The sultry and sexy actress was electric in the 1940s films 'To Have and Have Not' and 'Key Largo' opposite her husband, Humphrey Bogart 
 
 Lauren Bacall, the willowy actress whose husky voice, sultry beauty and all-too-short May-December romance with Humphrey Bogart made her an everlasting icon of Hollywood, has died, The Hollywood Reporter has confirmed. She was 89. 
 
 Bacall died Tuesday morning of a stroke in her longtime home in the Dakota, the famous Upper West Side building that overlooks Central Park in Manhattan. 
 
 Bogart and Bacall were one of the most popular Hollywood couples, onscreen and off, and their 11-year marriage was the stuff of romantic lore. In 1981, their love provided the lyrics for Bertie Higgins' 1981 pop hit “Key Largo" — “We had it all, just like Bogie and Bacall." 
 
 They met just before they filmed her first movie, To Have and Have Not (1944), directed by Howard Hawks, her mentor. Although only 19, Bacall and her smoldering cool were the perfect match for the 44-year-old Bogart and his tough guy-persona. 
 
 Her best-remembered films, many of them considered classics, were with Bogart: To Have and Have Not, The Big Sleep (1946), Dark Passage (1947) and Key Largo (1948). 
 
 Bacall received her only Oscar nomination for her supporting role as Barbra Streisand's mother in The Mirror Has Two Faces (1996). She was the recipient of an honorary Academy Award in 2010 “in recognition of her central place in the Golden Age of motion pictures," but that moment did not lead to pleasant memories — she said she always regretted failing to mention her children Sam, Stephen and Leslie in her acceptance speech. 
 
 Bacall also enjoyed a splendid stage career. She captured two Tony Awards for best actress in a musical: in 1970 for Applause, the adaptation of All About Eve, in which she played Margo Channing, the role created by her idol Bette Davis; and in 1981 for Woman of the Year in a part originated by Katharine Hepburn, a good friend whom she once called “the female counterpart to Bogie." 
 
 Bacall also received the Cecil B. DeMille Award for Career Achievement from the Hollywood Foreign Press Association in 1992. 
 
 Bacall penned two memoirs, By Myself (1978), which won a National Book Award in 1980, and Now (1994), in which she mused about getting older and living alone. 
 
 She admitted that being a “legend" and “special lady of film" unnerved her because “in my slightly paranoiac head, legends and special ladies don't work, it's over for them; they just go around being legends and special ladies." 
 
 She was born Betty Jean Perske in the Bronx on Sept. 16, 1924, the only child of Jewish immigrants. Her father left the family when she was 6, and her mother struggled to make ends meet. She attracted attention as a teenage model while studying acting at the American Academy of Dramatic Arts in New York. 
 
 Crowned Miss Greenwich Village in 1942, Bacall made her stage debut in George S. Kaufman's Franklin Street in Washington, then appeared in March 1943 on the cover of Harper's Bazaar. 
 
 That cover photo was noticed by Hawks' wife, Nancy, who showed it to the celebrated director, and he called Bacall in for a screen test. Based on the test, Hawks told her she would star in something with either Bogart or Cary Grant. 
 
 “I thought Cary Grant, great. Humphrey Bogart‚ yuck," she later said. Nonetheless, Hawks had her meet with Bogart and could not help but notice their immediate chemistry, casting her as the femme fatale Marie in To Have and Have Not, an adaptation of the Ernest Hemingway novel. (Bogart's character, Steve, nicknamed her “Slim," which Hawks also called his wife.) 
 
 In By Myself, she described meeting Bogart for the first time, on the set of Passage to Marseille (1944). 
 
 “Howard told me to stay put, he'd be right back — which he was, with Bogart," she wrote. “He introduced us. There was no clap of thunder, no lightning bolt, just a simple 'how do you do.' Bogart was slighter than I imagined‚ 5 foot 10 and a half, wearing his costume of no-shape trousers, cotton shirt and scarf around his neck. Nothing of import was said‚ we didn't stay long‚ but he seemed a friendly man." 
 
 But soon, Bacall and Bogart — who at the time was married to his third wife, actress Mayo Methot — began an affair during the filming of To Have and Have Not. 
 
 One particular scene in the film stands out: As Bacall stood fetchingly just inside Bogart's hotel room door, readying to leave, she noticed his tongue-tied interest in her: “You don't have to say anything, Steve, just whistle. You know how to whistle, don't you, Steve? … You just put your lips together and blow." She closed the door, leaving Bogart's character awestruck. 
 
 The two married in 1945 on a farm in Lucas, Ohio, owned by Pulitzer Prize-winning writer Louis Bromfield, a friend of Bogart, and regularly hosted parties at their Holmby Hills mansion. 
 
 “I fairly often have thought how lucky I was," she told Vanity Fair in a 2011 interview. “I knew everybody because I was married to Bogie, and that 25-year difference was the most fantastic thing for me to have in my life." 
 
 Bacall later admitted her so-called cool was just a way of concealing her jangled, first-movie insecurity. “I used to tremble from nerves so badly that the only way I could hold my head steady was to lower my chin practically to my chest and look up at Bogie," she said. 
 
 That was the beginning of what admirers called “The Look." 
 
 Her legendary low, sexy voice, however, hampered a scene in To Have and Have Not where she was supposed to sing. It has always been a point of speculation whether it was Andy Williams, then a teenager, who dubbed in the singing voice for Bacall's rendition of Hoagy Carmichael's “How Little We Know." 
 
 Her distinctive throaty voice did make her a natural for commercials, and later in her career, Bacall voiced numerous spots, including plugs for PBS. 
 
 Following To Have and Have Not, her next film was opposite Charles Boyer in Graham Greene's Confidential Agent (1945) in which she played an English girl. Bacall considered the experience horrible. “It was the worst movie, a nightmare, and I was terrible in it," she said. “And as quickly as I had been placed on a pedestal, I fell off." 
 
 But she was cast opposite Bogart again in Hawks' classic The Big Sleep, a steamy adaptation of a Raymond Chandler novel in which Bogart plays the classic private eye Philip Marlowe while Bacall sizzled as the lithesome daughter of Bogart's rich, sinister employer. 
 
 Bacall followed with two more starring roles opposite Bogart, Dark Passage and Key Largo, John Huston's classic noir film. 
 
 She followed in 1950 in a film without Bogart titled Bright Leaf and did her first comedy, How to Marry a Millionaire (1953), starring with Marilyn Monroe and Betty Grable. Perhaps her most memorable film from the 1950s was Douglas Sirk's melodrama Written on the Wind (1956) with Rock Hudson. The following year, Bogart died of esophageal cancer, leaving her with their children, Stephen and Leslie. Bacall was 32 at the time. 
 
 Following Bogart's death, Bacall dated Frank Sinatra and was set to marry him. But days after she accepted his proposal in 1958, The Los Angeles Herald reported on the impending nuptial on page 1 and Sinatra broke things off, refusing to speak to her for two decades. “Frank did me a great favor. He saved me from the complete disaster our marriage would have been," she told People magazine in 1979. “But the truth is that he behaved like a complete shit." 
 
 She starred in Designing Women (1957) opposite Gregory Peck, The Gift of Love (1958) with Robert Stack and British drama North West Frontier (1959) with Kenneth More before moving back to New York and appearing in a number of Broadway plays. 
 
 In 1961 she married Oscar-winning actor Jason Robards, a relationship that lasted until 1969. Their son, actor Sam Robards, survives them. She summed up that relationship in the People interview: 
 
 “When I invited a few friends over to celebrate [Robards'] 40th birthday, Jason showed up at 2 a.m., loaded. I grabbed a bottle of vodka, smashed it into the cake and yelled, ‘Here's your goddamn cake!' The marriage ended when I came across a letter written to him by his girlfriend." 
 
 Bacall did not make another film until Shock Treatment (1964), a murder mystery set in a mental institution. She followed that up with a light comedy, Sex and the Single Girl (1964), which also starred Henry Fonda, Tony Curtis and Natalie Wood. 
 
 Bacall had a supporting role in the noir private eye thriller Harper (1966) with Paul Newman, played in the star-studded ensemble Murder on the Orient Express (1974), based on the Agatha Christie play, and co-starred with John Wayne in his final film, The Shootist (1976). 
 
 In 1981, she starred in The Fan, a riveting story about an actress being stalked by an obsessed fan (Michael Biehn), but spent the major part of the decade back on Broadway, winning the Tony in 1981 for Woman of the Year. She also starred on Broadway in Cactus Flower and Goodbye Charlie while venturing to London and Australia for Sweet Bird of Youth. 
 
 Film historians ascribe her relative lack of movie credits during this period as one of the unfortunate results of the demise of the studio system, an enterprise that for all its faults turned out strong female stars. Admitting that scripts were not “exactly piling up at my door," she nevertheless returned to the screen with Mr. North (1988) and then Rob Reiner's Misery (1990), the Stephen King adaptation starring Kathy Bates. 
 
 Later, she performed in several made-for-TV movies, in Robert Altman's farce Pret-a-Porter (1994) and with Jack Lemmon and James Garner in the comedy romp My Fellow Americans (1996). 
 
 Altman talked about her longevity in a 1997 interview. “She never got locked in any time warp," he said. “Think about how many social and attitudinal changes that have occurred, and yet Bacall has always remained unique." 
 
 Most recently, Bacall appeared in the French film Le Jour et la Nuit (1997); in Diamonds with Kirk Douglas and in Presence of Mind with Harvey Keitel, both released in 1999; in the TV miniseries Too Rich: The Secret Life of Doris Duke (1998) as the billionaire tobacco heiress; in Dogville (2003) with Nicole Kidman; and in The Forger (2012). 
 
 In a 2006 episode of The Sopranos, Bacall played herself getting accosted by a mugger who tried to swipe her swag bag as she left an awards show. 
 
 Twitter: @mikebarnes4 ||||| The story of the Muhammed movie which sparked deadly protests in Libya and Egypt gets weirder. The actors who appeared in it had no idea they were starring in anti-Islam propaganda which depicts Muhammed as a child molester and thug. They were deceived by the film's director, believing they were appearing in a film about the life of a generic Egyptian 2,000 years ago. 
 
 Cindy Lee Garcia, an actress from Bakersfield, Calif., has a small role in the Muhammed movie as a woman whose young daughter is given to Muhammed to marry. But in a phone interview this afternoon, Garcia told us she had no idea she was participating in an offensive spoof on the life of Muhammed when she answered a casting call through an agency last summer and got the part. 
 
 The script she was given was titled simply Desert Warriors. 
 
 "It was going to be a film based on how things were 2,000 years ago," Garcia said. "It wasn't based on anything to do with religion, it was just on how things were run in Egypt. There wasn't anything about Muhammed or Muslims or anything." 
 
 In the script and during the shooting, nothing indicated the controversial nature of the final product, now called Muslim Innocence. Muhammed wasn't even called Muhammed; he was "Master George," Garcia said. The word "Muhammed" was dubbed over in post-production, as were essentially all other offensive references to Islam and Muhammed. 
 
 For example, at 9:03 in the trailer, Garcia berates her husband, who wants to send their daughter to Muhammed: "Is your Muhammed a child molester?" she says in the final product. But the words are dubbed over what she actually said. The line in the script—and the line Garcia gave during filming—was, "is your God a child molester," Garcia told us today. 
 
 Garcia was horrified when she saw the end product, and when protesters in Libya killed four U.S. Embassy employees. 
 
 "I had nothing to do really with anything," she said today. "Now we have people dead because of a movie I was in. It makes me sick." 
 
 According to Garcia, her three days on set last July were unremarkable. The film's mysterious pseudonymous writer and director, "Sam Bacile," has claimed to be an Israeli real estate mogul. But Garcia said Bacile told her he was Egyptian on set. Bacile had white hair and spoke Arabic to a number of "dark-skinned" men who hung around the set, she said. (A Bacile associate also told The Atlantic he wasn't Israeli or Jewish.) 
 
 "He was just really mellow. He was just sitting there and he wanted certain points to be made." 
 
 Once, Garcia said, Bacile wanted a girl that "Master George" (aka Muhammed) was to sleep with to look seven years old, instead of 10, to heighten the outrage. But his Assistant Directors protested, saying that was too young. 
 
 After the protests erupted and Bacile appeared in the media, Garcia called him up today to express her outrage at his deception. 
 
 "I called Sam and said, 'Why did you do this?' and he said, 'I'm tired of radical Islamists killing each other. Let other actors know it's not their fault.'" 
 
 Garcia isn't satisfied simply knowing it wasn't her fault. 
 
 "I'm going to sue his butt off." 
 
 Update: The entire 80-member cast and crew of the film have released a statement saying they were misled. Via CNN: 
 
 The entire cast and crew are extremely upset and feel taken advantage of by the producer. We are 100% not behind this film and were grossly misled about its intent and purpose. We are shocked by the drastic re-writes of the script and lies that were told to all involved. We are deeply saddened by the tragedies that have occurred. 
 
 Update II: Here's what appears to be the original casting call, posted in July 2011on craigslist: 
 
 NOW CASTING SAG and NON SAG ACTORS for "DESERT WARRIOR." Director Alan Roberts. 
 
 Historical desert drama set in Middle East. Indie Feature film shoots 18 days in L.A. in August. Studio and backlot locations. Male Roles: DR. MATTHEW (Lead): Middle Eastern Pharmacist, 40-50, intelligent, family man; GEORGE (Lead); 40-50, Middle Eastern warrior leader, romantic, charismatic; YOUNG GEORGE (featured) 18-22; PRIEST (featured): 60-70, bearded; ABDO (featured), 60-70, Elder tribe leader; ISRAELI MEN 30-50 (featured); WARRIORS (featured) 18-50, Various Middle Eastern types, bearded. Female Roles: CONDALISA (featured) 40, attractive, successful, strong willed; HILLARY (featured) 18 but must look younger, petite; innocent; YOUSTINA (featured) 16-18, Daughter of doctor; MIDDLE EASTERN WOMEN (Various Featured Roles) 18-40, attractive, exotic; OLDER WOMAN (featured) 60-70, feisty. Please place Role desired in SUBJECT: line of email. Indicate SAG or NON-SAG Require phone contact for immediate interview in Beverly/LaCienega area. 
 
 If you have any more information please email me: Adrian@gawker.com ||||| The Hunt for Red October is a 1990 American espionage submarine film produced by Mace Neufeld, directed by John McTiernan, that stars Sean Connery, Alec Baldwin, Scott Glenn, James Earl Jones, and Sam Neill. The film is based on Tom Clancy's 1984 bestselling novel of the same name. 
 
 The story is set during the late Cold War era and involves a rogue Soviet naval captain who wishes to defect to the United States with his officers and the Soviet Navy's newest and most advanced nuclear missile submarine. An American CIA analyst correctly deduces his motive and must prove his theory to the U.S. Navy before a violent confrontation between the Soviet and the American navies spirals out of control. 
 
 The film was a co-production between the motion picture studios Paramount Pictures, Mace Neufeld Productions, and Nina Saxon Film Design. Theatrically, it was commercially distributed by Paramount Pictures and by the Paramount Home Entertainment division for home media markets. Following its wide theatrical release, the film was nominated for and won a number of accolades. At the 63rd Academy Awards, the film was honored with the Academy Award for Best Sound Editing, along with nominations for Best Sound Mixing and Best Film Editing. On June 12, 1990, the original soundtrack, composed and conducted by Basil Poledouris, was released by MCA Records. 
 
 The Hunt for Red October received mostly positive reviews from critics and was the 6th top-grossing film of the year, generating $122 million in North America and more than $200 million worldwide in box office business. The film was the first in a series involving the fictional character Jack Ryan, played additionally by Harrison Ford, Ben Affleck, Chris Pine, and John Krasinski. 
 
 Plot [ edit ] 
 
 In November 1984, Soviet submarine captain Marko Ramius commands Red October, a new Typhoon-class nuclear missile submarine with a stealth "caterpillar drive", rendering it undetectable to passive sonar. Ramius leaves port to conduct exercises with attack submarine V. K. Konovalov, commanded by his former student Captain Tupolev. Once at sea, Ramius secretly kills political officer Ivan Putin and relays false orders that they are to conduct missile drills off America's east coast. At the same time, American attack submarine USS Dallas, tasked with identifying and shadowing Soviet subs as they leave port, detects Red October as it begins its mission, but immediately loses track of it once the caterpillar drive is engaged. 
 
 The next morning, CIA analyst and former Marine, Jack Ryan, after consulting with Vice Admiral James Greer, briefs government officials on Red October and the threat it poses. The U.S. fears Ramius plans an unauthorized nuclear strike. They also learn that the bulk of the Soviet Navy has been deployed to the Atlantic to find and sink the renegade vessel. In the briefing, Ryan hypothesizes that Ramius instead plans to defect. He is ordered to rendezvous with the Dallas - still searching for Red October since their initial detection of it - to prove his theory. Meanwhile, Tupolev, though unable to track Red October, guesses his former mentor's route and sets a course to intercept. The Soviet fleet's intentions are unknown to the U.S., although their orders are to sink Red October. 
 
 Due to the actions of an unknown saboteur, Red October's caterpillar drive fails during risky maneuvers through a narrow undersea canyon. Petty Officer Jones, a sonar technician aboard Dallas, has discovered a way to detect Red October using underwater acoustics, and plots an intercept course. Ryan arranges a hazardous mid-ocean rendezvous to board Dallas, where he attempts to persuade its captain, Commander Bart Mancuso, to contact Ramius and determine his intentions. 
 
 The Soviet ambassador informs the U.S. government that Ramius is a renegade, and asks for help in sinking Red October. That order is sent to the U.S. fleet, including Dallas, which has found the Soviet submarine. Ryan, however, is convinced that Ramius plans to defect with his officers and convinces Mancuso to contact Ramius and offer assistance. Ramius, stunned that the Americans correctly guessed his plan, accepts. He then stages a nuclear reactor "emergency", ordering his crew to abandon ship. After a U.S. frigate is spotted, Ramius submerges. Meanwhile, Ryan, Mancuso, and Jones come aboard via a rescue sub, at which point Ramius requests asylum for himself and his officers. 
 
 Red October is suddenly attacked by V. K. Konovalov, which has tracked them across the Atlantic. As the two Soviet subs maneuver, one of Red October's cooks, Loginov, an undercover KGB agent and the secret saboteur, opens fire. He fatally wounds first officer Vasily Borodin before retreating to the nuclear missile bay, pursued by Ryan and Ramius. Loginov shoots Ramius, wounding him, but Ryan kills Loginov before he can detonate a missile. Meanwhile, Red October makes evasive maneuvers with a diversion provided by Dallas, causing V. K. Konovalov to be destroyed by its own fired torpedo. The crew of Red October, now rescued, watch the explosion from the deck of the U.S. frigate; unaware of the second Soviet submarine, they believe that Ramius has sacrificed himself and scuttled Red October to avoid being boarded. 
 
 Ryan and Ramius, their subterfuge complete, navigate Red October to the Penobscot River in Maine. Ramius admits that the reason he defected was that after he was handed the plans for Red October, a nuclear war first strike weapon, he concluded that he could never support such an action. From atop the submarine's sail deck, Ramius, pleased to have made it to America, offers Ryan a quote from Christopher Columbus. Ryan nods in agreement and offers in return, "Welcome to the New World, sir". 
 
 Cast [ edit ] 
 
 Production [ edit ] 
 
 Development [ edit ] 
 
 Producer Mace Neufeld optioned Tom Clancy's novel after reading galley proofs in February 1985. Despite the book becoming a best seller, no Hollywood studio was interested because of its content. Neufeld said, "I read some of the reports from the other studios, and the story was too complicated to understand".[3] After a year and a half he finally got a high-level executive at Paramount Pictures to read Clancy's novel and agree to develop it into a film. 
 
 Screenwriters Larry Ferguson and Donald Stewart worked on the screenplay while Neufeld approached the U.S. Navy for approval. They feared top secret information or technology might be revealed. However, several admirals liked Clancy's book and reasoned that the film could do for submariners what Top Gun did for the Navy's jet fighter pilots.[3] Captain Michael Sherman, director of the Navy's western regional information office in Los Angeles, suggested changes to the script that would present the Navy in a positive light.[4] 
 
 The Navy gave the filmmakers access to several Los Angeles-class submarines, allowing them to photograph unclassified sections of both Chicago and Portsmouth to use in set and prop design. Louisville was used for the scene in which Baldwin is dropped from a helicopter to the submarine. Key cast and crew members rode along in subs, including Alec Baldwin and Scott Glenn, who took an overnight trip aboard the Salt Lake City commanded by then Commander Thomas B. Fargo. Glenn based his portrayal of Commander Bart Mancuso on Fargo.[3] 
 
 Casting [ edit ] 
 
 Some of the principal cast had previous military service which they drew on for their roles. Sean Connery had served in the Royal Navy, Scott Glenn in the United States Marine Corps and James Earl Jones in the United States Army. Baldwin and Glenn spent time on a Los Angeles-class submarine. Baldwin was trained to drive an attack submarine.[5] Some extras portraying the Dallas crew were serving submariners, including the pilot of the DSRV, Lt Cmdr George Billy, commander of the DSRV. Submariners from San Diego were cast as extras because it was easier to hire them than to train actors. Crew from USS La Jolla, including Lt Mark Draxton, took leave to participate in filming. According to an article in Sea Classics, at least two sailors from the Atlantic Fleet-based Dallas took leave and participated in the Pacific Fleet-supported filming. The crew of Houston called their month-long filming schedule the "Hunt for Red Ops." Houston made more than 40 emergency surfacing "blows" for rehearsal and for the cameras.[3] 
 
 Baldwin was approached in December 1988, but was not told for what role. Klaus Maria Brandauer was cast as Soviet sub commander Marko Ramius but two weeks into filming he quit due to a prior commitment.[3] The producers faxed the script to Sean Connery who, at first, declined because the script seemed implausible in portraying the Soviet Union as an ambitious naval power. He was missing the first page which set the story before Gorbachev's coming to power, when the events of the book would have seemed more plausible.[6] He arrived in L.A. on a Friday and was supposed to start filming on Monday but he requested a day to rehearse.[7] Principal photography began on April 3, 1989 with a $30 million budget.[7] The Navy lent the film crew Houston, Enterprise, two frigates (Wadsworth and Reuben James), helicopters, and a dry-dock crew.[4] 
 
 Filmmaker John Milius revised some of the film's script, writing a few speeches for Sean Connery and all of his Russian dialogue.[dead link][8] He was asked to rewrite the whole film but was only required to do the Russian sequences.[9] Rather than choosing between the realism of Russian dialog with subtitles, or the audience-friendly use of English (with or without Russian accents), the filmmakers compromised with a deliberate conceit. The film begins with the actors speaking Russian with English subtitles. But in an early scene, actor Peter Firth casually switches in mid-sentence to speaking in English on the word "Armageddon", which is the same spoken word in both languages. After that point, all the Soviets' dialogue is communicated in English. Connery continued using the Russian accent for the rest of the motion picture. Only towards the end of the film, at the beginning of the scene in which the Soviet and American submariners meet, do some of the actors speak in Russian again. 
 
 Filming [ edit ] 
 
 Filming in submarines was impractical. Instead, five soundstages on the Paramount backlot were used. Two 50-square-foot (4.6 m2) platforms housing mock-ups of Red October and Dallas were built, standing on hydraulic gimbals that simulated the sub's movements. Connery recalled, "It was very claustrophobic. There were 62 people in a very confined space, 45 feet above the stage floor. It got very hot on the sets, and I'm also prone to sea sickness. The set would tilt to 45 degrees. Very disturbing." The veteran actor shot for four weeks and the rest of the production shot for additional months on location in Port Angeles, Washington and the waters off Los Angeles.[4] 
 
 Made before sophisticated CGI became the norm in filmmaking, the film's opening sequence featured a long pull-out reveal of the immense titular Typhoon-class sub. It included a nearly full-scale, above-the-water-line mockup of the sub, constructed from two barges welded together. Each country's submarine had its own background color: Soviet submarines, such as Red October and V.K. Konovalov, had interiors in black with silver trim. American ships, such as Dallas and Enterprise, had grey interiors. However, during one scene when Dallas goes to a higher alert status it was flooded with red light. Early filming was aboard USS Reuben James in the area of the Juan de Fuca Strait and Puget Sound in March 1989. The ship operated out of U.S. Coast Guard Station Port Angeles. The SH-60B detachment from the Battlecats of HSL-43 operated out of NAS Whidbey Island, after being displaced by the filmcrew. Most underwater scenes were filmed using smoke with a model sub connected to 12 cables, giving precise, smooth control for turns. Computer effects, in their infancy, created bubbles and other effects such as particulates in the water.[citation needed] 
 
 By March 1990, just before the film's theatrical release, the Soviet Parliament removed the Communist Party from government, effectively ending the Cold War. Set during this period, there were concerns that with its end, the film would be irrelevant but Neufeld felt that it "never really represented a major problem". To compensate for the change in the Soviet Union's political climate, an on-screen crawl appears at the beginning of the film stating that it takes place in 1984 during the Cold War. Tony Seiniger designed the film's poster and drew inspiration from Soviet poster art, utilizing bold red, white and black graphics. According to him, the whole ad campaign was designed to have a "techno-suspense quality to it". The idea was to play up the thriller aspects and downplay the political elements.[7] 
 
 The film caused a minor sensation in the black projects submarine warfare technology community.[10][11] In one scene, where USS Dallas is chasing Red October through the submarine canyon, the crew can be heard calling out that they have various "milligal anomalies". This essentially revealed the use of gravimetry as a method of silent navigation in US submarines. Thought to be a billion dollar black project, the development of a full-tensor gravity gradiometer by Bell Aerospace was a classified technology at the time. It was thought to be deployed on only a few Ohio-class submarines after it was first developed in 1973. Bell Aerospace later sold the technology to Bell Geospace for oil exploration purposes.[12] The last Typhoon-class submarine was officially laid down in 1986, under the name TK-210, but according to sources was never finished and scrapped in 1990.[13] 
 
 Music [ edit ] 
 
 The musical score of The Hunt for Red October was composed and conducted by Basil Poledouris. A soundtrack album composed of ten melodies was released on June 12, 1990.[14] The album is missing some of the musical moments present in the film, including the scene where the crew of Red October sings the Soviet national hymn. The soundtrack is limited due to the fact that it was originally compiled to fit the Compact Cassette. Later, it was remastered for the CD. An expanded version was released in late 2013 by Intrada Records. It features 40 additional minutes of the score, including the until then unreleased end titles.[15] 
 
 Reception [ edit ] 
 
 Box office [ edit ] 
 
 The Hunt for Red October opened in 1,225 theaters on March 2, 1990, grossing $17 million on its opening weekend, more than half its budget. The film opened at number one at the U.S. box office and remained there for three weeks.[16] Its opening was the 20th biggest weekend of all time and the biggest non-summer, non-Thanksgiving weekend to date.[17] 
 
 The film went on to gross $122,012,643 in North America with a worldwide total of $200,512,643.[16] 
 
 Critical response [ edit ] 
 
 As of September 2018 , the film held an 87% rating at the review aggregator website Rotten Tomatoes, based on 67 critics. At Metacritic, which assigns a weighted average out of 100 to critics' reviews, The Hunt for Red October received a score of 58 based on 17 reviews.[18] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[19] 
 
 Roger Ebert called the film "a skillful, efficient film that involves us in the clever and deceptive game being played",[20] while Gene Siskel commented on the film's technical achievement and Baldwin's convincing portrayal of Jack Ryan. Nick Schager, for Slant magazine's review, noted, "The Hunt for Red October is a thrilling edge-of-your-seat trifle that has admirably withstood the test of time".[21] In contrast, Newsweek's David Ansen wrote, "But it's at the gut level that Red October disappoints. This smoother, impressively mounted machine is curiously ungripping. Like an overfilled kettle, it takes far too long to come to a boil".[22] Vincent Canby, writing for The New York Times, opined that "the characters, like the lethal hardware, are simply functions of the plot, which in this case seems to be a lot more complex than it really is".[23] 
 
 Accolades [ edit ] 
 
 The Hunt for Red October was nominated and won several awards in 1991. In addition, the film was also nominated for AFI's 100 Years...100 Thrills.[24] 
 
 See also [ edit ]
– Making a movie isn't always all fun and games. Pixable rounds up nine film locations that were extremely hazardous for cast and crew: The Conqueror, St. George, Utah: The 1956 John Wayne flick was filmed near a government nuclear test site in Nevada. Nearly 100 cast and crew members ultimately got some form of cancer, including Wayne (though he attributed his cancer to his six-pack-a-day smoking habit). Noah's Ark, Chatsworth, Calif.: The 1982 short film used so much water for the flooding scene the set actually flooded and people were injured. Thirty-five ambulances responded to the emergency. Roar, Acton, Calif.: While making the 1981 movie about a family living among wild animals, cast and crew members (including Melanie Griffith) were actually mauled by wild animals. The Exorcist, New York, NY: The set was so cold (sometimes below zero) that snow sometimes built up on set and sweat froze on cast and crew members during filming of the 1973 movie. The African Queen, Belgian Congo, Africa: Most of the 1951 film's cast and crew got dysentery from drinking the local water—but not Humphrey Bogart or John Huston, because they mostly drank whiskey. Click for the complete list.