The Five
Mily Balakirev César Cui Modest Mussorgsky Nikolai Rimsky-Korsakov Alexander Borodin
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The Five, also known as The Mighty Handful, The Mighty Five, or The Mighty Coterie (Russian: Могучая кучка, Moguchaya kuchka), refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. In a sense, they were a branch of the Romantic Nationalist movement in Russia, sharing similar artistic goals with the Abramtsevo Colony and Russian Revival.

History[link]

Name[link]

Vladimir Stasov
(1824–1906)

In May 1867 the critic Vladimir Stasov wrote an article, Mr. Balakirev's Slavic Concert, on a concert given for visiting Slav delegations to the "All-Russian Ethnographical Exhibition" in Moscow. The four Russian composers whose works were played at the concert were Mikhail Glinka, Alexander Dargomyzhsky, Mily Balakirev, and Nikolai Rimsky-Korsakov.^[1] The article ended with the following statement:

God grant that our Slav guests may never forget today's concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians.^[2]

—Vladimir Stasov, Sankt-Peterburgskie Vedomosti, 1867

The expression "mighty handful" (Russian: Могучая кучка, Moguchaya kuchka, "Mighty Bunch" or "Group"), was mocked by enemies of Balakirev and Stasov: Aleksandr Serov, academic circles of the conservatory, the Russian Musical Society, and their press supporters. The group responded by defiantly adopting the name.^[2] This loose collection of composers gathered around Balakirev now included Cui, Mussorgsky, Rimsky-Korsakov, and Borodin — the five who have come to be associated with the name "Mighty Handful", or sometimes "The Five". Gerald Abraham stated flatly in the Grove Dictionary of Music and Musicians that "they never called themselves, nor were they ever called in Russia, 'The Five'"^[3] (although today the Russian equivalent "Пятерка" ("Pyatyorka") is occasionally used to refer to this group).^[4] In his memoirs, Rimsky-Korsakov routinely refers to the group as "Balakirev's circle", and occasionally uses "The Mighty Handful", usually with an ironic tone. He also makes the following reference to "The Five":

If we leave out of account Lodyzhensky, who accomplished nothing, and Lyadov, who appeared later, Balakirev's circle consisted of Balakirev, Cui, Mussorgsky, Borodin, and me (the French have retained the denomination of "Les Cinq" for us to this day).^[5]

—Nikolay Rimsky-Korsakov, Chronicle of My Musical Life, 1909

The Russian word kuchka also spawned the terms "kuchkism" and "kuchkist", which may be applied to artistic aims or works in tune with the sensibilities of The Mighty Handful.

The name of Les Six, an even looser collection of French-speaking composers, emulates that of "The Five".

Formation[link]

The formation of the group began in 1856, with the first meeting of Balakirev and César Cui. Modest Mussorgsky joined them in 1857, Nikolai Rimsky-Korsakov in 1861, and Alexander Borodin in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with a career in chemistry. Rimsky-Korsakov was a naval officer (he wrote his First Symphony on a three-year naval voyage circumnavigating the globe). Mussorgsky had been in the Guards, then in the civil service before taking up music; even at the height of his career in the 1870s he was forced by the expense of his drinking habit to hold down a full-time job in the State Forestry Department.^[6]

In contrast to the élite status and court connections of Conservatory composers such as Pyotr Ilyich Tchaikovsky, The Five were mainly from the minor gentry of the provinces. To some degree their esprit de corps depended on the myth, which they themselves created, of a movement that was more "authentically Russian," in the sense that it was closer to the native soil, than the classic academy.^[7]

Before them, Mikhail Glinka and Alexander Dargomyzhsky had gone some way towards producing a distinctly Russian kind of music, writing operas on Russian subjects, but The Mighty Handful represented the first concentrated attempt to develop such a music, with Stasov as their artistic adviser and Dargomyzhsky as an elder statesman to the group, so to speak. The circle began to fall apart during the 1870s, no doubt partially due to the fact that Balakirev withdrew from musical life early in the decade for a period of time. All of "The Five" are buried in Tikhvin Cemetery in Saint Petersburg.

Musical language[link]

Stylization[link]

The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements:

• They tried to incorporate in their music what they heard in village songs, in Cossack and Caucasian dances, in church chants and the tolling of church bells (to the point where the bell tolling became a cliché). The Five's music became filled with imitative sounds of Russian life. They also tried to reproduce the long-drawn, lyrical and melismatic peasant song, what Glinka had once called "the soul of Russian music." Balakirev made this possible by his study of songs from the Volga in the 1860s. More than any previous anthology, his transcriptions artfully preserved the distinctive aspects of Russian folk music:
  • Tonal mutability

  A tune seems to shift naturally from one tonal center to another, often ending up in a different key than the one in which the song began. This can produce a feeling of elusiveness, a lack of definition or of logical progression in the harmony. Even when stylized by The Five, this quality can make Russian music sound very different from the tonal structures of the West.

  • Heterophony

  A melody is simultaneously rendered by two or more performers in different variations. This is improvised by the singers until the end, when the song reverts to a single melodic line.

  • Parallel fifths, fourths and thirds

  The effect lends Russian music a raw sonority missing entirely from the comparatively polished harmonies of Western music.

• The Five also adopted a series of harmonic devices to create a distinct "Russian" style and color different from Western music. This "exotic" styling of "Russia" was not just self-conscious but entirely invented. None of these devices was actually used in Russian folk or church music:
  • Whole tone scale

  Although Glinka did not invent this scale, his application of it in the opera Ruslan and Lyudmila (1842) — most recognizable at the end of the festive overture — provided a characteristic harmonic and melodic device. This scale in "Russian" works often suggests evil or ominous personages or situations. It was used by all the major composers from Tchaikovsky (the appearance of the Countess's ghost in The Queen of Spades) to Rimsky-Korsakov (in all his magic-story operas—Sadko, Kashchey the Deathless and The Invisible City of Kitezh). Claude Debussy also uses this scale in his music, taking this, among many things, from the Russians. Later it became a standard device in horror-movie scores.

  • The Russian submediant^[8]

  Also linked to Glinka's Ruslan, this is a harmonic pattern (in major mode) in which one upper part proceeds from the dominant pitch chromatically to the submediant while the other harmony parts remain constant. The most basic form of this pattern can be shown as follows (beginning with typical tonic): root-position tonic triad --> root-position augmented tonic triad -> 1st inversion submediant minor triad. A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's Scheherezade.

  • Diminished or octatonic scale

  Rimsky-Korsakov first used this in his symphonic poem Sadko in 1867. This scale became a sort of Russian calling-card — a leitmotif of magic and menace used not just by Rimsky-Korsakov but all of his followers, above all Alexander Scriabin, Maurice Ravel, Igor Stravinsky and Olivier Messiaen (mode 2).

  • Modular rotation in sequences of thirds

  The Five made this device of Franz Liszt their own to base a loose symphonic-poem type of structure. This way, they could avoid the rigid Western laws of modulation in sonata form, allowing the form of a musical composition to be shaped entirely by the "content" of the music (its programmatic statements and visual descriptions) rather than by formal laws of symmetry. This loose structure became especially important for Mussorgsky's Pictures at an Exhibition, a work that may have done more than any other to define the Russian style.^[9]

  • Pentatonic scale

  This stylistic aspect became used by every Russian nationalist composer.^[10] Its distinctive feature is to have only five notes in the octave, rather than the seven of the heptatonic scales (e.g., major and minor). The pentatonic scale is one of the ways of suggesting a "primitive" folk-melodic style as well as the "Eastern" element (Middle East, Asia). A melodic example of the "major-mode" pentatonic scale (C-D-E-G-A) can be heard at the entrance of the chorus at the beginning of Borodin's Prince Igor.

Orientalism[link]

One hallmark of "The Five" was its reliance on orientalism.^[10] Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's Islamey, Borodin's Prince Igor and Rimsky-Korsakov's Scheherazade.^[10] Orientalism, in fact, became widely considered in the West both one of the best-known aspects of Russian music and a trait of Russian national character.^[11] As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of Anton Rubinstein and other Western-oriented composers.^[10] Because Rimsky-Korsakov used Russian folk and oriental melodies in his First Symphony, Stasov and the other nationalists dubbed it the "First Russian Symphony," even though Rubinstein had written his Ocean Symphony a dozen years before it.^[10] These were themes Balakirev had transcribed in the Caucasus.^[10] "The symphony is good," Cui wrote to Rimsky-Korsakov in 1863, while the latter was out on naval deployment. "We played it a few days ago at Balakirev's—to the great pleasure of Stassov. It is really Russian. Only a Russian could have composed it, because it lacks the slightest trace of any stagnant Germanness."^[12]

Orientalism was not confined to using authentic Eastern melodies.^[13] What became more important than the melodies themselves were the musical conventions added to them.^[13] These conventions allowed orientalism to become an avenue for writing music on subjects considered unmentionable otherwise, such as political themes and erotic fantasies.^[11] It also became a means of expressing Russian supremacy as the empire expanded under Alexander II.^[11] This was often reinforced through misogynist symbolism—the rational, active and moral Western man versus the irrational, passive and immoral Eastern woman.^[11]

Two major works entirely dominated by orientalism are Rimsky-Korsakov's symphonic suite Antar and Balakirev's symphonic poem Tamara.^[13] Antar, set in Arabia, uses two different styles of music, Western (Russian) and Eastern (Arabian).^[13] The first theme, Antar's, is masculine and Russian in character.^[13] The second theme, feminine and oriental in melodic contour, belongs to the queen, Gul Nazar.^[13] Rimsky-Korsakov was able to soften the implicit misogyny to some extent.^[13] However, female sensuality does exert a paralyzing, ultimately destructive influence.^[13] With Gul Nazar extinguishing Antar's life in a final embrace, the woman overcomes the man.^[13]

Balakirev gives a more overtly misogynistic view of oriental women in Tamara.^[13] He had originally planned to write a Caucasan dance called a lezginka, modeled on Glinka, for this work.^[14] However, he discovered a poem by Mikhail Lermontov about the beautiful Tamara, who lived in a tower alongside the gorge of Daryal.^[14] She lured travelers and allowed them to enjoy a night of sensual delights, only to kill them and throw their bodies into the River Terek.^[14] Balakirev uses two specific codes endemic to orientalism in writing Tamara. The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication.^[13] The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas, depict sensual longing.^[13] Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of Tamara in 1898.^[14]

A direct result of such orientalism was the big influence that this circle left on the formation of classical traditions in other nations of the east and south of Russia. For instance, one of Rimsky-Korsakov's famous students, Alexander Spendiaryan went on to become the founder of Armenian classical music, carrying on the traditions and aesthetics of the Mighty Handful to the Caucasus.

Quotations[link]

Rimsky-Korsakov provides the following picture of "The Mighty Handful" in his memoirs, Chronicle of My Musical Life (translated by J. A. Joffe):

Tastes[link]

"The tastes of the circle leaned towards Glinka, Schumann, and Beethoven's last quartets ... they had little respect for Mendelssohn ... Mozart and Haydn were considered out of date and naive ... J. S. Bach was held to be petrified ... Chopin was likened by Balakirev to a nervous society lady ... Berlioz was highly esteemed ...Liszt was comparatively unknown ... Little was said of Wagner ... They respected Dargomyzhsky for the recitative portions of Rusalka ... [but] he was not credited with any considerable talent and was treated with a shade of derision. ...Rubinstein had a reputation as a pianist, but was thought to have neither talent nor taste as a composer."

Balakirev[link]

"Balakirev, who had never had any systematic course in harmony and counterpoint and had not even superficially applied himself to them, evidently thought such studies quite unnecessary ... An excellent pianist, a superior sight reader of music, a splendid improviser, endowed by nature with the sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through a vast musical erudition, with the help of an extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature ... He instantly felt every technical imperfection or error, he grasped a defect in form at once. Whenever I or other young men, later on, played him our essays at composition, he instantly caught all the defects of form, modulation, and so on, and forthwith seating himself at the piano, he would improvise and show how the composition in question should be changed exactly as he indicated, and frequently entire passages in other people's compositions became his and not their putative authors' at all. He was obeyed absolutely, for the spell of his personality was tremendous. ... His influence over those around him was boundless, and resembled some magnetic or mesmeric force. ... he despotically demanded that the tastes of his pupils should exactly coincide with his own. The slightest deviation from his taste was severely censured by him. By means of raillery, a parody or caricature played by him, whatever did not suit him at the moment was belittled — and the pupil blushed with shame for his expressed opinion and recanted...."

Abilities[link]

"Balakirev considered me a symphony specialist ... in the sixties, Balakirev and Cui, though very intimate with Mussorgsky and sincerely fond of him, treated him like a lesser light, and of little promise at that, in spite of his undoubted talent. It seemed to them that there was something missing in him and, in their eyes, he was in need of advice and criticism. Balakirev often said that Mussorgsky had "no head" or that his "brains were weak." ... Balakirev thought that Cui understood little in symphony and musical forms and nothing in orchestration, but was a past master in vocal and operatic music; Cui, in turn, thought Balakirev a master in symphony, form, and orchestration, but with little liking for operatic composition and vocal music in general. Thus they complemented each other, but each, in his own way, felt mature and grown up. Borodin, Mussorgsky, and I, however — we were immature and juvenile. Obviously, towards Balakirev and Cui we were in somewhat subordinate relations; their opinions were listened to unconditionally...."

Influence[link]

Except perhaps for Cui, the members of this group influenced or taught many of the great Russian composers who were to follow, including Alexander Glazunov, Mikhail Ippolitov-Ivanov, Sergei Prokofiev, Igor Stravinsky, and Dmitri Shostakovich. They also influenced the two french symbolist composers Maurice Ravel and Claude Debussy through their radical tonal language.

Timeline[link]

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 id:Cui                value:rgb(1,0.6,0.5)
 id:Balakirev          value:lightorange
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 id:Rimsky-Korsakov    value:coral
 id:Tsar               value:white
   

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 from: 1830 till: 1855 color: orange text: Nicholas I       
 from: 1855 till: 1881 color: yellow text: Alexander II
 from: 1881 till: 1894 color: orange text: Alexander III
 from: 1894 till: 1917 color: yellow text: Nicholas II
 bar:Borodin color:Borodin
 from: 1833 till: 1887  
 bar:Cui color:Cui
 from: 1835 till: 1918 
 bar:Balakirev color:Balakirev
 from: 1837 till: 1910  
 bar:Mussorgsky color:Mussorgsky
 from: 1839 till: 1881  
 bar:Rimsky-Korsakov color:Rimsky-Korsakov
 from: 1844 till: 1908  

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  at:1881 color:black width:0.5 layer:back
  at:1894 color:black width:0.5 layer:back
  at:1917 color:black width:0.5 layer:back

</timeline>

See also[link]

• List of Russian composers
• Tchaikovsky and the Five
• Les Six, French composers
• Armenian Mighty Handful
• Group of Eight (music), Spanish composers

References[link]

External links[link]

• Encyclopædia Britannica article about "The Five" [1]
• The Article about The Five in "1000 years of Russian Music" [2]
• Turgenev and Russian Music: The Mighty Handful (with music samples)
• Russian musical influences of The Five on works of Claude Debussy [3]

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2010)

Tom Hanks
Hanks at President Obama's 2009 inauguration.
Born	Thomas Jeffrey Hanks (1956-07-09) July 9, 1956 (age 55) Concord, California, U.S.
Occupation	Actor, producer, director, voice over artist, writer, speaker
Years active	1979–present
Spouse	Samantha Lewes (m. 1978–1987; divorced) Rita Wilson (m. 1988–present)
Children	Colin, Elizabeth, Chester, Truman

Thomas Jeffrey "Tom" Hanks (born July 9, 1956) is an American actor, producer, writer, and director. Hanks is known for his roles in Philadelphia and as the title character in Forrest Gump, roles which won him two consecutive Academy Awards for Best Actor. Hanks is also known for his Oscar nominated roles in Big, Saving Private Ryan and Cast Away.

Hanks' other acting roles include Apollo 13 as Jim Lovell, The Green Mile as Paul Edgecomb, Toy Story as Woody and Charlie Wilson's War as Charlie Wilson.

Early life[link]

Hanks was born in Concord, California. His father, Amos Mefford Hanks (born in Glenn County, California, on March 9, 1924 – died in Alameda, California, on January 31, 1992), was an itinerant cook.^[1] His mother, Janet Marylyn (née Frager; born in Alameda County, California, on January 18, 1932), was a hospital worker. Hanks' mother is of Portuguese ancestry, while two of his paternal great-grandparents immigrated from Britain.^[2][3] Hanks's parents divorced in 1960. The family's three oldest children, Sandra (now Sandra Hanks Benoiton, a writer)^{[citation needed]}, Larry (now Lawrence M. Hanks, PhD, an entomology professor at the University of Illinois at Urbana-Champaign)^[4] and Tom, went with their father, while the youngest, Jim, now an actor and film maker, remained with his mother in Red Bluff, California.^{[citation needed]}

In addition to having a family history of Catholicism and Mormonism, Hanks was a "Bible-toting evangelical teenager" for several years.^[5] In school, Hanks was unpopular with students and teachers alike, later telling Rolling Stone magazine: "I was a geek, a spaz. I was horribly, painfully, terribly shy. At the same time, I was the guy who'd yell out funny captions during filmstrips. But I didn't get into trouble. I was always a real good kid and pretty responsible." In 1965, Amos Hanks married Frances Wong, a San Francisco native of Chinese descent. Frances had three children, two of whom lived with Tom during his high school years. Hanks acted in school plays, including South Pacific, while attending Skyline High School in Oakland, California.

Hanks studied theater at Chabot College in Hayward, California, and after two years, transferred to California State University, Sacramento. Hanks told New York magazine in 1986: "Acting classes looked like the best place for a guy who liked to make a lot of noise and be rather flamboyant ...I spent a lot of time going to plays. I wouldn't take dates with me. I'd just drive to a theater, buy myself a ticket, sit in the seat and read the program, and then get into the play completely. I spent a lot of time like that, seeing Brecht, Tennessee Williams, Ibsen, and all that."^[6]

During his years studying theater, Hanks met Vincent Dowling, head of the Great Lakes Theater Festival in Cleveland, Ohio.^[1] At Dowling's suggestion, Hanks became an intern at the Festival. His internship stretched into a three-year experience that covered most aspects of theater production, including lighting, set design, and stage management, all of which caused Hanks to drop out of college. During the same time, Hanks won the Cleveland Critics Circle Award for Best Actor for his 1978 performance as Proteus in Shakespeare's The Two Gentlemen of Verona, one of the few times he played a villain.^[7]

Career[link]

Early career[link]

In 1979, Hanks moved to New York City, where he made his film debut in the low-budget slasher film He Knows You're Alone (1980)^[1] and got a part in the television movie Mazes and Monsters. Early in 1979, Hanks was cast in the lead role of Callimaco in the Riverside Shakespeare Company's production of Niccolò Machiavelli's The Mandrake, directed by Daniel Southern. This remains Hanks's only New York stage performance to date; as a high profile Off Off Broadway showcase, the production helped Tom land an agent, Joe Ohla with the J. Michael Bloom Agency. The next year, Hanks landed a lead role on the ABC television pilot of Bosom Buddies, playing the role of Kip Wilson. Hanks moved to Los Angeles, where he and Peter Scolari played a pair of young advertising men forced to dress as women so they could live in an inexpensive all-female hotel.^[1] Hanks had previously partnered with Scolari in the 1970s game show Make Me Laugh. Bosom Buddies ran for two seasons, and, although the ratings were never strong, television critics gave the program high marks. "The first day I saw him on the set," co-producer Ian Praiser told Rolling Stone, "I thought, 'Too bad he won't be in television for long.' I knew he'd be a movie star in two years." But if Praiser knew it, he was not able to convince Hanks. "The television show had come out of nowhere," best friend Tom Lizzio told Rolling Stone. "Then out of nowhere it got canceled. He figured he'd be back to pulling ropes and hanging lights in a theater."

Bosom Buddies and a guest appearance on a 1982 episode of Happy Days ("A Case of Revenge," where he played a disgruntled former classmate of The Fonz) prompted director Ron Howard to contact Hanks. Howard was working on Splash (1984), a romantic comedy fantasy about a mermaid who falls in love with a human. At first, Howard considered Hanks for the role of the main character's wisecracking brother, a role that eventually went to John Candy. Instead, Hanks got the lead role and a career boost from Splash, which went on to become a box office hit, grossing more than US$69 million. He also had a sizable hit with the sex comedy Bachelor Party, also in 1984.

In 1983–84, Hanks made three guest appearances on Family Ties as Elyse Keaton's alcoholic brother, Ned Donnelly.^[8][9]

Period of successes and failures[link]

Hanks at Governor's Ball party after 61st Academy Awards, March 29, 1989

Hanks and Rita Wilson at the 1989 Oscars

With Nothing in Common (1986) – about a young man alienated from his parents who must re-establish a relationship with his father, played by Jackie Gleason – Hanks began to establish the credentials of not only a comic actor but of someone who could carry a serious role. "It changed my desires about working in movies," Hanks told Rolling Stone. "Part of it was the nature of the material, what we were trying to say. But besides that, it focused on people's relationships. The story was about a guy and his father, unlike, say, The Money Pit, where the story is really about a guy and his house."^{[citation needed]}

After a few more flops and a moderate success with Dragnet, Hanks succeeded with the film Big (1988), both at the box office and within the industry.^[1] The film established Hanks as a major Hollywood talent. It was followed later that year by Punchline, in which he and Sally Field co-starred as struggling comedians. Hanks's character, Steven Gold, a failing medical student trying to break into stand-up, was somewhat edgy and complex. Hanks' portrayal of Gold offered a glimpse of the far more dramatic roles Hanks would master in films to come. Hanks then suffered a pile of box-office failures: The 'Burbs (1989), Joe Versus the Volcano (1990), and The Bonfire of the Vanities (1990),^[1] as a greedy Wall Street type who gets enmeshed in a hit-and-run accident. Only the 1989 movie Turner & Hooch brought success for Hanks during this time. In a 1993 issue of Disney Adventures, Hanks said, "I saw Turner & Hooch the other day in the SAC store and couldn't help but be reminiscent. I cried like a baby." He did admit to making a couple of "bum tickers," however, and blamed his "...deductive reasoning and decision making skills."

Progression into dramatic roles[link]

Hanks climbed back to the top again with his portrayal of a washed-up baseball star turned manager in A League of Their Own (1992).^[1] Hanks has admitted that his acting in earlier roles was not great and that he has improved. In an interview with Vanity Fair, Hanks noted his "modern era of moviemaking ... because enough self-discovery has gone on.... My work has become less pretentiously fake and over the top". This "modern era" began in 1993 for Hanks, first with Sleepless in Seattle and then with Philadelphia. The former was a blockbuster success about a widower who finds true love over the airwaves. Richard Schickel of TIME called his performance "charming," and most critics agreed that Hanks' portrayal ensured him a place among the premier romantic-comedy stars of his generation.^{[citation needed]}

In Philadelphia, he played a gay lawyer with AIDS who sues his firm for discrimination.^[1] Hanks lost thirty-five pounds and thinned his hair in order to appear sickly for the role. In a review for People, Leah Rozen stated "Above all, credit for Philadelphia's success belongs to Hanks, who makes sure that he plays a character, not a saint. He is flat-out terrific, giving a deeply felt, carefully nuanced performance that deserves an Oscar." Hanks won the 1993 Academy Award for Best Actor for his role in Philadelphia.^[1] During his acceptance speech he revealed that his high school drama teacher Rawley Farnsworth and former classmate John Gilkerson, two people with whom he was close, were gay.^[10]

Hanks on the film set of Forrest Gump in 1994

Hanks followed Philadelphia with the 1994 summer hit Forrest Gump. Of the film, Hanks has remarked: "When I read the script for Gump, I saw it as one of those kind of grand, hopeful movies that the audience can go to and feel ... some hope for their lot and their position in life... I got that from the movies a hundred million times when I was a kid. I still do." Hanks won his second Best Actor Academy Award for his role in Forrest Gump, becoming only the second actor to have accomplished the feat of winning consecutive Best Actor Oscars. (Spencer Tracy was the first, winning in 1937–38. Hanks and Tracy were the same age at the time they received their Academy Awards: 37 for the first and 38 for the second.)

Hanks' next role—astronaut and commander Jim Lovell, in the 1995 movie Apollo 13--reunited him with Ron Howard.^[1] Critics generally applauded the film and the performances of the entire cast, which included actors Kevin Bacon, Bill Paxton, Gary Sinise, Ed Harris, and Kathleen Quinlan. The movie also earned nine Academy Award nominations, winning two. The same year, Hanks starred in the animated blockbuster Toy Story as the voice of the toy Sheriff Woody.

1996 – present: Directing, producing and acting[link]

Hanks turned to directing with his 1996 film That Thing You Do! about a 1960s pop group, also playing the role of a music producer. Hanks and producer Gary Goetzman went on to create Playtone, a record and film production company named for the record company in the film.

Hanks executive produced, co-wrote, and co-directed the HBO docudrama From the Earth to the Moon. The twelve-part series chronicles the space program from its inception, through the familiar flights of Neil Armstrong and Jim Lovell, to the personal feelings surrounding the reality of moon landings. The Emmy Award-winning project was, at US$68 million, one of the most expensive ventures taken for television.

Hanks's next project was no less expensive. For Saving Private Ryan he teamed up with Steven Spielberg to make a film about a search through war-torn France after D-Day to bring back a soldier. It earned the praise and respect of the film community, critics, and the general public. It was labeled one of the finest war films ever made and earned Spielberg his second Academy Award for direction, and Hanks another Best Actor nomination. Later in 1998, Hanks re-teamed with his Sleepless in Seattle co-star Meg Ryan for You've Got Mail, a remake of 1940's The Shop Around the Corner.

In 1999, Hanks starred in an adaptation of the Stephen King novel The Green Mile. He also returned as the voice of Woody in Toy Story 2. The following year he won a Golden Globe for Best Actor and an Academy Award nomination for his portrayal of a marooned FedEx systems analyst in Robert Zemeckis's Cast Away. In 2001, Hanks helped direct and produce the acclaimed HBO mini-series Band of Brothers. He also appeared in the September 11 television special America: A Tribute to Heroes and the documentary Rescued From the Closet.

Next he teamed up with American Beauty director Sam Mendes for the adaptation of Max Allan Collins's and Richard Piers Rayner's graphic novel Road to Perdition, in which he played an anti-hero role as a hitman on the run with his son. That same year, Hanks collaborated with director Spielberg again, starring opposite Leonardo DiCaprio in the hit crime comedy Catch Me if You Can, based on the true story of Frank Abagnale, Jr. The same year, Hanks and his wife Rita Wilson produced the hit movie My Big Fat Greek Wedding. In August 2007, he along with co-producers Rita Wilson and Gary Goetzman, and writer and star Nia Vardalos, initiated a legal action against the production company Gold Circle Films for their share of profits from the movie.^[11][12][13] At the age of 45, he became the youngest ever recipient of the American Film Institute's Life Achievement Award on June 12, 2002.

In 2004, he appeared in three films: The Coen Brothers' The Ladykillers, another Spielberg film, The Terminal, and The Polar Express, a family film from Robert Zemeckis. In a USA Weekend interview, Hanks talked about how he chooses projects: "[Since] A League of Their Own, it can't be just another movie for me. It has to get me going somehow.... There has to be some all-encompassing desire or feeling about wanting to do that particular movie. I'd like to assume that I'm willing to go down any avenue in order to do it right". In August 2005, Hanks was voted in as vice president of the Academy of Motion Picture Arts and Sciences.^[14]

Hanks in 2008

Hanks next starred in the highly anticipated film The Da Vinci Code, based on the bestselling novel by Dan Brown. The film was released May 19, 2006 in the US and grossed over US$750 million worldwide. He followed the film with Ken Burns's 2007 documentary The War. For the documentary, Hanks did voice work, reading excerpts from World War II-era columns by Al McIntosh. In 2006, Hanks topped a 1,500-strong list of 'most trusted celebrities' compiled by Forbes magazine.^[15] Hanks next appeared in a cameo role as himself in The Simpsons Movie, in which he appeared in an advertisement claiming that the US government has lost its credibility and is hence buying some of his. He also made an appearance in the credits, expressing a desire to be left alone when he is out in public. Later in 2006, Hanks produced the British film Starter for Ten, a comedy based on working class students attempting to win University Challenge.^[16]

In 2007, Hanks starred in Mike Nichols's film Charlie Wilson's War (written by screenwriter Aaron Sorkin) in which he plays Democratic Texas Congressman Charles Wilson. The film opened on December 21, 2007, and Hanks received a Golden Globe nomination.

In 2008's The Great Buck Howard, Hanks played the on-screen father of a young man (Hanks' real-life son, Colin Hanks) who chooses to follow in the footsteps of a fading magician (John Malkovich). Tom Hanks's character was less than thrilled about his son's career decision.

Hanks's next endeavor, released on May 15, 2009, was a film adaptation of Angels & Demons, based on the novel of the same name by Dan Brown. Its April 11, 2007, announcement revealed that Hanks would reprise his role as Robert Langdon, and that he would reportedly receive the highest salary ever for an actor.^[17][18] The following day he made his 10th appearance on NBC's Saturday Night Live, impersonating himself for the Celebrity Jeopardy sketch.

Hanks in April 2009

Hanks is producer of the Spike Jonze film Where The Wild Things Are, based on the children's book by Maurice Sendak.^[19]

In 2010, Hanks reprised his role as Sheriff Woody in the third film in the Toy Story franchise, Toy Story 3, after he, Tim Allen, and John Ratzenberger were invited to a movie theater to see a complete story reel of the movie.^[20]

In 2011, he directed and starred opposite Julia Roberts in the title role in the romantic comedy Larry Crowne.^[21] The movie has received generally bad reviews with only 35% of the 175 Rotten Tomatoes reviews giving it high ratings.^[22] Also in 2011, he starred in the drama film Extremely Loud and Incredibly Close.

Hanks is slated to play Walt Disney in the film Saving Mr. Banks co-starring Emma Thompson and directed by John Lee Hancock. Hanks will be the first actor to portray Disney in film. The film is scheduled to be released in 2014.^[23] He has also been cast in a film based on the Maersk Alabama hijacking as Captain Richard Phillips. The film will be written by Billy Ray, and produced by the team behind The Social Network.^[24]

Hanks is ranked the highest all time box office star with over $3.639 billion total box office gross, an average of $107 million per film.^[25] He has been involved with seventeen films that grossed over $100 million at the worldwide box office, the highest grossing of which was 2010's Toy Story 3.^[26]

Personal life[link]

Hanks was married to American actress Samantha Lewes^[27] (née Susan Jane Dillingham) from 1978 to 1987. The couple had two children, son Colin Hanks (also an actor) and daughter Elizabeth Ann.^[28][29]

In 1988, Hanks married actress Rita Wilson. The two first met on the set of Hanks's television show Bosom Buddies but later developed a romantic interest while working on the film Volunteers. They have two sons: Chester, or "Chet" (who has a small part as a student in Indiana Jones and the Kingdom of the Crystal Skull and released a rap single in 2011),^[30] and Truman.

Hanks became a grandfather when his son Colin and daughter-in-law Samantha gave birth to granddaughter Olivia Jane Hanks on February 1, 2011.^[31]

Regarding his religious views, Hanks has said, "I must say that when I go to church – and I do go to church – I ponder the mystery. I meditate on the 'why?' of 'Why people are as they are' and 'Why bad things happen to good people,' and 'Why good things happen to bad people'... The mystery is what I think it is, almost, the grand unifying theory of mankind."^[5]

Politics[link]

Hanks has made donations to many Democratic politicians and has been open about his support for same-sex marriage, environmental causes and alternative fuels. Hanks made public his presidential candidate choice in the 2008 election when he uploaded a video to his MySpace account in which he announced his endorsement of Barack Obama.^[32]

A proponent of environmentalism, Hanks is an investor in electric vehicles and owns both a Toyota RAV4 EV and the first production AC Propulsion eBox. Hanks was a lessee of an EV1 before it was recalled, as chronicled in the documentary Who Killed the Electric Car?^[33][34] He is on the waiting list for an Aptera 2 Series.^[35]

Hanks was extremely outspoken about his opposition to Proposition 8, an amendment to the California constitution that defined marriage as a union only between a man and a woman. Hanks and others who were in opposition to the proposition raised over US$44 million in contrast to the supporters' $39 million,^[36] but Proposition 8 passed with 52% of the vote.^[37]

While premiering a TV series in January 2009, Hanks called supporters of Proposition 8 "un-American" and criticized the LDS (Mormon) church members, who were major proponents of the bill, for their views on marriage and their role in supporting the bill.^[38][39] About a week later, Hanks apologized for the remark, saying that nothing is more American than voting one's conscience.^[40]

Hanks narrated a video created by Obama for America, entitled The Road We've Traveled.^[41]

Other activities[link]

Hanks with Steven Spielberg (left) at the National World War II Memorial in March 2010

A supporter of NASA's manned space program, Hanks has said that he originally wanted to be an astronaut but "didn't have the math." Hanks is a member of the National Space Society, serving on the Board of Governors of the nonprofit educational space advocacy organization founded by Dr. Wernher Von Braun. He also produced the HBO miniseries From the Earth to the Moon about the Apollo program to send astronauts to the moon. In addition, Hanks co-wrote and co-produced Magnificent Desolation: Walking on the Moon 3D, an IMAX film about the moon landings. Hanks also provided the voice over for the premiere of the show Passport to the Universe at the Rose Center for Earth and Space in the Hayden Planetarium at the American Museum of Natural History in New York.

In 2006, the Space Foundation awarded Hanks the Douglas S. Morrow Public Outreach Award.^[42] The award is given annually to an individual or organization that has made significant contributions to public awareness of space programs.

In June 2006 Hanks was inducted as an honorary member of the United States Army Rangers Hall of Fame for his accurate portrayal of a Captain in the movie Saving Private Ryan; Hanks, who was unable to attend the induction ceremony, was the first actor to receive such an honor.^[43] In addition to his role in Saving Private Ryan, Hanks was cited for serving as the national spokesperson for the World War II Memorial Campaign, for being the honorary chairperson of the D-Day Museum Capital Campaign, and for his role in writing and helping to produce the Emmy Award-winning miniseries, Band of Brothers.^{[citation needed]}

Hanks is one of several celebrities who frequently participates in planned comedy bits on Conan O'Brien's talk shows, including Late Night, The Tonight Show, and Conan while a guest. On one visit, Hanks asked Conan to join his run for president on the "Bad Haircut Party" ticket, with confetti and balloons and a hand held sign with the slogan "You'd be stupid to vote for us". On another episode, O'Brien, noting that Hanks was missing Christmas on his promotional tour, brought the season to him, including a gift (the skeleton of Hooch), and a mass of snow burying them both. On yet another episode, Conan gave Hanks a painting he had commissioned reflecting two of his interests: Astronauts landing on the beach at Normandy. On March 10, 2008, Hanks was on hand at the Rock & Roll Hall of Fame to induct sixties band The Dave Clark Five.^[44] Asteroid 12818 Tomhanks is named for him.^[45]

Filmography[link]

Other accolades[link]

References[link]

Further reading[link]

• Gardner, David, Tom Hanks: The Unauthorized Biography, London, England 1999
• Gardner, David, Tom Hanks: Enigma 2007
• Pfeiffer, Lee, The Films of Tom Hanks, Secaucus, New Jersey, 1996
• Salamon, Julie, The Devil's Candy: The Bonfire of the Vanities Goes to Hollywood, Boston, 1991
• Trakin, Roy, Tom Hanks: Journey to Stardom, 1987; rev. ed.1995
• Wallner, Rosemary, Tom Hanks: Academy Award-Winning Actor, Edina, Minnesota, 1994

External links[link]

Wikimedia Commons has media related to: Tom Hanks

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• Tom Hanks at the Internet Movie Database
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• Tom Hanks at Yahoo! Movies
• Tom Hanks's thoughts on Earth Day 2006
• Interview from 1989 issue of Film Comment
• Tom Hanks's films of the 1980s