♤ ✻♣∞⇓✶✯✹✹✰✲
♤ STREAM
♤ ▲✱§✯♧♠♲ψ﹡❋
Al Reinert
user Rating 7,8 / 10
Directed by Ron Howard
actors Bill Paxton
genres History
release date 1995
E9 98%bf e6 b3 a2 e7 be 8513 good.
Are u trollimng ME.
E9 98%bf e6 b3 a2 e7 be 8513 legal.
Written By
William Broyles, Jr. (screenplay), Al Reinert (screenplay), Jim Lovell and Jeffrey Kluger (book "Lost Moon: The Perilous Voyage of Apollo 13")
Release Date
30 June 1995 (USA)
Rating
Budget
$62, 000, 000 (estimated)
Gross
$334, 100, 000 (worldwide)
Apollo 13 is a 1995 American docudrama film directed by Ron Howard. The film stars Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, Kathleen Quinlan and Ed Harris. The screenplay by William Broyles, Jr. and Al Reinert, that dramatizes the 1970 Apollo 13 lunar mission, is an adaptation of the book Lost Moon: The Perilous Voyage of Apollo 13 by astronaut Jim Lovell and Jeffrey Kluger.
The film depicts astronauts Lovell, Jack Swigert and Fred Haise aboard Apollo 13 for America's third Moon landing mission. En route, an on-board explosion deprives their spacecraft of most of its oxygen supply and electric power, forcing NASA's flight controllers to abort the Moon landing, and turning the mission into a struggle to get the three men home safely.
Howard went to great lengths to create a technically accurate movie, employing NASA's technical assistance in astronaut and flight controller training for his cast, and even obtaining permission to film scenes aboard a reduced gravity aircraft for realistic depiction of the "weightlessness" experienced by the astronauts in space.
Released in the United States on June 30, 1995, Apollo 13 garnered critical acclaim and was nominated for many awards, with nine Academy Awards including Best Picture; it won for Best Film Editing and Best Sound. [1] In total, the film grossed over $355 million worldwide during its theatrical releases.
Plot Edit
On July 20, 1969, veteran astronaut Jim Lovell ( Tom Hanks) hosts a party for other astronauts and their families, who watch on television as their colleague Neil Armstrong takes his first steps on the Moon during the Apollo 11 mission. Lovell, who orbited the Moon on Apollo 8, tells his wife Marilyn ( Kathleen Quinlan) that he intends to return, to walk on its surface.
On October 30, while giving a VIP tour of NASA's Vehicle Assembly Building, Lovell is informed by his boss Deke Slayton that he and his crew will fly the Apollo 13 mission instead of Apollo 14. Lovell, Ken Mattingly ( Gary Sinise), and Fred Haise ( Bill Paxton) begin training for their new mission. Days before launch, it is discovered that Mattingly was exposed to measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert ( Kevin Bacon), as a safety precaution. Lovell resists breaking up his team, but relents after Slayton gives him the choice of either accepting the switch, or else being bumped to a later mission.
As the launch date approaches, Marilyn's fears for her husband's safety manifest in nightmares, but she goes to Cape Kennedy the night before launch, to see him off despite her misgivings.
On April 11, 1970, Apollo 13 Flight Director Gene Kranz ( Ed Harris) gives the go-ahead from Houston's Mission Control Center for launch. As the Saturn V rocket climbs into the sky, an engine on the second stage cuts off prematurely, but the craft successfully reaches Earth orbit. After the third stage fires, sending Apollo 13 on a trajectory to the Moon, Swigert docks the Command/Service Module Odyssey with the Lunar Module Aquarius, and pulls it away from the spent stage.
Three days into the mission, the crew send a live television transmission from Odyssey, but the networks, believing the public now regards lunar missions as routine, decline to carry the broadcast live. Swigert is told to perform a standard housekeeping procedure of stirring the two liquid oxygen tanks in the Service Module. When he flips the switch, one tank explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking, prompting Mission Control to abort the Moon landing, and forcing Lovell and Haise to hurriedly power up Aquarius as a "lifeboat" for the return home, while Swigert shuts down Odyssey before its battery power runs out. On Earth, Kranz rallies his team to do what is necessary to get the astronauts home safely, declaring "failure is not an option. " Controller John Aaron recruits Mattingly to help him figure out how to restart Odyssey for the final return to Earth.
As Swigert and Haise watch the Moon passing beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the task of getting home. With Aquarius running on minimum systems to conserve power, the crew is soon subjected to freezing conditions. Swigert suspects Mission Control is unable to get them home and is withholding this from them. In a fit of rage, Haise blames Swigert's inexperience for the accident; the ensuing argument is quickly squelched by Lovell. When the carbon dioxide exhaled by the astronauts reaches the Lunar Module's filter capacity and approaches dangerous levels, an engineering team quickly invents a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, and despite Haise's fever and miserable living conditions, the crew succeeds in making a difficult but vital course correction by manually igniting the Lunar Module's engine.
Mattingly and Aaron struggle to find a way to power up the Command Module with its limited available power, but finally succeed and transmit the procedures to Swigert, who successfully restarts Odyssey by transmitting extra power from Aquarius. When the Service Module is jettisoned, the crew finally see the extent of the damage and prepare for re-entry, unsure whether Odyssey' s heat shield is intact. If it is not, they will burn up. They release Aquarius and re-enter the Earth's atmosphere in Odyssey. After a tense, longer than normal period of radio silence due to ionization blackout, the astronauts report all is well and splash down in the Pacific Ocean. The three men are brought aboard the aircraft carrier USS Iwo Jima.
As the astronauts are given a hero's welcome on deck, Lovell's narration describes the events that follow their return from space—including the investigation into the explosion, and the subsequent careers and lives of Haise, Swigert, Mattingly and Kranz—and ends wondering when mankind will return to the Moon.
Videos Edit
Cast Edit
Top to bottom: Hanks, Bacon and Paxton, who portray astronauts Lovell, Swigert and Haise respectively.
Tom Hanks as Apollo 13 Commander Jim Lovell. Jim Lovell stated that before the book was even written, the rights were being shopped to potential buyers [2] and that his first reaction was that actor Kevin Costner would be a good choice to play him. [4] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that there was a script being passed around, he had the script sent to him. [2] John Travolta was initially offered the role of Lovell, but declined. [5]
Gary Sinise as Apollo 13 prime Command Module Pilot (CMP) Ken Mattingly. Sinise was invited by Howard to read for any of the characters, and chose Mattingly. [2]
Kevin Bacon as Apollo 13 backup CMP Jack Swigert.
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise.
Ed Harris as White team Flight Director Gene Kranz. Harris described the film as "cramming for a final exam". Harris described Gene Kranz as "corny and like a dinosaur", but was respected by the crew. [2]
Kathleen Quinlan as Lovell's wife Marilyn.
Chris Ellis as Director of Flight Crew Operations Deke Slayton.
Joe Spano as "NASA Director", a composite character based loosely on Chris Kraft.
Marc McClure as Black team Flight Director Glynn Lunney.
Clint Howard as White team EECOM (Electrical, Environmental and Consumables Manager) Sy Liebergot.
Ray Mckinnon as White team FIDO (Flight Dyamics Officer).
Loren Dean as EECOM John Aaron.
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member. [6]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as CAPCOM Bill Pogue
Tracy Reiner as Haise's then-wife Mary
Mary Kate Schellhardt as Lovell's older daughter Barbara.
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight.
Emily Ann Lloyd as Lovell's younger daughter Susan.
Miko Hughes as Lovell's younger son Jeffrey.
Thom Barry as an orderly at Blanch's retirement home.
Chauntal Lewis as Roxanne Strybos (Susan's Friend) (uncredited)
The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Saturn V Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his proteges' films. [7] The real Marilyn Lovell appeared among the spectators during the launch sequence. CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.
In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.
Brad Pitt was offered a role in the film, but turned it down to star in Se7en. [9] Reportedly, the real Pete Conrad expressed interest in appearing in the film.
Jeffrey Kluger appears as a television reporter.
Production Edit
Pre-production and props Edit
While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used. [10] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, who also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions. [11]
The real Mission Control consist of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming but Howard declined, opting instead to make his own replica from scratch. [10] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop. [11] The Mission Control room built for the film was on the ground floor. [10] One NASA employee who was a consultant for the film said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control. By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead. [10]
"For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was. "
—Tom Hanks [11]
Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights. [12]
Cast training and filming Edit
To prepare for their roles in the film, Hanks, Paxton, and Bacon all attended the U. S. Space Camp in Huntsville, Alabama. While there, astronauts Jim Lovell and David Scott, commander of Apollo 15, did actual training exercises with the actors inside a simulated Command Module and Lunar Module. The actors were also taught about each of the 500 buttons, toggles, and switches used to operate the spacecraft.
The actors then traveled to Johnson Space Center in Houston where they flew in NASA's KC-135 reduced gravity aircraft to simulate weightlessness in outer space. While in the KC-135, filming took place in bursts of 25 seconds, the length of each period of weightless that the plane could produce. The filmmakers eventually flew 612 parabolas which added up to a total of three hours and 54 minutes of weightlessness. Parts of the Command Module, Lunar Module and the tunnel that connected them were built by production designer Michael Corenblith, art directors David J. Bomba and Bruce Alan Miller and their crew to fit inside the KC-135. Filming in such an environment, while never done before for a film, was a tremendous time saver. In the KC-135, the actors moved wherever they wanted, surrounded by floating props; the camera and cameraman were weightless so filming could take place on any axis from which a shot could be set up.
In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts and attended a crash course in physics. [10] [11] Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word. [2]
Soundtrack Edit
Apollo 13 (film)
{{{artist}}}
Professional ratings
Review scores
Source
Allmusic
[13]
[14]
SoundtrackNet
[15]
Tracksounds
[16]
The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-three minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score. [17]
Apollo 13: Original Motion Picture Soundtrack
No.
Title
Length
1.
"Main Title"
1:32
2.
"One Small Step"
0:42
3.
"Night Train" (performed by James Brown)
3:27
4.
"Groovin'" (performed by The Young Rascals)
2:26
5.
"Somebody to Love" (performed by Jefferson Airplane)
2:55
6.
"I Can See for Miles" (performed by The Who)
4:09
7.
"Purple Haze" (performed by Jimi Hendrix)
2:48
8.
"Launch Control"
3:28
9.
"All Systems Go/The Launch"
6:39
10.
"Welcome to Apollo 13"
0:38
11.
"Spirit in the Sky" (performed by Norman Greenbaum)
3:50
12.
"House Cleaning/Houston, We Have a Problem"
1:34
13.
"Master Alarm"
2:54
14.
"What's Going On? "
0:34
15.
"Into the L. E. M. "
3:43
16.
"Out of Time/Shut Her Down"
2:20
17.
"The Darkside of the Moon" (performed by Annie Lennox)
5:09
18.
"Failure is Not an Option"
1:18
19.
"Honky Tonkin'" (performed by Hank Williams)
2:42
20.
"Blue Moon" (performed by The Mavericks)
21.
"Waiting for Disaster/A Privilege"
0:43
22.
"Re-Entry & Splashdown"
9:05
23.
"End Titles" (performed by Annie Lennox)
5:34
Release Edit
The film was released on 30 June 1995 in North America and on 22 September 1995 in the UK.
In 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology. [18]
Box-office performance Edit
The film was a box-office success, gaining $355, 237, 933 worldwide. [19] The film's widest release was 2, 347 theaters. [19]
The film's opening weekend and the latter two weeks placed it at #1 with a US gross of $25, 353, 380, which made up 14. 7% of the total US gross. [19]
Apollo 13 box office revenue
Source Gross ( USD)% Total All time rank (unadjusted)
US
$173, 837, 933 [19]
48. 9%
126 [19]
Non-US
$181, 400, 000 [19]
51. 1%
N/A
Worldwide
$355, 237, 933 [19]
100. 0%
140 [19]
Reception Edit
Apollo 13 received very positive reviews from film critics. Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 97% based on 51 reviews, with a weighted average score of 8/10. [20] At Metacritic, which assigns a normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 77 based on 22 reviews. [21]
Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics. " [22] Richard Corliss from Time Magazine highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride. " [23] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide. " [24] Peter Travers from Rolling Stone Magazine praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film. " [25]
Janet Maslin made the film an NYT Critics' Pick, calling it an “absolutely thrilling” film that “unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story”. According to Maslin, “like "Quiz Show, " "Apollo 13" beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and " Far and Away " was one of the other kind). ” [26]
Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived. [27] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind. [2]
Home media Edit
A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras. [28] The IMAX version has a 1. 66:1 aspect ratio. [29]
In 2006, Apollo 13 was released on HD DVD; on 13 April 2010, it was released on Blu-ray disc, on the 40th anniversary of the Apollo 13 accident (Central Standard Time). [28]
Accolades Edit
Year Award Category Recipient Result Ref.
1996
Academy Awards (1996)
Best Film Editing
Mike Hill and Daniel Hanley
Won
[1]
Best Sound
Rick Dior, Steve Pederson, Scott Millan, David MacMillan
Best Actor in a Supporting Role
Ed Harris (lost to Kevin Spacey in Usual Suspects)
Nominated
Best Actress in a Supporting Role
Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite)
Best Art Direction
Michael Corenblith (art director), Merideth Boswell (set decorator) (lost to Restoration)
Best Original Dramatic Score
James Horner (lost to Il Postino)
Best Picture
Brian Grazer (lost to Braveheart)
Best Visual Effects
Robert Legato, Michael Kanfer, Leslie Ekker, Matt Sweeney (lost to Babe)
Best Adapted Screenplay
William Broyles Jr., Al Reinert (lost to Sense & Sensibility)
American Cinema Editors (Eddies)
Best Edited Feature Film
Mike Hill, Daniel P. Hanley
American Society of Cinematographers
Outstanding Achievement in Cinematography in Theatrical Releases
Dean Cundey
BAFTA Film Awards
Best Production Design
Michael Corenblith
Outstanding Achievement in Special Visual Effects
Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker
Best Cinematography
Best Editing
Mike Hill, Daniel Hanley
David MacMillan, Rick Dior, Scott Millan, Steve Pederson
Casting Society of America (Artios)
Best Casting for Feature Film, Drama
Jane Jenkins, Janet Hirshenson
Chicago Film Critics Association Awards
Apollo 13
Directors Guild of America
Outstanding Directorial Achievement in Motion Pictures
Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul
Golden Globe Awards
Best Supporting Actor – Motion Picture
Ed Harris as Gene Kranz
Best Supporting Actress – Motion Picture
Kathleen Quinlan as Marilyn Lovell
Best Director – Motion Picture
Ron Howard
Best Motion Picture – Drama
Heartland Film Festival
Studio Crystal Heart Award
Jeffrey Kluger
Hugo Awards
Best Dramatic Presentation
MTV Movie Awards
Best Male Performance
Tom Hanks as Jim Lovell
Best Movie
PGA Golden Laurel Awards
Motion Picture Producer of the Year Award
Brian Grazer, Todd Hallowell
Saturn Awards
Best Action / Adventure / Thriller Film
Screen Actors Guild Awards
Outstanding Performance by a Male Actor in a Supporting Role
Outstanding Performance by a Cast
Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan and Gary Sinise
Space Foundation's Douglas S. Morrow Public Outreach Award
Best Family Feature – Drama
[30]
Writers Guild of America Awards
Best Screenplay Adapted from Another Medium
William Broyles Jr., Al Reinert
Young Artist Awards
2005
American Film Institute
AFI's 100 Years... 100 Movie Quotes
"Houston, we have a problem. " (#50)
[31]
2006
AFI's 100 Years... 100 Cheers
Apollo 13 (#12)
Technical and historical accuracy Edit
The dialogue between ground control and the astronauts was taken verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem. " (This quote was voted #50 on the list " AFI's 100 Years... 100 Movie Quotes ". ) According to the mission transcript, the actual words uttered by Jack Swigert were "I believe we've had a problem here. " (talking over Haise, who had started "Ok, Houston"). Ground control responded by saying "This is Houston, say again please. " Jim Lovell then repeated "Ah, Houston, we've had a problem. " [32]
The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an email by Apollo 13 Flight Dynamics Officer Jerry Bostick:
"As far as the expression 'Failure is not an option', you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on 'What are the people in Mission Control really like? ' One of their questions was 'Weren't there times when everybody, or at least a few people, just panicked? ' My answer was 'No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution. ' I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, 'That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it. ' Of course, they gave it to the Kranz character, and the rest is history. " [33]
A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both the original and 10th-anniversary editions, [28] mentions several inaccuracies included in the film, all done for reasons of artistic license:
"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering. "
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere [34]
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission. " Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module pilot and that no one was really worried about whether he was up to the job, [34] but he admitted that it made a nice sub-plot for the film.
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur, [34] but the drain trap caught the ring and his wife was able to retrieve it. Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off. [34]
See also Edit
From the Earth to the Moon, a documentary mini-series based around the Apollo missions.
Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo Command/Service Module.
References Edit
Template:Include-NASA
↑ 1. 0 1. 1 Academy Awards, USA: 1996. Archived from the original on 27 February 2009. Retrieved on 8 April 2009.
↑ 2. 0 2. 1 2. 2 2. 3 2. 4 2. 5 Lost Moon: The Triumph of Apollo 13. Retrieved on 1 January 2012.
↑ Lost Moon: The Triumph of Apollo 13. Retrieved on 1 January 2012.
↑ Film Casting that Might Have Been for John Travolta and Richard Gere. Retrieved on 1 January 2012.
↑ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13, First Pocket Books printing, New York: Pocket Books, 118, 209–210, 387. ISBN 0-671-53464-5.
↑ Repertoire Of Horrors: The Films Of Roger Corman. Retrieved on 1 January 2012.
↑ Brad Pitt - A Quick Overview. Retrieved on 1 January 2012.
↑ 10. 0 10. 1 10. 2 10. 3 10. 4 Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes [DVD]. Universal Studios.
↑ 11. 0 11. 1 11. 2 11. 3 Production Notes (Press Release). IMAX. Retrieved on 9 April 2009.
↑ Ron Howard Weightless Again Over Apollo 13's DGA Win. Retrieved on 16 December 2011.
↑ Apollo 13 at AllMusic
↑ Filmtracks review
↑ review
↑ Tracksounds review
↑ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011.
↑ History of IMAX. Retrieved on 11 February 2011.
↑ 19. 0 19. 1 19. 2 19. 3 19. 4 19. 5 19. 6 19. 7 Apollo 13 (1995). Box Office Mojo. Retrieved on 9 April 2009.
↑ Rotten Tomatoes – Apollo 13. Rotten Tomatoes. Flixster. Archived from the original on 20 August 2010. Retrieved on 24 August 2010.
↑ Apollo 13 Reviews. Metacritic. CBS Interactive. Retrieved on 25 September 2011.
↑ " Apollo 13: Roger Ebert ", Chicago Suntimes. Retrieved on 11 April 2009.
↑ " Apollo 13:Review ", Time Magazine, 3 July 1995. [ dead link]
↑ Guthmann, Edward. " Apollo 13 Review: Story heroic, but it just doesn't fly. ", San Francisco Chronicle.
↑ Apollo 13 Review:Rolling Stone. Rolling Stone Magazine. Retrieved on 11 April 2009.
↑ Maslin, Janet (30 June 1995). Apollo 13, a Movie for the Fourth of July. NYT Critics' Pick. The New York Times. Retrieved on 30 September 2011.
↑ Howard, Ron (8 December 2008). A conversation about the film "Frost/Nixon". Charlie Rose show. Archived from the original on 11 December 2008. Retrieved on 8 December 2008.
↑ 28. 0 28. 1 28. 2 Apollo 13 Blu Ray Release. Universal Studios. Retrieved on 29 September 2011.
↑ Apollo 13 (DVD - 2005). Lethbridge Public Library. Retrieved on 30 December 2011.
↑ Symposium Awards. National Space Symposium. Retrieved on 26 April 2009. [ dead link]
↑ 31. 0 31. 1 AFI's 100 years... 100 quotes. AFI. Archived from the original on 26 March 2009. Retrieved on 13 April 2009.
↑ Page 167 of Apollo 13's transcript on Spacelog. Retrieved on 10 June 2011.
↑ ORIGIN OF APOLLO 13 QUOTE: "FAILURE IS NOT AN OPTION. ".. Retrieved on 4 April 2010.
↑ 34. 0 34. 1 34. 2 34. 3 William, Lena (19 July 1995). In Space, No Room For Fear. Retrieved on 30 September 2011.
DAN HOW IS BUBBA GUMP YOU ABANDONED IT. E9 98%bf e6 b3 a2 e7 be 8513 free. Ããà 3 jour. Want amazing deals on new and all-time favorite movies – including an exclusive Tom Hanks bundle you won’t find anywhere else for only $19. 99? Stock up now on great movies that sync with your Movies Anywhere account, and can be played on your favorite devices! Digital Movie Deals Want amazing deals on new and all-time favorite movies – including an exclusive Tom Hanks bundle you won’t find anywhere else for only $19. 99? Stock up now on great movies that sync with your Movies Anywhere account, and can be played on your favorite devices! Feeling patriotic this July 4th weekend? Get Apollo 13 – plus tons of other new and classic movies – for as low as $4. 99! Click the link for exclusive deals on digital movies that sync with your Movies Anywhere account, and can be played on your favorite devices. Digital Movie Deals Feeling patriotic this July 4th weekend? Get Apollo 13 – plus tons of other new and classic movies – for as low as $4. Houston, it’s good to see you again! Odyssey has landed for the first time in 4K. Apollo 13 is now available in 4K Ultra HD, Blu-ray and Digital. See what Charlie has been up to! We are heartbroken to hear the news about the passing of Bill Paxton. I don't care about what anything was DESIGNED to do, I care about what it CAN do.
Ron Howard's "Apollo 13" 1995) is a compelling account of the bravery and commitment that men of character faced during the initial and dangerous days of the space race. The film stars Tom Hanks as Jim Lovell, devoted family man and adventurer who's dream of outer space turns into a nightmare when a serious malfunction jeopardizes the safety of his crew orbiting the earth. Along for the ride are Fred Haise (Bill Paxton) and Jack Swigert (Kevin Bacon. Grounded after a bout of measles, but ever the committed optimist, is Ken Mattingly (Gary Sinise) aiding in the morale boosting efforts of NASA specialist, Gene Krantz (Ed Harris. The talented Kathleen Quinlan is wasted in the role of Jim's devoted wife, Marilyn Lovell an insult to her formidable talents made all the more obvious when one views the new IMAX edition of "Apollo 13" presented on Universal's new 2-disc edition. Her performance has all but been distilled into a cameo.
About the transfers: both the original 1995 2hr and 20 min. Panavision 2:40:1 aspect ratio feature and its new 1hr. 57 min. 1:85:1 IMAX aspect ratio incarnation have been digitally remastered by Universal for DVD. In both cases image quality is quite superb. Colors are bold, rich and vibrant. Whites are white. Blacks are deep, solid and rich. Contrast and shadow delineation is stunning with fine details appearing throughout both versions, even during the darkest scenes. The audio on both editions is 5.1 and will give your speakers a healthy workout, particularly during the blast off and re-entry scenes.
What is particularly irksome for the film purist, is the way director Ron Howard's original pacing has been butchered on the new IMAX edition. Nearly 35 min. of footage has been excised presumably because anything more than two hours of a really big image is just too much for audiences to endure. As a result, the IMAX edition loses some of the film's most poignant scenes to the cutting room floor. Also, the original scope and depth of the Panavision aspect ratio is compromised greatly during several space scenes. The bone of contention here is in today's ever increasing ability to make disposable art that is more user friendly to the masses. The IMAX version fills all of one's widescreen television with the film's image. The original presentation results in thin black bars filling the top and bottom of the screen. And yet, that is the way the film was originally intended to be seen, with more width and a longer running time. Purists will undoubtedly agree with this assessment. The average consumer will easily overlook the both absences.
Extras include some very nicely packaged and quite comprehensive documentaries on both the real space mission and the making of the film, as well as an audio commentary and theatrical trailer. Since Universal has given us both versions to experience in pristine image quality, this edition of "Apollo 13" comes highly recommended.
E9 98%bf e6 b3 a2 e7 be 8513 1. E9 98%bf e6 b3 a2 e7 be 8513 4. There is a moment early in "Apollo 13" when astronaut Jim Lovell is taking some press on a tour of the Kennedy Space Center, and he brags that they have a computer "that fits in one room and can send out millions of instructions. " And I'm thinking to myself, hell, I'm writing this review on a better computer than the one that got us to the moon. "Apollo 13" inspires many reflections, and one of them is that America's space program was achieved with equipment that would look like tin cans today. Like Lindbergh, who crossed the Atlantic in the first plane he could string together that might make it, we went to the moon the moment we could, with the tools that were at hand. Advertisement Today, with new alloys, engines, fuels, computers and technology, it would be safer and cheaper - but we have lost the will. "Apollo 13" never really states its theme, except perhaps in one sentence of narration at the end, but the whole film is suffused with it: The space program was a really extraordinary thing, something to be proud of, and those who went into space were not just "heroes, " which is a cliché, but brave and resourceful. Those qualities were never demonstrated more dramatically than in the flight of the 13th Apollo mission in April 1970, when an oxygen tank exploded en route to the moon. The three astronauts on board - Jim Lovell, Fred Haise and Jack Swigert - were faced with the possibility of becoming marooned in space. Their oxygen could run out, they could be poisoned by carbon dioxide accumulations, or they could freeze to death. If somehow they were able to return to the Earth's atmosphere, they had to enter at precisely the right angle. Too steep an entry, and they would be incinerated; too shallow, and they would skip off the top of the atmosphere like a stone on a pond, and fly off forever into space. Ron Howard's film of this mission is directed with a single-mindedness and attention to detail that makes it riveting. He doesn't make the mistake of adding cornball little subplots to popularize the material; he knows he has a great story, and he tells it in a docudrama that feels like it was filmed on location in outer space. So convincing are the details, indeed, that I went back to look at "For All Mankind, " the great 1989 documentary directed by ex-astronaut Al Reinert, who co-wrote "Apollo 13. " It was an uncanny experience, like looking at the origins of the current picture. Countless details were exactly the same: the astronauts boarding the spacecraft, the lift-off, the inside of the cabin, the view from space, the chilling sight of their oxygen supply venting into space, even the little tape recorder floating in free-fall, playing country music. All these images are from the documentary, all look almost exactly the same in the movie, and that is why Howard has been at pains to emphasize that every shot in "Apollo 13" is new. No documentary footage was used. The special effects - models, animation, shots where the actors were made weightless by floating inside a descending airplane - have re-created the experience exactly. The astronauts are played by Tom Hanks (Lovell), Bill Paxton (Haise) and Kevin Bacon (Swigert). The pilot originally scheduled for the Apollo 13 mission was Ken Mattingly ( Gary Sinise), who was grounded because he had been exposed to the measles. The key figure at Houston Mission Control is Gene Kranz (Ed Harris). Clean-cut, crew-cut, wearing white collars even in space, the astronauts had been built up in the public mind as supermen, but as Tom Wolfe's book and Phil Kaufman's movie " The Right Stuff " revealed, they were more likely to be hot-shot test pilots (with the exception of John Glenn) than straight arrows. The movie begins with the surprise selection of Lovell's group to crew Apollo 13. We meet members of their families, particularly Marilyn Lovell (Kathleen Quinlan), we follow some of the training, and then the movie follows the ill-fated mission, in space and on the ground. Kranz, the Harris character, chain-smoking Camels, masterminds the ground effort to figure out how (and if) Apollo 13 can ever return. A scheme is dreamed up to shut down power in the space capsule and move the astronauts into the lunar exploratory module, as a sort of temporary lifeboat. The lunar lander will be jettisoned at the last minute, and the main capsule's weakened batteries may have enough power left to allow the crew to return alive. Meanwhile, the problem is to keep them from dying in space. A scrubber to clean carbon dioxide from the capsule's air supply is jerry-built out of materials on board (and you can see a guy holding one just like it in "For All Mankind"). And you begin to realize, as the astronauts swing around the dark side of the moon and head for home, that, given the enormity of the task of returning to Earth, their craft and equipment is only a little more adequate than the rocket sled in which Evil Knievel proposed to hurtle across Snake River Canyon at about the same time. Ron Howard has become a director who specializes in stories involving large groups of characters: "Cocoon, " " Parenthood, " " Backdraft, " " The Paper. " Those were all films that paid attention to the individual human stories involved; they were a triumph of construction, indeed, in keeping many stories afloat and interesting. With "Apollo 13, " he correctly decides that the story is in the mission. There is a useful counterpoint in the scenes involving Lovell's wife, waiting fearfully on the ground. (She tells their son, "Something broke on your daddy's spaceship, and he's going to have to turn around before he even gets to the moon. ") But Howard adds no additional side stories, no little parallel dramas, as a lesser director might have. This is a powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics. It's about men trained to do a job, and doing a better one than anyone could have imagined. The buried message is: When we dialed down the space program, we lost something crucial to our vision. When I was a kid, they used to predict that by the year 2000, you'd be able to go to the moon. Nobody ever thought to predict that you'd be able to, but nobody would bother.
And this movie's events never happened.
Brace yourselves, the conspiracy theorist are coming.
Jim Lovell and Fred Haise should have been given another chance to land on the moon.
E3 82%a2 e3 83%9d e3 83%ad13 schedule. Geeze. Watched this in different decades and eras in my life, from childhood, to teens, 20's, 30's, and now pushin hard on 50, and it's a little different to me, every time. That's the mark of a truly great movie. Imagine how awkward it would be if someone actually said: No go. É¿æ³ç¾ 13 mars. 1:08 Tom Hanks asking you What did you do? with that look of earnest Panic he does so well, you know something Really Bads just happened D. E9 98%bf e6 b3 a2 e7 be 8513 located.
E3 82 a2 e3 83 9d e3 83 ad13 review. So they can help us with our missions huh, help me do that last mission in modern warfare. These guys are hero's. That's out of the way. between the emotions in this and watching there post press conference I am now totally convinced that these robots. or Vulcan's. It's amazing to know that we had the capability and capacity to make such a massive beast, the Saturn V will always be the best rocket in my opinion.
Why i can't see the movie i just rented
É¿æ³ç¾
13 avril.
E3 82%a2 e3 83%9d e3 83%ad13 free.
E3 82%a2 e3 83%9d e3 83%ad13 review. E9 98%bf e6 b3 a2 e7 be 8513 made. When America really was great, and I am a Brit. アポロ13 予告. YouTube. E9 98%bf e6 b3 a2 e7 be 8513 mean.
- Correspondent - priscilla page
- Resume: stygian as fuck.
0コメント