VOLEYBALL
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Bushido (武士道?),
literally "the way of the warrior", is a Japanese word for the way of the samurai
life, loosely analogous to the concept of chivalry. It originates from the samurai
moral code stressing frugality, loyalty, martial arts mastery, and honour unto death.
Born from Neo-Confucianism during times of peace in Tokugawa Japan and
following Confucian texts, Bushido was also influenced by Shinto and Zen
Buddhism, allowing the violent existence of the samurai to be tempered by wisdom
and serenity. Bushidō developed between the 9th and 20th centuries and numerous
translated documents dating from the 12th to 16th centuries demonstrate its wide
influence across the whole of Japan,[1] although some scholars have noted "the
term bushidō itself is rarely attested in premodern literature."[2]
Under the Tokugawa Shogunate, aspects of bushidō became formalized into
Japanese feudal law.[3]
According to the Japanese dictionary Shogakukan Kokugo Daijiten, "Bushidō is
defined as a unique philosophy (ronri) that spread through the warrior class from
the Muromachi (chusei) period."
The word was first used in Japan during the 17th century.[4] It came into common
usage in Japan and the West after the 1899 publication of Nitobe Inazō's Bushido:
The Soul of Japan.[5]
In Bushido (1899), Inazō wrote:
...Bushidō, then, is the code of moral principles which the samurai were
required or instructed to observe.... More frequently it is a code unuttered
and unwritten.... It was an organic growth of decades and centuries of
military career.
Nitobe was not the first person to document Japanese chivalry in this way. In his
text Feudal and Modern Japan (1896), historian Arthur May Knapp wrote:[6] The
samurai of thirty years ago had behind him a thousand years of training in the law
of honor, obedience, duty, and self-sacrifice.... It was not needed to create or
establish them. As a child he had but to be instructed, as indeed he was from his
earliest years, in the etiquette of self-immolation.
Historical development
Early history to 12th century
The Kojiki is Japan's oldest extant book. Written in 712, it contains passages about
Yamato Takeru, the son of the Emperor Keiko. It provides an early indication of
the values and literary self-image of the Bushidō ideal, including references to the
use and admiration of the sword by Japanese warriors.
This early concept is further found in the Shoku Nihongi, an early history of Japan
written in 797. The chapter covering the year 721 is notable for an early use of the
term "bushi" (武士?) and a reference to the educated warrior-poet ideal. The
Chinese term bushi had entered the Japanese vocabulary with the general
introduction of Chinese literature, supplementing the indigenous terms tsuwamono
and mononofu. It is also the usage for public placement exams.
An early reference to saburau — a verb meaning to wait upon or accompany a
person of high rank — appears in Kokin Wakashū, the first imperial anthology of
poems, (early 10th century). By the end of the 12th century, saburai ("retainer")
had become largely synonymous with bushi, and closely associated with the
middle and upper echelons of the warrior class.
Although many of the early literary works of Japan contain the image of the
warrior, the term "bushidō" does not appear in early texts like the Kojiki. Warrior
ideals and conduct may be illustrated, but the term did not appear in text until the
Sengoku period, towards the end of the Muromachi era (1336–1573).[7]
13th to 16th centuries
From the literature of the 13th to 16th centuries, there exists an abundance of
references to the ideals of Bushidō. Carl Steenstrup noted that 13th and 14th
century writings (gunki monogatari) "portrayed the bushi in their natural element,
war, eulogizing such virtues as reckless bravery, fierce family pride, and selfless,
at times senseless devotion of master and man."
Compiled in 1371, the Heike Monogatari chronicles the struggle between the
Minamoto and Taira clans for control of Japan at the end of the 12th century—a
conflict known as the Gempei War. Clearly depicted throughout the Heike
Monogatari is the ideal of the cultivated warrior. The warriors in the Heike
Monogatari served as models for the educated warriors of later generations, and
the ideals depicted by them were not assumed to be beyond reach. Rather, these
ideals were vigorously pursued in the upper echelons of warrior society and
recommended as the proper form of the Japanese man of arms. By the time of
Imagawa Ryoshun's "Regulations" at the beginning of the 15th century, the
Bushidō ideal was fairly clear, and the term itself came into widespread use.
Other examples of the evolution in the Bushidō literature of the 13th to 16th
centuries included:
The Message Of Master Gokurakuji - Hojo Shigetoki (1198–1261)
The sayings of Sengoku-period retainers and warlords such as Kato Kiyomasa and
Nabeshima Naoshige were generally recorded or passed down to posterity around
the turn of the 16th century when Japan had entered a period of relative peace. In a
handbook addressed to "all samurai, regardless of rank," Kato states:
"If a man does not investigate into the matter of Bushido daily, it will be
difficult for him to die a brave and manly death. Thus, it is essential to
engrave this business of the warrior into one's mind well."
Kato was a ferocious warrior who banned even recitation of poetry, stating:
"One should put forth great effort in matters of learning. One should read
books concerning military matters, and direct his attention exclusively to the
virtues of loyalty and filial piety....Having been born into the house of a
warrior, one's intentions should be to grasp the long and the short swords
and to die."[1]
Naoshige says similarly, that it is shameful for any man to die without having
risked his life in battle, regardless of rank, and that "Bushidō is in being crazy to
die. Fifty or more could not kill one such a man." However, Naoshige also
suggests that "everyone should personally know exertion as it is known in the
lower classes."[1]
17th to 19th centuries
Japan enjoyed a period of relative peace during the Sakoku period from 1600 to
the mid-19th century, also called the "Pax Tokugawa". During this period, the
samurai class played a central role in the policing and administration of the country
under the Tokugawa shogunate. The bushidō literature of this time contains much
thought relevant to a warrior class seeking more general application of martial
principles and experience in peacetime, as well as reflection on the land's long
history of war. The literature of this time includes:
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The Last Statement of Torii Mototada (1539–1600)
Kuroda Nagamasa (1568–1623)
Nabeshima Naoshige (1538–1618)
The Book of Five Rings (Go Rin No Sho) by Miyamoto Musashi (1584–
1645)
Budoshoshinshu by Taira Shigesuke, Daidōji Yūzan (1639–1730)
Hagakure as related by Yamamoto Tsunetomo to Tsuramoto Tashiro.
The Hagakure contains many of the sayings of Sengoku-period retainer
Nabeshima Naoshige (1537–1619) regarding Bushidō related philosophy early in
the 18th century by Yamamoto Tsunetomo (1659–1719), a former retainer to
Naoshige's grandson, Nabeshima Mitsushige. The Hagakure was compiled in the
early 18th century, but was kept as a kind of "secret teaching" of the Nabeshima
clan until was the end of the Tokugawa era (1867).[8] His saying "I have found the
way of the warrior is death" was a summation of the willingness to sacrifice that
bushido codified.[9]
Tokugawa-era rōnin scholar and strategist Yamaga Sokō (1622–1685) wrote
extensively on matters relating to bushidō, bukyō (a "warrior's creed"), and a more
general shido, a "way of gentlemen" intended for application to all stations of
society. Sokō attempts to codify a kind of "universal bushidō" with a special
emphasis on "pure" Confucian values, (rejecting the mystical influences of Tao
and Buddhism in Neo-Confucian orthodoxy), while at the same time calling for
recognition of the singular and divine nature of Japan and Japanese culture. These
radical concepts — including ultimate devotion to the Emperor, regardless of rank
or clan — put him at odds with the reigning shogunate. He was exiled to the Akō
domain, (the future setting of the 47 Rōnin incident), and his works were not
widely read until the rise of nationalism in the early 20th century.
The aging Tsunetomo's interpretation of bushidō is perhaps more illustrative of the
philosophy refined by his unique station and experience, at once dutiful and
defiant, ultimately incompatible with the mores and laws of an emerging civil
society. Of the 47 Rōnin—to this day, generally regarded as exemplars of bushidō
— Tsunetomo felt they were remiss in hatching such a wily, delayed plot for
revenge, and had been over-concerned with the success of their undertaking.
Instead, Tsunetomo felt true samurai should act without hesitation to fulfill their
duties, without regard for success or failure.
This romantic sentiment is of course expressed by warriors down through history,
though it may run counter to the art of war itself. This ambivalence is found in the
heart of bushidō, and perhaps all such "warrior codes". Some combination of
traditional bushidō's organic contradictions and more "universal" or "progressive"
formulations, (like those of Yamaga Soko), would inform Japan's disastrous
military ambitions in the 20th century.
19th and 20th centuries
Recent scholarship in both Japan and abroad has focused on differences between
the samurai class and the bushidō theories that developed in modern Japan.
Bushidō in the prewar period was often emperor-centered and placed much greater
value on the virtues of loyalty and self-sacrifice than did many Tokugawa-era
interpretations.[10] Bushidō was used as a propaganda tool by the government and
military, who doctored it to suit their needs.[11] Scholars of Japanese history agree
that the bushidō that spread throughout modern Japan was not simply a
continuation of earlier traditions.
More recently, it has been argued that modern bushidō discourse originated in the
1880s as a response to foreign stimuli, such as the English concept of
"gentlemanship," by Japanese with considerable exposure to Western culture.
Nitobe Inazo's bushidō interpretations followed a similar trajectory, although he
was following earlier trends. This relatively pacifistic bushidō was then hijacked
and adapted by militarists and the government from the early 1900s onward as
nationalism increased around the time of the Russo-Japanese War.[12]
The junshi suicide of General Nogi Maresuke and his wife on the death of Emperor
Meiji occasioned both praise, as an example to the decaying morals of Japan, and
criticism, explicitly declaring that the spirit of bushido thus exemplified should not
be revived.[13]
During pre-World War II and World War II Shōwa Japan, bushido was pressed
into use for militarism,[14] to present war as purifying, and death a duty.[15] This
was presented as revitalizing traditional values and "transcending the modern." [16]
Bushido would provide a spiritual shield to let soldiers fight to the end.[17] As the
war turned, the spirit of bushido was invoked to urge that all depended on the firm
and united soul of the nation.[18] When the Battle of Attu was lost, attempts were
made to make the more than two thousand Japanese deaths an inspirational epic for
the fighting spirit of the nation.[19] Arguments that the plans for the Battle of Leyte
Gulf, involving all Japanese ships, would expose Japan to serious danger if they
failed, were countered with the plea that the Navy be permitted to "bloom as
flowers of death."[20] The first proposals of organized suicide attacks met resistance
because while bushido called for a warrior to be always aware of death, but not to
view it as the sole end, but the desperate straits brought about acceptance.[21] Such
attacks were acclaimed as the true spirit of bushido.[22]
Denials of mistreatment of prisoners of war declared that they were being welltreated by virtue of bushido generosity.[23] Broadcast interviews with prisoners
were also described as being not propaganda but out of sympathy with the enemy,
such sympathy as only bushido could inspire.[24]
Yukio Mishima, the famous writer, was outspoken in his by-then anachronistic
commitment to bushido in the 1960s, until his ritual suicide by seppuku after a
failed coup d'état in November 1970.
Bushidō expanded and formalized the earlier code of the samurai, and stressed
frugality, loyalty, mastery of martial arts, and honor to the death. Under the
bushidō ideal, if a samurai failed to uphold his honor he could only regain it by
performing seppuku (ritual suicide).
In an excerpt from his book Samurai: The World of the Warrior,[25] historian
Stephen Turnbull describes the role of seppuku in feudal Japan:
In the world of the warrior, seppuku was a deed of bravery that was admirable in a
samurai who knew he was defeated, disgraced, or mortally wounded. It meant that
he could end his days with his transgressions wiped away and with his reputation
not merely intact but actually enhanced. The cutting of the abdomen released the
samurai’s spirit in the most dramatic fashion, but it was an extremely painful and
unpleasant way to die, and sometimes the samurai who was performing the act
asked a loyal comrade to cut off his head at the moment of agony.
Bushidō was widely practiced, varying little over time, and across the geographic
and socio-economic backgrounds of the samurai, who at one time represented up to
10% of the Japanese population.[26] The first Meiji era census at the end of the 19th
century counted 1,282,000 members of the "high samurai", allowed to ride a horse,
and 492,000 members of the "low samurai", allowed to wear two swords but not to
ride a horse, in a country of about 25 million.[27]
Bushidō includes compassion for those of lower station, and for the preservation of
one's name.[1] Early bushidō literature further enforces the requirement to conduct
oneself with calmness, fairness, justice, and propriety.[1] The relationship between
learning and the way of the warrior is clearly articulated, one being a natural
partner to the other.[1]
Other parts of the bushidō philosophy cover methods of raising children,
appearance, and grooming, but all of this may be seen as part of one's constant
preparation for death — to die a good death with one's honor intact, the ultimate
aim in a life lived according to bushidō. Indeed, a "good death" is its own reward,
and by no means assurance of "future rewards" in the afterlife. Notable samurai,
though certainly not all (e.g. Amakusa Shiro), have throughout history held such
aims or beliefs in disdain, or expressed the awareness that their station — as it
involves killing — precludes such reward, especially in Buddhism. On the
contrary, the soul of a noble warrior suffering in hell or as a lingering spirit is a
common motif in Japanese art and literature. Bushidō, while exhibiting the
influence of Dao through Zen Buddhism, is a philosophy in contradistinction to
religious belief, with a deep commitment to propriety in this world for propriety's
sake.
Major figures associated with Bushidō
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Asano Naganori
Imagawa Ryōshun
Katō Kiyomasa
Morihei Ueshiba
Sakanoue no Tamuramaro
Tadakatsu Honda
Nobuhiko Takada
born April 12, 1962) is a Japanese mixed martial arts fighter and professional
wrestler. He was the founder of PRIDE Fighting Championships and the HUSTLE
Wrestling Organization.
He is best known for helping to popularize shoot-style professional wrestling,
as one of the biggest stars of the Universal Wrestling Federation and Union of
Wrestling Force International in the '80s and '90s. Despite his irregular fight
record and kayfabe politics, Takada is credited with the existence of PRIDE
and the Japanese MMA boom, and is widely considered to be on
Career
Early Years: New Japan, UWF, and Newborn UWF
Nobuhiko Takada made his professional wrestling debut in 1981 against Norio
Honaga, for New Japan Pro Wrestling, where he started his career as a Junior
Heavyweight. He left NJPW in 1984, along with Rusher Kimura, Akira Maeda,
Ryuma Go, Mach Hayato, and Gran Hamada, to form the original Universal
Wrestling Federation.
The original UWF dissolved in 1986. Takada and Akira Maeda returned to NJPW
and formed a UWF stable. Only a few months later, Takada defeated Shiro
Koshinaka to capture the IWGP Junior Heavyweight Championship, which he held
for four months. In 1987, Takada moved to the Heavyweight ranks. Along with
Akira Maeda, he won the IWGP Tag Team Championship from rival, Koshinaka
& Keiji Mutoh. He left NJPW in 1988 to form the second incarnation of the
Universal Wrestling Federation called Newborn UWF, becoming one of its top
stars.
Leader of the UWFI Boom
In December 1990, Newborn UWF closed its doors. Takada formed the Union of
Wrestling Force International, using former UWF wrestlers, while Maeda formed
Fighting Network RINGS, and Fujiwara formed Pro Wrestling Fujiwara Gumi. As
the top star of the UWFI, Takada had feuds with Gary Albright and Super Vader.
In 1992, Takada was awarded an old NWA World Heavyweight Title belt by Lou
Thesz, after defeating Albright, and was proclaimed the "Real Pro-Wrestling
World Heavyweight Champion". He defended the title until Thesz withdrew the
belt in 1995, losing the Title once, to Super Vader. The high point of his reign
came on December 5, 1993, when he defeated Super Vader before 46,168 fans at
Tokyo's Meiji-Jingu Stadium.
Return to New Japan
In 1995, Takada returned to NJPW as the key figure in the landmark New Japan vs
UWFI program. On October 9, 1995, Takada's match against IWGP Champion,
Keiji Mutoh, drew 67,000 fans to the Tokyo Dome, drawing the largest crowd and
gate in Japanese Wrestling history, at the time. Three months later, Takada
defeated Mutoh in a rematch, before 64,000 fans, to capture the IWGP
Heavyweight Championship, becoming the only wrestler to hold all three major
New Japan Titles. Takada dropped the Title to Shinya Hashimoto on April 29,
1996, drawing a crowd of 65,000 and a gate of $5.7 million. When it was all said
and done, the New Japan vs UWFI was the biggest moneymaking feud in Japanese
pro-wrestling history.
Transition to MMA
In December 1996, the UWFI folded after the failure of the UWFI-WAR feud.
Takada entered the world of mixed martial arts by joining PRIDE Fighting
Championships.
Though Takada's submission wrestling skills were never doubted either by the
Japanese public or the matchmakers, it was his conditioning that would make the
essential difference. Takada, being in his 30s at the time of his debut and in less
than perfect conditioning, owing to the grueling Japanese pro wrestling circuit,
posed little challenge for the experienced, well conditioned mixed martial arts
fighters. Further, Takada never had martial arts nor real fight training, and he had
to rely in his shoot wrestling abilities to hold his own.
Nobuhiko Takada's debut in MMA was against Rickson Gracie, which ended in
Gracie winning via armbar. Takada would then go on to finish kickboxer Kyle
Sturgeon by a heel hook at PRIDE 3 in Sturgeon's first and last MMA match.[3]
Takada wanted a rematch with Rickson Gracie, to which Gracie agreed, saying that
"I feel Takada is a warrior and deserves the chance to try and redeem himself".[4]
The rematch was held at PRIDE 4. The match ended with Takada again losing via
armbar in a fight lasting 9 minutes and 30 seconds.
Takada fought his next match at PRIDE 5, against Mark Coleman. Though thought
to be the much better fighter, Coleman was caught by a heel hook from Takada and
submitted. Regarding his performance against Takada, Coleman said in an
interview, "It was what it was. I needed to support my family. They guaranteed me
another fight after that and I needed that security. It was what it was. I'm going to
leave it at that."[5]
Takada was then pitted against Mark Kerr, a freestyle wrestler with similar ground
and pound fighting style as Mark Coleman. However, Kerr was able to slip on a
submission hold and make Takada tap out in just over 3 minutes at PRIDE 6. Then
at PRIDE 7 he beat Alexander Otsuka by a TKO when he put him in a rear naked
choke and passed out and the referee stopped the fight (the fight was removed from
the Pride 7 DVD). The Otsuka match is widely believed to have been a
professional wrestling bout and is not included in Takada's fight record on the
highly respected Sherdog mixed martial arts website.[6]
Takada competed in the PRIDE Grand Prix 2000 Opening Round. He was pitted
against Royce Gracie - the match went the distance and to a decision. The
Brazilian master could neither control nor submit Takada in the assigned 15minute time limit. However, the judges ruled in favor of Gracie and he advanced to
the next round. Takada's next MMA event participation was in PRIDE 11, where
he lost to a young Igor Vovchanchyn via submission (strikes). Nobuhiko Takada
would then go on to draw the likes of Mike Bernardo and Mirko Filipović before
entering his final match against former student, Kiyoshi Tamura (Tamura won by a
KO).
Паління
Приведемо декілька фактів, що свідчать про згубний вплив паління
на людське здоров'я:
- систематичне паління віднімає у людини від 6 до 15 років
життя;
- людина, що палить більше 10 років, хворіє в чотири рази
частіше, ніж та що не палить;
- паління є однією з основних причин таких захворювань як
інфаркт міокарду, рак легенів, виразки різних відділів шлунковокишкового тракту і спазми судин нижніх кінцівок, що призводять
до їх відмирання;
- паління завдає пригноблюючої дії на залози внутрішньої
секреції, що є одним з супутніх чинників розвитку імпотенції у
чоловіків;
- паління неминуче призводить до жовтизни і зморшкуватості
шкіри обличчя, слабкості м'язів і появи огидного запаху з рота
(дівчата та жінки, прислухайтеся!).
Ваше паління завдає негативного впливу і на вашу дитину. При
чому цей вплив полягає не тільки в прямому погіршенні здоров'я
дитини від тютюнового диму, але і в поганому прикладі, який ви
подаєте.
Якщо ви палите, але сподіваєтеся, що зможете виростити свою
дитину такою, що не палить – ви, найімовірніше, помиляєтеся.
Згідно результатів статистичних досліджень, у батьків, що палять, в
70 відсотках випадків дитина також палитиме, тоді як у батьків, що
не палять, цей показник складає лише 10%.
Вживання алкоголю
Що стосується вживання алкоголю, то тут ситуація схожа.
Алкоголь завдає руйнівної дії на всі без виключення органи і
системи організму і є причиною безлічі різних захворювань. Проте
основна вражаюча дія алкоголю направлена на кору головного
мозку і репродуктивну систему людини.
Головний мозок.
При вживанні алкоголю еритроцити крові злипаються один з
одним (цьому сприяє порушення електричного потенціалу на їх
поверхні) і, таким чином, закупорюють дрібні судини (капіляри) в
організмі. Коли цей процес відбувається в мозку, то в результаті
кисневого голодування гинуть тисячі нейронів головного мозку, що
приводить до поступової втрати пам'яті і мислення людини.
Репродуктивна система.
Молекули алкоголю вільно проникають всередину статевих
кліток людини (сперматозоїди у чоловіків і яйцеклітини у жінок) і
порушують ланцюжки ДНК, які несуть набір генної інформації про
майбутню людину, внаслідок чого різко підвищується вірогідність
народження неповноцінної дитини або дитини з фізичною
потворністю (заяча губа і т.д.).
Пам'ятайте, що для народження здорової дитини необхідно
відмовитися від вживання алкоголю за 3 місяці до зачаття.
Якщо ви вирішили вести здоровий спосіб життя, то знайте, що
паління та вживання алкоголю зводить нанівець всі ваші зусилля по
загартовуванню, правильному харчуванню і руховій активності.
Відмовтеся від своїх шкідливих звичок і
будьте здоровими!
James Eugene "Jim"
Carrey
(born January 17, 1962) is a Canadian American actor, comedian, and
producer. Carrey has received four Golden Globe Award nominations,
winning two. Known for his highly energetic slapstick performances, he
has been described as one of the biggest movie stars in Hollywood
Carrey first gained recognition in 1990 after landing a recurring role in
the sketch comedy In Living Color. His first leading roles in major
productions came with Ace Ventura: Pet Detective (1994), Dumb and
Dumber (1994), The Mask (1994), and Ace Ventura: When Nature Calls
(1995). In 1997, he gave a critically acclaimed performance in Liar Liar,
which earned him a Golden Globe Award nomination for Best Actor. He
then starred in the critically acclaimed hits The Truman Show (1998) and
Man on the Moon (1999), with each garnering him a Golden Globe
Award for Best Actor.
In 2000, he gained further recognition for his portrayal of the The
Grinch in How the Grinch Stole Christmas. Three years later, Carrey
starred in the major blockbuster film Bruce Almighty (2003). The
following year he starred in Eternal Sunshine of the Spotless Mind
(2004), for which he received another Golden Globe nomination in
addition to a BAFTA Award nomination. He then starred in popular
productions Lemony Snicket's A Series of Unfortunate Events (2004),
Fun with Dick and Jane (2005), Yes Man (2008), A Christmas Carol
(2009), and Mr. Popper's Penguins (2011).
In 2013 he is starring in The Incredible Burt Wonderstone as Steve
Gray, and Kick-Ass 2 as Colonel Stars and Stripes. Carrey is in talks to
reprise his role of Lloyd Christmas in Dumb and Dumber To, and he
stated in March 2013 that the film will hopefully be worked on in
2014.[4] In 2012, it was announced that he will star in a sequel to Bruce
Almighty.

James Eugene Carrey was born in Newmarket, Ontario, Canada, the son
of Kathleen (née Oram), a homemaker, and Percy Carrey (1927-1994), a
musician and accountant. He has three older siblings, John, Patricia, and
Rita. He was raised Roman Catholic. His mother was of French, Irish,
and Scottish descent and his father was of French Canadian ancestry (the
family's original surname was Carré).
During an interview with James Lipton at The Actor's studio, Jim stated
"My father was a musician who got a 'regular job' to support his
children. When he lost his job that's when everything fell apart. We went
from 'lower middle class' to 'poor'. We were living out of a van. I quit
school at age 15 to begin working to help support my family as a janitor.
I'd have a baseball bat on my janitor cart because I was so angry I just
wanted to beat the heck out of something." After his family moved to
Scarborough, Ontario, he attended Blessed Trinity Catholic School, in
North York, for two years, enrolled at Agincourt Collegiate Institute for
another year, then briefly attended Northview Heights Secondary
School. Jim never finished high school because he worked full-time to
help his family survive the severe economic hardship, and also helped
care for his mother who battled a severe, chronic illness.
Career
While struggling to obtain work and making a name for himself,
Carrey's father decided to help the young comedian put together a stage
act, driving him to Toronto to debut at comedy club Yuk Yuk's.
Unfortunately, Carrey's impersonations bombed and this gave him
doubts about his capability as a professional entertainer. His family, at
the time, were struggling financially meaning it was difficult for them to
support Carrey's ambitions. Eventually, the family's financial problems
were dealt with and they moved into a new home. With a now more
domestic stability, Carrey worked up the nerve to return to the stage
with a more polished act. In a short period of time, Carrey went from
open mic nights to regular paid shows; a growing reputation building in
the process. One reviewer in the Toronto Star raved that Carrey was "a
genuine star coming to life Carrey was soon noticed by comedian
Rodney Dangerfield, who signed the young comedian to open
Dangerfield's tour performances. Dangerfield eventually brought Carrey
to Las Vegas, after which he decided to move to Hollywood. Carrey
began performing at The Comedy Store and in 1982, appeared on the
televised stand-up show An Evening at the Improv.] The following year,
he debuted his act on The Tonight Show.
Despite his increasing popularity as a stand-up comedian, Carrey turned
his attention to the film and television industries, auditioning to be a cast
member for the 1980–1981 season of NBC's Saturday Night Live.
Carrey was not selected for the position (although he did host the show
in May 1996, and again in January 2011). He was, after a period of time,
cast in several low-budget films: Rubberface (1981) playing a struggling
young comic, and Copper Mountain (1983) playing a sex-starved teen,
the latter including his impersonation of Sammy Davis Jr. Since the film
had a less than one hour runtime consisting largely of musical
performances by Rita Coolidge and Ronnie Hawkins, it was not
considered a full-length feature film.
In 1984, Carrey was suddenly cast as the lead in the NBC sitcom The
Duck Factory, in which he played a quirky young artist alongside Jay
Tarses. However, the show was unceremoniously cancelled during its
first season. Despite the sudden cancellation, Carrey landed supporting
roles in several low-budget films: Once Bitten (1985), Peggy Sue Got
Married (1986), and The Dead Pool (1988). When Carrey returned to
stand-up, he retired his old act vowing that he didn't want to be famous
for imitating other people; "Some nights it was a melee, literally, where
I'd be standing trying to defend myself for what I was doing. People
would be screaming at me to do my old act, and getting actually violent
and angry at me".[18] While many thought he was "crazy" for retiring his
old act, others were increasingly interested in what Carrey was
attempting to do, Judd Apatow in particular. The pair struck up a
friendship and soon began writing material together.
Carrey did not experience true stardom until landing the lead role in the
slapstick comedy Ace Ventura: Pet Detective (1994), which premiered
only months before In Living Color ended. Despite agreeing to play the
title character, Carrey would only take the role if he was allowed to
rewrite the script, mostly to suit his over-the-top visions. The film, while
dismissed by most critics, was an international hit, and transformed
Carrey into a bankable box-office star overnight. In that same year, he
landed two lead roles in The Mask and Dumb and Dumber, respectively.
The Mask garnered him his first Golden Globe Award for Best Actor
nomination, with Roger Ebert of the Chicago Sun-Times praising him
for his "joyful performance".[20] Well received by critics, Dumb and
Dumber was a commercial success, grossing over $270 million
worldwide,[21] and again boosting Carrey's fanbase.
In 1995, Carrey starred in the Joel Schumacher-directed superhero film
Batman Forever, in which Batman tries to stop Two-Face and the
Riddler (played by Carrey) in their villainous scheme to drain
information from all the brains in Gotham City. The feature received
reasonable reviews upon release with most criticism aimed towards the
movie's "blatant commercialism", as stated by Peter Travers.[22] In that
same year, Carrey reprised his role as Ace Ventura in Ace Ventura:
When Nature Calls. Like the original film, it was well received by the
public but heavily criticised by critics. However, it was a huge boxoffice success, earning $212 million worldwide in addition to breaking
records, with a $40 million opening weekend.[23] Carrey earned $20
million for his next film, The Cable Guy (1996). Directed by Ben Stiller,
Carrey played a lonely, slightly menacing cable TV installer who
infiltrates the life of one of his customers (played by Matthew
Broderick). The film tested Carrey's boundaries of his tried and true
"hapless, hyper, overconfident" characters that he is known for regularly
playing. However, it did not fare well with critics, many reacting
towards Carrey's change of tone to previous films.[24] Despite the
reviews, The Cable Guy grossed $102 million worldwide.[25]
He soon bounced back in 1997 with the critically acclaimed comedy
Liar Liar, playing Fletcher Reede, an incredibly successful lawyer who
has built his career on lying, regularly breaking promises that he makes
to his son Max. Max soon makes a birthday wish that for just one day,
his dad can't tell a lie. Carrey was praised for his performance, earning a
second Golden Globe Award nomination for Best Actor. Janet Maslin of
The New York Times said, "Well into his tumultuous career, Mr. Carrey
finally turns up in a straightforward comic vehicle, and the results are
much wilder and funnier than this mundane material should have
allowed."[26]
. In 2000, Carrey reteamed with the Farrelly Brothers, who had directed
him in Dumb and Dumber, in the comedy classic, Me, Myself & Irene, a
film that received mixed reviews[33] but enjoyed box office success.
Carrey played the role of state trooper Charlie Baileygates, who has
multiple personalities and romances a woman portrayed by Renée
Zellweger. That same year, Carrey starred in the second highest grossing
Christmas film of all time, How the Grinch Stole Christmas, playing the
title character, for which he received praise and criticism.[34] The film
garnered him his third Golden Globe Award nomination in addition to
countless other nominations and several wins.
For his next feature film, Carrey starred opposite Jennifer Aniston and
Morgan Freeman in Tom Shadyac's international hit comedy Bruce
Almighty (2003). Carrey played a TV newsman who unexpectedly
receives God's omnipotent abilities when the deity decides to take a
break. The film received mixed reviews upon release[ but despite this
was a financial success, earning over $484 million worldwide, and going
on to become the seventeenth highest-grossing live action comedy of all
time. The film has since gained a cult following.[23][36] In 2004, Carrey
starred in Eternal Sunshine of the Spotless Mind. The film received
overwhelming acclaim upon release; Carrey was highly praised for his
portrayal of Joel Barish, in addition to his co-star Kate Winslet, who
received an Oscar nomination. According to CNN's reviewer Paul
Clinton, Carrey's performance was "the best, most mature and sharply
focused performance ever."[37] He received his fourth Golden Globe
Award nomination, and was also nominated for his first BAFTA Award
for Best Actor in a Leading Role.
Carrey's next appearance was in the 2004 black comedy drama film
Lemony Snicket's A Series of Unfortunate Events, which was based on
the popular children's novels of the same name. The film received a
positive reception, with Desson Thomson from The Washington Post
commenting on Carrey's approach to the character of Count Olaf, stating
"Olaf is a humorless villain in the book. He's not amusing like Carrey at
all. To which I would counter: If you can't let Carrey be Carrey, put
someone boring and less expensive in the role. In his various disguises
he's rubbery, inventive and improvisationally inspired. I particularly
liked his passing imitation of a dinosaur."[38][39] That same year, Carrey
was inducted into the Canadian Walk of Fame.[40] In 2005, Carrey
starred in a remake of Fun with Dick and Jane, playing Dick, a husband
who becomes a bank robber after he loses his job. The film was
dismissed by most critics but did manage to become a box office hit.
Carrey at the 2009 Cannes Film FestivalPeter Farrelly said in April 2012
that Carrey and Jeff Daniels would return for a Dumb and Dumber
sequel, Dumb and Dumber To, with the Farrelly brothers writing and
directing and a planned September 2012 production start. In June,
however, Carrey's representative said Carrey had left the project because
the comedian felt New Line and Warner Bros. were unenthusiastic
toward it. However, on October 1, 2012, Yahoo!'s "The Yo Show"
carried the news item that the script is complete and that the original
actors, Carrey and Daniels, will, in fact, be reprising their roles and that
part of the plot will involve one of the characters having sired a child
and needing to find the child in order to obtain a kidney. In March 2013,
Carrey stated that he hoped that he and Jeff Daniels were excited about
doing the film, and were hoping to do so in 2014
In March 2013, Carrey announced that he had written a children's book
titled Roland Rolls, about a scared wave named Roland. He described it
as, "kind of a metaphysical children's story, which deals with a lot of
heavy stuff in a really childish way". Carrey is self-publishing the book,
which will be released in September 2013.