The Factory was Andy Warhol's original New York City studio from 1962 to 1968, although his later studios were known as The Factory as well. The Factory was located on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The rent was "only about one hundred dollars a year". The building no longer exists.

The studio

The Factory was the hip hangout for artsy types, amphetamine users, and the Warhol superstars. It was famed for its groundbreaking parties. In the studio, Warhol's workers would make silkscreens and lithographs. In 1968, Andy moved the Factory to the sixth floor of the Decker Building, 33 Union Square West, near Max's Kansas City, a club Warhol and his entourage would frequently visit.

Speaking in 2002, John Cale said "It wasn't called the Factory for nothing. It was where the assembly line for the silkscreens happened. While one person was making a silkscreen, somebody else would be filming a screen test. Every day something new."

By the time Warhol had become famous, he was working day and night on his paintings. To create his art, Warhol used silkscreens so that he could mass-produce images the way capitalist corporations mass produce consumer goods. In order to continue working the way he did, he assembled a menagerie of adult film performers, drag queens, socialites, drug addicts, musicians, and free-thinkers that became known as the Warhol Superstars, to help him. These "art-workers" helped him create his paintings, starred in his films, and basically developed the atmosphere for which the Factory became legendary.

The Silver Factory

The original Factory was often referred to by those who frequented it as the Silver Factory. Covered with tin foil and silver paint, the Factory was decorated by Warhol's friend Billy Name, who was also the in-house photographer at the Factory. Warhol would often bring in silver balloons to drift around the ceiling.

Upon visiting Billy Name's apartment, which had been decorated in a similar manner, Warhol fell in love with the idea and asked him to do the same for his recently leased loft. The silver represented the decadence of the scene, as well as the proto-glam of the early sixties. Silver, fractured mirrors, and tin foil were the basic decorating materials loved by the early amphetamine users of the sixties. Billy Name was the perfect person to take this style and cover the whole factory, even the elevator. By combining the industrial structure of the unfurnished studio with the glitter of silver and what it represented, Warhol was commenting on American values, as he did so often in his art. The years spent at the Factory were known as the Silver Era, not solely because of the design, but because of the decadent and carefree lifestyle full of money, parties, drugs and fame.

Aside from his two-dimensional art, Andy also used the Factory as a base to make shoes, films, commissions, sculptures and just about everything else that the Warhol name could be attached to and sold. His first commissions consisted of a single silkscreen portrait for $25,000, with additional canvases in other colors for $5,000 each. He later made that $20,000. Warhol used a large portion of his income to finance the lifestyle of his Factory friends, practically showering them with resources.

Music in the Factory

The Factory became a meeting place of artists and musicians such as Lou Reed, Bob Dylan, Truman Capote and Mick Jagger. Other, less frequent visitors included Salvador Dalí and Allen Ginsberg. Warhol collaborated with Reed's influential New York rock band The Velvet Underground in 1965, and designed the famous cover for The Velvet Underground & Nico, the band's debut album. The album cover consisted of a plastic yellow banana that the listener could actually peel off to reveal a flesh-hued version of the banana. Warhol also designed the album cover for The Rolling Stones' album ''Sticky Fingers''.

Warhol included the Velvet Underground in the Exploding Plastic Inevitable, a spectacle that combined art, rock, Warhol films and dancers of all kinds, as well as live S&M; enactments and imagery. The Velvet Underground and EPI used the Factory as a place to rehearse, though the definition of "rehearsal" should only be taken loosely.

"Walk on the Wild Side", Lou Reed's best known song from his solo career, was released on his first commercially successful solo album ''Transformer''. The song is about the superstars he hung out with at the Factory. He mentions Holly Woodlawn, Candy Darling, Joe Dallesandro, Jackie Curtis and Joe Campbell (referred to in the song by his Factory nickname Sugar Plum Fairy).

Sexual radicals

Andy Warhol commented on mainstream America through his art while disregarding its strict social views. Nudity, graphic sexuality, drug use, same-sex relations and transgender characters appear in some form in almost all of his work filmed at the Silver Factory. Considered socially unacceptable, even appalling at the time, theaters showing his underground films were sometimes raided and the staff arrested for obscenity.

However, by making the films, Warhol created a sexually lenient environment at the Factory for the happenings that they staged, such as fake drag weddings, porn theater rentals, and vulgar plays. A large amount of free love took place in the scene, as sexuality in the 1960s was becoming more open. Sex was practically a must for anyone hanging around, and was encouraged by Warhol, who used footage of sexual acts between his friends in his work.

Also part of 'the scene' at the factory were famous drag queens such as Holly Woodlawn and Jackie Curtis, and the transgendered Candy Darling. As an artist, Andy Warhol frequently used these women and other sexual non-conformists in his films, plays, and on-goings.

Because of the constant drug use and the presence of sexually liberal artists and radicals, drugged orgies were a frequent happening at the Factory. Andy met Ondine at an orgy in 1962.

Ondine "I was at an orgy, and [Warhol] was, ah, this great presence in the back of the room. And this orgy was run by a friend of mine, and, so, I said to this person, 'Would you please mind throwing that thing out of here?' And that thing was thrown out of there, and when he came up to me the next time, he said to me, 'Nobody has ever thrown me out of a party.' He said, 'You know? Don't you know who I am?' And I said, 'Well, I don't give a good flying fuck who you are. You just weren't there. You weren't involved...'"

The couch

Not only was Billy Name responsible for the silver look of the Factory, but he also found The Factory's beloved red couch. He discovered it on the sidewalk of 47th street during one of his "midnight outings." He dragged it back to the Factory, where it quickly became a favorite place for Factory guests to crash, usually after coming down from speed. During its stay at the Factory, the couch became a focal point for many photographs and films from the Silver era, including ''Couch'' and ''Blow Job''. It was stolen in 1968 during the move when they left it on the sidewalk for a short while.

Regulars

Friends of Warhol and superstars who hung around the Factory include Edie Sedgwick, Gerard Malanga, Ondine, Ivy Nicholson, Ingrid Superstar, Anita Pallenberg, Nico, The Velvet Underground (Lou Reed, Sterling Morrison, Maureen Tucker, and John Cale), Johnny Conflict, Candy Darling, Jeremiah Newton, Jim Morrison, Jackie Curtis, Gage Henrich, Frank Holliday, Holly Woodlawn, Viva, Billy Name, Rotten Rita, Freddie Herko, Mario Montez, Brian Jones, Mick Jagger,Noelle Wolf, Joe Dallesandro, Naomi Levine, Joe Dro, Paul Morrissey, Stephen Shore, Betsey Johnson, Truman Capote, Becky D, Fernando Arrabal, Taylor Mead, Mary Woronov, Ronnie Cutrone, Jane Forth, Lenny Dahl, Neke Carson, Baby Jane Holzer, Ultra Violet, Brigid Polk, Rickpat F, Paul America, Penny Arcade, Bobby Driscoll, Herbert Muschamp Peter Gramlique, and John Giorno, Brigid Berlin, Danny Williams, Chuck Wein, William Burroughs, Ulli Lommel, although there were many other visitors as well.

Films

Warhol started shooting movies in the Factory around 1963, when work began on ''Kiss''. Warhol would screen movies at the Factory for his friends before they were released for public audiences. When Warhol could not find traditional theaters to show some of his more provocative films, he would sometimes turn to night-clubs or porn theaters. Here is listed all movies filmed entirely or partly at The Factory. Warhol also shot other films not on this list, however, many have been lost or were never completed.

;1963

''Kiss''

''Rollerskate''

''Haircut no. 1''

''Haircut no. 2''

''Haircut no. 3''

;1964

''Handjob''

''Blow Job''

''Screen Tests'' (1964–1966)

''Jill Johnston Dancing''

''Eat''

''Couch''

''Henry Geldzahler''

''Shoulder''

''Taylor Mead's Ass''

''Mario Banana''

''Harlot''

''13 Most Beautiful Women''

''13 Most beautiful Boys''

''50 Fantastics and 50 Personalities''

;1965

''John and Ivy''

''Screen Test #1''

''Screen Test #2''

''Drink''

''Suicide'' (Screen Test #3)

''Horse''

''Vinyl''

''Bitch''

''Poor Little Rich Girl''

''Face''

''Afternoon''

''Beauty No. 1''

''Beauty No. 2''

''Space''

''Factory Diaries''

''Outer and Inner Space''

''Prison''

''The Fugs and the Holy Modal Rounders''

''My Hustler''

''Camp''

''More Milk, Yvette''

''Lupe''

;1966

''Ari and Mario''

''Eating Too Fast'' (aka ''Blow Job #2'')

''The Velvet Underground & Nico: A Symphony of Sound''

''Hedy'' (aka ''Hedy the Shoplifter'')

''The Beard''

''Salvador Dalí''

''Superboy''

''The Chelsea Girls''

''The Bob Dylan Story''

''The Kennedy Assassination''

''Mrs. Warhol''

''Kiss the Boot''

''The Andy Warhol Story''

''A Christmas Carol''

''**** (four stars)'' (aka ''The 24-Hour Movie'')

;1967

''Imitation of Christ''

''I, a Man''

''The Loves of Ondine''

''Bikeboy''

''Tub Girls''

''Nude Restaurant''

''Sunset''

;1968

''Lonesome Cowboys''

''Flesh''

''Blue Movie''

''Trash'' (1968–1969)

''Women in Revolt'' (1968–1971)

Later movies were filmed away from the Factory, or in another one of Warhol's New York apartments.

References

Category:1960s Category:Andy Warhol Category:Pop art Category:American artist groups and collectives

de:The Factory es:The Factory fr:Factory it:The Factory pl:The Factory pt:The Factory ru:The Factory sv:The Factory

colour	gray
name	The Inspector
portrayer	Pat Harrington, Jr.
gender	Male
occupation	Inspector
relatives	}}

''The Inspector'' is a series of 1960s theatrical cartoons produced by DePatie-Freleng Enterprises and released through United Artists. The titular character is based on Jacques Clouseau, a comical French police officer who is the main character in the ''Pink Panther'' series of films.

Plot

Although the titular character was never given a name, in contrast to the completely inept Inspector Clouseau, the cartoon character was generally competent, if prone to moments of bad judgement. The cartoons' humor came from the sometimes surreal villains and situations the Inspector was exposed to, with a healthy dose of stylized cartoon slapstick. Through these difficult circumstances, criminals often get the better of him and he must face the wrath of his ill-tempered, bullying Commissioner (who is clearly based on Herbert Lom's Commissioner Dreyfus character) who holds him in well-deserved contempt.

Pat Harrington, Jr., provided the voice (and voiceover narration) for the Inspector and, with the exception of one cartoon, his assistant, a Spanish gendarme named Deux-Deux (common nickname in French for Eduard or Eduardo). In Spain, the character was named "Totó", and in the Mexican dubbing, Dodó. The name in the English version of the cartoon sounds like ''Ju-Du''. The frustrated Commissioner was voiced by Larry Storch in the first two cartoons, Paul Frees in most of the following ones, and Marvin Miller in the final few cartoons. The first cartoon, ''The Great DeGaulle Stone Operation,'' was the short featured before screenings of the James Bond film ''Thunderball''.

While the Inspector character design remained basically the same throughout the DePatie-Freleng shorts, and was used in the opening credit sequence of the 1968 live-action film ''Inspector Clouseau'' (which had Alan Arkin standing in for Peter Sellers as the title character), the Inspector featured in the opening titles of the later ''Pink Panther'' features changed dramatically over the years.

The music used for the titles of the cartoon was the song "A Shot in the Dark" by Henry Mancini, borrowed from the 1964 feature film of the same name (the second entry in the ''Pink Panther'' film series). The other music in the shows was composed initially by William Lava, then by Walter Greene later on. Two shorts had their own unique version of the theme music, ''Napoleon Blown-Aparte'' and ''Cock-A-Doodle Deux Deux''.

All 34 entries appeared during the inaugural season (1969-1970) of ''The Pink Panther Show''. For new bumper sequences, The Inspector (now voiced by Marvin Miller) is featured trying to capture The Pink Panther. Reruns of ''The Inspector'' and ''The Pink Panther Show'' currently air on the channels Boomerang, This TV and Animania.

List of shorts

NOTE: The initials after each title indicate the director. FF=Friz Freleng, GC=Gerry Chiniquy, RM=Robert McKimson, GS=George Singer.

1965

01 ''The Great DeGaulle Stone Operation'' (FF, co-directed by GC) - The Inspector guards the famous diamond from the three-headed jewel thief (the Brothers Matz-O'Reilly, individually named Weft, Wight and Wong).

1966

02 ''Reaux, Reaux, Reaux Your Boat'' (GC) - The Inspector is after the notorious smuggler Captain Clamity (a clam with legs).

03 ''Napoleon Blown-Aparte'' (GC) - A mad bomber escapes from Le Prison and wants to get even with the man who put him there, the Commissioner. With an endless supply of bombs, he keeps blowing the Commissioner up, with the Inspector's unwitting help. In the end the villain is revealed to be an anthropomorphic bomb who detonates himself.

04 ''Cirrhosis of the Louvre'' (GC) - The Blotch (a red blob of paint) threatens to steal all the paintings from the Louvre.

05 ''Plastered in Paris'' (GC) - The Inspector chases the man known as "X" around the world. "X" turns out to be Capitan Dumont, their new physical training instructor.

06 ''Cock-A-Doodle Deux Deux'' (RM) - The huge diamond 'The Plymouth Rock' has been stolen and the suspects are chickens.

07 ''Ape Suzette'' (GC) - The Inspector thinks he is fighting a little man but an ape gets in all the punches.

08 ''The Pique Poquette of Paris'' (GS) - Spider Pierre (who has four arms and a spider-web gun) picks pockets, especially those of the Inspector.

09 ''Sicque! Sicque! Sicque!'' (GS) - In the house of a mad scientist, Deux Deux drinks a flask of something and keeps changing into a big green monster who beats up and shoots the Inspector.

10 ''That's No Lady - That's Notre Dame'' (GS) - Trying to catch a purse snatcher, the Inspector disguises himself as a woman and falls afoul of the Commissioner's wife.

11 ''Unsafe and Seine'' (GS) - The Inspector is told his life is in danger and he must meet with an agent.

12 ''Toulouse La Trick'' (RM) - The Inspector handcuffs himself to Toulouse Le Moose and throws away the key so he cannot escape him. Toulouse drags the handcuffed Inspector through very rough terrain.

1967

13 ''Sacre Bleu Cross'' (GC) - When they go after ''Hassan the Assassin'', Deux-Deux gives The Inspector an unlucky rabbit's foot.

14 ''Le Quiet Squad'' (RM) - The Commissioner is overworked and needs absolute quiet or he goes into uncontrolled fits of temper. The Inspector is assigned to look after him, but has trouble with a noisy cat.

15 ''Bomb Voyage'' (RM) - The Inspector and Deux-Deux go to the planet Yornova to rescue the Commissioner, who has been kidnapped by aliens.

16 ''Le Pig-Al Patrol'' (GC) - The Inspector is sent after biker Pig Al and his biker gang.

17 ''Le Bowser Bagger'' (GC) - The Inspector is given Private Bowser, a very energetic dog, in his efforts to track down a thief.

18 ''Le Escape Goat'' (GC) - Sacked for letting Louie Le Fink escape, the Inspector tries to stop Le Fink from taking vengeance on the Commissioner, but ends up becoming part of the manhunt himself.

19 ''Le Cop on Le Rocks'' (GS) - The Inspector is mistaken for a bank robber who is his double.

20 ''Crow De Guerre'' (GC) - The Inspector is continually outwitted by a crow that steals jewels.

21 ''Canadian Can-Can'' (GC) - Sent to Canada on an exchange programme, the Inspector is sent after Two-Faced Harry, who has an "innocent" face on his front and an evil face on his back.

22 ''Tour De Farce'' (GC) - Through his own fault, the Inspector is stranded on ''Deserted Island'' with the convict Mack Le Truck, who is trying to kill him.

23 ''The Shooting of Caribou Lou'' (GC) - On holiday in Canada as a Mountie, the Inspector is kidnapped by the diminutive but aggressive fur trapper Caribou Lou.

1968

24 ''London Derriere'' (GC) - Having chased jewel thief Louie Le Swine around the world, the Inspector tries to nab him in London. Unfortunately, he runs afoul of the no-gun laws and a British Police Captain.

25 ''Les Miserobots'' (GC) - The Inspector is fired after being replaced by an efficient police robot. He tries to destroy it, but his attempts backfire. In the end the robot does such a good job that the Commissioner loses his job as well, and joins the Inspector in a skid-row soup kitchen.

26 ''Transylvania Mania'' (GC) - The Inspector is sent to find a scientist who is making monsters without a licence. The scientist is a vampire who needs a brain for his latest monster, and the Inspector arrives at just the right moment.

27 ''Bear De Guerre'' (GC) - The Inspector goes quail hunting but runs afoul of a disagreeable bear.

28 ''Cherche Le Phantom'' (GC) - The Inspector looks for the Phantom, and finds the crook is an escaped gorilla who happens to be an opera buff.

29 ''Le Great Dane Robbery'' (GC) - A stolen code book is hidden in an embassy, with a very large dog named "Tiny" guarding it.

30 ''La Feet's Defeat'' (GC) - The Inspector and Deux-Deux follow the footprints of ''Muddy La Feet'' and encounter many booby traps, which Deux-Deux sets off. The crook turns out to be the Commissioner, playing a prank on the Inspector. This is the only time that the Inspector accepts Deux-Deux's Spanish.

31 ''Le Ball and Chain Gang'' (GC) - The Inspector tries to get into the house of an argumentative couple.

1969

32 ''French Freud'' (GC) - A crooked Russian actress and her "maid" (i.e. husband in drag) are trying to kill the Inspector to get at the Du Barry diamond, which he is guarding under his hat.

33 ''Pierre and Cottage Cheese'' (GC) - The Inspector takes the very bad advice of a Chinese robot on how to break into a house where Dirty Pierre Le Punk is reportedly hiding.

34 ''Carte Blanched'' (GC) - The Inspector has a guilty conscience over an unreturned shopping cart (apparently brought on by a malignant voiceover), which everyone thinks he has stolen.

Voices

Pat Harrington, Jr. - The Inspector and Deux-Deux

Don Messick - Deux-Deux (only in ''La Feet's Defeat'')

Larry Storch - The Commissioner (1965–1966) (Only in ''The Great DeGaulle Stone Operation'' and ''Napoleon Blown-Aparte'')

Paul Frees - The Commissioner (1966–1967)

Marvin Miller - The Commissioner (1967, 1968–1969), The Inspector (''The Pink Panther Show'')

Mark Skor - The Commissioner (1967) (Only in ''Canadian Can-Can'')

DVD release

A DVD containing the first seventeen shorts was released on March 4, 2008 from MGM Home Entertainment/20th Century Fox Home Entertainment.

A DVD set titled Pink Panther and Friends Classic Cartoon Collection released on January 27, 2009 MGM Home Entertainment contains the first set of 17 shorts and a volume 2 containing the last 17 shorts.

Other appearances

The Inspector also appears in the 1993-95 syndicated TV series, ''The Pink Panther'' voiced by Brian George. The Inspector often works alongside the Pink Panther when he is depicted in the law enforcement.

External links

Big Cartoon Database

Golden Age

Retrô TV

Category:The Pink Panther Category:1965 introductions Category:Animated film series

de:Der Inspektor fa:بازرس (کارتون) it:L'ispettore (serie animata) pt:O Inspetor

''This article is about the fictional character from ''Charlie and the Chocolate Factory''. For the candy company, see, The Willy Wonka Candy Company.''

series	Charlie and the Chocolate Factory
name	Willy Wonka
first	''Charlie and the Chocolate Factory''
creator	Roald Dahl
portrayer	Gene Wilder (1971)Johnny Depp (2005)Maurice LaMarche (Commercials)}}

Willy Wonka is a fictional character in the 1964 Roald Dahl novel ''Charlie and the Chocolate Factory'' and the film adaptations that followed. The book and the 1971 film adaption both vividly depict an unusual Wonka — a feature arising from his creative genius. He annoys the other characters with his antics, though Charlie sees Wonka's behavior as a positive trait. In the 2005 film adaption, Willy Wonka's behavior is viewed more as a sympathetic character flaw. These aspects of Wonka's personality are explained in Burton's version by a strained, conflicted relationship with his father, the dentist Wilbur Wonka - a character created exclusively for this film.

Appearances

1971 film adaption

Candy maker Willy Wonka (52 years in the movie) has hidden five Golden Tickets amongst his Wonka Bars. The finders of these special tickets will be given a full tour of his tightly-guarded candy factory as well as a lifetime supply of chocolate. The contest sets off a global craze with everyone desperately seeking out the tickets. They are eventually found by five different children from around the world.

Wonka greets the winning children and their guardians at the factory gates. He immediately shows his unpredictability by slowly hobbling towards the gate with a cane, then pretending to fall, only to do a somersault and spring back to his feet with a flourish. Once he and his visitors are inside, Wonka requires each to sign a contract before the tour can begin. The tour progresses though many fantastic rooms and labs in the factory, all run by Wonka's crew of Oompa Loompas. Along the way, four of the children misbehave against Wonka's warnings, resulting in serious but comical consequences and removing them from the tour.

Eventually, Charlie Bucket is the only remaining child. Wonka informs him that the tour is over, politely dismisses him and Grandpa Joe, and disappears into his office without mentioning the promised prize of a lifetime supply of chocolate. Grandpa Joe and Charlie enter the office, where Wonka tells them that Charlie does not get the prize because he broke the rules. When questioned on the existence of the said rules, Wonka irritably reveals the forfeiture clause of the contract Charlie signed. Charlie's part in the theft of Fizzy Lifting drinks earlier in the story means that he violated the contract, and therefore he receives nothing. Now seemingly enraged, Wonka again dismisses them with a furious "Good day!".

When Charlie subsequently returns a gobstopper to Wonka that he initially planned to give to an industrial spy, Wonka joyfully tells Charlie that he "won" and begs his guests' forgiveness. He reveals that the spy "Slugworth" is actually an employee named Wilkinson, whose offer to buy the gobstopper was a morality test for the Golden Ticket winners, and Charlie was the only one who passed. Wonka leads Charlie and Joe to the "Wonkavator", a multi-directional glass elevator, and fly out of the factory in it. As they soar over the village, Wonka tells Charlie that his actual prize is not just the chocolate but the factory itself, as the Golden Ticket search was created to help Wonka search for an honest and worthy child to be his heir. Charlie and his family will reside in the factory and take over its operation when Wonka retires.

2005 film adaption

Willy Wonka, the owner of a famous chocolate factory, has long closed access to his factory due to problems concerning industrial espionage that ultimately led him to fire all his employees, among them Charlie's Grandpa Joe. One day, Wonka informs the world of a contest, in which five Golden Tickets have been placed in five random Wonka Bars worldwide, and the winners will be given a full tour of the factory as well as a lifetime supply of chocolate, while one ticket holder will be given a special prize at the end of the tour. After all five of the tickets are found, Wonka greets Charlie and the other ticket holders outside the factory and leads the group into the facility. During the tour, Wonka tempts each of the bad children to disobey his orders with something related to their individual character flaws. Wonka then invites Charlie to come live and work in the factory with him, and reveals that the purpose of the Golden Tickets and the tour was to make the "least rotten" child the heir of the factory itself, so he can have someone carry on his legacy when he dies. The only condition, however, is that Charlie must leave his family behind, because Wonka believes family is a hindrance to a chocolatier's creative freedom, a philosophy Wonka developed due to his dentist father, Dr. Wilbur Wonka, denying his son candy because of the potential risk to his teeth. After secretly sampling some candy, Wonka was instantly hooked and ran away to follow his dreams. After being refused Charlie's offer, Wonka falls into a state of emotional depression and returns to Charlie to seek advice. Wonka soon reunites with his estranged father and allows Charlie's family to move into the factory.

Concept and creation

2005 film adaption

Early on in the production of the 2005 film, Nicolas Cage was under discussions for portraying Willy Wonka, but lost interest. Warner Bros. president Alan F. Horn wanted Tom Shadyac to direct Jim Carrey as Willy Wonka, believing the duo could make ''Charlie and the Chocolate Factory'' relevant to mainstream audiences, but Roald Dahl's widow Liccy Dahl opposed this. After Tim Burton was hired as director in May 2003, Burton immediately thought of Johnny Depp for the role of Willy Wonka, who joined the following August for his fourth collaboration with the director.

Burton and screenwriter John August worked together in creating Wilbur Wonka, Willy's domineering dentist father. "You want a little bit of the flavor of why Wonka is the way he is," Burton reasoned. "Otherwise, what is he? He's just a weird guy." Warner Bros. and Burton held differences over the characterization of Willy Wonka. The studio wanted to make Willy Wonka the idyllic father figure Charlie Bucket had longed for his entire life. Burton believed that Wonka would not be a good father, finding the character similar to a recluse. "In some ways," Burton protested, "he's more screwed up than the kids." Prior to Burton's involvement, Warner Bros. considered or discussed Willy Wonka with Nicolas Cage, Jim Carrey, Michael Keaton, Brad Pitt, Will Smith and Adam Sandler. Johnny Depp was the only actor Burton considered for the role, who signed on without reading the script under the intention on going with a completely different approach than what Gene Wilder did in the 1971 film adaptation. "Regardless of what one thinks of that film," Depp explained, "Gene Wilder's persona, his character, stands out."

Comparisons were drawn between Willy Wonka and musician Michael Jackson. Burton joked, "Here's the deal. There's a big difference: Michael Jackson likes children, Willy Wonka ''can't stand them''. To me that's a huge difference." Depp explained that the similarities with Jackson never occurred to him. "I say if there was anyone you'd want to compare Wonka to it would be a Howard Hughes, almost. Reclusive, germaphobe, controlling." Burton agreed with the Hughes similarities, and additionally supplied Charles Foster Kane in ''Citizen Kane'' as inspiration. "Somebody who was brilliant but then was traumatized and then retreats into their own world." Depp wanted to sport prosthetic makeup for the part and have a long, elongated nose, but Burton believed it would be too outrageous.

Critical analysis

Critical response to Johnny Depp's performance as Willy Wonka was mainly positive. Owen Gleiberman of ''Entertainment Weekly'' wrote that "Johnny Depp as Willy Wonka may be a stone freak, but he is also one of Burton's classic crackpot conjurers, like ''Beetlejuice'' or ''Ed Wood''." Mick LaSalle from the ''San Francisco Chronicle'' found that "all the laughs [in the film] come from Depp, who gives Willy the mannerisms of a classic Hollywood diva". Peter Travers wrote in ''Rolling Stone'' magazine that "Depp's deliciously demented take on Willy Wonka demands to be seen. Depp goes deeper to find the bruises on Wonka's secret heart than what Gene Wilder did." Ann Hornaday of ''The Washington Post'' criticized Depp's acting. "The cumulative effect isn't pretty. Nor is it kooky, funny, eccentric or even mildly interesting. Indeed, throughout his fey, simpering performance, Depp seems to be straining so hard for weirdness that the entire enterprise begins to feel like those excruciating occasions when your parents tried to be hip." Johnny Depp received a nomination for the Golden Globe Award for Best Actor in a Musical or Comedy for his role as Willy Wonka, but lost to Joaquin Phoenix as Johnny Cash in ''Walk the Line''.

References

External links

"Willy Wonka" the stage musical

''Charlie and the Chocolate Factory'' film website

The Willy Wonka Candy Company

Category:Food advertising characters Category:Willy Wonka characters Category:Fictional English people Category:Fictional businesspeople Category:Fictional inventors Category:Fictional chefs Category:Fictional scientists Category:Fictional characters introduced in 1964 *

ca:Willy Wonka da:Willy Wonka es:Willy Wonka fr:Willy Wonka nl:Willy Wonka no:Willy Wonka pl:Willy Wonka pt:Willy Wonka ru:Вилли Вонка

name	George Kelly Barnes
image name	MachineGunKelly.jpg
birth date	July 18, 1895
birth place	Memphis, Tennessee, U.S.
death date	July 18, 1954
death place	Leavenworth Federal Penitentiary, Leavenworth, Kansas, U.S.
charge	Conspiracy to kidnap and bank robbing
occupation	Gangster, bootlegger and businessman
spouse	Katherine Kelly
nickname	Machine Gun Kelly}}

George Kelly Barnes (July 18, 1895 – July 18, 1954), better known as "Machine Gun Kelly", was an American gangster during the prohibition era. His nickname came from his favorite weapon, a Thompson submachine gun. His most famous crime was the kidnapping of oil tycoon & businessman Charles Urschel in July 1933 for which he, and his gang, earned $200,000 ransom. The FBI investigation eventually led to Kelly's arrest in Memphis, Tennessee on September 26, 1933. His crimes also included bootlegging and armed robbery.

Career

As he lived in the Prohibition era of the 1920s and 30s, Kelly was able to find work as a bootlegger for himself as well as a colleague. After a short time, and several run-ins with the local Memphis police, he decided to leave town and head west with a new girlfriend. To protect his family and escape law enforcement officers, he changed his name to George R. Kelly. He continued to commit smaller crimes and bootlegging. He was arrested in Tulsa, Oklahoma, for smuggling liquor onto an Indian Reservation in 1928 and sentenced for three years to Leavenworth Penitentiary, Kansas, beginning February 11, 1928. He was reportedly a model inmate and was released early. Shortly thereafter, Kelly married Katherine Thorne, who purchased Kelly’s first machine gun and went to great lengths to familiarize his name in the underground crime circles. She was known to hand out the expended .45cal cartridge casings from his Tommy Gun as souvenirs. Some historians claim that Katherine even went so far as to plot some small bank robberies.

{| align="right" |- | || | valign="top" | |}

Nonetheless, Kelly’s last criminal activity proved disastrous when he kidnapped a wealthy Oklahoma City resident, Charles F. Urschel and his friend Walter R. Jarrett. Urschel, having been blindfolded, made sure to foil his kidnappers by noting all possible evidence of his experience such as background sounds, counting footsteps and leaving fingerprints on every surface in reach. This in turn proved invaluable for the FBI in their investigation, as they learned that Urschel had been held in Paradise, Texas. An investigation conducted at Memphis disclosed that after 56 days on the run, the Kellys were staying at the residence of J.C. Tichenor. Special Agents from Birmingham, Alabama, were immediately dispatched to Memphis, where, in the early morning hours of September 26, 1933 a raid was conducted. George and Katherine Kelly were taken into custody by FBI Agents and Memphis police officers Sergeant William Raney and officer Thomas Waterson. Caught without a weapon, George Kelly supposedly cried, "''Don’t shoot, G-Men! Don’t shoot, G-Men!''" as he surrendered to FBI Agents. The term (which had applied to all federal investigators, meaning simply 'Government Men') became synonymous with FBI Agents. Reports of the raid, however, indicate that George Kelly came to the door, dropped his pistol and said, "''I’ve been waiting for you all night''." Recent research revealed a 1933 newspaper interview with one of the federal agents at the arrest. He commented that, upon their arrest, Katherine Kelly put her arms around George and said, "''These G-men will never leave us alone.''" The FBI press machine generated the G-Man story to build its own reputation.

In October 1933, George and Katherine Kelly were convicted and sentenced to life imprisonment. The trial was held at the Post Office, Courthouse and Federal Office Building in Oklahoma City. Katherine Kelly and her mother had all charges dropped and were released in 1958 from prison in Cincinnati.

The kidnapping of Urschel and the two trials that resulted were historic in several ways: 1) they were the first, last, and only federal criminal trials in the United States in which moving cameras were allowed to film; 2) the first kidnapping trials after the passage of the so-called Lindbergh Law, which made kidnapping a federal crime; 3) the first major case solved by J. Edgar Hoover’s evolving and powerful FBI. For that, Kelly got sent into Alcatraz; 4) the first crime in which defendants were transported by airplane. At the time, it was the largest ransom ever paid in the United States.

Death

Machine Gun Kelly spent his remaining 21 years in prison. During his time at Alcatraz he got the nickname "Pop Gun Kelly." This was in reference, according to a former prisoner, to the fact that Kelly was a model prisoner and was nowhere near the tough, brutal gangster his wife made him out to be. He spent 17 years on Alcatraz, working in the prison industries, and was quietly transferred back to Leavenworth in 1951. He died of a heart attack at Leavenworth Federal Prison, Kansas on July 18, 1954, his 59th birthday. He is buried at Cottondale Texas Cemetery with a small headstone marked "George B. Kelley 1954".

In popular culture

Machine Gun Kelly and Kathryn Kelly were the inspiration for "Machine Gun Kelly" (1970), a song written by Danny "Kootch" Kortchmar and recorded by James Taylor on his 1971 Album ''Mud Slide Slim and the Blue Horizon''.

Machine Gun Kelly and his crimes were (loosely) portrayed in the 1958 film ''Machine-Gun Kelly'' starring Charles Bronson.

Machine Gun Kelly is a central character in the 1974 TV film ''Melvin Purvis: G-Man''.

Kelly is (along with Pretty Boy Floyd and Baby Face Nelson) one of the main characters of the comic book series ''Pretty, Baby, Machine''.

Punk band the Angelic Upstarts released a single in 1984 titled Machine Gun Kelly.

Machine Gun Kelly is referenced in the film ''So I Married an Axe Murderer'' by Phil Hartman's character while touring Alcatraz.

In the song "MVP" by the late Harlem rapper Big L, he says: "I run up like Machine Gun Kelly, with a black skully, put one in your belly, leave you smelly, then take your Pelle Pelle."

In the song "Bluesman" by Harry Chapin, there's a line that goes "No! A fool plays the blues like Machine Gun Kelly, Five hundred notes to the bar...".

Cleveland rapper Machine Gun Kelly (MGK)

Female Rapper Foxy Brown refers to "Machine Gun Kelly" in her song "Massacre"

Mentioned in These Animal Men's "I'm Not Your Babylon "Machine Gun Kelly was the first to crack"

References

Further reading

External links

FBI file on George "Machine Gun Kelly" Barnes

Category:Alcatraz inmates Category:American bank robbers Category:American criminals Category:American mobsters Category:American kidnappers Category:American people who died in prison custody Category:American prisoners sentenced to life imprisonment Category:Bootleggers Category:Deaths from myocardial infarction Category:Depression-era gangsters Category:People from Memphis, Tennessee Category:Prisoners sentenced to life imprisonment by the United States federal government Category:Prisoners and detainees of the United States federal government Category:Prisoners who died in United States federal government detention Category:1895 births Category:1954 deaths

de:Machine Gun Kelly fr:Machine Gun Kelly it:George R. Kelly ja:マシンガン・ケリー ro:George Kelly ru:Барнс, Джордж Келли sv:Machine Gun Kelly