The Phantom of the Opera is a 1925 American silent horror film adaptation of Gaston Leroux's 1910 novel Le Fantôme de l'Opéra, directed by Rupert Julian and starring Lon Chaney in the title role of the deformed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to make the woman he loves a star. The film remains most famous for Chaney's ghastly, self-devised make-up, which was kept a studio secret until the film's premiere. The picture also features Mary Philbin, Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis and Snitz Edwards. The last surviving cast member was Carla Laemmle (died 2014), niece of producer Carl Laemmle, who played a small role as a "prima ballerina" in the film when she was about 15 years old. The film was released on September 6, 1925, premiering at the Astor Theatre in New York. The film's final budget was $632,357.

In 1953, the film entered the public domain in the United States because the claimants did not renew its copyright registration in the 28th year after publication.

Plot
Based on the general release version of 1925, which has additional scenes and sequences in different order than the existing reissue print.

At the Paris Opera House, Comte Philippe de Chagny and his brother, the Vicomte Raoul de Chagny attend a production of Faust, where the latter's sweetheart, Christine Daaé, may sing. Raoul wishes for Christine to resign and marry him, but she prioritizes her career over their relationship.

Meanwhile, the management resign. While leaving, they tell the new managers about the Opera Ghost, a phantom who is "the occupant of box No. 5".

Mme. Carlotta, the prima donna receives a letter from "The Phantom," demanding that Christine replace her the following night, threatening dire consequences if this does not happen. In Christine's dressing room, a voice tells her she must take Carlotta's place and think only of her career and her master.

The following day, Christine reveals to Raoul that she has been tutored by a mysterious voice, the "Spirit of Music," and it is now impossible to stop her career. Raoul says someone is probably playing a joke on her, and she storms off in anger.

That evening, Christine substitutes Carlotta. During the performance, the managers are startled to see, seated in Box 5, a figure who later disappears. Simon Buquet then finds the body of his brother, stagehand Joseph Buquet, hanging by a noose and vows vengeance. Once again, a note from the Phantom demands Carlotta to say she is ill and let Christine replace her. The managers get a similar note, reiterating that if Christine does not sing, they will present Faust in a cursed house.

The following evening, a defiant Carlotta sings. During the performance, the Phantom drops the chandelier hanging from the ceiling onto the audience, killing people. Christine enters a secret door behind the mirror in her dressing room, descending into the lower depths of the Opera. She meets the Phantom, who introduces himself as Erik and declares his love; Christine faints and he carries her to an underground suite fabricated for her comfort. The next day, she finds a note from Erik telling her that she must never look behind his mask. As he is preoccupied playing his organ, Christine playfully tears off his mask, revealing his deformed face. Enraged, the Phantom declares she is now his prisoner. She begs him to let her sing, and he relents, allowing her to visit the surface one last time if she promises not to see Raoul again.

Released, Christine meets with Raoul at the annual masked-ball, where the Phantom appears disguised as the "Red-Death". At the roof of the Opera House, Christine tells Raoul about her experiences. Unbeknownst to them, the Phantom is listening nearby. Raoul swears to whisk Christine away to London following her next performance. As they leave the roof, a man with a fez approaches them. Aware that the Phantom awaits downstairs, he leads Christine and Raoul to another exit.

The next night, during her performance, Christine is kidnapped. Raoul rushes to her dressing room and meets the man in the fez again. He is actually Inspector Ledoux, a secret policeman who has been tracking Erik since he escaped as a prisoner from Devil's Island. After finding, the secret door in Christine's room, the two men enter the Phantom's lair. They end up in a torture chamber of his design. Philippe also finds his way into the catacombs looking for his brother but is eventually drowned by Erik.

The Phantom subjects Raoul and Ledoux to intense heat. He then locks them in with barrels of gunpowder and causes the room to flood. Christine begs Erik to save Raoul, promising him anything in return, even becoming his wife. This makes the Phantom saves Raoul and Ledoux.

A mob led by Simon Buquet infiltrates Erik's lair. As they approach, the Phantom attempts to flee with Christine. While Raoul saves Christine, Erik is killed by the mob and thrown into the Seine. Raoul and Christine later go on their honeymoon in Viroflay.

Cast

Pre-production

In 1922, Carl Laemmle, the president of Universal Pictures, took a vacation to Paris. During his vacation Laemmle met the author Gaston Leroux, who was working in the French film industry. Laemmle mentioned to Leroux that he admired the Paris Opera House. Leroux gave Laemmle a copy of his 1910 novel The Phantom of the Opera. Laemmle read the book in one night and bought the film rights as a vehicle for actor Lon Chaney. Production was scheduled for late 1924 at Universal Studios.

The filmmakers were unfamiliar with the layout of the Paris Opera House and consulted Ben Carré, a French art director who had worked at the Opera and was familiar with Leroux's novel. He said Leroux's depiction of the Opera cellars was based more on imagination than fact. Carré created twenty-four detailed charcoal sketches of the back and below-stage areas of the Opera, which the filmmakers replicated. Carré was in Europe when shooting began and had nothing more to do with the project; not until he was shown a print of the film in the 1970s did he realize his designs had been used.

The screenplay was written by Elliot J. Clawson, who had worked as the scenario writer of director Rupert Julian since 1916. His first script was a close adaptation of Leroux and included scenes from the novel that never appeared in the released film, such as the Phantom summoning Christine to her father's grave in Brittany, where he poses in the cemetery as the "Angel of Music" and plays "The Resurrection of Lazarus" on his violin at midnight. The scene was filmed by Rupert Julian but excised after he left the project.

Inspired by the novel, Clawson added a lengthy flashback to Persia, where Erik (the Phantom) served as a conjurer and executioner in the court of a depraved Sultana, using his Punjab lasso to strangle prisoners. Falling from her favor, Erik was condemned to be eaten alive by ants. He was rescued by the Persian (the Sultana's chief of police, who became "Inspector Ledoux" in the final version of the film), but not before the ants had consumed most of his face. The flashback was eliminated during subsequent story conferences, possibly for budgetary reasons. Instead, a line of dialogue was inserted to explain that Erik had been the chief torturer and inquisitor during the Paris Commune, when the Opera served as a prison, with no explanation of his damaged face.

The studio considered the novel's ending too low-key, but Clawson's third revised script retained the scene of Christine giving the Phantom a compassionate kiss. He is profoundly shaken and moans "Even my own mother would never kiss me." A mob approaches led by Simon (the brother of a stagehand who was murdered earlier by the Phantom). Erik flees the Opera House with Christine. He takes over a coach, which overturns thanks to his reckless driving, and then escapes the mob by scaling a bridge with the aid of his strangler's lasso. Waiting for him at the top is Simon, who cuts the lasso. The Phantom suffers a deadly fall. His dying words are "All I wanted...was to have a wife like anybody else...and to take her out on Sundays."

The studio remained dissatisfied. In another revised ending, Erik and Christine flee the mob and take refuge in her house. Before entering, Erik cringes "as Satan before the cross." Inside her rooms, he is overcome and says he is dying. He asks if she will kiss him and proposes to give her a wedding ring, so Christine can give it to Raoul. The Persian, Simon, and Raoul all burst into the house. Christine tells them Erik is ill; he slumps dead to the floor, sending the wedding ring rolling across the carpet. Christine sobs and flees to the garden; Raoul follows to console her.

Production

Production began in mid-October and did not go smoothly. According to director of photography Charles Van Enger, Chaney and the rest of the cast and crew had strained relations with director Rupert Julian. Eventually the star and director stopped talking, so Van Enger served as a go-between. He would report Julian's directions to Chaney, who responded "Tell him to go to hell." As Van Enger remembered, "Lon did whatever he wanted."

Rupert Julian had become Universal's prestige director by completing the Merry-Go-Round (1923) close to budget, after original director Eric von Stroheim had been fired. But on the set of The Phantom of the Opera his directorial mediocrity was obvious to the crew. According to Van Enger, Julian had wanted the screen to go black after the chandelier fell on the opera audience. Van Enger ignored him and lit the set with a soft glow, so the aftermath of the fall would be visible to the film audience.

The ending changed yet again during filming. The scripted chase scene through Paris was discarded in favor of an unscripted and more intimate finale. To save Raoul, Christine agrees to wed Erik and she kisses his forehead. Erik is overcome by Christine's purity and his own ugliness. The mob enters his lair under the Opera House, only to find the Phantom slumped dead over his organ, where he had been playing his composition Don Juan Triumphant.

By mid-November 1924, the majority of Chaney's scenes had been filmed. Principal photography was completed just before the end of the year, with 350,000 feet of negative exposed. Editor Gilmore Walker assembled a rough cut of nearly four hours. The studio demanded a length of no more than 12 reels.

A score was prepared by Joseph Carl Breil. No information about the score survives other than Universal's release: "Presented with augmented concert orchestra, playing the score composed by Briel, composer of music for The Birth of a Nation". The exact quote from the opening day full-page ad in the Call-Bulletin read: "Universal Weekly claimed a 60-piece orchestra. Moving Picture World reported that 'The music from Faust supplied the music [for the picture].

The first cut of the film was previewed in Los Angeles on January 7 and 26, 1925. Audience reaction was extremely negative and summed up by the complaint "There's too much spook melodrama. Put in some gags to relieve the tension." By March the studio had decided against the ending and decided the Phantom should not be redeemed by a woman's kiss: "Better to have kept him a devil to the end." The "redemptive" ending is now lost, with only a few frames still surviving.

The New York premiere was cancelled, and the film was rushed back into production, with a new script that focused more on Christine's love life. It is unknown whether Rupert Julian walked away from the production or was fired; in any case, his involvement with the film had ended. To salvage the film, Universal called upon the journeymen of its Hoot Gibson western unit, who worked cheaply and quickly.

Edward Sedgwick (later the director of Buster Keaton's 1928 film The Cameraman) was then assigned by producer Laemmle to direct a reshoot of the bulk of the film. Raymond L. Schrock and original screenwriter Elliot Clawson wrote new scenes at Sedgewick's request. The film was then changed from the dramatic thriller that was originally made into more of a romantic comedy with action elements. Most of the new scenes depicted added subplots, with Chester Conklin and Vola Vale as comedic relief to the heroes, and Ward Crane as the Russian Count Ruboff dueling with Raoul for Christine's affection. This version was previewed in San Francisco on April 26, 1925, and did not do well at all, with the audience booing it off of the screen. "The story drags to the point of nauseam", one reviewer stated.

The third and final version resulted from Universal holdovers Maurice Pivar and Lois Weber editing the production down to nine reels. Most of the Sedgwick material was removed, except for the ending, with the Phantom being hunted by a mob and then being thrown into the Seine River. Much of the cut Julian material was edited back into the picture, though some important scenes and characters were not restored. This version, containing material from the original 1924 shooting and some from the Sedgwick reworking, was then scheduled for release. It debuted on September 6, 1925, at the Astor Theatre in New York City. The score for the Astor opening was to be composed by Professor Gustav Hinrichs. However, Hinrichs' score was not prepared in time, so instead, according to Universal Weekly, the premiere featured a score by Eugene Conte, composed mainly of "French airs" and the appropriate Faust cues. No expense was spared at the premiere; Universal even had a full organ installed at the Astor for the event. (As it was a legitimate house, the Astor theater used an orchestra, not an organ, for its music.)

Makeup
Following the success of The Hunchback of Notre Dame in 1923, Chaney was once again given the freedom to create his own makeup, a practice which became almost as famous as the films he starred in.

Chaney commented "In The Phantom of the Opera, people exclaimed at my weird make-up. I achieved the Death's Head of that role without wearing a mask. It was the use of paints in the right shades and the right places—not the obvious parts of the face—which gave the complete illusion of horror...It's all a matter of combining paints and lights to form the right illusion."

Chaney used a color illustration of the novel by Andre Castaigne as his model for the phantom's appearance. He raised the contours of his cheekbones by stuffing wadding inside his cheeks. He used a skullcap to raise his forehead height several inches and accentuate the bald dome of the Phantom's skull. Pencil lines masked the join of the skullcap and exaggerated his brow lines. Chaney then glued his ears to his head and painted his eye sockets black, adding white highlights under his eyes for a skeletal effect. He created a skeletal smile by attaching prongs to a set of rotted false teeth and coating his lips with greasepaint. To transform his nose, Chaney applied putty to sharpen its angle and inserted two loops of wire into his nostrils. Guide-wires hidden under the putty pulled his nostrils upward. According to cinematographer Charles Van Enger, Chaney suffered from his make-up, especially the wires, which sometimes made him "bleed like hell."

When audiences first saw the movie, they were said to have screamed or fainted during the scene where Christine pulls the concealing mask away, revealing his skull-like features.

Chaney's appearance as the Phantom in the film has been the most accurate depiction of the title character based on the description given in the novel, where the Phantom is described as having a skull-like face with a few wisps of black hair on top of his head. As in the novel, Chaney's Phantom has been deformed since birth, rather than having been disfigured by acid or fire, as in later adaptations of The Phantom of the Opera.

Soundstage 28

Producer Laemmle commissioned the construction of a set of the Paris Opera House. Because it would have to support hundreds of extras, the set became the first to be created with steel girders set in concrete. For this reason it was not dismantled until 2014. Stage 28 on the Universal Studios lot still contained portions of the opera house set, and was the world's oldest surviving structure built specifically for a movie, at the time of its demolition. It was used in hundreds of movies and television series. In preparation for the demolition of Stage 28, the Paris Opera House set went through a preservation effort and was placed into storage. Stage 28 was completely demolished on September 23, 2014.

Reception

Initial response
Initial critical response for the film was mixed.
Mordaunt Hall of The New York Times gave the film a positive review as a spectacle picture, but felt that the story and acting may have been slightly improved. TIME praised the sets but felt the picture was "only pretty good".
Variety wrote, "The Phantom of the Opera is not a bad film from a technical viewpoint, but revolving around the terrifying of all inmates of the Grand Opera House in Paris by a criminally insane mind behind a hideous face, the combination makes a welsh rarebit look foolish as a sleep destroyer."

Modern response
Roger Ebert awarded the film four out of four stars, writing "It creates beneath the opera one of the most grotesque places in the cinema, and Chaney's performance transforms an absurd character into a haunting one." Adrian Warren of PopMatters gave the film 8/10 stars, summarizing, "Overall, The Phantom of the Opera is terrific: unsettling, beautifully shot and imbued with a dense and shadowy Gothic atmosphere. With such a strong technical and visual grounding it would have been difficult for Chaney to totally muck things up, and his performance is indeed integral, elevating an already solid horror drama into the realms of legendary cinema." Time Out gave the film a mostly positive review, criticizing the film's "hobbling exposition", but praised Chaney's performance as being the best version of the title character, as well as the film's climax.

TV Guide gave the film 4/5 stars, stating, "One of the most famous horror movies of all time, The Phantom of the Opera still manages to frighten after more than 60 years." On Rotten Tomatoes, The Phantom of the Opera holds an approval rating of 90% based on  from June 2002 to October 2020, with a weighted average rating of 8.3/10. The site's critical consensus reads, "Decades later, it still retains its ability to scare – and Lon Chaney's performance remains one of the benchmarks of the horror genre."

1929 reissue with sound
After the successful introduction of sound pictures during the 1928–29-movie season, Universal announced that they had secured the rights to a sequel to The Phantom of the Opera from the Gaston Leroux estate. Entitled The Return of the Phantom, the picture would have sound and be in color. Universal could not use Chaney in the film as he was now under contract at MGM.

Universal later scrapped the sequel, and instead opted to reissue The Phantom of the Opera with a new synchronized score and sound effects track, as well as a few new dialog sequences. Directors Ernst Laemmle and Frank McCormick reshot a little less than half of the picture with sound during August 1929. The footage reused from the original film was scored with music arranged by Joseph Cherniavsky, and sound effects. Mary Philbin and Norman Kerry reprised their roles for the sound reshoot, and Edward Martindel, George B. Williams, Phillips Smalley, Ray Holderness, and Edward Davis were added to the cast to replace actors who were unavailable. Universal was contractually unable to loop Chaney's dialogue, so another character was introduced who acts as a messenger for the Phantom in some scenes. Because Chaney's talkie debut was eagerly anticipated by filmgoers, advertisements emphasized, "Lon Chaney's portrayal is a silent one!"

The sound version of Phantom opened on 15 December 1929 This version of the film is thought most likely to be currently lost because it was burned in a fire in 1948, although the soundtrack discs survive.

The success of The Phantom of the Opera inspired Universal to finance the production of a long string of horror films through to the 1950s, starting with the base stories of Dracula (1931), Frankenstein (1931), The Mummy (1932), The Invisible Man (1933) and The Wolf Man (1941), and continuing with numerous sequels to all five films.

Differences from the novel
Although this particular adaptation is often considered the most faithful, it contains some significant plot differences from the original novel.

In the movie, M. Debienne and M. Poligny transfer ownership of the Opera to M. Montcharmin and M. Richard, while in the novel they are simply the old and new managers.

The character of Ledoux is not a mysterious Persian and is no longer a onetime acquaintance of the Phantom. He is now a French detective of the Secret Police. This character change was not originally scripted; it was made during the title card editing process.

The Phantom has no longer studied in Persia in his past. Rather, he is an escapee from Devil's Island and an expert in "the Black Arts".

As described in the "Production" section of this article, the filmmakers initially intended to preserve the original ending of the novel, and filmed scenes in which the Phantom dies of a broken heart at his organ after Christine leaves his lair. Because of the preview audience's poor reaction, the studio decided to change the ending to a more exciting chase sequence. Edward Sedgwick was hired to provide a climactic chase scene, with an ending in which the Phantom, after having saved Ledoux and Raoul, kidnaps Christine in Raoul's carriage. He is hunted down and cornered by an angry mob, who beat him to death and throw him into the Seine.

Preservation and home video status

The finest quality print of the film existing was struck from an original camera negative for George Eastman House in the early 1950s by Universal Pictures. The original 1925 version survives only in 16mm "Show-At-Home" prints created by Universal for home movie use in the 1930s. There are several versions of these prints, but none of them are complete. All are from the original domestic camera negative.

Because of the better quality of the Eastman House print, many home video releases have opted to use it as the basis of their transfers. This version has singer Mary Fabian in the role of Carlotta. In the reedited version, Virginia Pearson, who played Carlotta in the 1925 film, is credited and referred to as "Carlotta's Mother" instead. Most of the silent footage in the 1929 version is actually from a second camera, used to photograph the film for foreign markets and second negatives; careful examination of the two versions shows similar shots are slightly askew in composition in the 1929 version. In 2009, ReelClassicDVD issued a special edition multi-disc DVD set which included a matched shot side-by-side comparison of the two versions, editing the 1925 Show-At-Home print's narrative and continuity to match the Eastman House print.

For the 2003 Image Entertainment–Photoplay Productions two-disc DVD set, the 1929 soundtrack was reedited in an attempt to fit the Eastman House print as best as possible. However, there are some problems with this attempt. There is no corresponding "man with lantern" sequence on the sound discs. While the "music and effect" reels without dialogue seem to follow the discs fairly closely, the scenes with dialogue (which at one point constituted about 60% of the film) are generally shorter than their corresponding sequences on the discs. Also, since the sound discs were synchronized with a projection speed of 24 frames per second (the established speed for sound film), and the film on the DVD is presented at a slower frame rate (to reproduce natural speed), the soundtrack on the DVD set has been altered to run more slowly than the originally recorded speed. A trailer for the sound reissue, included for the first time on the DVD set, runs at the faster sound film speed, with the audio at the correct pitch.

On November 1, 2011, Image Entertainment released a new Blu-ray version of Phantom, produced by Film Preservation Associates, the film preservation company owned by David Shepard.

On January 10, 2012, Shadowland Productions released The Phantom of the Opera: Angel of Music Edition, a two-disc DVD set featuring a newly recorded dialogue track with sound effects and an original musical score. The film was also reedited, combining elements from the 1925 version with the 1929 sound release. A 3D anaglyph version is included as an additional special feature.

Eastman House print mystery

It is uncertain for what purpose the negative used to strike the Eastman House print was produced, as it includes footage from the 1929 sound reissue, and shows few signs of wear or damage.

For unknown reasons, an opening prologue showing a man with a lantern has been added—using a single continuous take—but no corresponding title cards or dialogue survive. This shot seems to have been a talking sequence, but it shows up in the original 1925 version, shorter in duration and using a different, close-up shot of the man with the lantern. Furthermore, the opening title sequence, the lantern man, the footage of Mary Fabian performing as Carlotta, and Mary Philbin's opera performances are photographed at 24 frames per second (sound film speed), and therefore were shot after the movie's original release. It is possible that the lantern man is meant to be Joseph Buquet, but the brief remaining close-up footage of this man from the 1925 version does not appear to be of Bernard Siegel, who plays Buquet. The man who appears in the reshot footage could be a different actor as well, but since there is no close-up of the man in this version, and the atmospheric lighting partially obscures his face, it is difficult to be certain.

While it was common practice to simultaneously shoot footage with multiple cameras for prints intended for domestic and foreign markets, the film is one of few for which footage of both versions survives (others include Buster Keaton's Steamboat Bill, Jr. and Charlie Chaplin's The Gold Rush). Comparisons of the two versions (both in black and white and in color) yield:
 Footage of most of the scenes shot from two slightly different angles
 Different takes for similar scenes
 24 fps sound scenes replacing silent scene footage
 Variations in many rewritten dialogue and exposition cards, in the same font

Some possibilities regarding the negative's intended purpose are:
 It is an International Sound Version for foreign markets.
 It is a silent version for theaters not yet equipped with sound in 1930.
 It is a negative made for Universal Studios' reference.

International sound version

"International sound versions" were sometimes made of films which the producing companies judged not to be worth the expense of reshooting in a foreign language. These versions were meant to cash in on the talkie craze; by 1930 anything with sound did well at the box office, while silent films were largely ignored by the public. International sound versions were basically part-talkies, and were largely silent except for musical sequences. Since the films included synchronized music and sound effect tracks, they could be advertised as sound pictures, and therefore capitalize on the talkie craze in foreign markets without the expense of reshooting scenes with dialogue in foreign languages.

To make an international version, the studio would simply replace any spoken dialogue in the film with music, and splice in some title cards in the appropriate language. Singing sequences were left intact, as well as any sound sequences without dialogue.

The surviving sound discs of The Phantom of the Opera belong to the domestic release, but do not synchronize with the dialogue portions of the film, which have been abbreviated on the Eastman House print. However, there is no record of the content of the international version of The Phantom, nor even of the existence of such a version. Furthermore, for international sound versions, one negative was generally made for all of Europe, sent overseas, and not returned. Additionally, the Eastman House print shows no signs of negative wear that would be consistent with that of a negative printed for multiple countries.

Silent version
During the transition to sound in 1930, it was not uncommon for two versions of a picture, one silent and one sound, to play simultaneously (particularly for a movie from Universal, which kept a dual-format policy longer than most studios). One possibility is that the Eastman House print is actually a silent version of the reissued film, made for theaters not yet equipped with sound.

However, according to trade journals, no silent reissue was available. Harrison's Reports, which was always careful to specify whether or not a silent version of a movie was made, specifically stated that "there will be no silent version." Furthermore, by 1930, fewer exhibitors were booking completely silent films, and this had forced all of the major studios to add soundtracks and dialogue sequences to all of their major releases that had previously been intended for release as silent pictures. Studios no longer expended much time or money on silent versions, which were meant to be shown in rural areas where theaters could not yet afford the conversion to sound. Nevertheless, if the extant print is a silent version, it would explain why Universal still had it and also the lack of wear on the negative from which it was struck.

Color preservation

According to Harrison's Reports, when the film was originally released, it contained 17 minutes of color footage; this footage was retained in the 1930 part-talking version. Technicolor's records show 497 feet of color footage. Judging from trade journals and reviews, all of the opera scenes of Faust as well as the "Bal Masqué" scene were shot in Process 2 Technicolor (a two-color system). Prizmacolor sequences were also shot for the "Soldier's Night" introduction. Until recently, only the "Bal Masqué" scene survived in color; however in 2020, color footage of the ballet scene was found by the Dutch archive Eye Filmmuseum and uploaded to YouTube. In the scene on the rooftop of the opera, the Phantom's cape was colored red, using the Handschiegl color process. This effect has been replicated by computer colorization in the 1996 restoration by Kevin Brownlow's Photoplay Productions.

As with many silent films, black-and-white footage was tinted various colors to provide mood. These included amber for interiors, blue for night scenes, green for mysterious moods, red for fire, and yellow (sunshine) for daylight exteriors.

Legacy
In 1998 The Phantom of the Opera was added to the United States National Film Registry, having been deemed "culturally, historically or aesthetically significant". It was included, at No. 52, in Bravo's The 100 Scariest Movie Moments.

It is listed in the film reference book 1001 Movies You Must See Before You Die.

In the United States, the film is in the public domain because Universal did not renew the copyright in 1953.

See also
 List of early color feature films
 List of films in the public domain in the United States
 Phantom of the Opera (1943 film)
 Universal Monsters

References
Explanatory notes

Citations

External links

 rare lobby card

1925 films
1925 horror films
1920s color films
1920s monster movies
1920s musical fantasy films
American monster movies
American silent feature films
American black-and-white films
Films based on The Phantom of the Opera
Films directed by Rupert Julian
Films directed by Edward Sedgwick
Films directed by Lon Chaney
Films about composers
Films based on horror novels
Films set in Paris
Films set in a theatre
Films about opera
Silent films in color
United States National Film Registry films
Universal Pictures films
Articles containing video clips
Gothic horror films
Films with screenplays by Bernard McConville
Films produced by Carl Laemmle
Surviving American silent films
Early color films
Melodrama films
American romantic horror films
American romantic musical films
Halloween fiction
Films about death
1920s dark fantasy films
American musical fantasy films
American psychological horror films
American serial killer films
1920s English-language films
1920s American films
Silent horror films
Silent American drama films
1920s horror drama films

The Phantom of the Opera (1925 film)


The Anatolian rock lizard (Anatololacerta anatolica) is a species of lizard in the family Lacertidae. It is found in western Anatolia and on islands off the coast, where its natural habitats are temperate forests and rocky areas. A common species, the IUCN has listed it as being of "least concern".

Description
This lizard grows to a snout-to-vent length of about  with a tail twice as long as its body. The head and body are somewhat flattened and the markings rather variable. The basal colour is dark olive-brown and there are usually two series of pale dorso-lateral spots which may merge into each other forming lines. The areas between these stripes have further pale speckling. The throat may be reddish but the rest of the underparts are pale, sometimes with a few dark spots on the flanks. Lizards on Icaria have particularly bold, contrasting markings.

Distribution and habitat
The Anatolian rock lizard is endemic to western Anatolia (Asia Minor) north of the Büyük Menderes River and to islands close to the coast, some of which are Turkish and others Greek. It is present on Samos, Icaria, Nisyros, Symi, Strongyli Megistis, Rhodes and Pentanisios. It occurs at altitudes of up to  and its typical habitat is rocky outcrops, cliffs, boulders and drystone walls. It is often present in rocky areas in woodland and near streams in otherwise arid locations. Females lay clutches of three to eight eggs.

Status
The species has a wide range and is generally common. The population is large and stable and the main threat it faces are wildfires. The International Union for Conservation of Nature has assessed its conservation status as being of "least concern".

References

Anatololacerta
Reptiles of Turkey
Reptiles described in 1902
Taxa named by Franz Werner
Taxonomy articles created by Polbot

Anatolian rock lizard


Antonio Lante Montefeltro della Rovere (1648 – 5 May 1716) was an Italian nobleman of the House of della Rovere and was Duke of Bomarzo and Prince of Belmonte.

Lante was the son of Ippolito Lante Montefeltro della Rovere and Maria Cristina d'Altemps. He inherited his father's titles and became the second Duke of Bomarzo. When the Lante family purchased the comune of Belmonte from the Mattei (presumably on the death of Luigi Mattei in 1675), Lante became the first Prince of Belmonte.

Thereafter, Lante travelled to Paris. While there, in February 1683, Lante married Louise Angelique Charlotte de La Trémouille (1653–1698), sister of Marie Anne de La Trémoille, and they had 6 children. The two returned to Rome but travelled between the two capitals. When Trémouille died in 1698, in Paris, Lante returned to Rome though a number of his children stayed behind and were appointed to various titles by French and Spanish monarchs.

 Duca Luigi Lante Montefeltro della Rovere (1683–1727), inherited his father's titles and married Angela Maria Vaini, daughter of Guido Vaini, 1st Prince of Cantalupo, Duca di Selci, Marchese di Vacona, Signore di Gavignano, and Maria Anna Ceuli dei Marchesi del Carretto.
Artemisia Lante Montefeltro della Rovere (1690–1692)
 Alessandro Lante Montefeltro della Rovere (born 1691), made Duke of Santo-Gemini by Louis I of Spain and married Francisca Xaviera Fernández de Córdoba Carrillo y Mendoza, Marchioness of the Casta, Countess of Alacuás, Baroness of Bolbaite
Princesse Marie Anne Césarine Lante Montefeltro della Rovere (1693–1753), married Jean-Baptiste de Croÿ (1686–1737)
Federico Marcello Lante Montefeltro della Rovere (1694–1774), elevated to Cardinal

Ancestry

References

1648 births
1716 deaths
Dukes in Italy
Princes of Belmonte
Della Rovere family

Antonio Lante Montefeltro della Rovere


The NOvA (NuMI Off-axis νe Appearance) experiment is about one of nature's most elusive particles: neutrinos.

History
Since the late 1990s, physicists knew that neutrinos show a quantum mechanical behavior called oscillations. But this behavior is not predicted by the Standard Model of particle physics. NOvA is working to better understand these particles by precision measurements of their oscillation properties.

Team
The NOvA co-spokespersons are Patricia Vahle (William & Mary) and Alex Himmel (Fermilab). The team is made up of more than 260 scientists and engineers from 48 institutions in eight countries.

Physics experiments

NOνA


Prêmio Brasil Olímpico (Brazil Olympic Prize) is the name given to the highest recognition that a Brazilian athlete can receive nationally.

History and configuration
The award was created in 1999 by the Brazilian Olympic Committee (BOC), who wanted to have a form of maximum recognition that could be bestowed upon the Brazilian athletes that were considered to have been the best in the country.

The first installment of the award was held in São Paulo, but every other ceremony thereafter has been held in Rio de Janeiro. A strike of the Theatro Municipal employees in 2016 postponed the ceremony until March 29, 2017.

In order to be eligible, an athlete must be affiliated to a sport's Confederation whose sport is part of the Olympic Program. The athlete is then nominated by his or her Confederation for a vote that will determine the best athlete in the country for each sport — some Confederations have nominated only one athlete at times, which results in the need for only one vote in order for the athlete to be chosen as the best in the country.

The winners of each sport's election integrate the longlist for the highest award to be granted: the Athlete of the Year award. From the longlist, three finalists (or nominees) are selected, with the winner announced only at the Award Ceremony, which takes place in the first half of December. It is also possible that an athlete that may not have won in his or her sport (which serves as a longlist for the Athlete of the Year award), still be included in the shortlist, if said athlete is the winner of the previous year award. This was done in 2005, when female gymnast Daiane dos Santos, although not having won in her sport's category, was included in the shortlist for the female award as the winner of the 2004 award — this resulted in the unusual circumstance of having two athletes from the same sport running for the same award, since gymnast Laís Souza was also nominated for the female Athlete of the Year award.

A noteworthy discrepancy is that, in the election for best athlete in each sport, men and women run together (there is only one "best athlete" in each sport, man or woman), but for the nomination for Best Athlete of the Year, there are separate categories for male and female athletes. This has the effect of ensuring a variety of sports amidst the six athletes (between men and women) that run for the two awards, since no sport will have two nominees (one male and one female).

In the election, the candidates are voted on by two separate groups: a selected jury (chosen by the BOC) and the popular vote, both voting online. The results are then combined and the winner, chosen.

In addition, there is another award, which can be granted to both athletes and non-athletes: the Personalidade Olímpica (Olympic Personality) Award. This is granted to any public figure whose efforts were deemed to have helped advance sport in the country.

In 2004, for the first time, awards were given for the Best Paralympic Athlete of the Year (separately for men and women).

Best athlete of the year

Men

Women

Fan's Choice

References

External links
Official website (Portuguese)

Braz
Awards established in 1999
1999 establishments in Brazil
Sport in Brazil
Sports trophies and awards

Prêmio Brasil Olímpico


Knut Marius Røvde (born 26 June 1972) is a retired professional football player from Norway. During his career as a goalkeeper, he played at high levels in the Norway Eliteserien (Hønefoss BK, Stabæk Fotball, Hamarkameratene, and Lillestrøm SK), Scotlish Premier League (Ayr United F.C. and Motherwell F.C.) and English Championship (Wrexham A.F.C.)).

Most recently he has worked as Director, Deputy Technical Director and Goalkeeper Coach with various professional and national teams, including Major League Soccer clubs, the Vancouver Whitecaps and Minnesota United, and the national teams of Team Canada, Trinidad and Tobago FF.

Coaching

Rovde holds a UEFA 'A' goalkeeper "pro-license" and a KNVB Johan Cruyff Masters of Sports Management.

In 2009, Rovde became director of goalkeepers for the Trinidad and Tobago Football Federation Men and Woman's program, and also served as Deputy Technical Director for TTFF Woman's program.
Rovde was a part of the U17 TTFF staff that was ranked No. 1 in CONCACAF, and No. 9 in FIFA World Rankings. His U17 goalkeeper was voted goalkeeper of the tournament in The U17 World Cup 2010 by FIFA.
Rovde coached in four World Cup qualifiers for various Trinidad and Tobago teams.

Rovde worked closely alongside coaching legend Even Pellerud as Pellerud's assistant and advisor for Team Canada.

In 2011, Rovde became the new head goalkeeper Coach for the MLS franchise Vancouver Whitecaps FC, working with veteran MLS goalkeepers, Joe Cannon and Jay Nolly, receiving praise for extending Cannon's career as he went on to receive most clean sheets in the MLS 2012 season, and most minutes without conceding goals in the history of the league. Goalkeeper Brad Knighton was added to the 2012 squad and achieved the MLS goalkeeper of the month award and claimed double figures in clean sheets over the course of the season. Rovde's unique goalkeeper coaching style was instrumental in helping the Whitecaps be the first Canadian team to reach the MLS Playoffs.

In 2013, Rovde recruited Danish goalkeeper David Ousted, who later achieved "MLS All-star" status twice. Ousted has said Rovde was the most influential goalkeeper coach in his career and a big part of his success in the MLS. Over three seasons Ousted achieved double figures in clean sheets and Whitecaps FC became the club in MLS with the most shutouts from 2012 to 2016. Ousted still holds the MLS record of minutes without conceding goals, surpassing Cannon.

During his time with the Whitecaps FC, Rovde managed and directed the goalkeeper pathways program for the Youth Academy, producing six Canada national team goalkeepers. Rovde was responsible for discovering goalkeeper Marco Carducci, who achieved "Player of the year" status two years in a row from the Canadian Soccer Association. Carducci captained Canada in the U17 World Cup.

Canadian goalkeeper Simon Thomas, at one time released from Whitecaps FC, was reintroduced to the team by Rovde for two years as a training goalkeeper. Thomas earned a national men's first team game vs the United States Men's National Team in Houston in 2014 and is the only Canadian goalkeeper to have had a shutout vs USA in the last three decades. Simon Thomas went on to be a professional goalkeeper at the highest level in Norway and remains a regular on the Canadian men's national team.

In recent years, Rovde has focused on clubs in the Vancouver area, and held pro-series goalkeeper camps with the Whitecaps FC. These popular camps drew goalkeepers from across Canada. Directing the programs while mentoring and supporting young athletes, both male and female, to reach the best versions of themselves has been a focus and commitment from Rovde and many of his graduates have played on national teams and for professional clubs.

After the 2016 season, Rovde was offered a new challenge with the then-new MLS franchise, Minnesota United FC. Rovde worked closely with Minnesota's sports director, Manny Lagos, recruiting goalkeepers to the club, including Swedish national team goalkeeper John Alvbåge, experienced MLS goalkeeper Bobby Shuttleworth, USL goalkeeper of the year Patrick MacLain, and Alex Kapp. Shuttleworth finished off the season as the No. 1 goalkeeper and was voted MNUFC best overall player voted by the fans. Continuing his commitment to youth development, Rovde was heavily involved in the Minnesota United FC's Youth Academy, where he scouted, recruited and trained the first youth US national U15 goalkeeper, Fred Emmings, locally. Rovde's Pro Series goalkeeper camp grew in popularity in Minnesota within a short period, and two academy goalkeepers were recruited out of the participants in those camps.

Professional development
Rovde spent 2018 in professional development, visiting top clubs in Norway, Denmark, Scotland, England, and the US and remains very involved in the local youth soccer community in Vancouver, Canada where he shares his experience with multiple youth clubs on a regular basis.

Together with a small group of professional coaches from Houston, Seattle, Dallas and Colorado, Rovde was instrumental in founding an MLS goalkeeper coaches Union in 2017, and MLS and US Soccer's own goalkeeper Pro License program. Rovde suggested a minimum knowledge and experience requirement to become a MLS goalkeeping coach in order to raise standards and professionalism throughout the goalkeeper trade.

Sports management
On 4 February 2020, after a short spell as Goalkeeping Program Technical Lead at youth club Richmond FC, in the city of Richmond, British Columbia, Canada, Rovde was elevated to the role of Executive Director of the club.

In 2022 Rovde was awarded Association of the Year for Richmond FC, by the Richmond Chamber of Commerce Business Excellence Awards for his work in community outreach, and success in the growth and development of the club.

Pop culture
In the video game FIFA 05, Rovde received a player score of 67, with a potential score of 77.

References

1972 births
Living people
Norwegian men's footballers
Stabæk Fotball players
Hønefoss BK players
Wrexham A.F.C. players
Ayr United F.C. players
Lillestrøm SK players
Hamarkameratene players
Drøbak-Frogn IL players
Vancouver Whitecaps FC non-playing staff
Minnesota United FC non-playing staff
Men's association football goalkeepers
English Football League players
Scottish Football League players
Norwegian expatriate men's footballers
Expatriate men's footballers in Scotland
Expatriate men's footballers in Wales
Pacific FC non-playing staff
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Marius Røvde


Elchonon Bunim Wasserman (; 18746 July 1941) was a prominent rabbi and rosh yeshiva (dean) in prewar Europe. He was one of the closest students of Yisrael Meir Kagan (the Chofetz Chaim) and a noted Talmid Chacham. In the interwar period, he served as rosh yeshiva of Yeshiva Ohel Torah-Baranovich. He was murdered during the Holocaust.

Early life and education
Elchonon Bunim Wasserman was born in Biržai (Birz) in present-day Lithuania to Naftali Beinish, a shopkeeper and Sheina Rakhel. In 1890, the family moved to Bauska (Boisk) in present-day Latvia, and Wasserman, then 15 years old, studied in the Telshe Yeshiva in Telšiai (Telz) under Eliezer Gordon and Shimon Shkop. When Wasserman returned home during vacation, he participated in classes given by Abraham Isaac Kook, who was appointed rabbi of Bauska in 1895. In the summer of 1897, Wasserman met Chaim Soloveitchik at a health resort and "became deeply attached to him and his way of learning." He left Telz and traveled to Brest-Litovsk (Brisk) in present-day Belarus, where he learned under Soloveitchik for two years, thereafter considering him his primary rebbe (teacher and mentor).

Wasserman was married in 1899 to Michla, the daughter of Meir Atlas, rabbi of Salantai (Salant). Wasserman lived in his father-in-law's house for many years and rejected offers of rabbinical posts (including a prestigious rabbinate in Moscow) being afforded the opportunity to learn Torah at home. He did however decide to teach, and together with Yoel Baranchik, he started a mesivta (high school) in Mstislavl (known to Jews as Amtchislav) in 1903 and earned himself a reputation as an outstanding teacher. Prior to 1907, Wasserman heard that another local rabbi wanted to head the mesivta in Amtshilov and he left to avoid an argument, returning to learn in his father-in-law's house. From 1907 to 1910, he studied in the Kollel Kodshim in the Raduń Yeshiva in Radun (Radin), headed by Yisrael Meir Kagan. While at the kollel, Wasserman studied for eighteen hours a day with Yosef Shlomo Kahaneman, who would later become the rosh yeshiva (dean) of the Ponevezh Yeshiva.

Rosh yeshiva
In 1910, with the encouragement of Kagan, Wasserman was appointed rosh yeshiva of the mesivta in Brest-Litovsk, leading its expansion until it was disbanded in 1914 with the outbreak of World War I. With its closing, Wasserman returned to Kagan in Radin. When the Eastern Front reached Radin, however, the yeshiva there was closed, and Wasserman fled to Russia with Kagan.

In 1914, the yeshiva was exiled to Smilavičy, near Minsk, and Wasserman was appointed its rosh yeshiva one year later when Kagan decided to relocate to Siemiatycze (Semiatitch). Together with Yitzchok Hirshowitz (son-in-law of Eliezer Gordon from Telz Yeshiva), Wasserman was asked to keep Torah alive in Smilavičy.

In 1921, after the war, the Soviet government began permitting Torah scholars to leave Russia. Wasserman moved to Baranovichi, Second Polish Republic (now in Belarus), where he took the lead of Yeshiva Ohel Torah-Baranovich. The yeshiva grew under Wasserman's supervision, and soon had close to 300 students. Copies of notes taken from Wasserman's Torah lectures were passed around many of the yeshivas in Europe, increasing his influence and fame over most of the Torah world. He was one of the leaders of the Agudath Israel movement and was regarded as the spiritual successor of Kagan.

Trip to America
Towards the end of 1937, Wasserman traveled to the United States for 17 months in order to raise money for the yeshiva. He visited dozens of cities and towns, and raised around $10,000. While he was there, he made an impression on many young Jews.

Wasserman returned to Poland, although he knew his life was in danger by doing so. This was partly because he did not want to abandon his students, and partly because he took a dim view of American Jewry. In 1939, just before the Nazi invasion, he advised a student against accepting a visa to the United States if it meant studying at Yeshiva University and what is now the Hebrew Theological College, due to what he perceived as a spiritually dangerous atmosphere in these two institutions. He suggested instead that the student consider Yeshiva Torah Vodaas in Brooklyn, New York.

Death in the Holocaust

When World War II broke out, Wasserman fled to Vilnius (Vilna). In 1941, while on a visit to Kaunas (Kovno), he was arrested by Lithuanian Nazi sympathizers with twelve other rabbis.

Wasserman was taken and murdered by Lithuanian collaborators on the 12th of Tammuz, 1941, in the Seventh Fort of Kaunas Fortress. Before he was taken he gave this statement:
"In Heaven it appears that they deem us to be righteous because our bodies have been chosen to atone for the Jewish people. Therefore, we must repent now, immediately. There is not much time. We must keep in mind that we will be better offerings if we repent. In this way we will save the lives of our brethren overseas. Let no thought enter our minds, God forbid, which is abominable and which renders an offering unfit. We are now fulfilling the greatest mitzvah. With fire she [Jerusalem] was destroyed and with fire she will be rebuilt. The very fire which consumes our bodies will one day rebuild the Jewish people".

There was no monument, only a marker to the pit where, with others, he was shot.

Family
Wasserman had several sons. Elazar Simcha (1899-1992), his oldest, served as dean of Yeshiva Beth Yehudah in Detroit in the 1940s, founded Yeshiva Ohr Elchonon (later renamed Yeshiva Ohr Elchonon Chabad/West Coast Talmudical Seminary) in Los Angeles, California, in the 1950s, and later founded Yeshiva Ohr Elchonon in Jerusalem. Wasserman's son David survived the Holocaust, remarried and relocated to Brooklyn. Wasserman's other son Naftoli was murdered in the Holocaust.

Anti-Zionism
Wasserman was an opponent of Zionism. He based his opinion upon the Torah views of his teachers, including Kagan, Gordon, Shkop and Soloveitchik. He considered all forms of Zionism to be heretical, even that of the religious  Mizrachi party. He was opposed to the idea of a Jewish state because it constituted kefirah (rejection) of the coming of Moshiach (the Messiah). He held this position even in reference to a state run according to Torah law. He declared that any religious Jew who collaborated with the Zionists was causing others to sin. He rejected the notion that the creation of a state was a signal to the Atchalta De'Geulah (beginning of the Jewish redemption), considering it instead to be the beginning of a new galus (exile).

Even during the Holocaust, Wasserman discouraged emigration to the United States or Palestine, viewing them as places of spiritual danger. He was particularity critical of the Zionist enterprise in Palestine and claimed, "Anti-Semites want to kill the body, but Zionists kill the soul. Better to die than consort with the Zionists."

Wasserman viewed the two ascendant political movements of his time, nationalism and socialism, as "two forms of idolatry that had poisoned the hearts and minds of Jewish youth", and saw Nazism as an amalgam of both. He viewed the rise of the Nazi Party as a tool of God to exact punishment on the Jewish people for their pursuit of these foreign belief systems.

Notable students
 Aryeh Leib Baron
 Shmuel Berenbaum
 Henoch Fishman
 Tovia Goldstein
 Shneur Kotler
 Aryeh Leib Malin
 Nochum Partzovitz
 Dovid Povarsky
 Moshe Schwab
 Moshe Shmuel Shapiro
 Simcha Sheps
 Boruch Sorotzkin
 Simcha Wasserman

Works
Wasserman was famous for his clear, penetrating Talmudic analysis. His popular works, essential material in yeshivas around the world, are unique in their approach. He would often quote his rebbe, Chaim Soloveitchik, saying "Producing chiddushim (novel Torah concepts) is not for us. That was only in the power of the Rishonim. Our task is to understand what it says." This approach is evident in his works, which include:
Kovetz Heoros
Kovetz Shiurim
Kovetz Biyurim
Kovetz Shemuos
Kovetz Inyanim
Kovetz Maamarim
Ikvasa Demeshicha

Wasserman also published the responsa of the Rashba with annotations in 1932. His talmudic novellae appeared in the rabbinic journal Sha'arei Tzion (1929–1934) and in other publications.

References

1874 births
1941 deaths
20th-century Lithuanian writers
20th-century Lithuanian rabbis
Authors of works on the Talmud
Haredi rabbis in Europe
Jewish martyrs
Lithuanian male writers
Lithuanian Haredi rabbis
Rosh yeshivas
Raduń Yeshiva alumni
People from Biržai
The Holocaust in Lithuania
Anti-Zionist Haredi rabbis
1941 murders in Europe

Elchonon Wasserman


Ramon (Ray) Gary Epstein,  (born 14 October 1959) is an Australian Paralympic weightlifter and powerlifting coach. He represented Australia in weightlifting at the 1988 Seoul and 1992 Barcelona Paralympics and was Head Coach of the Australian Paralympic powerlifting team between 2003 and 2013.

Personal

Epstein was born in Brisbane. He became a paraplegic in 1972 following a gym accident. He became a member of the Sporting Wheelies and Disabled Association in 1977 and competed in a number of sports including wheelchair basketball and athletics before focusing on weightlifting.

He was admitted as a Chartered Accountant in 1985 and joined the Sporting Wheelies and Disabled Association as Administration and Finance Manager in 1990. He was the chief executive officer of the Association from 1998 to December 2016, and was appointed to the Board of the Queensland Academy of Sport in 2008.

In 2002, his wife Vicki wrote the book Step by step we conquer : the story of Queensland's Sporting Wheelies and Disabled Association.

Sporting career

Epstein competed in state, national and international weightlifting/powerlifting (bench press) competitions for athletes with a disability from 1979 to 1995. He took a break from competition in 1983–84 to pursue a professional qualification in accounting. He represented Australia at 12 international competitions, including the 1988 Seoul Paralympic Games and 1992 Barcelona Games, where he was male Captain of the Australian Team.

His career highlights included silver medals at the World Wheelchair Weightlifting Championships in 1990 (Saint-Etienne, France) and 1991 (Rhode Island, United States), and gold medals and world records in the 56 kg division at the 1993 World Cup in Northampton, England and the 1994 World Wheelchair Weightlifting Championships (Melbourne). During his career, he held Australian records in five separate body weight categories from 48 kg to 67.5 kg bodyweight divisions. He was a scholarship holder under the elite athlete programs of the Australian Institute of Sport (1992 and 1995) and the Queensland Academy of Sport (1992–1995).

Following his retirement in 1995, he became an accredited IPC Powerlifting Referee.

Coaching career

Epstein started coaching towards the end of his lifting career due to a shortage of powerlifting coaching staff in Australia at that time. He was appointed Assistant National Coach Powerlifting in 1999 and became National Head Coach Powerlifting in 2003.

He was Assistant Coach of the powerlifting team at the 2000 Sydney Paralympics and Head Coach for the 2004 Athens, 2008 Beijing, and 2012 London Paralympic Games.

Notable powerlifters coached by Epstein include dual Paralympic silver medalist Darren Gardiner, Abebe Fekadu, and pioneering female lifters Julie Russell and Deahnne McIntyre.

He announced his retirement as Australian Paralympic Powerlifting head coach in July 2013.

Recognition

Epstein was awarded a Medal of the Order of Australia (OAM) in the 1994 Queen's Birthday Honours List for services to people with a disability and the sport of weightlifting, and received an Australian Sports Medal in 2000. He was named the Coach of the Year by the Sporting Wheelies and Disabled Association in 1998, 2004, and 2006. He won the Inspiring Individual Award at the 2014 Queensland Disability Awards. At the 2016 Queensland Sport Awards, he was awarded a  Service to Sport Award.

References

Paralympic weightlifters for Australia
Weightlifters at the 1988 Summer Paralympics
Weightlifters at the 1992 Summer Paralympics
Recipients of the Medal of the Order of Australia
Recipients of the Australian Sports Medal
Weightlifters from Brisbane
Paralympic coaches for Australia
Australian Institute of Sport Athletes with a Disability alumni
Coaches at the 2000 Summer Paralympics
Coaches at the 2004 Summer Paralympics
Coaches at the 2008 Summer Paralympics
Coaches at the 2012 Summer Paralympics
1959 births
Living people
20th-century Australian people
21st-century Australian people

Ray Epstein


The red admiral (Vanessa atalanta) is a well-known colourful butterfly, found in temperate Europe, Asia and North America. It has a  wing span. The species is resident only in warmer areas, but migrates north in spring, and sometimes again in autumn.

In northern Europe, it is one of the last butterflies to be seen before winter sets in, often feeding on the flowers of ivy on sunny days. The red admiral is also known to hibernate, re-emerging individuals showing prominently darker colourings than first brood subjects. The butterfly also flies on sunny winter days, especially in southern Europe.

In North America, the red admiral generally has two broods from March through October. Most of North America must be recolonized each spring by southern migrants, but this species over-winters in south Texas.

Other red admiral species are:
The New Zealand red admiral Vanessa gonerilla.
The Indian red admiral Vanessa indica.

Painted ladies

The painted ladies are a subgenus Cynthis of the red admirals. The topside of their wings is mostly orange in colour.

The group includes:
 The painted lady (Vanessa cardui), which is almost global in its distribution
 Australian painted lady (Vanessa kershawi)
 American painted lady (Vanessa virginiensis)
 West coast lady (Vanessa annabella).

Migration
The painted lady in the UK migrates south in the winter. This has been proved by tracking them on radar. They fly at high altitude on a 9,000-mile migration. It could take up to six successive generations for the species to complete a 9000 mile (14,400 km) round trip from tropical Africa to Europe.

Huge numbers migrate. The radar showed that 11 million painted ladies entered the UK at high altitude in spring 2009. Twenty six million were counted departing in the autumn.

References

Nymphalidae

Red admiral


Henri Lopes (born 12 September 1937) is a Congolese writer, diplomat, and political figure. He was Prime Minister of Congo-Brazzaville from 1973 to 1975, and became the Congo-Brazzaville's Ambassador to France in 1998.

Political and diplomatic career
Lopes was born across the Congo River in Leopoldville (now Kinshasa), the capital of the Belgian Congo (now the Democratic Republic of the Congo). He received his primary education in Brazzaville and Bangui, then went to France in 1949 for his secondary and higher education. While there, he was a member of the Executive Committee of the Federation of Black African Students and was President of the Association of Congolese Students from 1957 to 1965. Returning to Congo in 1965, he was a history professor at the Ecole normale supérieure d'Afrique Centrale in Brazzaville from 1965 to 1966, then Director-General of Education from 1966 to 1968.

Under President Marien Ngouabi, Lopes was Minister of National Education from January 1969 until becoming Minister of Foreign Affairs in December 1971. He was included on the five-member Political Bureau of the Congolese Labour Party (PCT) in December 1972. Subsequently, he was Prime Minister from 1973 to 1975. He visited China in early 1975, but could not meet with Chairman Mao Zedong because Mao was ill. Lopes and his government resigned following a meeting of the PCT Central Committee in December 1975, and Louis Sylvain Goma was appointed to replace him.

After working as political director of Etumba from 1975 to 1977, Lopes was reappointed to the government as minister of finance on 5 April 1977; he served in that position until Justin Lekoundzou was appointed to replace him in December 1980. Subsequently, he worked at UNESCO as Assistant Director-General for Culture and Deputy Director-General for Africa from 1981 to 1998.

On 26 October 1998, Lopes presented his credentials as Congo-Brazzaville's Ambassador to France; while posted in Paris, he was additionally accredited as Ambassador to the United Kingdom, Portugal, Spain, and the Vatican City.

In 2002, Lopes was a candidate for the post of Secretary-General of the international organization La Francophonie, but he withdrew his candidacy under pressure on the night before the vote, which was held on 20 October 2002 and resulted in the unanimous election of Senegal's Abdou Diouf.

In mid-2015, it was reported that Lopes planned to retire from his post as Ambassador to France, which he did later that year.

As a writer
In addition to his distinguished political and diplomatic career, Lopes has earned distinction as a literary author. Perhaps his most acclaimed work is the satirical novel Le Pleurer-rire ("The Laughing Cry", 1982). Other works include the short-story collection Tribaliques ("Tribaliks," 1971), as well as the novels La Nouvelle romance (1975) and Sans tam-tam (1977). His most recent novel, Le Méridional (2015), has been praised as "a fine portrayal of the life of an African long residing in France, narrated by a writer whose life bears some resemblances to Lopes's own".

Tribaliques received the Grand Prix Littéraire de l'afrique noire in 1972, and in 1993 Lopes received the Grand prix de la francophonie of the Académie française for his entire body of work.

In November 2015, he delivered the keynote address at the 22nd International African Writers' Day Conference, organized by the Pan African Writers' Association (PAWA) on the theme "Celebrating the life and works of Chinua Achebe; the coming of age of African Literature?", in Accra, Ghana. During the conference Lopes received the award of Honorary Membership of PAWA, alongside other honorees who included the late Kwame Nkrumah, Emeritus Professor Ekwueme Michael Thelwell, Dr Margaret Busby, James Currey, Professor Jophus Anamuah-Mensah, Dr Joyce Rosalind Aryee and others.

Selected bibliography
 Le Méridional (Editions Gallimard, 2015, )
 Une enfant de Poto-Poto (Editions Gallimard, 2012, )
 Ma grand-mère bantoue et mes ancêtres les Gaulois. Simples discours (Paris: Editions Gallimard, )
 Le Lys et le Flamboyant (Paris: Seuil, 1997, )
 Le chercheur d'Afriques (Paris: Seuil, 1990, )
 Le Pleurer-rire (Présence Africaine, 1982, ). Translated into English by G. Moore as The Laughing Cry: An African Cock and Bull Story, Readers International, 1987,
 Sans tam-tam (Éditions CLE, 1977, )
 La Nouvelle romance (Yaoundé: CLE, 1975)
 Tribaliques (Yaoundé: CLE, 1971). Translated into English as Tribaliks: Contemporary Congolese Stories (Heinemann African Writers Series, 1987, )

Selected awards
 1972: Grand Prix Littéraire de l'afrique noire for Tribaliques
 1992: Grand prix de la francophonie
 2002: Honorary doctorates from University of Paris XII and the University of Quebec
 2013: Honorary doctorate from University of Sonfoniah, Guinea
 2015: Officer of the Légion d'Honneur

Further reading
 Bokiba, André-Patient (2003). Henri Lopes: Une lecture d'enracinement et d'universalité. Editions L'Harmattan.
 Chemain, Arlette (1988). "Henri Lopes: engagement civique et recherche d'une écriture". Notre librairie, 92-93:123-128.
 Maunick, Edouard (1988). "Le territorre d'Henri Lopes". Notre librairie, 92-93:128-131.
 Mwepu, P. K. (December 2007). "From self-identity to universality: a reading of Henri Lopes' works", Literator 28(3):131-144. ISSN 0258-2279

References

External links
 Lydie Moudileno, "Henri Lopes – 'La critique n'est pas une agression'" (interview), Genesis, 33, 2011, 93–100.
 Olivia Marsaud, "'What I have learned' from Henri Lopes", Afrique Magazine, May 2015.

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1937 births
People from Kinshasa
Ambassadors of the Republic of the Congo to France
Ambassadors of the Republic of the Congo to the Holy See
Ambassadors of the Republic of the Congo to Portugal
Ambassadors of the Republic of the Congo to Spain
Ambassadors of the Republic of the Congo to the United Kingdom
Congolese Party of Labour politicians
Living people
Prime Ministers of the Republic of the Congo
Foreign Ministers of the Republic of the Congo
Finance ministers of the Republic of the Congo
Republic of the Congo novelists
20th-century male writers
21st-century male writers
20th-century Republic of the Congo politicians

Henri Lopes


Huner Saleem (Kurdish: هونه‌ر سەلیم), also transliterated as Huner Salim, (born 9 March 1964), is an Iraqi–Kurdish film director. He was born in the town of Aqrah (Akre) in Iraqi Kurdistan. He left Iraq at the age of 17, and soon made his way to Italy, where he completed school and attended university. Later on, he moved to France where he lives now. In 1992, after the First Gulf War, he filmed undercover the living conditions of Iraqi Kurds. This footage was shown at the Venice Film Festival. In 1998, he made his first movie, Vive la mariée... et la libération du Kurdistan. His second, Passeurs de rêves, came out in 2000, and his third film, Vodka Lemon, released in 2003, won the San Marco Prize at the Venice Film Festival . He wrote and directed all three. He was honored with the prestigious title Chevalier des Arts et Lettres by French Minister of Culture Renaud Donnedieu de Vabres in 2005. His memoirs titled My Father's Rifle has been published in French, English, Greek and Tamil.

His 2013 film My Sweet Pepper Land was screened in the Un Certain Regard section at the 2013 Cannes Film Festival. He was nominated for the Asia Pacific Screen Award for Achievement in Directing for this film.

Filmography as director, writer
Vive la mariée... et la libération du Kurdistan (1997)
Passeurs de rêves (2000) (English Title: Beyond Our Dreams)
Absolitude (2001) (TV)
Vodka Lemon (2003)
Kilomètre zéro (2005)
Dol (2007)
Les Toits de Paris (2007) (English Title: Beneath the Rooftops of Paris)
Si tu meurs, je te tue (2011)
My Sweet Pepper Land (2013)
"Tight Dress" (2015)
Lady Winsley (2019)

Books
My Father's Rifle: A Childhood in Kurdistan, Translated from French by Catherine Temerson, 112 pp., Farrar, Straus and Giroux. January  2005, .
 To doufeki tou patera mou Translated from French by Efi Koromila, 181 pp., Okeanida,Athens, February  2004, .

References

External links

 Hiner Saleem, Cannes Film Festival.
Hiner Saleem, Literary Review, Winter 2005.
The Shows: Making a movie in and on Iraq, International Herald Tribune, May 2005.

1964 births
Iraqi film directors
French people of Iraqi descent
Kurdish film directors
Iraqi Kurdish people
Living people
People from Akre

Huner Saleem


The Apicomplexa are a large group of protists (protozoa) which are parasitic. They have developed some extraordinary adaptations which fit them in their parasitic life. They are all single-celled, they are all parasites of animals, and they all form spores.

They have a unique organelle, a plastid called an apicoplast, and an apical complex structure which gets them into a host's cell. They do not have structures such as flagella or pseudopods except in certain gamete stages. Body movement is by flexing or gliding.

The group were once called the Sporozoa, but this name is now discouraged.

Apicomplexans have complex life cycles, and there is much variation among different apicomplexan groups. Both asexual and sexual reproduction occur. Cell nuclei are haploid.

This is a diverse group including organisms such as coccidia, gregarines, piroplasms, haemogregarines, and malarias. Diseases caused by apicomplexan organisms include:

 Babesiosis (Babesia)
 Malaria (Plasmodium)
 Coccidian diseases including:
 Cryptosporidiosis (Cryptosporidium parvum)
 Cyclosporiasis (Cyclospora cayetanensis)
 Isosporiasis (Isospora belli)
 Toxoplasmosis (Toxoplasma gondii)

Life cycle

Most members have a complex life-cycle, with both asexual and sexual reproduction. A host is infected by an active invasion by the parasites. The parasites divide to produce sporozoites which enter its cells.  Eventually, the cells burst, releasing merozoites, which infect new cells.  Eventually, gametes are produced, and they fuse to create new cysts.  There are many variations on this basic pattern, however, and many Apicomplexa have more than one host.

The apical complex includes vesicles which open at the front of the cell. They secrete enzymes that allow the parasite to enter other cells. The tip is surrounded by a band of microtubules, called the polar ring, and among the Conoidasida there is also a funnel of tubulin proteins called the conoid.

The presence of alveoli and other traits place the Apicomplexa among a group called the alveolates.  Several related flagellates, such as Perkinsus and Colpodella, have structures similar to the polar ring and were formerly included here, but most appear to be closer relatives of the dinoflagellates.  They are probably similar to the common ancestor of the two groups.

Another similarity is that many apicomplexan cells contain a single plastid, called the apicoplast, surrounded by either 3 or four membranes. Its functions are thought to include tasks such as lipid and haem biosynthesis. It appears to be necessary for survival. The plastids are thought to have a common origin with the chloroplasts of dinoflagellates, and evidence points to an origin from red algae rather than green.

References

Apicomplexa


Dermot John Morgan (31 March 1952 – 28 February 1998) was an Irish actor and comedian. He was best known for his role as Father Ted Crilly in the Channel 4 sitcom Father Ted (1995–1998). In 1999, a year after his death, the BAFTA Award for Best Comedy Performance was awarded to him. He also appeared on the panel show Have I Got News for You. He was a schoolteacher before becoming a professional entertainer.

Morgan was born in Dublin. He was married to Susanne Garmatz. They had two children. He had another child with girlfriend Fiona Clarke.

Morgan died of a heart attack on 28 February 1998 in Hounslow, London, England. He was 45.

References

Other websites

1952 births
1998 deaths
Actors from Dublin
Irish comedians
Irish movie actors
Irish television actors
Irish teachers
Deaths from myocardial infarction

Dermot Morgan


Route 3 is a  state highway in the U.S. state of Rhode Island. Route 3 serves as a local alternative to Interstate 95 (I-95) as it parallels I-95 for almost its entire length. Route 3 in West Warwick was the site of The Station nightclub fire.

Route description
Route 3 starts at US 1 in Westerly. It begins heading north, and it has a partial interchange with the Westerly Bypass. Route 3 continues north, intersects I-95 at exit 1, and turns to the northeast to parallel I-95. After two more interchanges with I-95, Route 3 passes through downtown Coventry. Continuing east into West Warwick, Route 3 terminates at Route 2 on the West Warwick/Warwick town line.

History
In about 1835, the New London Turnpike was established as the primary road between Providence, Rhode Island and New London, Connecticut.  As such, it was one of the earliest interstate highways in the country.  The New London Turnpike proved a viable alternative to the Old Post Road, which followed the coastal route, as it was more direct and faster.

The New London Turnpike (also called New London Avenue in parts of Rhode Island and the Gold Star Highway in Connecticut) was a primary route until the advent of automobiles in the early 20th century.  The increased need for roadways led to the development of a more improved interstate highway system.  The Connecticut portion of the New London Turnpike is now Route 184, and in Rhode Island parts of the New London Turnpike are on Routes 2 and 3.

In 1922, the Westerly–Providence road was assigned New England Interstate Highway 1A, as an alternate to New England Interstate Highway 1. The road was only paved north of Nooseneck Hill.  When NE 1 became US 1 in 1927, NE 1A became Route 1A (now assigned to a different route).

The original NE 1A alignment differed from the current Route 3 alignment in the following places:

On a 1922 map, the main road appears to follow Route 3 out of downtown Westerly and then Potter Hill Road, and either Maxson Street and Route 3 or Laurel Street into Ashaway.
Maxson Hill Road and Town House Road from Ashaway to Hopkinton.
Bank Street, Arcadia Road, Route 165, Black Plain Road and Austin Road from Locustville to Austin.  An old bridge still exists over a creek just north of Route 165, a bit east of the intersection with Arcadia Road.
Weaver Hill Road and Kitts Corner Road north of Nooseneck Hill.
Lake Drive and Mishnock Road, and then Maple Root Road and Route 118.
South Main Street and Route 117 through Washington.
From there, the main road used Route 33 to where the Meshanticut Interchange is now, and then roughly Route 2 (though the exact route is unclear; it may have originally used Cranston Street into Westminster Street) to end concurrent with US 1 and Route 2 in Providence, possibly at Broad Street (former Route 117).

By 1934, the number had been changed to Route 3, and it was on its current alignment (though still extending north to Providence, via Route 2 and US 1), and was fully paved with concrete except for a bit in downtown Westerly (and along Route 2 and US 1 north of Route 12).  Route 3 was part of a major through route, serving as a cutoff for US 1, along with Rhode Island–Connecticut Route 84.  In fact, in 1947, Connecticut proposed moving US 1 to this route, but RIDOT declined, wanting US 1 to continue through the shore towns.  RIDOT offered US 1A as a compromise, but this was never signed. The old alignment through Washington to the Meshanticut Interchange site became Route 3A and later Route 33; by 1939 this was on its current alignment, bypassing Washington.

1952 and 1953 saw the building of a new high-speed relocation of Route 3 from Route 84 to north of Wyoming, where Route 3 left the New London Turnpike.  This was built as a four-lane surface road, with interchanges at the Route 3/Route 84 split and Route 138.

When the Huntington Expressway was built in 1959, Route 2 was moved onto it, leaving Route 3 as the only road on Reservoir Avenue north of the Expressway.  Later the Expressway was designated Route 10, and Route 2 was moved back.  At or after that time, Route 3 was truncated to Route 2.

In 1957 and 1958, the Kent County Freeway was built, splitting from Route 3 near Nooseneck Hill and heading east to Route 2. The original designation of this is unknown.  However, the westernmost section carried Route 3, at least southbound, due to southbound access along the old road being cut off at the merge. This access was brought back in 1969 when the freeway extension was built to the south.

1959 also saw the assignment of the Interstate Highways, including I-95 along the Route 3 corridor. Route 84 and Route 3 were temporarily designated Route 95 from Connecticut to the beginning of the Kent County Freeway, which was I-95. Route 3 was moved back to the old alignment at the 1952–1953 relocation.

The southernmost several blocks in Westerly may have at one time used Canal Street and one of the diagonal streets to cut over to current Route 3.

Major intersections

See also
 Numbered routes in Rhode Island

References

External links

1939 RIGIS aerial photos
2019 Highway Map, Rhode Island

003
003
Transportation in Washington County, Rhode Island
Transportation in Kent County, Rhode Island
West Greenwich, Rhode Island
Coventry, Rhode Island
West Warwick, Rhode Island
Richmond, Rhode Island
Exeter, Rhode Island
Westerly, Rhode Island
Hopkinton, Rhode Island

Rhode Island Route 3


United Nations Security Council resolution 1532, adopted unanimously on 12 March 2004, after recalling all previous resolutions on the situation in Liberia and West Africa, including Resolution 1521 (2003), the council froze the assets of former president Charles Taylor, his family and other associates.

Charles Taylor, who was exiled from the country, was accused of using misappropriated funds to interfere in Liberian affairs.

Resolution

Observations
The Security Council was concerned at the actions and policies of former Liberian president Charles Taylor, particularly the depletion and removal of the country's natural resources that undermined the country's transition to democracy. It stressed the need to return the misappropriated funds and assets to Liberia by the international community and expressed concern that Charles Taylor and associates still had control over them.

Acts
Acting under Chapter VII of the United Nations Charter, the council the assets of Charles Taylor, his wife and his son Charles McArther Emmanuel in addition to associates and members of the regime were frozen, aside from humanitarian exceptions. Other sanctioned individuals were to be determined by the committee established in Resolution 1521. The committee was asked to identify and update assets or resources controlled by Charles Taylor his close associates and to post such information on its website. The measures would be reviewed by 22 December 2004.

Finally, the resolution expressed the council's intention to consider whether or how to make the frozen funds available to benefit the Liberian people, once the new Liberian government had established transparent accounting and auditing mechanisms. Taylor's funds within Liberia were frozen in mid-October 2004.

See also
 List of United Nations Security Council Resolutions 1501 to 1600 (2003–2005)
 Second Liberian Civil War

References

External links

Text of the Resolution at undocs.org

 1532
 1532
2004 in Liberia
March 2004 events

United Nations Security Council Resolution 1532


South Asia Disaster Report is a 2006 report by Duryog Nivaran, edited by Amjad Bhatti and others, and subtitled Tackling the Tides and Tremors. It looks at disasters affecting the South Asian region's "countries and communities (that) are connected to each other geologically, geographically and culturally".

2005 report
The report, covering 2005, has Pakistani journalist Amjad Bhatti as its co-ordinating editor. Bhatti is from the Duryog Nivaran Secretariat at Islamabad. He has argued that the report brings together "insights and experiences" of members of the Duryog Nivaran network in South Asia who have been "engaged in exploring and addressing the social dimensions of 'natural disasters' in South Asia."

In this seven chapter book, the themes looked at include whether disasters in South Asia are "destined or designed". Other chapters look at whether "disasters discriminate"; and offer in-depth focus on the Kashmir earthquake, the tsunami in Sri Lanka, the Mumbai monsoon floods of 2005, "dand ownplayed disasters" of 2005. Other themes tackled include disaster risk reduction in South Asia and the emerging issues, options and lessons.

South Asia, and its relevance
Covering seven nations (Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka, South Asia is a region sensitive to disasters, points out this report. The region has exhausted its land reserves, and is farming soils that are unsuitable for cultivation. Some 35% of productive land is affected by land degradation. South Asia has a population that is vulnerable to risks in terms of sudden fluctuations in markets and natural shocks arising from weather. This region is also marked by high disparities in income, health and education.

Says the study (p. 1): "2004-5 was the most appalling period in the history of South Asia. The region became a neighbourhood of disasters." Besides recurring flood and drought, it also had to cope with the December 2004 tsunami (specially in coastal Sri Lanka, India, Thailand and Indonesia). There was the October 2005 earthquake in the Himalayan range that killed of 75,000.

"Understanding issues"
In its first report, this intended series "seeks to understand" issues such as:

 How hazards turn into disasters
 What were the consequences of the Indian Ocean tsunami of December 2004, the Himalayan earthquake of October 2005, the Mumbai floods of July 2005, on people, infrastructure and development.
 How did the State and non-state "actors", including the local and international communities respond to these major natural disasters,
 Why some disasters are reported prominently and some remain invisible,
 What are the existing institutional arrangements to address complex emergencies in South Asia, and
 What could be an alternative framework for effective disaster risk reduction in the region.

Contributors
Core contributors for the 2005 report are Madhavi Malalgoda Ariyabandhu, Dilrukshi Fonseka, Mushtaq Gadi of the Sindhu Bacha'ao Tarla in Pakistan, Dr. Vishaka Hidellage, Louise Platt of Practical Action's South Asia Programme, and Chandrani Bandyopadhyay of the National Institute of Disaster Management (NIDM) in India.

Behind this report were the Duryog Nivaran network working to promote "an alternative perspective on disasters and vulnerability as a basis for disaster mitigation in the region"; Practical Action (formerly called the ITDG) and an international development agency promoting appropriate technology to fight poverty begun by economist and author of Small Is Beautiful E.F. Schumacher; and the Rural Development Policy Institute (RDPI), a civil initiative aimed to stimulate public dialogue.

Annexures
This (2005) book has a series of annexures—a statistical summary of disasters in South Asia, covering 2005; numbers of deaths in South Asia, by country and by disaster type; number of disasters that occurred, by country and disaster type; number of disasters that occurred, by country, in 2005; percentage of people killed, by natural disaster category, in 2004 and 2005; "top-ten"global disaster killers; the countries most hit by natural disasters across the globe in 2005 (China tops, with India second, the United States in third place, and Afghanistan in fourth. Bangladesh and Pakistan follow in fifth and sixth position); time-trends in natural disasters between 1975 and 2005; and the annual reported economic damages from natural disasters, between 1975 and 2005. There are also a couple of more annexures, on the human impact by disaster type, and the natural disaster occurrence by disaster type, both of which compare 2004 and 2005 figures.

References

2006 books
South Asia

South Asia Disaster Report