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Jumping the broom
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This article is about the custom and phrase. For the 2008 film, see Noah's Arc: Jumping the Broom. For the 2011 film, see Jumping the Broom.
"Marrying over the Broomstick", 1822 illustration of a "broomstick-wedding" by James Catnach.[1]
Jumping the broom is a phrase and custom relating to a wedding ceremony where the couple jumps over a broom. It has been suggested that the custom is based on an 18th-century idiomatic expression for "sham marriage", "marriage of doubtful validity"; it was popularized in the context of the introduction of civil marriage in Britain with the Marriage Act 1836.
There have also been suggestions that the expression may derive from an actual custom of jumping over a "broomstick" (where "broom" refers to the plant common broom rather than the household implement) associated with the gypsies (Romani) of the United Kingdom,[2] especially those in Wales.[3]
The custom of a marrying couple literally jumping over a broom is now most widespread among African Americans, popularized in the 1970s by the novel and miniseries Roots but originating in the mid 19th century as a practice in antebellum slavery in the United States.[4]
Contents
[hide]
1 As an expression for "irregular marriage"
2 British Romani customs
3 African American custom
4 In popular culture
5 References
6 Further reading
7 External links
As an expression for "irregular marriage"[edit]
References to "broomstick marriages" emerged in England in the mid-to-late 18th century, always to describe a wedding ceremony of doubtful validity. The earliest use of the phrase is in the 1764 English edition of a French work: the French text, describing an elopement, refers to the runaway couple hastily making un mariage sur la croix de l'épée (literally ‘marriage on the cross of the sword’), an expression the English translator freely renders as ‘performed the marriage ceremony by leaping over a broomstick’.[5]
A 1774 usage in the Westminster Magazine also describes an elopement. A man who had taken his under-age bride off to France discovered it was as hard to arrange a legal marriage there as in England, but declined a suggestion that a French sexton might simply read the marriage service through before the couple as "He had no inclination for a Broomstick-marriage".[6] In 1789 the rumoured clandestine marriage between the Prince Regent and Maria Fitzherbert is similarly referred to in a satirical song in The Times: "Their way to consummation was by hopping o’er a broom, sir".[7]
Despite these allusions, research by the legal historian Professor R. Probert of Warwick University has failed to find any proof of an actual contemporary practice of jumping over a broomstick as a sign of informal union. Probert also points out that the word broomstick was used in the mid-18th century in several contexts to mean ‘something ersatz, or lacking the authority its true equivalent might possess.’ She therefore argues that because the expression broomstick marriage, meaning 'sham marriage', was in circulation, folk etymology led to a belief that people must actually have once signified irregular marriage by jumping over a broom.[5]. Tyler D. Parry, Associate Professor of African American Studies, contests the claim that no literal jump was used in Britain, arguing that enslaved people of African descent and British migrants engaged in numerous cultural exchanges during the 18th and 19th centuries. He shows numerous correlations between the ceremonies of slaves and those of the rural British, contending it is not simply coincidental that two groups, separated by an ocean, utilized similar matrimonial forms revolving around the broomstick. If British practitioners never used a physical leap, Parry wonders how enslaved people in the US South learned of the custom.[8]
There are later examples of the term broomstick marriage being used in Britain, always with a similar implication that the ceremony so performed did not create a legally binding union. This meaning survived into the early nineteenth century: during a case heard in London in 1824 regarding the legal validity of a marriage ceremony consisting of nothing more than the groom placing a ring on the bride's finger before witnesses, a court official commented that the ceremony "amounted to nothing more than a broomstick marriage, which the parties had it in their power to dissolve at will."[9]
A decade later, the Marriage Act 1836, which introduced civil marriage, was contemptuously referred to as the ‘Broomstick Marriage Act’ by those who felt that a marriage outside the Anglican church did not deserve legal recognition.[10] Some also began to use the phrase to refer to non-marital unions: a man interviewed in Mayhew's London Labour and the London Poor admitted: "I never had a wife, but I have had two or three broomstick matches, though they never turned out happy."[11]
Tinkers were said to have a similar custom of marriage called "jumping the budget", with the bride and groom jumping over a string or other symbolic obstacle.[12]
Charles Dickens' novel, Great Expectations (first published in serial form in the publication All the Year Round from 1 December 1860 to August 1861), contains a reference in chapter 48 to a couple having been married "over the broomstick." The ceremony is not portrayed, but the reference indicates that the readers would have recognized this as referring to an informal, not a legally valid, agreement.[13]
It has often been assumed that, in England, jumping over the broom (or sometimes walking over a broom), always indicated an irregular or non-church union (as in the expressions "Married over the besom", "living over the brush"),[14] but there are examples of the phrase being used in the context of legal weddings, both religious and civil.[15]
Other sources have stepping over a broom as a test of chastity, while putting out a broom was also said to be a sign "that the housewife’s place is vacant" and a way, therefore, of advertising for a wife.[16]
In America the phrase could be used as slang describing the act of getting married legally, rather than as specifying an informal union not recognised by church or state.[17]
British Romani customs[edit]
In Wales, Romani couples would get married by eloping, when they would "jump the broom," or over a branch of flowering common broom or a besom made of broom.[3] Welsh Kale and English Romanichal Gypsies and Romanichal populations in Scotland practised the ritual into the 1900s.[3]
According to Alan Dundes (1996), the custom originated among Romani people in Wales (Welsh Kale) and England (Romanichal).[18]
C.W. Sullivan III (1997) in a reply to Dundes argued that the custom originated among the Welsh people themselves,[19] known as priodas coes ysgub ("besom wedding"),[20] Sullivan's source is the Welsh folklorist Gwenith Gwynn (a.k.a. W. Rhys Jones),[20] who assumed that the custom had once existed on the basis of conversations with elderly Welsh people during the 1920s, none of whom had ever seen such a practice. One had claimed that: "It must have disappeared before I was born, and I am seventy-three". Gwynn's dating of the custom to the 18th century rested on the assumption that it must have disappeared before these elderly interviewees were born, and on his misreading of the baptism register of the parish of Llansantffraid Glyn Ceiriog.[21]
Local variations of the custom were developed in different parts of England and Wales. Instead of placing the broom on the ground, and jumping together, the broom was placed in an angle by the doorway. The groom jumped first, followed by the bride.[22] In southwest England, in Wales, and in the border areas between Scotland and England, "[while some] couples ... agreed to marry verbally, without exchanging legal contracts[,] .... [o]thers jumped over broomsticks placed across their thresholds to officialize their union and create new households", indicating that contractless weddings and jumping the broomstick were different kinds of marriage.[23]
African American custom[edit]
A 2011 wedding in California
In some African-American communities, marrying couples will end their ceremony by jumping over a broomstick, either together or separately. This practice is well attested for as a marriage ceremony for slaves in the Southern United States in the 1840s and 1850s who were often not permitted to wed legally. Its revival in 20th century African American culture is due to the novel and miniseries Roots (1976, 1977).[24]
Dundes (1996) notes the unusual development of how "a custom which slaves were forced to observe by their white masters has been revived a century later by African Americans as a treasured tradition".[25]
There have been occasional speculations to the effect that the custom may have origins in West Africa, but there is no direct evidence for this, although Dundes points to a custom of Ghana where brooms were waved above the heads of newlyweds and their parents.[26] Among southern Africans, who were largely not a part of the Atlantic slave trade, it represented the wife's commitment or willingness to clean the courtyard of the new home she had joined.[26] Tyler D. Parry argues the Ghanaian connection is a weak case for its origins, especially considering the ritual used by slaves bears far more similarities to the custom in the British Isles. Parry argues that, despite the racial animus that characterized the US South in the nineteenth century, poor white southerners (many of them descendants of people who used irregular forms of matrimony in Britain) and enslaved people exchanged their cultures between one another at far greater rates than commonly acknowledged.[27] Enslaved people who mentioned
Slave-owners were faced with a dilemma regarding committed relationships between slaves. While some family stability might be desirable as helping to keep slaves tractable and pacified, anything approaching a legal marriage was not. Marriage gave a couple rights over each other which conflicted with the slave-owners’ claims.[28] Most marriages between enslaved blacks were not legally recognized during American slavery,[29] as in law marriage was held to be a civil contract, and civil contracts required the consent of free persons.[30] In the absence of any legal recognition, the slave community developed its own methods of distinguishing between committed and casual unions.[31] The ceremonial jumping of the broom served as an open declaration of settling down in a marriage relationship. Jumping the broom was always done before witnesses as a public ceremonial announcement that a couple chose to become as close to married as was then allowed.[32]
Jumping the broom fell out of practice when blacks were free to marry legally.[33] The practice did survive in some communities, and the phrase "jumping the broom" was synonymous with "getting married," even if the couple did not literally jump a broom.[34] However, despite its smaller scale continuity in certain rural areas of the United States (among both black and white communities), it made a resurgence among African Americans after the publication of Alex Haley's Roots[24] Danita Rountree Green describes the African American custom as it stood in the early 1990s in her book Broom Jumping: A Celebration of Love (1992).
In popular culture[edit]
American singer-songwriter Brenda Lee released the rockabilly song "Let's Jump the Broomstick" on Decca Records in 1959. Via its association with Wales and the popular association of the broom with witches, the custom has also been adopted by some Wiccans.[35]
A film titled Jumping the Broom, directed by Salim Akil, and starring Paula Patton & Laz Alonso was released on 6 May 2011.
In a 2013 episode of Grey's Anatomy, Miranda Bailey and Ben Warren jump over a broom at the conclusion of their wedding ceremony.
In the classic 1977 TV mini-series Roots, Kunta Kinte/"Toby" (played by John Amos as adult Kunta Kinte - Levar Burton played the teenager Kunta Kinte) had a marriage ceremony where he and Belle (played by Madge Sinclair) jumped the broom.
In the 2016 film The Birth of a Nation, a couple getting betrothed is seen jumping a broom.
In an episode of The_Originals_(season_2) (Episode 13 "The Devil is Damned") the custom is described as being necessary when a priest is not available and the wedding "couldn't wait."
In Andre 3000's song titled International Players Anthem (I Choose You) he references the custom.
References[edit]
Jump up ^ "Cathnach's illustrated twopenny-sheets of the 1820s carried charming drawings of broomstick weddings" R. B. Outhwaite, Clandestine Marriage in England, 1500-1850, A&C Black, 1995, p. 140.
Jump up ^ Dundes, Alan: "Jumping the Broom: On the Origin and Meaning of an African American Wedding Custom" page 327. The Journal of American Folklore, 1996 https://www.jstor.org/stable/541535 "evidence showing the wedding custom was practised by gypsies in England, Scotland" Donald F. Joyce "Rooted in the chants of slaves, Blacks in the humanities, 1985-1997: a selected annotated bibliography" Greenwood Publishing Group, 1999 p56
^ Jump up to: a b c Thompson, T. W. "British Gipsy Marriage and Divorce Rites", quoted in The Times, Issue 54004, 21 September 1928; p.11. A paper read at the 1928 jubilee congress of the Folk Lore Society in London refers to this: "In Wales there was preserved until recently a marriage ritual of which the central feature was the jumping of the bride and bridegroom over a branch of flowering broom or over a besom made of broom."
Jump up ^ Norman Kolpas, Katie Kolpas "Practically Useless Information on Weddings" Thomas Nelson Inc, 2005 p30
^ Jump up to: a b Probert, R. Marriage Law and Practice in the Long Eighteenth Century: A Reassessment (Cambridge: Cambridge University Press, 2009)
Jump up ^ (1774) 2 Westminster Magazine, p. 16
Jump up ^ The Times, Tuesday, 8 September 1789; pg. 4; Issue 1251; col A
Jump up ^ Parry, Tyler D. (May 2015). "Married in Slavery Time: Jumping the Broom in Atlantic Perspective". Journal of Southern History. 81 (2): 273–312.
Jump up ^ The Times, 13 August 1824, p.3
Jump up ^ Jackson’s Oxford Journal 12 September 1840, p. 1; Saint Valentine: or, Thoughts on the evil of Love in Mercantile Community: The Galanti Show (1843) 13 Bentley’s Miscellany 151
Jump up ^ Volume I, Pg. 389-91. Quoted in Thomas, Donald, The Victorian Underworld John Murray, 1998. Pg. 62
Jump up ^ Chesney, Kellow. The Victorian Underworld Penguin, 1970. Pg. 92
Jump up ^ "They both led tramping lives, and this woman in Gerrard-street here, had been married very young, over the broomstick (as we say), to a tramping man,..." DICKENS, C. Great Expectations (1860-1861), Chap. 48
Jump up ^ Dundes, Alan (Summer 1996). "'Jumping the Broom': On the Origin and Meaning of an African American Wedding Custom". The Journal of American Folklore. 109 (433): 327. doi:10.2307/541535.
Jump up ^ See Dudley Heath, ‘In Coster-Land’ (1894) 125 English Illustrated Magazine 517, referring to ‘a newly-made and happy couple on their way from Bethnal Green, where, at the Red Church, they have for the sum of seven-pence halfpenny gone through the ceremony of "jumping the broomstick"’
Jump up ^ J.G. Whitehead, M. Terry, B. Aitken, ‘Scraps of English Folklore, XII’ (1926) 37 Folklore 76; Sheila Stewart, Lifting the Latch: A Life on the Land (Charlbury: Day Books, 2003)
Jump up ^ In a short story published in 1896 a character remarks of two lovers who are keen to wed, "Young ‘n’ old has be’n lookin’ constant fer these two ter jump the broomstick ‘n’ give ‘em weddin’ cake, ‘n’ chicken pie." New York Times. 29 March 1896. Missing or empty |title= (help)
Jump up ^ Dundes, Alan. "'Jumping the Broom': On the Origin and Meaning of an African American Wedding Custom", The Journal of American Folklore, 1996, p.327.
Jump up ^ Sullivan, C. W. (1 January 1997). ""Jumping the Broom": A Further Consideration of the Origins of an African American Wedding Custom". The Journal of American Folklore. 110 (436): 203–204. doi:10.2307/541813. JSTOR 541813 – via JSTOR.
^ Jump up to: a b Gwynn, Gwenith (W. Rhys Jones). "'Besom Wedding' in the Ceiriog Valley", Folklore, Vol. 39, No. 2, 30 June 1928, pp.149-166.
Jump up ^ Probert, R. (2005) Chinese Whispers and Welsh Weddings, 20 Continuity and Change 211-228
Jump up ^ Jones, T. Gwynn. Welsh Folklore, 1930.
Jump up ^ Evans, Tanya, Women, Marriage and the Family, in Barker, Hannah, & Elaine Chalus, eds., Women's History: Britain, 1700–1850: An Introduction (Oxon/London: Routledge, 2005 (ISBN 0-415-29177-1)), p. 60 & n. 19 (n. omitted) (author Evans postdoctoral research fellow, Ctr. for Contemp. Brit. Hist., Institute for Historical Research, London, editor Barker sr. lecturer history, Univ. of Manchester, & editor Chalus sr. lecturer history, Bath Spa Univ. Coll.), citing, at p. 60 n. 19, Gillis, J., Married But Not Churched: Plebeian Sexual Relations and Marital Nonconformity in Eighteenth-Century Britain, in Eighteenth-Century Life, vol. 9 (1985), pp. 32–34, & Leneman, Leah, Promises, Promises Marriage Litigation in Scotland, 1698–1830 (Edinburgh: no publisher, 2003), pp. x–xi.
^ Jump up to: a b Parry, Tyler (2011). "An Irregular Union: Exploring the Welsh Connection to a Popular African American Wedding Ritual" in Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television and Digital Media edited by Audrey L. Becker and Kristin Noone. Jefferson, NC: McFarland and Company, Inc. pp. 109–110, 123–124.
Jump up ^ Dundes(1996:324-328).
^ Jump up to: a b Dundes, Alan. "'Jumping the Broom': On the Origin and Meaning of an African American Wedding Custom", The Journal of American Folklore, 1996, p. 326
Jump up ^ Parry, Tyler D. (2016). "The Holy Land of Matrimony: The Complex LEgacy of the Bromstick Wedding in American History". American Studies. 55 (1): 81–106.
Jump up ^ The Times: 3. 3 February 1824. Missing or empty |title= (help) The sort of difficulties which might arise were raised by an anti-slavery correspondent in 1824 in The Times discussing Jamaican slaves. He asked what changes a recent increase in church marriages among them had actually achieved: "Do they legally prevent a master from separating husband and wife, at his pleasure, by sale or transfer? Do they legally bind the husband to the wife, and the wife to the husband? Do they give to the husband the right and the means of redress against the violator of his conjugal peace?"
Jump up ^ Taylor, Orville W. (1958). "Jumping the Broomstick:Slave Marriage and Morality in Arkansas". The Arkansas Historical Quarterly. Taylor quotes from an 1882 ruling by Justice James Eakin of the Arkansas Supreme Court: 'There were no valid marriages amongst that class [the slaves], in the slave states of America before their general emancipation...'
Jump up ^ "A Slave's Marriage Valid: Its Legality Defined". New York Times. 20 July 1876. A New York court upheld the retrospective validity of a marriage between Anthony Jones and Patsy Minor, even though at the time and place it had been contracted such marriages between slaves were not legally recognized. Both Jones and Minor had been slaves in Virginia when, with consent of their respective masters, they declared an intention to live together as man and wife. Jones later died intestate in New York, leaving an estate valued at $15,000; a court ruled in favour of the claims of his widow and surviving son.
Jump up ^ "A Slave's Marriage Valid: Its Legality Defined". New York Times. 20 July 1876. 'It appears by the evidence that Anthony Jones and Patsy Minor were named according to the custom among slaves, and that the distinction was recognized among slaves, and by their masters, between such lawful and illicit intercourse, and those who cohabited without such marriage were regarded as disreputable.'
Jump up ^ In 'The Story of My Life' (1897) a white author, Mary Ashton Rice Livermore, described a broomstick wedding she attended at a Virginia plantation c. 1842. The preacher (a fellow slave) encouraged the marrying couple to see the broomstick-jumping as a serious expression of their mutual commitment, although he was well aware of the legal limitations of the ceremony. [1]
Jump up ^ Parry, Tyler (2011). "An Irregular Union: Exploring the Welsh Connection to a Popular African-American Wedding Ritual" in Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television, and Digital Media edited by Audrey L. Becker and Kristin Noone. Jefferson, NC: McFarland and Company, Inc. p. 123.
Jump up ^ Parry, Tyler D. (2016). "The Holy Land of Matrimony: The Complex Legacy of the Broomstick Wedding in American History". American Studies. 55 (1): 81–106.
Jump up ^ Jumping the Broom: Besom Weddings Parry, Tyler (2011). "An Irregular Union: Exploring the Welsh Connection to a Popular African American Wedding Ritual" in Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television and Digital Media edited by Audrey L. Becker and Kristin Noone. Jefferson, NC: McFarland and Company, Inc. pp. 124–125. Martin Heath, Jumping the broomstick (bbc.co.uk, 2004).
Further reading[edit]
Anyiam, Thony C. (2007). Jumping the Broom in Style. Authorhouse. ISBN 1-4259-8638-2.
Taylor, Orville W. (1958). "'Jumping the Broomstick': Slave Marriage and Morality in Arkansas". Arkansas Historical Quarterly. 17 (3): 217–231. JSTOR 40018908.
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Bailee Madison
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Bailee Madison
Madison in January 2015
Born
(1999-10-15) October 15, 1999 (age 18)
Fort Lauderdale, Florida, U.S.
Occupation
Actress
Years active
2006–present
Bailee Madison (born October 15, 1999) is an American actress. She is known for her film roles as May Belle Aarons in Bridge to Terabithia (2007), Isabelle in Brothers (2009), Sally Hurst in Don't Be Afraid of the Dark (2010), Maggie in Just Go with It (2011), and Harper Simmons in Parental Guidance (2012).
On television, she made guest appearances as Maxine Russo in Wizards of Waverly Place and young Snow White in Once Upon a Time. She also has a recurring role as Sophia Quinn in The Fosters. In 2015, she began starring as Grace Russell in the Hallmark Channel series Good Witch.
Contents
[hide]
1 Life and career
1.1 Community involvement
2 Filmography
2.1 Film
2.2 Television
3 Awards and nominations
4 References
5 External links
Life and career[edit]
Madison was born in Fort Lauderdale, Florida, the youngest of seven children. She has four brothers and two sisters. Her older sister, Kaitlin Riley, is also an actress. Her mother is Patricia Riley.[1] She began her career when she was two weeks old in an Office Depot commercial. Since then, she has appeared in several national commercials for major companies including Disney, SeaWorld, and Cadillac. She also serves as a national youth spokesperson for the childhood-cancer charity Alex's Lemonade Stand Foundation.[2][3]
She made her major motion picture debut in the movie Lonely Hearts, in which she plays Rainelle, a girl thrown into the midst of a world of crime. Madison also has a significant role in the Disney movie Bridge to Terabithia, based on the children's book. She plays May Belle Aarons, the younger sister of the lead male character played by Josh Hutcherson. She also appears in the independent film Look as Megan, a girl who is being watched and followed by a kidnapper.
Madison at the Faith and Values Awards Gala in 2008
Madison had a small role in Terminator: The Sarah Connor Chronicles during the season 1 finale "What He Beheld" as a girl who becomes part of a short-lived hostage situation. In the DVD extras it is said that they thought about changing the role slightly because of its violent nature, but she insisted that they not. Madison appeared in Nickelodeon's made-for-TV movie, The Last Day of Summer. She plays a girl who helps a friend during a difficult time. Another Nickelodeon production she had a role in was the television Christmas special Merry Christmas, Drake & Josh. She played a girl who lived with a foster family.
Madison is seen in a featured supporting role in the 2009 film Brothers as Isabelle Cahill, the older daughter of Captain Sam Cahill (Tobey Maguire) and Grace Cahill (Natalie Portman). For her portrayal in the movie, she was nominated for both a Saturn Award and a BFCA Critics' Choice Award. In 2010, Madison was in the movie Letters to God, where she portrayed Samantha Perryfield, best friend of the lead character who is fighting cancer.
She is seen in Conviction playing the younger version of Hilary Swank's character, Betty Anne Waters. She can be seen in the episode "Locum" from Law & Order: Special Victims Unit as Mackenzie Burton, a girl who was adopted and feels like she is only filling the place of her parents' older daughter who was abducted years ago. She appeared in three episodes of the children's horror series, R.L. Stine's The Haunting Hour.
In 2011, Madison had a recurring role in the Disney Channel Original Series Wizards of Waverly Place as Maxine, the girl form of Max Russo. She also appeared in Just Go with It, alongside Adam Sandler and Jennifer Aniston, as Maggie Murphy, a young girl who wants to become an actress. Madison can be seen in the drama film, An Invisible Sign as the younger version of Jessica Alba's character Mona Gray. She starred in her first leading role in the horror film, Don't Be Afraid of the Dark, alongside Katie Holmes and Guy Pearce where she portrayed Sally Hurst, a lonely withdrawn child who is sent to live with her father and his new girlfriend.
Madison at the Golden Globes Gift Lounge on January 14, 2012
In 2012, Madison appeared in the Hallmark film A Taste of Romance alongside Teri Polo and James Patrick Stuart. She also had a guest role as the younger version of Ginnifer Goodwin's character Snow White in the TV series Once Upon a Time. She also could be seen as the main character in the film Cowgirls n' Angels where she played the feisty and rebellious Ida Clayton who has fantasies of finding her father, a rodeo rider. Madison appeared in another Hallmark film entitled Smart Cookie as Daisy, an eager girl hoping to prove herself as a Girl Scout. In December, she appeared in the family comedy film Parental Guidance, alongside Billy Crystal and Bette Midler.
In 2013, Madison began playing Hillary on the TV sitcom Trophy Wife, replacing Gianna LePera who played the character in the pilot.[4] In 2014, she began playing the recurring role of Sophia Quinn in the ABC Family drama The Fosters. In 2015, she began playing Grace Russell, the daughter of Cassie Nightingale, in the Hallmark series Good Witch.[5]
Bailee Madison's career also includes voice over work (or voice acting) with Breathe Bible. [6]
Community involvement[edit]
Madison has served as the national youth spokesperson for Alex's Lemonade Stand Foundation since 2010, an organization that encourages kids to fundraise and spread awareness of pediatric cancer by running their own lemonade stands.[7]
Filmography[edit]
Film[edit]
Year
Title
Role
Notes
2006 Lonely Hearts Rainelle Downing
2007 Bridge to Terabithia[8] May Belle Aarons
2007 Look Megan
2008 Phoebe in Wonderland Olivia Lichten
2009 Brothers Isabelle Cahill
2010 An Invisible Sign[9] Young Mona Gray
2010 Conviction Young Betty Anne Waters
2010 Letters to God Samantha Perryfield
2011 Just Go With It Maggie Murphy (Kiki Dee)
2011 Don't Be Afraid of the Dark Sally Hurst
2011 25 Hill Kate Slater Cameo appearance
2012 Parental Guidance Harper Simmons
2012 Monica Monica Voice role; animated short
2012 Cowgirls 'n Angels Ida Clayton [10]
2013 The Magic Bracelet Ashley Short film
2016 Annabelle Hooper and the Ghosts of Nantucket Annabelle Hooper
2016 The Night Before Halloween Megan
2017 A Cowgirl's Story Dusty Rhodes Also producer
2018 The Strangers: Prey at Night Kinsey
Television[edit]
Year
Title
Role
Notes
2007 CSI: NY Rose Duncan Episode: "Boo"
2007 House Lucy Episode: "Act Your Age"
2007 Unfabulous Young Addie Singer 2 episodes
2007 Cory in the House Maya 2 episodes
2007 Saving Sarah Cain Hannah Cottrell Movie
2007 The Last Day of Summer[11] Maxine Movie
2008 Terminator: The Sarah Connor Chronicles Little Girl Episode: "What He Beheld"
2008 Merry Christmas, Drake & Josh[12] Mary Alice Johansson Movie
2010 Law & Order: Special Victims Unit Mackenzie Burton Episode: "Locum"
2010 Hubworld Herself [13]
2010, 2012 R.L. Stine's The Haunting Hour Lilly Carbo / Jenny / Becky 4 episodes
2011 Wizards of Waverly Place[14] Maxine Russo 6 episodes (Season 4)
2011 Chase Zoe Episode: "Father Figure"
2011 Powers Calista Pilot[15]
2012 A Taste of Romance Hannah Callahan Movie
2012 Smart Cookies Daisy Movie[7]
2012–13, 2016 Once Upon a Time Young Snow White 4 episodes
2013 Holliston Bailee Episode "Rock the Cradle"
2013 Half Riley Young Movie
2013 Pete's Christmas Katie Movie
2013–2014 Trophy Wife Hillary Harrison Series regular (21 episodes)
2014–present The Fosters Sophia Quinn Recurring in season 2 onward
2014 American Dad Unknown Episode: "Roger Passes The Bar"
2014 Northpole Clementine Movie
2015–present Good Witch[16] Grace Russell Series regular (30 episodes)
2015 Northpole: Open for Christmas Clementine Movie
2015 Mulaney Ruby Episode: "Ruby"
2015 Good Witch Halloween Grace Russell Hallmark movie
2016 Date with Love Heidi Watts Hallmark movie
2016 Holiday Joy Joy Hockstatter Movie
Awards and nominations[edit]
Year
Association
Category
Nominated work
Result
Ref.
2008 Young Artist Awards Best Performance in a Feature Film Young Actress Age Ten or Younger Bridge to Terabithia Won [17]
Best Performance in a Feature Film – Young Ensemble Cast Won [17]
Best Performance in a TV Series Guest Starring Young Actress House Nominated [17]
Best Performance in a TV Movie, Miniseries or Special – Supporting Young Actress The Last Day of Summer Won [17]
Movieguide Awards Most Inspirational Television Acting Saving Sarah Cain Won [18]
2010 BFCA Critics' Choice Awards Best Young Actress Brothers Nominated [19]
Saturn Awards Best Performance by a Younger Actor Nominated [20]
2011 Young Artist Awards Best Performance in a Feature Film (Leading Young Actress Ten and Under) An Invisible Sign Nominated [21]
Youth Rock Awards Rockin' Child Performer (TV/ Film) Don't Be Afraid of the Dark Nominated [22]
2012 Fangoria Chainsaw Awards Best Actress Nominated [23]
Young Artist Awards Best Performance in a Feature Film – Supporting Young Actress Just Go With It Nominated [24]
2013 Best Performance in a Feature Film – Young Ensemble Cast Parental Guidance Nominated [25]
References[edit]
Jump up ^ "Children in Film". Retrieved March 12, 2014.
Jump up ^ Stacey Harrison. "Bailee Madison returns to The Hub's "Haunting Hour" with "Scarecrow"". channelguidemag.com. Retrieved December 12, 2011.
Jump up ^ I Am Second. "I Am Second Bailee Madison – Child Actress". youtube.com. Retrieved April 17, 2011.
Jump up ^ "Bailee Madison Trophy Wife". IGN. Retrieved January 22, 2014.
Jump up ^ "'Good Witch' Star Bailee Madison Teases Spellbinding Season 2 She also play in many Christmas movie for Hallmark Channel include North Pole 1-2 Drama". International Business Times. April 15, 2016. Retrieved October 8, 2016.
Jump up ^ Bailee Madison, The Voice of Young Mary BreatheBible.com Retrieved September 19, 2017
^ Jump up to: a b "Young actress Bailee Madison sells lemonade for charity, celebrates Girl Scouts 100th anniversary with new role" FoxNews.com. June 12, 2012.
Jump up ^ "Bridge to Terabithia official site". Disney.go.com. Retrieved January 28, 2012.
Jump up ^ "J2 Pictures / J2TV official web site". J2tv.com. Retrieved January 28, 2012.
Jump up ^ Josh L. Dickey (April 11, 2011). "Bailee Madison rides rodeo pic". variety.com. Retrieved April 11, 2011.
Jump up ^ "The Last Day Of Summer official site". Nick.com. Archived from the original on October 6, 2012. Retrieved January 28, 2012.
Jump up ^ "Merry Christmas, Drake & Josh official site". Nick.com. Retrieved January 28, 2012.
Jump up ^ "Twitter / Bailee Madison: Katie and I will be on the". Twitter.com. December 23, 2010. Retrieved January 28, 2012.
Jump up ^ Megan Walsh-Boyle. "Exclusive: Disney Channel Announces Season 4 of Wizards of Waverly Place". tvguide.com. Retrieved April 17, 2011.
Jump up ^ Nellie Andreeva. "Pilot Castings: USA's 'Over/Under' Finds Female Lead, Young Actress Joins 'Powers'". deadline.com. Archived from the original on July 6, 2011. Retrieved June 16, 2011.
Jump up ^ "Cast of Good Witch". Hallmark Channel.
^ Jump up to: a b c d "29th Annual Young Artist Awards". YoungArtistAwards.org. Archived from the original on July 6, 2008. Retrieved March 31, 2011.
Jump up ^ garcia, Ellen (February 14, 2008). "Top 10 Movies of 2007 Announced at 'Christian Oscars'". christianpost.com. Retrieved July 23, 2014.
Jump up ^ "15th Annual Critics' Choice Movie Awards (2010) – Best Picture: The Hurt Locker". criticschoice.com. November 21, 2011. Retrieved July 23, 2014.
Jump up ^ Miller, Ross (February 15, 2014). "Avatar Leads 2010 Saturn Awards Nominations". screenrant.com. Retrieved July 23, 2014.
Jump up ^ "32nd Annual Young Artist Awards – Nominations / Special Awards". The Young Artist Foundation. 2011. Archived from the original on August 8, 2013. Retrieved March 14, 2011.
Jump up ^ "Youth Rock Awards Nominees". Youth Rocks Awards. 2011. Retrieved October 16, 2011.
Jump up ^ "The 2012 Fangoria Chainsaw Awards Ballot!". Fangoria Staff. 2012. Retrieved May 17, 2012.
Jump up ^ "33rd Annual Young Artist Awards – Nominations / Special Awards". The Young Artist Foundation. 2012. Archived from the original on April 4, 2012. Retrieved April 6, 2012.
Jump up ^ "34th Annual Young Artist Awards". YoungArtistAwards.org. Archived from the original on April 2, 2013. Retrieved January 3, 2013.
External links[edit]
Wikimedia Commons has media related to Bailee Madison.
Bailee Madison on IMDb
Bailee Madison on Twitter
Bailee Madison at AllMovie
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WorldCat Identities
VIAF: 91177049
LCCN: no2009112111
ISNI: 0000 0000 6603 1804
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BNF: cb16612024q (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Bailee_Madison&oldid=820115766"
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text:
Walk Hard: The Dewey Cox Story
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Walk Hard: The Dewey Cox Story
Promotional poster, satirizing the famous Jim Morrison pose
Directed by
Jake Kasdan
Produced by
Judd Apatow
Jake Kasdan
Clayton Townsend
Written by
Judd Apatow
Jake Kasdan
Starring
John C. Reilly
Music by
Michael Andrews
Cinematography
Uta Briesewitz
Edited by
Tara Timpone
Steve Welch
Production
companies
Relativity Media
Apatow Productions
Distributed by
Columbia Pictures
Release date
December 21, 2007 (2007-12-21)
Running time
96 minutes[1] (Theatrical Cut)
120 minutes[1] (Extended Edition)
Country
United States
Language
English
Budget
$35 million[2]
Box office
$20.6 million[2]
Walk Hard: The Dewey Cox Story is a 2007 American comedy film written and produced by Judd Apatow and Jake Kasdan, directed by Kasdan and starring John C. Reilly. The plot echoes the storyline of 2005's Johnny Cash biopic Walk the Line and 2004's Ray Charles biopic Ray; Walk Hard is also a parody of the biopic genre as a whole.
As Walk Hard heavily references the film Walk the Line, the Dewey Cox persona is mostly based on Johnny Cash; but the character also includes elements of the lives and careers of Roy Orbison, Glen Campbell, Bob Dylan, Ray Charles, Jerry Lee Lewis, Donovan, John Lennon, James Brown, Jim Morrison, Conway Twitty, Neil Diamond, and Brian Wilson. The film portrays fictional versions of artists Buddy Holly, The Big Bopper, Elvis Presley, and The Beatles; also, some artists play themselves, including Eddie Vedder and Ghostface Killah. In addition, the film parodies or pays tribute to the musical styles of Bob Dylan, David Bowie, Van Dyke Parks with Brian Wilson, and the seventies punk rock movement.
The film was released in the United States and Canada by Columbia Pictures on December 21, 2007.
Contents
[hide]
1 Plot
2 Cast
2.1 Uncredited
3 Production and development
4 Reception
5 Home media
6 Promotional appearances
7 Soundtrack
8 References
9 External links
Plot[edit]
This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (October 2015) (Learn how and when to remove this template message)
Dewey Cox begins his quest for stardom in Springberry, Alabama in 1946. While playing with his brother Nate, Dewey accidentally cuts his brother in half at the waist with a machete. The trauma of the incident causes Dewey to lose his sense of smell. After his brother's death is announced by a physician making a house call, Dewey's mother sends him to the local store to buy some butter and a candle. There, he meets a blues guitarist, who lets Dewey play his guitar. Dewey is a natural.
In 1953, after a successful, yet oddly controversial, talent show performance, then 14-year-old Dewey decides to leave Springberry with his newly identified 12-year-old girlfriend, Edith. They soon marry, have sex, and have a baby after 8.7 months; While working at an all-African American nightclub, Dewey gets a break when he replaces singer Bobby Shad at the last minute, much to the delight of the Hasidic Jewish record executives attending the show.
Dewey then is brought to the studio where he is interrupted while recording a rockabilly rendition of "That's Amore". The recording executive berates Dewey as talentless. Backed into a corner, Dewey makes the first recording of "Walk Hard", the song inspired by a speech Dewey gave to Edith.
Within 35 minutes, the song becomes a hit, and Dewey begins to get caught up in the fame of rock and roll. When Dewey stumbles upon a room of groupies smoking with drummer Sam, Sam introduces Dewey to marijuana. Sam tells Dewey to leave because he "don't want no part of this shit" (a running gag throughout the film) but Dewey eventually tries it and continues to do so every time he finds Sam with a new drug. His attitude and drug problems cause him to become unfaithful to Edith. Dewey's father then returns to inform Dewey that Dewey's mother has died. Pa manages to make Dewey feel responsible for her death, contributing to an already high level of inner turmoil. Dewey is then introduced to cocaine, which leads to a change in his music to a louder, "Punk rock" type. With the addition of backup singer Darlene Madison, Dewey produces several more hit records. However, they become attracted to each other, and Dewey weds Darlene while still married to Edith, which leads to both women leaving him. He then snaps at his monkey companion, who is "only concerned with fruit and touching himself". Dewey is eventually busted after purchasing drugs from an undercover cop, serves time in jail, and spends time in rehab before Darlene returns.
They move to Berkeley, California in 1966 at the beginning of the '60s counterculture movement. Dewey writes protest songs for midgets. His singing style is then compared by a reporter to that of Bob Dylan, which Dewey angrily denies.
During a band visit to India, Dewey takes LSD with The Beatles, which causes Dewey to lose touch with reality yet again and have a Yellow Submarine-esque hallucination. Dewey becomes obsessed with every aspect of the recording process and is consumed with creating his masterpiece entitled Black Sheep (a homage to Brian Wilson's Smile). The band does not appreciate his insane style of music and his continuous abuse of the others in the group. As a result, the band breaks up; Darlene is also unable to deal with Dewey's insanity and drug problems and leaves him. Dewey goes through another stay in rehab, where he is visited by Nate's ghost. Nate ridicules Dewey's self-pity and tells him to start writing songs again.
Dewey is next seen jogging into the 1970s, and hosting a CBS variety television show. But his song-block prevents him from writing a masterpiece for his brother. (In the director's cut, Dewey remarries again, this time to Cheryl Tiegs.) Nate appears again and tells Dewey that he needs to tell Pa that he loves him. Although Dewey's father appreciates his courage, he challenges Dewey to a fight to the death with machetes. However, Pa accidentally cuts himself in half. Just before he dies, the senior Cox forgives Dewey and tells him to be a better father than he was. His death causes Dewey to have an emotional breakdown and he destroys almost everything in his home.
Dewey accepts that it is time to focus on spending time with his numerous children. Darlene returns to him in 1992, divorced and single. Dewey talks to Darlene about what he has done since they last met. After finally understanding what is most important to him, Dewey regains his sense of smell and they get remarried.
In the present day, L'Chaim's son Dreidel pays a visit to Dewey's estate. He informs Dewey that he has become popular with younger listeners through rapper Lil' Nutzzak's sampling of "Walk Hard". Dewey is upset about this at first, but pays it little mind when he is informed that he is to receive the lifetime achievement award. Dewey is reluctant to play a song at first, fearing the temptations he once succumbed to, but his wife, children and grandchildren put their full support behind him. Dewey reunites with his band and he is finally able to fulfill his dream of creating one great masterpiece that sums up his entire life with his final song, "Beautiful Ride." The ghost of his family listens to his song. Three minutes after the performance, Dewey, still on stage, suffers a heart attack and dies.
After the credits roll, a short black-and-white clip purporting to be "The actual Dewey Cox, October 16, 2002" is played. (The real Cox is again played by Reilly, but using a more gravelly voice.)
Cast[edit]
John C. Reilly as Dewey Cox, a parody of several 20th century musicians, including Ray Charles, Johnny Cash, Bob Dylan, and Brian Wilson.
Conner Rayburn as young Dewey Cox
Jenna Fischer as Darlene Madison Cox, a parody of June Carter
Angela Correa as Darlene's singing voice
Raymond J. Barry as Pa Cox is similar to Johnny Cash's father Ray Cash.
Margo Martindale as Ma Cox
Kristen Wiig as Edith, a parody of Vivian Liberto
Tim Meadows as Sam McPherson
Chris Parnell as Theo
Matt Besser as Dave
Chip Hormess as Nate Cox
Jonah Hill as older Nate (uncredited)
David "Honeyboy" Edwards as The Old Blues Singer
Paul Bates as Nightclub manager
David Krumholtz as Schwartzberg
Craig Robinson as Bobby Shad
Harold Ramis as L'Chaim
Simon Helberg as Dreidel L'Chaim
Philip Rosenthal as Mazeltov
Martin Starr as Schmendrick
John Michael Higgins as "Walk Hard" recording engineer
Ed Helms as Stage manager
Jane Lynch as Gail, the news reporter
Angela Little Mackenzie as Beth Anne
Skyler Gisondo as Dewford "Dewdrop/Dewey" Cox, Jr.
Lurie Poston as a Cox kid
Jack McBrayer as DJ
Nat Faxon as Awards show stage manager
Odette Yustman as Reefer girl
Frankie Muniz as Buddy Holly
John Ennis as The Big Bopper
Jack White as Elvis Presley
Adam Herschman as Jerry Garcia
The Temptations (Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, Bruce Williamson) as themselves
Eddie Vedder as himself
Jackson Browne as himself
Jewel as herself
Ghostface Killah as himself
Lyle Lovett as himself
Gerry Bednob as Maharishi Mahesh Yogi
Cheryl Tiegs (in the director's cut unrated version) as herself
Uncredited[edit]
Paul Rudd as John Lennon
Jack Black as Paul McCartney
Justin Long as George Harrison
Jason Schwartzman as Ringo Starr
Patrick Duffy (unrated version) as himself
Morgan Fairchild (unrated version) as herself
Cheryl Ladd (unrated version) as herself
Production and development[edit]
I just had this idea to do a fake biopic—or a real biopic about a fake person—and follow a musician's career trajectory.
Jake Kasdan, 2007[3]
Jake Kasdan brought the idea to his friend and fellow director Judd Apatow. They then began writing the film together.[3] The tongue-in-cheek references in this fake biopic were drawn from various sources. Apatow and Kasdan noted that they watched various types of biopics for inspiration, including those of Jimi Hendrix and Marilyn Monroe.[4] Despite the humorous approach, the film was crafted in the serious tone of films earmarked for an Oscar, adding to the irony.[5]
John C. Reilly, who actually sings and plays guitar, was chosen to play the title role. "We took the clichés of movie biopics and just had fun with them," Reilly said.[3] The "deliberate miscasting" of celebrity cameos, such as Elvis Presley and The Beatles, was intended to enhance the comedy.[6] The movie's poster is a reference to the "young lion" photos of Jim Morrison.[7]
Reception[edit]
The film was praised by notable critics, including Roger Ebert (who gave the film 3 out of 4 stars),[8] receiving 74% positive reviews at Rotten Tomatoes, classifying it as "certified fresh".
The movie, however, was not commercially successful, taking $18 million at the US box office which was less than the film's budget.[9]
John C. Reilly received a Golden Globe nomination for his role.
Home media[edit]
The film was released on DVD and Blu-ray on April 8, 2008.[10] In the opening weekend, 263,001 DVD units were sold, generating revenue of $5,110,109. As of May 2010, DVD sales have gathered revenue of $15,664,735.[11]
Promotional appearances[edit]
Along with a backing band "the hardwalkers", Reilly made seven musical appearances as Dewey Cox in the weeks prior to the film's release date.[12]
December 5, 2007 - Rock & Roll Hall of Fame (Cleveland, OH)
December 6, 2007 - The Cubby Bear (Chicago, IL)
December 7, 2007 - Stubb's BBQ (Austin, TX)
December 8, 2007 - Mercy Lounge (Nashville, TN)
December 10, 2007 - Great American Music Hall (San Francisco, CA)
December 11, 2007 - The Blacksheep (Colorado Springs, CO)
December 13, 2007 - Guitar Center on Sunset Blvd. (Los Angeles, CA)
December 19, 2007 - Knitting Factory (New York, NY)
December 19, 2007 - Performed in the character of Dewey Cox on Good Morning America.[13]
Several fake commercials were aired including one with John Mayer, hinting Dewey might be his father.
Soundtrack[edit]
Main article: Walk Hard: The Dewey Cox Story (soundtrack)
Singer-songwriters Dan Bern and Mike Viola (of the Candy Butchers) wrote most of the film's songs, including "There's a Change a Happenin'", "Mulatto", "A Life Without You (Is No Life at All)", "Beautiful Ride" and "Hole in My Pants". Charlie Wadhams wrote the song "Let's Duet". Marshall Crenshaw wrote the title song, and Van Dyke Parks penned the Brian Wilson-esque 1960s-styled psychedelic jam "Black Sheep" (the recording session seems to be a specific parody of Wilson's Smile album sessions, on which Van Dyke Parks worked).[3] Antonio Ortiz wrote "Take My Hand". A number of critics noted the unusually high quality of many of the individual songs on the soundtrack, how well they reflected the styles and times they were attempting to parody, and how well they stood on their own as quality compositions. The soundtrack was nominated for both a Grammy and Golden Globe Award and was nominated and won the Sierra Award for Best Song in a Motion Picture from the Las Vegas Film Critics Society. John C. Reilly sang on all the tracks and played guitar on most of them.
References[edit]
^ Jump up to: a b "Walk Hard: The Dewey Cox Story (Technical Specifications)". Internet Movie Database. Retrieved July 26, 2016.
^ Jump up to: a b "Walk Hard: The Dewey Cox Story (2007)". Box Office Mojo. 2008-01-13. Retrieved 2011-01-16.
^ Jump up to: a b c d Hiatt, Brian (2007-08-09), "The Next 'Spinal Tap'?". Rolling Stone. (1032):20
Jump up ^ Apatow, Kasdan and Reilly Walk Hard. Retrieved December 11, 2007.
Jump up ^ Breznican, Anthony (2007-09-11), "'Walk Hard' riffs on greatest rockers", USA Today, volume and issue unknown:01d
Jump up ^ Breznican, Anthony (11/23/2007), "'Walk Hard' takes a run at musical legends", USA Today, volume and issue unknown:3e
Jump up ^ Faraci, Devin (2007-11-29) "THE DEVIN'S ADVOCATE: THE JUDD APATOW BACKLASH" CHUD.com Retrieved 2007-12-13
Jump up ^ Ebert, Roger (December 21, 2007). "Walk Hard: The Dewey Cox Story". Chicago Sun-Times. Retrieved 19 September 2012.
Jump up ^ "Walk Hard: The Dewey Cox Story Movie Reviews, Pictures". Rotten Tomatoes. Retrieved 2011-01-16.
Jump up ^ "Walk Hard: The Dewey Cox Story Blu-ray". Blu-ray.com. Retrieved 2015-05-04.
Jump up ^ "Walk Hard: The Dewey Cox Story - DVD Sales". The Numbers. Retrieved 2011-01-16.
Jump up ^ "John c. reilly leads "cox across america tour" in character". Paste Magazine. 2007-12-03.
Jump up ^ "Dewey Cox performance on Good Morning America". Good Morning America. 19 December 2007.
External links[edit]
Wikiquote has quotations related to: Walk Hard: The Dewey Cox Story
Official website
Walk Hard: The Dewey Cox Story on IMDb
Walk Hard: The Dewey Cox Story at Box Office Mojo
Walk Hard: The Dewey Cox Story at Rotten Tomatoes
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When We First Met
From Wikipedia, the free encyclopedia
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When We First Met
Film release poster
Directed by
Ari Sandel
Produced by
Adam Saunders
Mason Novick
Mary Viola
Michelle Knudsen
McG
Written by
Josh Whittington
Starring
Adam DeVine
Alexandra Daddario
Shelley Hennig
Andrew Bachelor
Robbie Amell
Music by
Eric V. Hachikian
Cinematography
David Hennings
Edited by
Jeffrey Wolf
Production
company
Footprint Features
MXN Entertainment
Wonderland Sound and Vision
Distributed by
Netflix
Release date
February 9, 2018 (2018-02-09)
Running time
97 minutes
Country
United States
Language
English
When We First Met is a 2018 American romantic comedy film directed by Ari Sandel, written by John Whittington and starring Adam DeVine, Alexandra Daddario, Andrew Bachelor and Robbie Amell. It was released worldwide on Netflix on February 9, 2018.[1]
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Reception
5 References
6 External links
Plot[edit]
During Avery Martin's (Alexandra Daddario) engagement party, Noah Ashby (Adam DeVine) recalls his and Avery's first meeting during a Halloween party three years earlier and is sad to see her engaged to perfect Ethan (Robbie Amell) instead of him. Drunk and being driven home by Avery's photographer roommate Carrie Grey (Shelley Hennig), Noah admits he is secretly in love with Avery but, on the night they met, Avery only saw him as a good friend and met Ethan the next day.
Carrie deposits him with Max (Andrew Bachelor), his successful vice president best friend, at the piano bar where Noah works. Noah drunkenly uses the photo booth where he and Avery shared a moment and falls asleep. He awakens in his bed and soon discovers he has traveled back in time to the day he met Avery. Noah tries to re-do their meeting, using his knowledge of her to his advantage, but Carrie, whom he met earlier and claimed he knew her and Avery well, comes home early and the two deduce he is a stalker and attack him. He wakes up back in the present thinking it was only a dream, but when he goes to Avery's house he realizes he is repeating the day of Avery's engagement party, but this time she recognizes him as the stalker from three years ago. Noah realizes he can use the photo booth to go back in time to re-do their meeting and will wake up to the consequences three years later.
Noah goes back a second time and seeks Max's help impressing Avery. Max convinces him to be a rude and cynical alpha male, and while Avery is initially disgusted by his attitude, she is aroused during their argument and they end up having sex. Noah wakes up in the present and learns that he and Avery's relationship is unrequited and, for Avery, is purely sexual while she and Carrie are part of an exercise group with Ethan. Noah learns from Carrie that Avery is attracted to stable and dependable men, and Noah goes back a third time. He asks Max, still a low-ranking employee at the company, to ask his boss for a job for him and then acts kinder and more maturely during his first meeting with Avery. He wakes up to find himself engaged to Avery, living a wealthy lifestyle, and is the successful vice president of the company. However, he learns that he and Max have become work enemies, is a workaholic that neglects Avery and has abandoned his piano hobbies, and, despite Ethan switching roles with him during his engagement party, Avery still loves Ethan more than him. While confiding in Carrie, Noah realizes Ethan and Avery are meant to be together and how he and Carrie end up learning more about each other in every alternate present.
Noah goes back in time, this time bringing Ethan with him to the party to meet Avery while he spends time with Carrie. Noah learns that the things he likes about Avery is because of Carrie's influence on her. He also learns that "Doctor Jello-Shot," the man Carrie is seen kissing in all alternate pasts, is her ex-boyfriend with whom she is having an unstable breakup. He shares a photo booth round with Avery, Carrie, and Ethan and wakes up in the present. He learns that Avery and Ethan are engaged, but Carrie ended up leaving him to return to her ex-boyfriend, only for them to break up. Noah goes to Avery and Carrie's house and finds out that, since Avery and Ethan met a day earlier, their engagement party was the day before, and Carrie is off to a date. She rejects Noah's pleas to try again and leaves. Noah tries to return to the photo booth, but finds a modern replacement in its place. Ethan and Avery arrive in the piano bar and inform him that they bought the old photo booth for him years ago, and Noah realizes he initially met Carrie through Avery, and he goes back and replays his meeting with Avery the original way.
He wakes up to the original present, this time happy for Ethan and Avery during their engagement party. He and Carrie spend time together and decide to leave the party. A photo montage follows of Noah and Carrie's relationship.
Cast[edit]
Adam DeVine as Noah Ashby[2]
Alexandra Daddario as Avery Martin[2]
Shelley Hennig as Carrie Grey[3]
Andrew Bachelor as Max, Noah's friend[1]
Robbie Amell as Ethan[4]
Production[edit]
In May 2016 Ari Sandel was reported to direct the film from a script by John Whittington and Adam DeVine, while producers on the film would be Adam Saunders of Footprint Features, Mason Novick of MXN Entertainment, with Mary Viola and McG of Wonderland Sound and Vision.[2]
Principal photography on the film began in mid-July 2016 in New Orleans.[4][5]
Reception[edit]
The neutrality of this section is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until conditions to do so are met. (March 2018) (Learn how and when to remove this template message)
On review aggregator website Rotten Tomatoes, the film has an approval rating of 33% based on 15 reviews, with an average rating of 4.7/10.[6] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 35 out of 100, based on 5 critics, indicating "generally unfavorable reviews".[7]
Filmink praised the characters for being "not only well cast but change organically through the story; there are no big corny dialogue rom-com turning points, and the characters develop gradually, you know, like normal humans do."[8]
The Daily Caller's David Hookstead gave the film a positive review and wrote in part, "Daddario was excellent, it was a fun idea, and Devine crushed it. Plus it’s interesting to think about what we would do if we found ourselves in the same situation." He further went on to praise Devine, calling him a "rare talent."[9]
Decider's Lea Palmieri wrote: "Devine's ability to be charming and endearing shouldn't be underestimated here, and you'll be rooting for him before you know it",[10] whilst Age of the Nerd exclaimed that he "carries the whole movie on his shoulders with perfection."[11]
References[edit]
^ Jump up to: a b "Watch Adam Devine get friend-zoned by Alexandra Daddario in 'When We First Met' trailer". Retrieved 9 February 2018.
^ Jump up to: a b c Pedersen, Erik (May 6, 2016). "Adam Devine & Alexandra Daddario Will Reminisce About 'When We First Met'". Deadline. Retrieved July 20, 2016.
Jump up ^ Pedersen, Erik (2016-08-04). "Shelley Hennig Joins 'When We First Met'; Stephen Root Cast In 'Three Christs'". Deadline. Retrieved 2018-03-17.
^ Jump up to: a b Kroll, Justin (July 18, 2016). "'The DUFF' Actor Robbie Amell to Co-Star with Adam Devine in 'When We First Met' (EXCLUSIVE)". Variety. Retrieved July 20, 2016.
Jump up ^ Scott, Mike (July 11, 2016). "Adam DeVine's 'When We First Met' to shoot in New Orleans". NOLA. Retrieved July 20, 2016.
Jump up ^ "How We First Met (2018)". Rotten Tomatoes. Fandango. Retrieved March 2, 2018.
Jump up ^ "How We First Met Reviews". Metacritic. CBS Interactive. Retrieved February 11, 2018.
Jump up ^ Mansfield, Jessica. "When We First Met". FilmInk. Retrieved March 2, 2018.
Jump up ^ Hookstead, David (February 11, 2018). "Netflix's 'When We First Met' Is A Surprisingly Fun Time". The Daily Caller. Retrieved March 2, 2018.
Jump up ^ Palmieri, Lea (February 9, 2018). "'When We First Met' Is 'Happy Death Day' For Relationships". Decider. Retrieved March 2, 2018.
Jump up ^ Teja, Ravi (February 15, 2018). "Adam DeVine Shines in the Netflix Original 'When We First Met'". Age of the Nerd. Retrieved March 2, 2018.
External links[edit]
When We First Met on IMDb
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Where the Sidewalk Ends (poem)
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This article is written like a personal reflection or opinion essay that states a Wikipedia editor's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. (April 2014) (Learn how and when to remove this template message)
Where the Sidewalk Ends is a 1974 poem by Shel Silverstein, and the title poem of the collection of the same name. Both the poem and the book gained instant fame and were deemed classics of children's literature.
Contents
[hide]
1 General analysis
2 Influence
3 Other
4 Notes
General analysis[edit]
There have been several analyses and interpretations of Silverstein's Where the Sidewalk Ends, but among them all, a general conclusion has been drawn. Silverstein is famous for being a children's poet, yet many of the ideas tucked in the corner of Where the Sidewalk Ends are made for adults. Silverstein argues that adults live in a world that is dreary, and that children live in a world full of life and joy. Silverstein is saying that adults need to go to the place that children know; essentially telling adults to take a step back and to take on the point of view of a child to find the life and joy that they have.
Silverstein begins the poem by describing the place where the sidewalk ends. This place that is only encountered by the imagination.[1] As he mentions the grass growing "soft and white" and also the "cooling of the peppermint wind," we know that this is a mental state, how someone views the world. Finding the place where the sidewalk ends may not as much be about finding an actual place rather than reaching a certain mental state.
As Silverstein writes in the second stanza, saying " Let us leave this place where the smoke blows black And the dark street winds and bends" He is referencing the world that adults live in, the one that is far from what he described as the place where the sidewalk ends. Yes, this could be taken literally, as adults live and work in urban settings. But just as he has done previously, this description is referring to a state of mind. One that sees the world for everything bad that it possibly possesses, a mindset that is totally lacking in any sort of imagination.[1] There is a transition in the middle of this stanza though, a transition from despair to hope, hope of achieving the child like imagination that is found where the sidewalk ends. He says "and watch where the chalk-white arrows go To the place where the sidewalk ends" Meaning that if you are alert and aware, the hopeless mindset adult can find a way to get to the place where the sidewalk ends.
The final stanza is simple. "Yes we'll walk with a walk that is measured and slow, And we'll go where the chalk-white arrows go, For the children, they mark, and the children, they know The place where the sidewalk ends." Silverstein is saying yes, we'll follow the arrows and we'll go. Yes, we will open our minds and look for the signs to find the place where the sidewalk ends. "The children, they mark, and the children, they know" Silverstein is coming forward and saying simply, the children mark the way. Follow the children because they know the place where the sidewalk ends.
Looking more in depth at this poem makes clear what Shel Silverstein is saying. Do what the children do. They know the place where the sidewalk ends. And in doing so, you will find the joy and passion for life that they have. When he says to follow the markings of the children and you will find the place where the sidewalk ends, it is not a literal command to physically follow them. Rather he is saying put on the mindset of a child and you will, in turn, find the imagination and joy and innocence that children have. Children do not have to work at finding the place where the sidewalk ends, they know. They know because they know nothing else, the joyful, imaginative mindset they have is purely natural. While adults minds have been influenced by the hardships of the world, and in turn have to work at finding the place where the sidewalk ends. Adults must leave behind the black smoke and look beyond the dark streets that come with adulthood in order to truly find the place where the sidewalk ends.
Influence[edit]
Shel Silverstein's influence on poetry has been said to have the ability to “Convince children that poetry is neither difficult nor threatening,” he was also able to “understand common childhood thoughts and anxieties.” and his poem, Where the Sidewalk Ends, is no different. Its easy to read, silly vocabulary in combination with the underlying idea that children in fact have the secret to "where the sidewalk ends" makes it fun for children to read. Also, Silverstein had a special insight into the mind of a child, and understood the children's way of thinking relaying that into "Where the Sidewalk Ends." Where the Sidewalk Ends has become a children's poetry launch point, and its lighthearted, engaging style has propelled children to dive into more of Silverstein's poetry and in some cases more poetry in general. Where the Sidewalk Ends, is now a children's poetry classic, and has shaped much of the modern children's poetry that is published today.
Other[edit]
Silverstein has written several books, including Don't Bump the Glump, and arguably his most famous, The Giving Tree.[2] Silverstein has also written several collections of poetry similar to the book, Where the Sidewalk Ends. Those include A Light in the Attic, Falling Up and The Missing Piece. Whatif, Hug O War, Bear in There, and Ticklish Tom are among Silverstein's other most famous poems. Poets similar to Silverstein include Dr. Seuss, Eloise Greenfield and Robert Louis Stevenson.
Notes[edit]
^ Jump up to: a b "Where the Sidewalk Ends". American Poems.
Jump up ^ "Shel's Books". Shel's Books.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Where_the_Sidewalk_Ends_(poem)&oldid=776840072"
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