Aaron Spelling production. He remained on the series during its entire run, appearing in 250 episodes.[6]

Before becoming known for his The Love Boat role, Kopell appeared in many television series, often sitcoms. He appeared on Ripcord, That Girl, The Jack Benny Program, Green Acres, Our Man Higgins, The Flying Nun, Ben Casey, McHale's Navy, My Favorite Martian, Petticoat Junction, The Streets of San Francisco, Room 222, The Mary Tyler Moore Show and Kojak.[7]

Kopell made memorable recurring appearances as KAOS agent Siegfried in Get Smart, Alan-a-Dale in When Things Were Rotten, Jerry Bauman in That Girl and Louie Pallucci in The Doris Day Show. He played several characters on Bewitched including the witches' apothecary and the hippie warlock Alonzo in the episode "The Warlock in the Gray Flannel Suit". He played Charlie Miller as a member of the cast of the situation comedy Needles and Pins, which ran for 14 episodes in the autumn of 1973. He portrayed a plastic surgeon who gave Ed Brown a facelift on Chico and the Man. He played a director in an episode of Alfred Hitchcock Presents ("Good-Bye George"). About this same time, he guest starred on the short-lived The New Phil Silvers Show.[7]

After The Love Boat, Kopell was so recognizable that he was not in roles often without a nod to his famous role. He appears as a coroner in "Which Prue is it Anyway", an episode of Charmed. Kopell appears in the Monk episode "Mr. Monk and the Critic", playing Mr. Gilson, the ill-fated restroom attendant, whom Monk referred to as the Michelangelo of lavatories. He guest starred in "Pinky", a 2009 episode of My Name is Earl.[7] He made a cameo as a patient in the Scrubs episode "My Friend the Doctor", as well as an episode of the Disney Channel Original Series The Suite Life of Zack & Cody. In a dream sequence of Fresh Prince of Bel Air Kopell made a parody cameo of himself as an actor who played a ship's doctor so many times he offers to perform an operation for real, while in a 1994 episode of Saturday Night Live he appeared as "Doc" during a Love Boat-themed spoof of Star Trek: The Next Generation.[7]

Kopell's role as Doc on The Love Boat was parodied in a humorous appearance on Late Show with David Letterman in 1995. Two entries in that night's Top Ten List poked fun at The Love Boat, and at the Doc character specifically. The camera cut to Kopell, who was sitting in the audience, and he stormed out of the theater.[8][9] A few moments later, he was shown having been re-seated in the mezzanine when the second parody was made at his expense, and again stood up, raised his fists and stormed out, playing along with the host.


is there a movie of the book hatchet

A Cry in the Wild is a 1990 coming of age-survival drama film based on the book Hatchet, written by Gary Paulsen. The film stars Jared Rushton as Brian, Pamela Sue Martin as Brian's mom, Stephen Meadows as Brian's dad, and Ned Beatty as the pilot. It spawned three sequels: White Wolves: A Cry in the Wild II; White Wolves II: Legend of the Wild; and White Wolves III: Cry of the White Wolf.[1]

A Cry in the Wild

The movie opens up with Brian Robeson and his mother getting a package. She later gives it to Brian revealing it to be a hatchet at the airport. When Brian gets on the single engine plane with the pilot they have a short conversation.

The pilot lets Brian fly the plane and Brian enjoys it. However, when the pilot has a heart attack and dies, the plane crashes in the wilderness of Yukon, leaving Brian to try to survive, all while dealing with his parents' divorce.

The film received mixed reviews from critics, and holds a 40% positive rating on Rotten Tomatoes.[2]


the leadership approach that defines the leaders role as serving the needs of others is called

Servant leadership is a leadership philosophy. Traditional leadership generally involves the exercise of power by one at the “top of the pyramid.” By comparison, the servant-leader shares power, puts the needs of others first and helps people develop and perform as highly as possible. Servant leadership turns the power pyramid upside down; instead of the people working to serve the leader, the leader exists to serve the people. When leaders shift their mindset and serve first, they unlock purpose and ingenuity in those around them, resulting in higher performance and engaged, fulfilled employees.[1]

Servant leadership

Servant leadership is an ancient philosophy. There are passages that relate to servant leadership in the Tao Te Ching, attributed to Lao-Tzu, who is believed to have lived in China sometime between 570 BCE and 490 BCE:

The highest type of ruler is one of whose existence the people are barely aware.
Next comes one whom they love and praise.
Next comes one whom they fear.
Next comes one whom they despise and defy.

When you are lacking in faith,
Others will be unfaithful to you.

The Sage is self-effacing and scanty of words.
When his task is accomplished and things have been completed, All the people say, ‘We ourselves have achieved it!’[2]

Chanakya wrote, in the 4th century BCE, in his book Arthashastra:

the king [leader] shall consider as good, not what pleases himself but what pleases his subjects [followers]
the king [leader] is a paid servant and enjoys the resources of the state together with the people.[citation needed]

Servant leadership can be found in many religious texts, though the philosophy itself transcends any particular religious tradition. In the Christian tradition, this passage from the Gospel of Mark is often quoted in discussions of servant leadership:

42 Jesus called them together and said, “You know that those who are regarded as rulers of the Gentiles lord it over them, and their high officials exercise authority over them.
43 Not so with you. Instead, whoever wants to become great among you must be your servant,
44 and whoever wants to be first must be servant of all.
45 For even the Son of Man did not come to be served, but to serve, and to give his life as a ransom for many.” (Mark 10:42-45.[3])

While servant leadership is a timeless concept, the phrase “servant leadership” was coined by Robert K. Greenleaf in "The Servant as Leader", an essay that he first published in 1970. In that essay, Greenleaf said:[4]

“The servant-leader is servant first… It begins with the natural feeling that one wants to serve, to serve first. Then conscious choice brings one to aspire to lead. That person is sharply different from one who is leader first, perhaps because of the need to assuage an unusual power drive or to acquire material possessions…The leader-first and the servant-first are two extreme types. Between them there are shadings and blends that are part of the infinite variety of human nature.”

“The difference manifests itself in the care taken by the servant-first to make sure that other people’s highest priority needs are being served. The best test, and difficult to administer, is: Do those served grow as persons? Do they, while being served, become healthier, wiser, freer, more autonomous, more likely themselves to become servants? And, what is the effect on the least privileged in society? Will they benefit or at least not be further deprived?“

Robert Greenleaf recognized that organizations as well as individuals could be servant-leaders. Indeed, he had great faith that servant-leader organizations could change the world. In his second major essay, "The Institution as Servant" (1972), Greenleaf articulated what is often called the “credo.” There he said:

“This is my thesis: caring for persons, the more able and the less able serving each other, is the rock upon which a good society is built. Whereas, until recently, caring was largely person to person, now most of it is mediated through institutions – often large, complex, powerful, impersonal; not always competent; sometimes corrupt. If a better society is to be built, one that is more just and more loving, one that provides greater creative opportunity for its people, then the most open course is to raise both the capacity to serve and the very performance as servant of existing major institutions by new regenerative forces operating within them.” [5]

Most writers see servant leadership as an underlying philosophy of leadership, demonstrated through specific characteristics and practices. The foundational concepts are found in Greenleafâ€™s first three major essays, "The Servant as Leader", "The Institution as Servant", and "Trustees as Servants."

Building on Greenleaf's work, these writers have offered a variety of formulations of servant leadership.

Larry Spears identified ten characteristic of servant leaders in the writings of Greenleaf. The ten characteristics are listening, empathy, healing, awareness, persuasion, conceptualization, foresight, stewardship, commitment to the growth of others, and building community. Leadership experts such as Bolman, Deal, Covey, Fullan, Sergiovanni, and Heifitz also reference these characteristics as essential components of effective leadership.

James Sipe and Don Frick, in their book The Seven Pillars of Servant Leadership, state that servant-leaders are individuals of character, put people first, are skilled communicators, are compassionate collaborators, use foresight, are systems thinkers, and exercise moral authority.

Joe Iarocci, author of Servant Leadership in the Workplace, identifies 3 key priorities (developing people, building a trusting team, achieving results), 3 key principles (serve first, persuasion, empowerment) and 3 key practices (listening, delegating, connecting followers to mission) that distinguish servant leadership in the workplace context.[6]

Kent Keith, author of The Case for Servant Leadership, states that servant leadership is ethical, practical, and meaningful. He identifies seven key practices of servant leaders: self-awareness, listening, changing the pyramid, developing your colleagues, coaching not controlling, unleashing the energy and intelligence of others, and foresight.'

The Center for Servant Leadership at the Pastoral Institute in Georgia defines servant leadership as a lifelong journey that includes discovery of oneâ€™s self, a desire to serve others, and a commitment to lead. Servant-leaders continually strive to be trustworthy, self-aware, humble, caring, visionary, empowering, relational, competent, good stewards, and community builders.

The most common division of leadership styles is the distinction between autocratic, participative and laissez-faire leadership styles. The authoritarian style of leadership requires clearly defined tasks and monitoring their execution and results. The decision-making responsibility rests with the executive. In contrast to the autocratic, the practice of a participative leadership style involves employees in decision-making. More extensive tasks are delegated. The employees influence and responsibility increases. The laissez-faire style of leadership is negligible in practice.

Servant leadership can be most likely associated with the participative leadership style. The authoritarian leadership style does not correspond to the guiding principle. The highest priority of a servant leader is to encourage, support and enable subordinates to unfold their full potential and abilities. This leads to an obligation to delegate responsibility and engage in participative decision-making. In the managerial grid model of Blake and Mouton, the participative style of leadership is presented as the approach with the greatest possible performance and employee satisfaction. However, there is the question whether a leadership style can be declared as universal and universally applicable.[7] Situational contexts are not considered.[8]

The servant leadership approach goes beyond employee-related behavior and calls for a rethinking of the hierarchical relationship between leader and subordinates. This does not mean that the ideal of a participative style in any situation is to be enforced, but that the focus of leadership responsibilities is the promotion of performance and satisfaction of employees.

Unlike leadership approaches with a top-down hierarchical style, servant leadership instead emphasizes collaboration, trust, empathy, and the ethical use of power. At heart, the individual is a servant first, making the conscious decision to lead in order to better serve others, not to increase their own power. The objective is to enhance the growth of individuals in the organization and increase teamwork and personal involvement. A recent behavioral economics experiment demonstrates the group benefits of servant leadership. Teams of players coordinated their actions better with a servant leader resulting in improved outcomes for the followers (but not for the selfless leaders).[9]

Some[who?] see a difference between a leadership philosophy (e.g. “servant leadership” or “ethical leadership”) and a leadership theory (e.g. functional and situational leadership theories). The former is a values-based view of how leaders should act whereas the latter is usually a way of teaching leaders how to be more effective.[10]

For decades, the older leadership theories (e.g. traits, behavioral/styles, situational and functional) did not explicitly support or address the philosophy of servant leadership. However, this changed with the emergence of integrated psychological leadership theory – as represented by James Scouller’s three levels of leadership model (2011). Scouller’s model – which attempts to integrate the older theories while addressing their limitations by focusing on the leader’s psychology – emphasizes the idea that leaders should care as much about their followers’ needs as their own and view leadership as an act of service.[11] Thus, the link between the philosophy of servant leadership and modern leadership theory has strengthened in the 21st century.


a good year movie where was it filmed

The film was shot throughout nine weeks in 2005,[8] mostly in locations Scott described as "eight minutes from my house". French locations were filmed at Bonnieux, Cucuron and Gordes in Vaucluse, Marseille Provence Airport, and the rail station in Avignon. London locations included Albion Riverside in Battersea, Broadgate, the Bluebird Cafe on King's Road in Chelsea, and Criterion Restaurant in Piccadilly Circus.[3] The scene with the tennis match between Max and Duflot was added on the set, replacing an argument at the vines to provide "a battle scene".[9] As the swimming pool on Chateau La Canorgue did not fit the one Scott had envisioned from the scene, only the scenes outside the pool were filmed there. The one after Max had fallen was dug and concreted nearby, and the original one had its bottom replaced digitally to match. The production team could not film the wine cave from La Canorgue as they shot during the period where it was being used, so the wine cellar from a nearby hotel was turned into a cave. While southern France does not have clay courts as the weather makes them hard to maintain, Scott wanted one for its dirty and beaten up aspect, so the tennis court was built from scratch, including posts straight from the Wimbledon courts. Fanny's cafe was shot in a Gordes restaurant, with designer Sonja Klaus decorating it with items bought from second-hand shops considering the character would have done the same. Klaus employed a kitsch decoration on Duflot's estate to show it was "a character keeping up with the Joneses â€“ if it was in America, he would drive a golden Cadillac with leopard skin print seats", and decorated the large water basin of Cucuron with floating candles to "make it look like a fabulous event" for Max's dinner with Fanny.[5]

A Good Year

A Good Year is a 2006 British-American comedy-drama film directed and produced by Ridley Scott. The film stars Russell Crowe, Marion Cotillard, Didier Bourdon, Abbie Cornish, Tom Hollander, Freddie Highmore and Albert Finney. The film is loosely based on the 2004 novel of the same name by British author Peter Mayle. The film was theatrically released in the United Kingdom on October 27, 2006 and in the United States on November 10, 2006 by 20th Century Fox. The film grossed over $42.1 million against its $35 million budget. The film received nominations for the Critics Choice Award for Best Young Actor and the Satellite Award for Best Cinematography. A Good Year was released on DVD on February 27, 2007 by 20th Century Fox Home Entertainment.

In the prologue, a young Max Skinner, whose parents have died in an accident, spends his childhood summer holidays learning to appreciate the finer things in life at his Uncle Henry's vineyard estate in Provence in south-eastern France. Some 25 years later, Max is an unethical yet very successful hard-working London-based bond trader with a sense of humour.

Following his uncle's death, Max is the sole beneficiary of the French property. He travels to Provence to prepare a quick sale. Shortly after arriving, while fumbling with a cell phone, he unknowingly causes a local cafÃ© owner, Fanny Chenal, to crash her bicycle. Subsequently, he discovers that his latest City financial stunt has caused real trouble for the owners of the trading company he works for, and the CEO orders him to return to London as soon as possible.

To assist in his planned sale of the property, Max hurriedly snaps some photos and in the process falls into an empty swimming pool. He is unable to escape until Fanny Chenal, driving by and spotting his rental car, appears and turns on the water supply in retaliation. This delay causes Max to miss his flight and, having failed to report to the directors in person, he is suspended from work and trading activities for one week.

On Henry's estate, Max must deal with a gruff, dedicated winemaker, Francis Duflot, who fears being separated from his precious vines. Duflot pays a vineyard inspector to tell Max that the soil is bad and the vines worthless.

In the meantime, they are surprised by the unexpected arrival of young Napa Valley oenophile Christie Roberts, who is backpacking through Europe and claims to be Henry's previously unknown illegitimate daughter. Max realizes, but does not tell her how French law decrees, even though Christie is not his Uncle's legitimate daughter, she still becomes the rightful heir to the Chateau and vineyards. As Max did earlier, Christie finds the house wine unpalatable but is impressed by Max's casual offering of the boutique Le Coin Perdu ("the lost corner") vintage, noting some intriguing characteristics. During dinner at the Duflot house, while slightly inebriated, Max exposes his concern that she might lay claim to the estate and brusquely interrogates her.

Max gets updates on office politics from his assistant Gemma, who warns him of the ambitious antics of other employees. To ensure he is not usurped by Kenny, his second-in-command in London, through whom Max continues to direct trades, Max intentionally gives the ambitious young trader bad advice, getting Kenny fired.

Max becomes enamoured with the beautiful, feisty cafÃ© owner Fanny, who is rumoured to have sworn off men. He successfully woos Fanny into his bed, where she leaves him the next morning, expecting him to return to his life in London.

A disillusioned Christie also decides to move on. Max finds his uncle's memoirs, which contain proof of Christie's heritage. However, he bids her farewell while handing her an unexplained note inside a book she was reading. While informing Duflot of the pending estate sale, Max learns that the mysterious expensive Le Coin Perdu was made by Henry and Duflot with "illegal vines" from the estate, bypassing wine classification and appellation laws.

The estate is sold and Max returns to London where Sir Nigel, the company chairman, offers him a choice: "Money or your life" - either a discharge settlement, which includes "a lot of zeros," or the partnership in the trading firm, where he would then be "made for life". Max asks about Nigel's art in the conference room, which Fanny has a copy of in her restaurant. Upon Nigel's dismissive comment that the real one is kept in a vault and the $200,000 copy in the office is for show, Max reconsiders if he wants to still be like Nigel.

Max invalidates the estate's sale with the farewell letter he gave to Christie, which he forged, along with real photos confirming Christie as Henry's daughter with a valid claim to the entire estate. (as a child Max signed cheques for his uncle, and is able to replicate his handwriting and signature).

He puts his London residence up for sale and returns to Provence, entering into a relationship with Fanny. Christie also returns and she and Francis jointly run the vineyard while trying to reconcile their vastly different philosophies of wine production. Meanwhile, Max is now able to focus his entire attention on Fanny.

â€”Ridley Scott on breaking away from action movies[2]

Ridley Scott had owned a house in Provence for fifteen years,[3] and wanted to film a production there. Scott Free president Lisa Ellzey recommended the works of author Peter Mayle, who had written best-selling books set in the south of France. Scott and Mayle were acquaintances and neighbours, having worked together in advertising and commercials during the 1970s, but as the author did not want to write a screenplay, he instead wrote a new book after discussing a film plot with Scott. Screenwriter Marc Klein was brought in after Scott read an adaptation he did of The Girls' Guide to Hunting and Fishing â€“ eventually released in 2007 as Suburban Girl.[4]

Klein had to expand and alter the story of the book to make the adaptation "more movie-like". A particular focus was to add conflict, with changes such as turning Fanny from a gentle character to a stubborn woman who starts without sympathy for Max. Another addition was the scene where Max falls in the swimming pool, which Scott said was to demonstrate "[that] the house had not let him go". The director wanted to portray Uncle Henry on screen instead of just describing him. While writer Marc Klein first suggested depicting him as a ghost, Scott's attempts at that did not work so he used flashbacks which "occur just as another scene" where it would depict "the grooming of Max as child which will be used as payoffs for the three acts that follow". Klein described Henry as "sounding like Albert Finney" so Scott hired the actor, with whom he had worked in The Duellists.[5] Scott brought Russell Crowe as the protagonist Max. The actor stated that it was a good opportunity for them to reunite after 2000's Gladiator as "it just seemed more fun to go into this smaller place, where the problems weren't as vast." The character was considered a change from Crowe's usual roles, with some noting it may reflect "maturity" or "contentment", with Australia's Courier-Mail dubbing him "A Mellow Fellow". Crowe said of his life at the time: "[I'm] relaxed... Work isn't the most important thing in my life now. It's not even in the top ten." The actor also stressed the importance of his family.[6] Scott also stated one of the reasons for the project was that he had "not done much in the way of comedy" and it seemed to be a good opportunity to "keep challenging yourself".[7]

Marc Streitenfeld worked as a music editor on Hans Zimmer's Remote Control Productions and was invited by Scott to make his debut as a film score composer.[10] The soundtrack includes "Moi Lolita" by Alizée, "Breezin' Along with the Breeze" by Josephine Baker, "Gotta Get Up", "Jump into the Fire", and "How Can I Be Sure of You" by Harry Nilsson, "Hey Joe" by Johnny Hallyday, "Vous, qui passez sans me voir" and "J'attendrai" by Jean Sablon, "Le chant du gardien" by Tino Rossi, "Je chante" by Charles Trenet, "Old Cape Cod" by Patti Page, "Walk Right Back" by the Everly Brothers, "Boum!" by Adrien Chevalier, and "Itsy Bitsy Petit Bikini" by Richard Anthony. The CD includes only 15 songs from the film; several are left out.

A Good Year was theatrically released in the United Kingdom on October 27, 2006 and in the United States on November 10, 2006 by 20th Century Fox.

The film grossed $42,061,749.[11] As of 2010, it has earned over $7Â million in US DVD sales.[12]

The film received negative reviews from critics. It holds a 26% rating on Rotten Tomatoes based on 129 reviews, with an average rating of 4.8/10. The site's critical consensus reads, "A Good Year is a fine example of a top-notch director and actor out of their elements, in a sappy romantic comedy lacking in charm and humor."[13] In Variety, Todd McCarthy wrote that the film is a "divertissement" that is easy to watch, but "doesn't amount to much".[14] Stephen Holden's review in The New York Times called it "a three-P movie: pleasant, pretty and predictable. One might add piddling".[15] Writing for the Los Angeles Times, Kenneth Turan said, "the fact that we know exactly what will happen [...] is not what's wrong with A Good Year. After all, we go to films like this precisely because the satisfaction of emotional certainty is what we're looking for. What we're not looking for is a romantic comedy made by individuals with no special feeling for the genre who stretch a half hour's worth of story to nearly two hours".[16] Comparing it to Under the Tuscan Sun, Love Actually, and Roman Holiday, Jessica Reaves of the Chicago Tribune said The Good Year was "unbearably sweet and emotionally lifeless".[17] British film critic Peter Bradshaw wrote in The Guardian that it was "a humourless cinematic slice of tourist gastro-porn".[18]

In a book-length study of Ridley Scott's film career, Adam Barkman summarized the general critical response to A Good Year as "lightweight as far as most critics were concerned" and that it "offer[ed] little in comparison to the combined commercial and critical success of the next venture, [American Gangster], the biopic of Harlem drug lord Frank Lucas".[19]


who played in the world series in 1980

The 1980 World Series was the 77th edition of Major League Baseball's championship series and the conclusion of the 1980 Major League Baseball season.  A best-of-seven playoff, it matched the National League (NL) champion Philadelphia Phillies against the American League (AL) champion Kansas City Royals.  The Phillies defeated the Royals four games to two to capture the club's first World Series championship in franchise history.  Phillies third baseman Mike Schmidt was named as the World Series MVP.  The series concluded after Game 6, which ended with Tug McGraw striking out Willie Wilson at 11:29 pm on October 21, 1980. Wilson set a World Series record by striking out twelve times (after getting 230 hits in the regular season) in the six-game set.

1980 World Series

Game 6 is also significant because it stands as the "most-watched game in World Series history" with a television audience of 54.9 million viewers.[1]

The Kansas City Royals became the second expansion team, and the first American League expansion team, to appear in the World Series. The AL would have to wait until 1985 before one of their expansion teams—the Royals themselves—would win a World Series.

This was the first World Series played entirely on artificial turf. This was also the first World Series since 1920, and the last to date, in which neither team had won a World Series before. With their victory, the Phillies became the final team out of the original sixteen MLB teams to win a World Series. However, a Philadelphia team had won a World Series before, the last being the Philadelphia Athletics in 1930, exactly a half-century before this Series; in a twist of fate, the Athletics would play thirteen years in Kansas City before eventually settling in Oakland.

The Philadelphia Phillies won the National League East division by one game over the Montreal Expos then defeated the Houston Astros, three games to two, to win the National League Championship Series. The Kansas City Royals won the American League West division by fourteen games over the Oakland Athletics then swept the New York Yankees for the American League pennant.

Two first-year managers, Dallas Green of the Phillies and Jim Frey of the Royals, found themselves with an opportunity to do what no other manager had done before them, win a first World Championship for their respective clubs. This was the first appearance for the Phillies since losing to the New York Yankees in the 1950 Series and just their third overall, having lost also to the Boston Red Sox in 1915.

The Royals entered the league as an expansion team in 1969. They had early success under the leadership of Whitey Herzog, winning their division from 1976 to 1978, but each year they would lose to the New York Yankees in the American League Championship Series, exacting revenge with a sweep of the Yankees in the 1980 ALCS. The Phillies had a strikingly similar run entering this Series, as they were also divisional winners from 1976 to 1978, losing to the Cincinnati Reds in 1976 NLCS and the Los Angeles Dodgers in 1977 and 1978, before regrouping in 1980 and triumphing over the Houston Astros in the League Championship Series.

The Phillies seemed to have it all, including eventual 1980 Most Valuable Player, third-baseman Mike Schmidt (48 HR, 121 RBI,.286 BA) and Cy Young Award winner, lefty Steve Carlton (24â€“9, 2.34 ERA). This mostly veteran club finished between first and third in almost all offensive categories in the National League. Thirty-nine-year-old Pete Rose led the club in hits (185) and doubles (42), while speedsters center fielder Garry Maddox and utility outfielder Lonnie Smith combined for 68 steals. The pitching staff was just good enough, led by Carlton and 17-game-winner Dick Ruthven. In the bullpen was the ever enthusiastic screwballer Tug McGraw, who was making his third trip to the Series, having ridden the bench with the New York Mets, winning in 1969 and losing in 1973. Third time was the charm for both the cheerleading McGraw and the bad-luck Phillies.[citation needed]

The Royals had a Most Valuable Player of their own in the indomitable superstar, third-baseman George Brett, who flirted with the sacred.400 mark all summer with an average above.400 as late as September 19, before settling for a.390 batting average. The unquestioned heart and soul of the Royals was surrounded by a solid corps including veteran Royals, Amos Otis, super-designated-hitter, Hal McRae, solid second-baseman, Frank White and switch-hitter Willie Wilson who finished the season with 230 hits and 79 stolen bases. The pitching staff had six players with ten or more wins, led by twenty-game-winner Dennis Leonard (20–11, 3.79) and left-hander Larry Gura (18–10, 2.95). Submariner Dan Quisenberry won twelve games out of the bullpen and accumulated 33 saves, tied for best in the American League with Rich Gossage.[2]

NL Philadelphia Phillies (4) vs. AL Kansas City Royals (2)

The Royals jumped on Phillies rookie starter Bob Walk (who became the first rookie to start the first game of a World Series since Joe Black of the Brooklyn Dodgers in 1952) early with a pair of two-run home runs, one by Amos Otis in the second and another by Willie Aikens in the third. In their half of the third, the Phils rallied off of Dennis Leonard. Larry Bowa singled with one out, stole second and scored on Bob Boone's double. Lonnie Smith's RBI single then cut the Royals' lead to 3–2, but Smith was tagged out at second. After a walk and hit-by-pitch, a three-run home run by Bake McBride put the Phillies up 5–4. Next inning, Manny Trillo singled and later scored on Boone's double to knock Leonard out of the game. After loading the bases in the fifth on a single, hit-by-pitch, and walk off of Renie Martin, Garry Maddox's sacrifice fly made it 7–4 Phillies. Despite Aikens' hitting another two-run home run in the eighth off of Walk to cut the lead to one, Tug McGraw was able to hold on for a 7–6 Phillies victory. Prior to 1980, the Phillies had not won a World Series game since Game 1 of the 1915 World Series against the Boston Red Sox.[citation needed]

Game 2 was a pitchers' duel between left-handers Larry Gura and Steve Carlton. After a one-out single and subsequent double in the fifth, Manny Trillo's sacrifice fly and Larry Bowa's RBI single put the Phillies up 2–0. The Royals cut it to 2–1 when Amos Otis scored from second on Trillo's error on Willie Aikens's ground ball in the sixth. Carlton looked in control until, acting on a complaint from Kansas City manager Jim Frey that Carlton was using a foreign substance on the ball, the umpires made Carlton wash his hands.[9] In the seventh, Carlton then loaded the bases on three walks and Amos Otis ripped a double into the left-field corner to drive in two, then John Wathan's sacrifice fly extended the Royals' lead to 4–2. The Phillies rallied to go up on the Royals in the eighth. After a leadoff walk, Del Unser's RBI double off of Dan Quisenberry cut the Royals' lead to 4–3. After a groundout, an RBI single by Bake McBride past the drawn-in infield tied the game, then Mike Schmidt drove in the go-ahead run with a double off the right-center-field wall, and Keith Moreland added an insurance run with an RBI single. Ron Reed picked up the save in the ninth as Philadelphia went up 2–0 heading to Kansas City.

K.C. got back in the series with a thrilling extra inning victory in Game 3. George Brett, having returned from minor surgery after Game 2, began the scoring with a Home Run into the right-field stands in the first off of Dick Ruvthen. The Phillies loaded the bases in the second off of Rich Gale with one out on two singles and a walk, but only scored once on Lonnie Smith's groundout. In the fourth, Willie Aikens tripled with one out and scored on Hal McRae's single, but Mike Schmidt's home run in the fifth again tied the game. Amos Otis gave the Royals a 3â€“2 lead in the seventh with a home run, but Pete Rose's RBI single with two on in the eighth off of Renie Martin again tied the game.. The game headed into extra innings and in the bottom of the tenth, Willie Aikens drove in Willie Wilson with a single to left-center for the game-winning run off of Tug McGraw.

A beautiful Saturday afternoon was the setting for Game 4. The Royals jumped all over Phillies starter Larry Christenson in the bottom of the first. Willie Wilson doubled, George Brett tripled him in, and Willie Aikens smashed his third home run of the series. The onslaught continued when Amos Otis doubled in Hal McRae, who also doubled, to give the Royals a 4–0 lead right out of the gate. After the Phillies scored a run in the second on Larry Bowa's RBI single off of Dennis Leonard, Aikens hit his second home run of the game in the bottom half and became the first player in World Series history to have a pair of two-home run games. The Phillies cut away at the Royals' lead on sacrifice flies by Bob Boone off of Leonard in the seventh and Mike Schmidt off of Dan Quisenberry in the eighth (the run charged to Leonard), but fell short as the Royals won 5–3 to tie the series. Despite the Royals victory, Game 4 is best remembered for Dickie Noles' fourth-inning brushback pitch under Brett's chin that ultimately prompted the umpires to issue warnings to each team. Brett told Baseball Digest in March 1998 that he had "no idea if that [brushback pitch by Noles] turned the Series around. All I know is we lost."  Mike Schmidt, in his book Clearing The Bases, called it "the greatest brushback in World Series history." Aikens later said that he had been expecting it to happen to him, in retaliation for his two home runs.[10]

Game 5 would be the pivotal game as the Phillies went up 3 games to 2. The game was scoreless until the fourth when Mike Schmidt hit a two-run home run to right-center off of Larry Gura. After two leadoff singles and a sacrifice bunt, George Brett's RBI groundout in the fifth off of Marty Bystrom cut the Phillies' lead to 2–1. Next inning, the red-hot Amos Otis tied the game with a leadoff home run. After two singles, Bystrom was replaced by Ron Reed, who allowed a sacrifice fly to U L Washington to put the Royals up 3–2 After the Phillies threw out a K.C. runner at the plate to keep the game a one-run affair, they marched to victory by coming back in the ninth off of Dan Quisenberry. Schmidt led off the inning with a single, and Del Unser drove him home all the way from first with a double down the right-field line. After a bunt moved Unser to third, Manny Trillo drove in the go-ahead run with a line shot that ricocheted off pitcher Dan Quisenberry for an infield hit. In the bottom of the ninth, the Royals threatened by loading the bases with two out. The Royals Stadium crowd were standing hoping for a dramatic K.C. win. But Tug McGraw silenced the crowd by striking out José Cardenal with a high fastball to end the game.

Game 6 would be the culmination of the first Phillies championship ever. After loading the bases in the third on a single, error, and walk off of Rich Gale, Philadelphia scored two on a Mike Schmidt single. In the fifth, Renie Martin allowed a double and walk, then Bake McBride's RBI groundout off of Paul Splittorff made it 3–0 Phillies. Next inning, Larry Bowa doubled with two outs and scored on Bob Boone's single, making it 4–0 Phillies Steve Carlton pitched seven innings while Tug McGraw pitched two for the save. Kansas City threatened by loading the bases in the eighth and the ninth, but only scored one run in the former inning on UL Washington's sacrifice fly. In the final frame, a foul popup by Frank White near the first base dugout came out of Phillies catcher Bob Boone's glove only to be caught by Pete Rose, who came right by Boone's side.  Then McGraw struck out Willie Wilson for the third and final out. It was the 12th time Wilson struck out in this Series, setting a new World Series record. The previous mark had been eleven, jointly held by Eddie Mathews and Wayne Garrett in 1958 and 1973, respectively. Ryan Howard would break Wilson's record by striking out 13 times in the 2009 World Series, ironically on a Phillies team which lost to the New York Yankees.[citation needed]

Boone's knees were so sore by the end of the World Series that he could barely make it to the mound after the final out was recorded.[citation needed]

When the modern-day World Series began in 1903, the National and American Leagues each had eight teams. With their victory in the 1980 World Series, the Phillies became the last of the "Original Sixteen" franchises to win a Series (although it should be noted that the St. Louis Browns never won a Series in St. Louis, having to wait until 1966, twelve years after they had become the Baltimore Orioles).[citation needed]

While Mike Schmidt was the official MVP of the 1980 World Series, the Babe Ruth Award (another World Series MVP) was given to Tug McGraw.[citation needed]

1980 World Series (4â€“2): Philadelphia Phillies (N.L.) over Kansas City Royals (A.L.)

NBC broadcast the Series on television, with play-by-play announcer Joe Garagiola, color commentators Tony Kubek and Tom Seaver, and field reporter Merle Harmon. Bryant Gumbel anchored the pre- and post-game shows, while former pitching great Bob Gibson and umpire Ron Luciano also contributed to NBC's coverage.

CBS Radio also carried the Series nationally, with Vin Scully handling the play-by-play and Sparky Anderson the color commentary. Win Elliot anchored the pre- and post-game shows for the network.

At this time CBS Radio held total broadcast exclusivity for the World Series, including in each team's market. Thousands of Phillies fans were outraged that they could not hear local team announcers Harry Kalas and Richie Ashburn call the games. They deluged the team, the networks, and the Commissioner's office with angry letters and petitions. The following year Major League Baseball changed its broadcast contract to allow the flagship radio stations for participating World Series teams to produce and air their own local Series broadcasts. The CBS Radio feed could potentially be heard in those markets on another station which held CBS's rights.[12][13] When the Phillies next won a World Series, in 2008, Kalas was able to make the call of the final out.

This Series is tied with the 1978 World Series for the highest overall television ratings to date, with the six games averaging a Nielsen rating of 32.8 and a share of 56.[14]

Minutes after the final out, Pennsylvania Governor Dick Thornburgh issued a proclamation declaring the next day "Philadelphia Phillies Day" in the state.[15][16] That day, a parade down Broad Street celebrated the Phillies win.[17] About half a million attended the parade, the first ticker-tape parade down Broad Street since the Flyers won the Stanley Cup in 1975,[17] as it made its way to John F. Kennedy Stadium.[17] Another 800,000 gathered around the stadium.[17] The parade was part of a day of statewide celebrations throughout Pennsylvania, per Thornburgh's proclamation.[17]

In 1980, all four of Philadelphia's major professional sports teams played for the championship of their respective sports, but only the Phillies were victorious. The Sixers lost to the Los Angeles Lakers in mid-May, eight days later the Flyers lost to the New York Islanders, and the Eagles would lose to the Oakland Raiders in Super Bowl XV in January 1981.[citation needed]

Soon after the World Series, members of both teams played for a week on Family Feud with host Richard Dawson. The week of shows was billed as a World Series Rematch Week. The Royals won three out of the five games played, with all the money going to charity.[citation needed]

The 1980 World Series was the first of numerous World Series that journeyman outfielder Lonnie Smith (then with the Phillies) participated in. He was also a part of the 1982 World Series (as a member of the St. Louis Cardinals), 1985 World Series (as a member of the Kansas City Royals), and the 1991 and 1992 World Series as a member of the Atlanta Braves. The two Braves seasons were the only years in which he played for the losing team in the Series.[citation needed]

Three men who played in the 1980 Series (John Vukovich, Dan Quisenberry, and Tug McGraw) have died of brain cancer. (Bobby Murcer and Johnny Oates, who played for the New York Yankees against the Royals in that year's ALCS, also succumbed to the disease, as did 1980 Yankees manager Dick Howser, who also managed the Royals to the 1985 World Series title, and Ken Brett, who pitched for Kansas City in the 1980â€“81 regular seasons.) Royals pitcher Paul Splittorff died of melanoma and oral cancer May 25, 2011.


who is captain miller in saving private ryan

Saving Private Ryan is a 1998 American epic war film directed by Steven Spielberg and written by Robert Rodat. Set during the Invasion of Normandy in World War II, the film is notable for its graphic portrayal of war, and for the intensity of its opening 27 minutes, which includes a depiction of the Omaha Beach assault during the Normandy landings. It follows United States Army Rangers Captain John H. Miller (Tom Hanks) and a squad (Tom Sizemore, Edward Burns, Barry Pepper, Giovanni Ribisi, Vin Diesel, Adam Goldberg, and Jeremy Davies) as they search for a paratrooper, Private First Class James Francis Ryan (Matt Damon), who is the last-surviving brother of four servicemen.

Saving Private Ryan

The film received widespread critical acclaim, winning several awards for film, cast, and crew, as well as earning significant returns at the box office. The film grossed $216.8 million domestically, making it the highest-grossing film of 1998 in the United States, and $481.8 million worldwide, making it the second-highest-grossing film of 1998 worldwide. The film was nominated for 11 Academy Awards, including Best Picture; Spielberg's direction won his second Academy Award for Best Director, with four more awards going to the film. Saving Private Ryan was released on home video in May 1999, earning another $44 million from sales.

In 2014, the film was selected for preservation in the National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant."[2]

An elderly veteran visits the Normandy American Cemetery and Memorial with his family. Upon seeing one particular grave, he falls to his knees overcome with emotion. The scene then shifts to the morning of June 6, 1944, as American soldiers land on Omaha Beach as part of the Normandy Invasion. They suffer heavy losses in assaulting German defensive positions of artillery and machine guns raining down intense fire on the American forces. Captain John H. Miller of the 2nd Ranger Battalion assembles a group to penetrate the German defenses, leading to a breakout from the beach. Elsewhere on the beach, a dead soldier lies face-down in the bloody surf; his pack is stenciled Ryan,Â S.

In Washington, D.C., at the U.S. War Department, General George Marshall learns that three of the four brothers of the Ryan family were killed in action and that the fourth son, James, has been parachuted somewhere over Normandy but is currently unable to be located. He is also informed that their mother will receive all three telegrams notifying her of her three sons' deaths on the same day. After reading Abraham Lincoln's Bixby letter aloud for his staff, he orders that James Ryan be found and returned home immediately.

Three days after D-Day, Miller receives orders to find Ryan and bring him back from the front. He assembles six men from his company—T/Sgt. Mike Horvath, Privates First Class Richard Reiben and Adrian Caparzo, Privates Stanley Mellish and Danny Jackson, medic Irwin Wade—plus T/5 Timothy Upham, a cartographer and interpreter borrowed from another unit. They move out to Neuville, where they meet a squad from the 101st Airborne Division, where Caparzo is killed by a German sniper, quickly taken out by Jackson. They locate a Private James Ryan but quickly learn he is not their man. They eventually encounter a friend of James Ryan, who tells them that he is defending an important bridge in the town of Ramelle.

On the way to Ramelle, Miller decides to neutralize a German machine gun position at a derelict radar station, despite his men's misgivings; Wade is killed in the skirmish. Miller, at Upham's urging, declines to execute a surviving German soldier (nicknamed "Steamboat Willie") and sets him free on the condition that he surrender to the first Allied unit he encounters. Losing confidence in Miller's leadership, Reiben declares his intention to desert, prompting a confrontation with Horvath, which Miller defuses by disclosing his civilian background as a teacher, about which his men had set up a betting pool. Reiben reluctantly decides to stay.

Outside Ramelle, Miller and the squad encounters a German half-track with troops and ambush them together with three paratroopers, one of whom is Ryan. In the town, Miller's squad find a small group of paratroopers preparing to defend the key bridge, and where Miller tells Ryan about his brothers and their orders to bring him home, with two of his men having been lost in finding him. He is distressed at the loss of his brothers, but asks Miller to tell his mother that he intends to stay "with the only brothers [he has] left." Miller decides to join his unit with the paratroopers in defense of the bridge against the imminent German attack. Miller forms ambush positions throughout the ruined town, preparing to attack arriving tanks and infantry with mines, Molotov cocktails, detonation cords and "sticky bombs" made from socks filled with Composition B smeared with thick grease.

Elements of the 2nd SS Panzer Division arrive with infantry and armor, comprising two Tiger I tanks and two Marder tank destroyers/light assault guns. Although they managed to inflict heavy casualties on the Germans, including destroying one Tiger tank and both Marders, most of the paratroopers, along with Jackson, Mellish and Horvath are killed, while Upham avoids fighting due to his jittery nerves and hides himself from his German foes. Miller attempts to blow up the bridge, but is shot and mortally wounded by Steamboat Willie, who had somehow rejoined the Germans. In confusion and supposed desperation after suffering intense German fire, Miller crawls to the middle of the bridge and attempts to open fire on the oncoming German tank and accompanying troops with his pistol. Just before the last Tiger tank reaches the bridge, an American P-51 Mustang flies overhead and destroys the tank, followed by American armored units which rout the remaining Germans. Witnessing Miller's shooting, Upham leaps out from his hiding and confronts Steamboat Willie and his group as they attempt to retreat. Steamboat Willie raises his hands in surrender and smiles, believing that Upham will accept because of their earlier encounter. Instead, Upham kills him, but lets the other Germans flee.

Reiben and Ryan are with Miller as he dies and utters his last words, "James...earn this. Earn it."

The elderly veteran is revealed to be Ryan and the grave he is standing at is Millerâ€™s. Ryan expresses his appreciation for what Miller and the others did for him. He then asks his wife if he is a "good man" worthy of their sacrifices, to which she tells him he is. Ryan comes to attention and salutes Miller's grave.

In 1994, Robert Rodat wrote the script for the film. Rodat's script was submitted to producer Mark Gordon, who liked it and in turn passed it along to Spielberg to direct. The film is loosely based on the World War II life stories of the Niland brothers. A shooting date was set for June 27, 1997.[3]

In casting the film Spielberg sought to create a cast that "looked" the part, stating in an interview, "You know, the people in World War II actually looked different than people look today", adding to this end that he cast partly based on wanting the cast "to match the faces I saw on the newsreels." [4]

Before filming began, several of the film's stars, including Edward Burns, Barry Pepper, Vin Diesel, Adam Goldberg, Giovanni Ribisi, and Tom Hanks, endured ten days of "boot camp" training led by Marine veteran Dale Dye and Warriors, Inc., a California-based company that specializes in training actors for realistic military portrayals.[5] Matt Damon was intentionally not brought into the camp, to make the rest of the group feel resentment towards the character.[6] Spielberg had stated that his main intention in forcing the actors to go through the boot camp was not to learn the proper techniques but rather "because I wanted them to respect what it was like to be a soldier."[4]

The film's second scene is a 20+ minute sequence recounting the landing on the beaches of Normandy. Spielberg chose to include this particularly violent sequence in order "to bring the audience onto the stage with me" specifically noting that he did not want the "audience to be spectators" but rather he wanted to "demand them to be participants with those kids who had never seen combat before in real life, and get to the top of Omaha Beach together."[4]

Spielberg had already demonstrated his interest in World War II themes with the films 1941, Empire of the Sun, Schindler's List, and the Indiana Jones series. Spielberg later co-produced the World War II themed television miniseries Band of Brothers and its counterpart The Pacific with Tom Hanks. When asked about this by American Cinematographer, Spielberg said, "I think that World War II is the most significant event of the last 100 years; the fate of the baby boomers and even Generation X was linked to the outcome. Beyond that, I've just always been interested in World War II. My earliest films, which I made when I was about 14 years old, were combat pictures that were set both on the ground and in the air. For years now, I've been looking for the right World War II story to shoot, and when Robert Rodat wrote Saving Private Ryan, I found it."[7]

Spielberg wanted an almost exact replica of the Omaha Beach landscape for the movie, including similar sand and a bluff similar to the one where German forces were stationed and a near match was found in Ireland. The D-Day scenes were shot in Ballinesker Beach, Curracloe Strand, Ballinesker, just east of Curracloe, County Wexford, Ireland.[8][9][10] Hanks recalled to Roger Ebert that although he realized it was a movie, the experience still hit him hard, stating, "The first day of shooting the D-Day sequences, I was in the back of the landing craft, and that ramp went down and I saw the first 1-2-3-4 rows of guys just getting blown to bits. In my head, of course, I knew it was special effects, but I still wasn't prepared for how tactile it was."[11] Filming began June 27, 1997, and lasted for two months.[12][13][14] Some shooting was done in Normandy, for the Normandy American Cemetery and Memorial in Colleville-sur-Mer and Calvados. Other scenes were filmed in England, such as a former British Aerospace factory in Hatfield, Hertfordshire, Thame Park, Oxfordshire and Wiltshire. Production was due to also take place in Seaham, County Durham, but government restrictions disallowed this.[15]

Saving Private Ryan has received critical acclaim for its realistic portrayal of World War II combat. In particular, the sequence depicting the Omaha Beach landings was named the "best battle scene of all time" by Empire magazine and was ranked number one on TV Guide's list of the "50 Greatest Movie Moments".[16] The scene cost US$12 million and involved up to 1,500 extras, some of whom were members of the Irish Reserve Defence Forces. Members of local reenactment groups such as the Second Battle Group were cast as extras to play German soldiers.[17] In addition, twenty to thirty actual amputees were used to portray American soldiers maimed during the landing.[18] Spielberg did not storyboard the sequence, as he wanted spontaneous reactions and for "the action to inspire me as to where to put the camera".[19]

The historical representation of Charlie Company's actions, led by its commander, Captain Ralph E. Goranson, was well maintained in the opening sequence. The sequence and details of the events are very close to the historical record, including the sea sickness experienced by many of the soldiers as the landing craft moved toward the shoreline, significant casualties among the men as they disembarked from the boats, and difficulty linking up with adjacent units on the shore.

The distinctive signature "ping" of the US soldiers' M1 Garand rifles ejecting their ammunition clips is heard throughout the battle sequence. The contextual details of the Company's actions were well maintained, for instance, the correct code names for the sector Charlie Company assaulted, and adjacent sectors, were used. Included in the cinematic depiction of the landing was a follow-on mission of clearing a bunker and trench system at the top of the cliffs which was not part of the original mission objectives for Charlie Company, but which they did undertake after the assault on the beach.[20]

The landing craft used included twelve actual World War II examples, 10 LCVPs and 2 LCMs, standing in for the British LCAs that the Ranger Companies rode in to the beach during Operation Overlord.[20][21] The filmmakers used underwater cameras to better depict soldiers being hit by bullets in the water. Forty barrels of fake blood were used to simulate the effect of blood in the seawater.[18] This degree of realism was more difficult to achieve when depicting World War II German armored vehicles, as few examples survive in operating condition. The Tiger I tanks in the film were copies built on the chassis of old, but functional, Soviet T-34 tanks.[22] The two vehicles described in the film as Panzers were meant to portray Marder III tank destroyers. One was created for the film using the chassis of a Czech-built Panzer 38(t) tank[23] similar to the construction of the original Marder III; the other was a cosmetically modified Swedish SAV m/43 assault gun, which also used the 38(t) chassis.[24]

There are, however, historical inaccuracies in the film's depiction of the Normandy campaign. At the time of the mission, American forces from the two American beach areas, Utah and Omaha, had not yet linked up.[25] In reality, a Ranger team operating out of the Omaha beach area would have had to move through the heavily enemy-occupied city of Carentan, or swim or boat across the estuary linking Carentan to the channel, or transfer by boat to the Utah landing area. On the other hand, US forces moving out of Utah would have had direct and much shorter routes, relatively unencumbered by enemy positions, and were already in contact with some teams from both US airborne divisions landed in the area.[26]

The Utah beach landings, however, were relatively uncontested, with assault units landing on largely unoccupied beaches and experiencing far less action than the landings at Omaha.[27] The filmmakers chose to begin the narrative with a depiction of the more dramatic story of Omaha, despite the strategic inaccuracy of an impossible mission that could easily have been pursued from the other beach area. In addition, one of the most notable of the operational flaws is the depiction of the 2nd SS Panzer Division Das Reich as the adversary during the fictional Battle of Ramelle. The 2nd SS was not engaged in Normandy until July, and then at Caen against the British and Canadians, 100 miles east.[28] Furthermore, the Merderet River bridges were not an objective of the 101st Airborne Division but of the 82nd Airborne Division, part of Mission Boston.[29]

Much has also been said about various "tactical errors" made by both the German and American forces in the film's climactic battle. Spielberg responded, saying that in many scenes he opted to replace sound military tactics and strict historical accuracy for dramatic effect.[30] Some other technical errors were also made, often censored, including the mistaken reversed orientation of the beach barriers; the tripod obstructions with a mine at the apex.

To achieve a tone and quality that was true to the story as well as reflected the period in which it is set, Spielberg once again collaborated with cinematographer Janusz Kamiński, saying, "Early on, we both knew that we did not want this to look like a Technicolor extravaganza about World War II, but more like color newsreel footage from the 1940s, which is very desaturated and low-tech." Kamiński had the protective coating stripped from the camera lenses, making them closer to those used in the 1940s. He explains that "without the protective coating, the light goes in and starts bouncing around, which makes it slightly more diffused and a bit softer without being out of focus." The cinematographer completed the overall effect by putting the negative through bleach bypass, a process that reduces brightness and color saturation. The shutter timing was set to 90 or 45 degrees for many of the battle sequences, as opposed to the standard of 180-degree timing. Kamiński clarifies, "In this way, we attained a certain staccato in the actors' movements and a certain crispness in the explosions, which makes them slightly more realistic."[31]

Saving Private Ryan was a critical and commercial success and is credited with contributing to a resurgence in America's interest in World War II. Old and new films, video games, and novels about the war enjoyed renewed popularity after its release.[32] The film's use of desaturated colors, hand-held cameras, and tight angles has profoundly influenced subsequent films and video games.[33][34] Saving Private Ryan was released in 2,463 theaters on July 24, 1998, and grossed $30.5 million on its opening weekend. The film grossed $216.5 million in the US and Canada. and $265.3 million in other territories, bringing its worldwide total to $481.8 million and making it the highest-grossing US film of the year.[1] Box Office Mojo estimates that the film sold over 45.74 million tickets in the United States and Canada.[35]

The film received critical acclaim and has a 'certified fresh' rating of 92% on Rotten Tomatoes based on 132 reviews with an average score of 8.6 out of 10. The consensus states "Anchored by another winning performance from Hanks, Spielberg's unflinchingly realistic war film virtually redefines the genre."[36] The film also has a score of 90 out of 100 on Metacritic based on 35 critic reviews indicating "universal acclaim".[37]

Much of the praise went for the realistic battle scenes[38] and the actors' performances.[39] However, it did earn some criticism for ignoring the contributions of several other countries to the D-Day landings in general and at Omaha Beach specifically.[40] The most direct example of the latter is that during the actual landing the 2nd Rangers disembarked from British ships and were taken to Omaha Beach by Royal Navy landing craft (LCAs). The film depicts them as being United States Coast Guard-crewed craft (LCVPs and LCMs) from an American ship, the USS Thomas Jefferson (APA-30).[20][41][42] This criticism was far from universal with other critics recognizing the director's intent to make an "American" film.[43] The film was not released in Malaysia after Spielberg refused to cut the violent scenes;[44] however, the film was finally released there on DVD with an 18SG certificate much later in 2005. Many critics associations, such as New York Film Critics Circle and Los Angeles Film Critics Association, chose Saving Private Ryan as Film of the Year.[45] Roger Ebert gave it four stars out of four and called it "a powerful experience".[39]

Filmmaker Robert Altman wrote a letter to Spielberg stating, "Private Ryan was awesome -- best I've seen."[46] Filmmaker Quentin Tarantino has expressed admiration for the film and has cited it as an influence on his 2009 film, Inglourious Basterds.[47]

Many World War II veterans stated that the film was the most realistic depiction of combat they had ever seen.[48] The film was so realistic that combat veterans of D-Day and Vietnam left theaters rather than finish watching the opening scene depicting the Normandy invasion. Their visits to posttraumatic stress disorder counselors rose in number after the film's release, and many counselors advised "'more psychologically vulnerable'" veterans to avoid watching it.[49] The Department of Veterans Affairs set up a nationwide hotline for veterans who were affected by the film, and less than two weeks after the film was released it had already received over 170 calls.[50]

The film has gained criticism and negative reviews from some war veterans and film critics. Film director and military veteran Oliver Stone has accused the film of promoting "the worship of World War II as the good war," and has placed it alongside films such as Gladiator and Black Hawk Down that he believes were well-made, but may have inadvertently contributed to Americans' readiness for the 2003 invasion of Iraq.[51] In defense of the film's portrait of warfare, Brian De Palma commented, "The level of violence in something like Saving Private Ryan makes sense because Spielberg is trying to show something about the brutality of what happened."[52] Actor Richard Todd, who performed in The Longest Day and was amongst the first of the Allied soldiers to land in Normandy (Operation Tonga), said the film was "Rubbish. Overdone."[53] American academic Paul Fussell, who saw combat in France during World War II, objected to what he described as, "the way Spielberg's Saving Private Ryan, after an honest, harrowing, 15-minute opening visualizing details of the unbearable bloody mess at Omaha Beach, degenerated into a harmless, uncritical patriotic performance apparently designed to thrill 12-year-old boys during the summer bad-film season. Its genre was pure cowboys and Indians, with the virtuous cowboys of course victorious."[54]

The film was nominated for eleven Academy Awards, and won five including Best Cinematography, Best Sound Mixing, Best Sound Effects Editing, Best Film Editing, and Best Director for Spielberg, but lost the Best Picture award to Shakespeare in Love, being one of a few that have won the Best Director award without also winning Best Picture.[55][56] The Academy's decision to not award the film with the Best Picture Oscar has resulted in much criticism in recent years, with many considering it as one of the biggest snubs in the ceremony's history.[57][58]

The film also won the Golden Globes for Best Motion Picture – Drama and Director, the BAFTA Award for Special Effects and Sound, the Directors Guild of America Award, a Grammy Award for Best Film Soundtrack, the Producers Guild of America Golden Laurel Award, and the Saturn Award for Best Action, Adventure, or Thriller Film.[45] The American Film Institute has included Saving Private Ryan in many of its lists, ranking it as the 71st greatest American movie in AFI's 100 Years...100 Movies (10th Anniversary Edition),[59] as well as the 45th most thrilling film in AFI's 100 Years...100 Thrills,[60] the 10th most inspiring in AFI's 100 Years...100 Cheers,[61] and the eighth best epic film in "AFI's 10 Top 10".[62]

On Veterans Day from 2001â€“2004, the American Broadcasting Company aired the film uncut and with limited commercial interruption. The network airings were given a TV-MA rating, as the violent battle scenes and the profanity were left intact. The 2004 airing was marred by pre-emptions in many markets because of the language, in the backlash of Super Bowl XXXVIII's halftime show controversy.[63] However, critics and veterans' groups such as the American Legion and the Veterans of Foreign Wars assailed those stations and their owners, including Hearst-Argyle Television (owner of 12 ABC affiliates); Scripps Howard Broadcasting (owner of six); and Belo (owner of four) for putting profits ahead of programming and honoring those who gave their lives at wartime, saying the stations made more money running their own programming instead of being paid by the network to carry the film, especially during a sweeps period.

A total of 65 ABC affiliates—28% of the network—did not clear the available timeslot for the film, even with the offer of The Walt Disney Company, ABC's parent, to pay all fines for language to the Federal Communications Commission.[64] In the end, however, no complaints were lodged against ABC affiliates who showed Ryan, perhaps because even conservative watchdogs like the Parents Television Council supported the unedited rebroadcast of the film.[65] Additionally, some ABC affiliates in other markets that were near affected markets, such as Youngstown, Ohio, ABC affiliate WYTV (which is viewable in parts of the Columbus, Cleveland, and Pittsburgh markets, none of which aired the film) and Gainesville, Florida, ABC affiliate WCJB-TV (which is viewable in parts of the Orlando and Tampa markets), still aired the film and gave those nearby markets the option of viewing the film.[66] TNT and Turner Classic Movies have also broadcast the film.[67][68]

The film was released on home video in May 1999 with a VHS release that earned over $44 million.[69] The DVD release became available in November of the same year,[70] and was one of the best-selling titles of the year, with over 1.5 million units sold.[71] The DVD was released in two separate versions: one with Dolby Digital and the other with DTS 5.1 surround sound. Besides the different 5.1 tracks, the two DVDs are identical. The film was also issued in a limited 2-disc LaserDisc in November 1999, making it one of the last feature films to be issued in this format, as LaserDiscs ceased manufacturing and distribution by year's end.[72]

In 2004, a Saving Private Ryan special edition DVD was released to commemorate the 60th anniversary of D-Day. This two-disc edition was also included in a box set titled World War II Collection, along with two documentaries produced by Spielberg, Price For Peace (about the Pacific War) and Shooting War (about war photographers, narrated by Tom Hanks).[73] The film was released on Blu-ray Disc on April 26, 2010 in the UK and on May 4, 2010 in the US, as part of Paramount Home Video's premium Sapphire Series.[74] However, only weeks after its release, Paramount issued a recall due to audio synchronization problems. The studio issued an official statement acknowledging the problem, which they attributed to an authoring error by Technicolor that escaped the quality control process, and that they had already begun the process of replacing the defective discs.[75]

On May 8, 2018, Paramount Home Media Distribution will release Saving Private Ryan on Ultra HD Blu-ray to celebrate the 20th anniversary of the release of the film.[76]