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Anne of Green GablesA retelling of L.M. Montgomery’s story of Anne Shirley, an orphan who is accidentally sent to a couple looking to adopt a boy instead
Anne of Green Gables: The Sequel
Anne Shirley, now a schoolteacher, has begun writing stories and collecting rejection slips. She makes the acquaintance of a handsome, rich, bachelor, chases a cow, and wins (to her chagrin) a baking soda company’s writing contest. She acts as Diana’s maid of honor, and refuses Gilbert Blythe’s marriage proposal; which sends her to teach Kingsport Ladies’ College, an exclusive girls school, where she meets opposition from one of the teachers, Miss Brooke, and the Pringle clan (one of whom is the rich, handsome bachelor). But while Anne enjoys the battle, and the friends she makes, she returns to Avonlea.
Anne Of Green Gables: The Continuing Story
The continuing adventures of Anne Shirley in New York and in France during World War I.
Anne of Green Gables: A New Beginning
Anne, now a middle-aged woman, is troubled by recent events in her life. Her husband, Gilbert, has been killed overseas as a medical doctor during World War II. Her two daughters are pre-occupied with their own young families and her adopted son Dominic has yet to return from the war. When a long-hidden secret is discovered under the floorboards at Green Gables, Anne retreats into her memories to …
Oliver's Story
In this sequel to Love Story (1970), grieving Oliver is being pressured by his in-laws to move on and take part in the family business. He meets a pretty heiress and they start dating, but memories of Jennie come rushing back.
Irreconcilable Differences
Alternating between the past and the present, a precocious little girl sues her selfish, career-driven parents for emancipation, surprising them both.
Ice Castles
A young girl is on top of the world until a tragic accident dashes her hopes and dreams of becoming a world-class figure skater. Only with the help of those who love her can she prove to the world — and herself — that she still has the potential to realize her dreams.
Small, smart, redheaded, scrappy, and imaginative, Anne Shirley has been winning hearts and minds ever since Canadian author Lucy Maud Montgomery introduced her to the world in 1908. The character was so immediately popular that Montgomery penned seven sequels to Anne of Green Gables over three decades. Anne has kept the tourism industry in her home of Prince Edward Island booming, particularly among Japanese fans. Anne is big in Japan thanks, in some part, to a 1979 anime version of Anne of Green Gables. In fact, Anne has inspired a number of films, TV shows, and stage productions.
But outside of Japan, one adaptation in particular—the 1985 Canadian Anne of Green Gables mini-series, starring Megan Follows and directed by Kevin Sullivan—struck a nerve. At the time, the CBC production was the most popular TV program to ever air in Canada. As it was re-broadcast in the U.S. (on PBS and, later, the Disney Channel), the four-hour event and its 1987 sequel, Anne of Avonlea, became instant classics—winning Emmy and Peabody Awards, reinvigorating interest in the L.M. Montgomery novels, and inspiring a generation of women to emulate the brainy, ambitious, hot-tempered, and kind-hearted Anne.
We are now in the midst of another Anne boom. The always-popular ginger is the subject of several new film, stage, and TV adaptations, including a gritty reimagining by Breaking Bad alum Moira Walley-Beckett that was first broadcast by the CBC and will air on Netflix starting this Friday. But this new version will have to work as hard as the fictional Miss Shirley herself to win over a generation raised on the warm and cozy version. We’ve rounded up a group of writers who grew up on the 1980s version to explain why that Anne—and the gentle books she springs from—are such a hard act to follow.
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LOVE AT FIRST SLATE
Anne of Green Gables is jammed full of wonderful moments that have never left me over the mumble-something years since I first read it—Diana Barry getting wasted accidentally on currant wine; Anne re-enacting The Lady of Shalott with geographically disastrous results. But none are more viscerally satisfying than when our heroine gets fed up with classmate, general dreamboat, and (spoiler!) future spouse Gilbert Blythe teasing her during lessons and cracks him over the head with her slate. I think of Anne every time a strange man on the street tells me to smile. Young women are so often taught to make boys feel comfortable, even when they’re being total assholes, and Anne just . . . doesn’t do that.
Her reaction is not half-hearted. It is not cutesy. Her rage is not cloaked in apologies for making anyone feel awkward. And she is not home to Gilbert’s apologies for a very long time. Her anger is legitimate and it is serious, and L.M. Montgomery treats it as such. (So does Gilbert, to his great credit.) Anne is allowed to reclaim her space and simmer about this. And while the image that sticks in your head is, obviously, Anne whacking Gilbert across the noggin, the message I took away from Anne of Green Gables as a kid wasn’t that I should smack people. It was that it’s O.K. to stand up for yourself when people treat you poorly, and that doing so isn’t going to make anyone who matters dislike you. That’s a powerful thought to put into a young girl’s pocket when you send her out into the world. Cat-callers, beware. — Jessica Morgan, co-founder of GoFugYourself.com and author of The Royal We
KINDRED SPIRITS
I didn’t read Anne (with an “e” of course) of Green Gables. I devoured Anne of Green Gables. At the time, I didn’t understand why Anne’s commitment to her own intelligence, kindness, and disruptive “red hair” meant so much to me. Why watching Anne sit on a bench and stare toward her beloved best friend Diana Barry’s house, crying “henceforth we must be strangers living side by side,” made my heart soar. Now I realize that she was my first heroine. Anne was a principled young women who loved her friends, and her school work, and of course Gilbert Blythe. I felt so deeply for Anne and, in turn, for myself. I credit surviving my early teen years (I was five-feet-nine at the age of 11) to Anne of Green Gables. If she could do it, then I could too. (Also . . . I’m writing this while VERY drunk on currant wine) — June Diane Raphael, writer, actress, and star of Grace and Frankie
RACHEL LYNDE
Growing up in the 1980s South, I didn’t always know my place. My parents had raised me believing that my voice and ideas were as important as everyone else’s, even the adults’. That might be why I earned the nickname “Large Mouth Bass” from my fifth-grade teacher when I corrected her about something or another. So when I saw Anne Shirley lose her cool on Rachel Lynde after Rachel is rude as all get-out, I knew I had found a kindred spirit. How empowering to see a young woman speak the truth with passion and emotion, eventually even causing a change of heart and mind! My dad gave me a T-shirt that says “Large Mouth Bass,” and now I wear it with pride. — Lennon Parham, co-creator and star of Playing House
THE PUFFIEST OF SLEEVES
There’s so much to treasure in the CBC’s 1985 Anne of Green Gables series: for example, every time that dreamy Gilbert (Jonathan Crombie) looks at our hero Anne with love, amusement, and a proud kind of awe. But the moment that makes me tear up just thinking about it is when Anne’s elderly foster parent Matthew Cuthbert (Richard Farnsworth) gives her a light-blue dress with puffed sleeves. Anne has her famous obsessions—red-hair sensitivity; the Lady of Shalott; justice; dramatic phrases like “the depths of despair.” Puffed sleeves are another: fashionable, extravagant details on the kind of dress she’s never owned, expressing the glory and romance she dreams of, but, as a poor orphan, has never been able to have. While her foster parent Marilla (the wonderfully crabby Colleen Dewhurst) rolls her eyes at Anne’s apparent frivolousness, Matthew quietly comes to understand the important truths behind it, and he heads to the dry-goods store. But he’s still Matthew, awkward and shy; he buys a rake and several sacks of brown sugar from a pretty young clerk before working up the courage to say that he wants a dress. (“Puffed sleeves!” he whispers.)
Anne’s reaction to the dress—a lace-and-frills creation with puffs the size of hot-air balloons, which, when we see it now, at a safe remove from the 80s, threatens to steal the scene and perhaps our very souls—is one of rapture, along with shock and true love, and a tender gratitude that comes from knowing that she is finally seen, accepted, and cared for. The movie’s treatment of the scene is even more satisfying than L. M. Montgomery’s original, which sensibly incorporates the help of Rachel Lynde, the color brown (!), and waiting until Christmas morning. Here, we get to see Anne race out to the barn and embrace Matthew, while wearing the dress and possibly threatening to get it dirty, showing that the gesture is more important than the thing itself—and we can happily cry our eyes out. — Sarah Larson, roving cultural correspondent for NewYorker.com
ANNE SHIRLEY, WINNER OF THE AVERY
Anne Shirley was Hamilton long before Lin-Manuel Miranda—only without the music or Alexander’s tragedy. Like Alex, Anne wrote her way out. She wrote her way out of a life of mediocrity, she wrote her way out of Prince Edward Island (albeit briefly), and she wrote her way into the hearts of every person whose path she crossed. But unlike Hamilton, Anne never had to assume that she was the smartest in the room, because she actually was—and after realizing it, she never apologized, because why would she? As a kid watching Anne use her words and her writing to work her way through spelling bees and Avery prizes into Queen’s University, my own know-it-all tendencies seemed a little less extra.
Hell, even as an adult, I think of Anne brazenly building her dream life and feel motivated to get back to work and stop wasting time. Plus, she stopped for no man: while childhood me swooned over the cuteness of Gilbert (obviously), my 31-year-old self loves even more that Anne never slowed down so he could keep up. Instead, dude upped his own ante to keep himself in the game—he was well aware he also had to work. — Anne T. Donahue, writer/person/bona fide Canadian
A DECENT PROPOSAL
I saw Anne of Green Gables, the mini-series, for the first time when I was 12 years old. It was as close to a religious experience as I have ever had. I was covered in freckles, with a temper to match, and I never had a heroine speak so directly to my soul. I have committed almost every frame of those movies to memory, but one of the scenes that I try to rip off as much as possible when writing romantic scenes between myself and Keegan-Michael Key in my show, Playing House, is when Gilbert proposes to Anne for the first time on that bridge in the fog. Anne is right on the brink of womanhood, as it were, and all of her friends are pairing up and settling down. Anne has always known that she is destined for a life that is bigger than what her beloved Avonlea has to offer—but she has no idea what is ahead of her, and she is mourning the fact that the beautiful life, as she has known it, is about to change. When she says to Gilbert, “I don’t want any of it to change. I wish I could just hold on to those days forever. I have a feeling things will never be the same again,” my heart would just ache and ache, because I’ve always been desperately afraid of change.
For Anne, finding her Prince Charming is not what drives her—it’s figuring out who she truly is, and being brave in her choices and doing what scares her. But oh, when after she refuses his proposal and Gilbert looks at her, heartbroken and begs her to “please say yes” . . . I challenge you to find a hotter moment in all of olden-days history! The fog, the crickets, the pleading eyes, the bridge—absolute perfection. — Jessica St. Clair, co-creator and star of Playing House
PLUM PUDDING
Anne Shirley is pluck personified, and deeply theatrical, which makes it impossible not to love her. (In the musical, her over-the-top sung apology to Mrs. Lynde, which makes Rachel run off sobbing with guilt, is a marvel.) But she’s also the first female heroine I can remember whose mind was considered flat-out cool. And she never downplayed that; instead, she wore it with pride, which is a tough thing to do as a kid when so many people around you are coping with puberty by spitting out the word “nerd” like a bullet. Anne could recite poetry from memory, with dramatic perfection. In the series, she got carried around and idolized by cheering students for winning the Avery scholarship. Her cleverness and honesty and impulsivity attracted people more than her carrots did—even Gilbert. So, as much as I love the sounds of Marilla’s and Miss Stacey’s laughs when Anne shrieks not to eat the mouse-infested pudding, I can also close my eyes and hear Anne performing “The Highwayman” in her poetry competition, while Gilbert gazes adoringly and admiringly at her.
Y’all, he loved her for her brain. What better message for young kids is there? — Heather Cocks, co-founder of GoFugYourself.com and author of The Royal We
FLESH AND BLOOD
Like Pollyanna, Heidi, Pippi, and a number of other only-one-name-required literary heroines before her, Anne’s sunny outlook had a way of melting hard hearts. It was a trick she would pull off again and again with the likes of Rachel Lynde, Aunt Josephine Barry, Mrs. Harris, Katherine Brooks, and more. But Anne’s greatest conquest, of course, was Marilla Cuthbert. Soft-hearted Matthew Cuthbert was an easy sell, but Anne had to sweat in order to work her way into Marilla’s good graces. Colleen Dewhurst’s take on the stern Green Gables matriarch is most often remembered for her droll commentary, her exasperated eye-rolls, and her rare, warm, crackling laugh. But her usual composure is what make her complete breakdown over the loss of her brother, Matthew, so unforgettable. “It’s never been easy for me to say the things from my heart,” Marilla confesses, telling an inconsolable Anne that she shouldn’t think Marilla doesn't love her as much as Matthew did. The lesson Anne (and Marilla) imparted to me there is that a loving bond can be forged in even the most unlikely of places. Anne’s hard-won little family shrinks from three to two—but is all the stronger for it. — Joanna Robinson, senior writer for VanityFair.com
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Anne of Green Gables | |
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Written by | Lucy Maud Montgomery (original novels) Kevin Sullivan (adaptation) Joe Wiesenfeld (adaptation) |
Directed by | Kevin Sullivan |
Starring | Megan Follows Colleen Dewhurst Richard Farnsworth Patricia Hamilton Marilyn Lightstone Schuyler Grant Jonathan Crombie |
Theme music composer | Hagood Hardy |
Country of origin | Canada |
Original language(s) | English |
Production | |
Producer(s) | Ian McDougall Kevin Sullivan |
Running time | 199 minutes (approx.) |
Release | |
Original network | CBC |
Original release | December 5, 1985 (Canada) February 17, 1986 (U.S.) |
Chronology | |
Followed by | Anne of Avonlea |
Anne of Green Gables is a 1985 Canadian televisionminiseriesdrama film based on the novel of the same name by Canadian author Lucy Maud Montgomery, and is the first in a series of four films. The film starred Megan Follows and was produced and directed by Kevin Sullivan for the Canadian Broadcasting Corporation. It was released theatrically in Iran, Israel, Europe, and Japan.
The film aired on CBC Television as a two-part mini-series on December 1 and December 2, 1985. Both parts of the film were among the highest-rated programs of any genre ever to air on a Canadian television network. On February 17, 1986, the film aired on PBS in the United States on the series WonderWorks.
- 4Sequels and spin-off TV series
Plot[edit]
A 11-year-old orphan, Anne Shirley, is living in servitude with the cruel Hammond family in Nova Scotia. However, when Mr. Hammond dies, Anne is sent to an orphanage where she eventually receives the wonderful news that she has been adopted by a couple on Prince Edward Island (P.E.I). Upon arriving in P.E.I, Anne is met at the train station by an elderly Matthew Cuthbert who is surprised to find a girl there instead of a boy.
Matthew and his sister Marilla had requested a boy to help them with the farm chores. He decides that he couldn't very well just leave the girl at the train station. Matthew takes Anne to meet Marilla, and on the buggy ride home, becomes completely smitten with the red-haired orphan girl.
When Anne Shirley arrives at the Cuthberts' farm, called 'Green Gables', she is a precocious, romantic child desperate to be loved and highly sensitive about her red hair and homely looks. In her own unique headstrong manner, Anne manages to insult the town gossip, Rachel Lynde, in a dispute over her looks; smash her slate over Gilbert Blythe's head when he calls her 'Carrots' on her first day of school; and accidentally dyes her hair green in an effort to turn her red hair black and salvage her wounded pride.
Marilla Cuthbert is shocked and beside herself to know how she will ever cope with this sensitive, headstrong child so desperate to fit in. But shy, gentle Matthew is always there to defend Anne and hold her up on a pedestal.
It seems like Anne is destined to cultivate disaster. She becomes 'bosom' friends with Diana Barry from across the pond and succeeds in getting Diana drunk by accidentally serving currant wine instead of raspberry cordial at a tea party. Diana's mother and Rachel Lynde turn on Marilla for making wine in the first place. Anne moves from one mishap to the next as her wild imagination and far-fetched antics combine to constantly land her in trouble.
Anne finds her element in the academic world, ultimately competing neck and neck with Gilbert Blythe who becomes her arch opponent. Anne and Gilbert go on to win the highest academic accolades, constantly vying for honors at every level. Eventually their fierce rivalry turns to a secret affection, which blossoms into love.
Marilla tries to prevent Anne from seeing Gilbert because Anne is still quite young and Marilla wants Anne to continue her education. In the end, however, when Matthew dies and forces Marilla into considering selling Green Gables, Gilbert gives Anne his teaching post in nearby Avonlea so she can stay at Green Gables and continue to support Marilla.
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Cast[edit]
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Production[edit]
Kevin Sullivan adapted the novel into his own screenplay, collaborating with industry veteran Joe Wiesenfeld. Sullivan developed a co-production between the CBC and PBS in order to film Anne of Green Gables. Sullivan amalgamated many of Montgomery's episodes into the film's plot. While the film diverged from Montgomery's original, he relied on strong characterizations and visuals in order to render the story for a contemporary audience. The script also borrows ideas from the 1934 film version.
Primary locations for filming the movie included Prince Edward Island; Stouffville, Ontario; Jacksons Point, Ontario; and Westfield Heritage Village near the Flamborough village of Rockton. Filming was done over a consecutive ten-week shoot. Sullivan used several locations as Green Gables farm and combined them to appear as one property.
The original film and sequels (including Road to Avonlea and the animated Anne films and series covering over 130 hours of production) have been seen in almost every country around the world. The films have now been translated and seen in more places than even the original novels.
During filming of the original movies an open casting call was held throughout Canada in order to find a young actress to play Anne Shirley. Katharine Hepburn recommended that her great niece, Schuyler Grant, play the role of Anne Shirley. Director Kevin Sullivan liked Grant's performance and wanted to give her the role. However, broadcast executives were resistant to cast an American as a Canadian icon. Schuyler Grant ended up playing Anne's best friend, Diana, and Anne Shirley was ultimately played by Megan Follows.
In her first audition, Megan Follows came highly recommended. But, she was quickly dismissed by Kevin Sullivan. For her second audition, after a turbulent morning leading up to her audition, a frantic Megan made a much better impression and was given the role.[1]
Sequels and spin-off TV series[edit]
Film series[edit]
Anne of Green Gables is the first film in a series of four based on the titular character. In 1987, the film's sequel, Anne of Avonlea, was released. (It was subsequently retitled Anne of Green Gables: The Sequel on home video.) The final movie, Anne of Green Gables: The Continuing Story, was aired on March 5, 2000 in Canada and on July 23, 2000 in the United States. The final film passed over Anne's House of Dreams – the corresponding Anne novel – in favor of a plot not featured in Montgomery's series, and did not receive the same critical praise as the first two films. In 2008, the fourth in the series, titled Anne of Green Gables: A New Beginning was completed. The film stars Barbara Hershey, Shirley MacLaine, and Rachel Blanchard and it introduces Hannah Endicott Douglas as the new Anne Shirley. The film is both a sequel and a prequel to Sullivan's trilogy.
TV series[edit]
The first two Anne films generated a spin-off television series which aired from 1989 to 1996 and starred Sarah Polley. The Road to Avonlea series featured characters and episodes from several of Montgomery's books. Anne herself did not appear in the episodes, but Gilbert Blythe, Marilla Cuthbert, and other characters from the Anne books were included.
Other productions[edit]
In 2000 – 2001, Sullivan Animation produced Anne of Green Gables: The Animated Series consisting of 26 half-hour episodes. The series was developed for PBS and each episode contained an educational and/or moral component. In 2005, Sullivan Animation also produced the feature-length animated film Anne: Journey to Green Gables which is an imaginative, whimsical prequel to Sullivan's live action Anne of Green Gables film.
A year after the mini-series originally aired, Canadian comedy duo Wayne and Shuster created and starred in a parody entitled Sam of Green Gables, in which a curmudgeonly old man named Sam is sent to Green Gables instead of Anne.
Awards and nominations[edit]
The film swept the 1986 Gemini Awards, winning the following:
- Best Dramatic Miniseries
- Best Actress in a Single Dramatic Program or Miniseries: Megan Follows
- Best Supporting Actor: Richard Farnsworth
- Best Supporting Actress: Colleen Dewhurst
- Best Writing (TV Adaptation): Kevin Sullivan and Joe Wiesenfeld
- Best Music Composition: Hagood Hardy
- Best Costume Design: Martha Mann
- Best Photography: René Ohashi
- Best Production Design/Art Direction: Carol Spier
- Most Popular Program
The film was also nominated for Best Direction in a Dramatic Program or Mini-Series and Best Picture Editing in a Dramatic Program or Series.
The series also won an Emmy Award in 1986, for Outstanding Children's Program.
Other Awards
- Peabody Award – to Kevin Sullivan for Outstanding Contribution to Broadcasting in the United States, 1986
- Prix Jeunesse: Best Drama, 1988 (Germany)
- TV Guide Award: Most Popular Program, 1986
- Grand Award – International Film and Television, New York
- Emily Award – American Film and Video Festival, 1986
- Macleans Medal of Merit – Maclean's Magazine, 1986
- Chris Award – Columbus International Film Festival, 1986
- Silver Hugo Award – Chicago International Film Festival, 1986
- International TV Movie Festival: Nomination for Movie of the Year, 1986
- American TV Critics Award: Best Drama, 1986
- Grant Award: Best TV Program, Houston International Film Festival, 1987
- Golden Gate Award – San Francisco Film Festival, 1986
- CRTA Award: Outstanding Personal Achievement in TV, 1986
- Ohio State Award – Performing Arts and Humanities Award, 1987
- First Prize – Odyssey Institute Media Award, 1987
- The Ruby Slipper: Best Television Special, 1987
- Parents Choice Award – Parents Choice for TV Programmings, 1987
- Excellence in Programming – Award from Association of Catholic Communications in Canada, 1987
- Golden Apple Award – Best of National Educational Film and Video Festival, 1987
Home media[edit]
The Anne of Green Gables series was released on DVD in a collector's edition set on February 5, 2008 in the U.S., April 29, 2008 in Canada and Japan and on September 22, 2010 in Hungary. The set is the most comprehensive edition of all three movies ever released. In addition to the series, it also includes several DVD extras such as feature length commentary from director Kevin Sullivan and Stefan Scaini, 2 New Documentaries: L.M. Montgomery's Island and Kevin Sullivan's Classic featuring new cast and crew interviews, missing scenes, lost footage and a condensed, 10-minute version of the missing 'Road to Avonlea' episode 'Marilla Cuthbert's Death'.
In 2016, Sullivan Entertainment announced it would launch their own streaming service called Gazebo TV that would feature the Anne of Green Gables series among other titles produced by the company. The service launched in early 2017.[2]
Lawsuits[edit]
In 1908, Lucy Maude Montgomery signed a contract with the L.C. Page & Company publishing house in Boston that permitted them to publish all of her books for 5 years on the same terms: the main terms were a 10% royalty and world rights to all of the author's books; part it also included the right to publish all of her future works. The relationship with Pageant actually spanned nearly ten years and resulted in the publication of nine novels and collections of short stories. However, when Montgomery contracted with a Canadian publisher (McClelland, Goodchild and Stewart), L.C. Page claimed that they had the exclusive rights to her new books and threatened to sue her. Montgomery instead took L.C. Page to court to recover withheld royalties.[3]
The lawsuit resulted in a settlement in 1919 whereby L.C. Page bought out all of Montgomery's rights to all of her novels published by them. The settlement excluded any reversionary rights that might become due for the benefit of either her or her heirs if such rights were to become enacted.[4][5] The settlement paid Montgomery a flat sum of $18,000; at the time an amount she would have expected to see earned from her works during her lifetime.[3]
Sullivan purchased dramatic rights from Montgomery's heirs in 1984, believing that they owned reversionary rights that had come into place as a result of changes to the copyright act subsequent to Montgomery's death.[6]
After Sullivan's films were successful around the world and brought legions of tourists to Prince Edward Island, the Montgomery heirs established an Anne of Green Gables Licensing Authority with the Province of Prince Edward Island to control trademarks to preserve Montgomery's works, through the mechanism of official trademarks.[3][7] The heirs and the AGGLA became successful at asserting control over the booming Anne-themed tourist industry that the province enjoyed, because of the lack of clarity about the different protections afforded by copyright, trademark and official marks in Canada.[7]
AGGLA and the heirs tried to assert control over trademarks Sullivan had established to their various Anne movies (Anne of Green Gables, Anne of Avonlea, Anne of Green Gables—the Continuing Story) and Road to Avonlea properties both in Canada, the US and Japan.[7]
A Japanese court then determined that the heirs were not entitled to the reversionary rights that they claimed they had sold to Sullivan and that the AGGLA was set up for pursuing private interests and not for serving public interests such as maintaining or managing the value, fame or reputation of the literary work, the author or even the main character of Anne. The Court determined that the AGGLA was the heirs' private profit-seeking enterprise as far as its activities were concerned.[4][5]
Sullivan and the heirs came into further conflict during the 1990s. Sullivan was sued by the heirs. Their contractual agreement with Sullivan said that he would pay them a flat $425,000 (CAD) fee for the right to adapt the first book (and another $100,000 to do the second movie, Anne of Avonlea), plus 10% of the profits of Anne 1 and 5% of the profits of Anne 2. The contract also gave them the right to examine Sullivan Entertainment's financial records. However, when Sullivan claimed that neither of the movies had earned a net profit and (the heirs assert) refused to allow them to audit his books[citation needed], they served a claim against him.[8][9] Sullivan argued that the heirs and the AGGLA had enjoined the films by usurping the Sullivan trademarks and drastically reduced the profitability of the ventures.[7][9]The heirs staged a press conference in 1998 at exactly the time when Sullivan was about to close a public offering to take his company public, to force Sullivan to pay them further receipts. The offering however was pulled by the underwriters and Sullivan counter-sued for libel, insisting that the heirs should pay damages of $55 million to all parties involved.[8][9]A Superior Court of Ontario judge dismissed his suit on January 19, 2004.[10][11][12]The Montgomery heirs subsequently dropped their claim for Sullivan to pay them any royalties. However, a settlement between Sullivan, the Montgomery heirs and the AGGLA was reached in 2006 to deal with all of their outstanding disagreements.[5]Although Kevin Sullivan's works were initially based upon the works of Montgomery, Sullivan developed most of his successful Anne-related film properties (Anne of Avonlea, Anne -the Continuing Story, Anne – A New Beginning and Road to Avonlea) based on original material, not directly adapted from Montgomery's books.[3] Many questions have been raised in court as to the author's heirs' rights in her copyright. The heirs have tried to extend the copyright in Montgomery's unpublished works until 2017 but lost that opportunity in 2004 when the Canadian Parliament rejected the provision they had pursued so ardently for the unpublished works of dead authors.[13]In a Japanese court decision which addressed the heirs' challenge to the validity of Sullivan's ownership of Japanese trademark's in the movie property, the Japanese High Court commented on the heirs' entitlement to reversionary copyright which formed the basis of the rights that the family claimed to have sold to Sullivan. The Court stated that the heirs' reversionary copyright was non-existent and that there was no need for Sullivan or any other entity to account to the heirs for the use of the trademark in Japan.[4][5]
The Court stated: 'It is not clear from a legal point of view why permission from the heirs of the author or its related entity the Anne of Green Gables Licensing (AGGLA) authority was necessary.'[4]
The Japanese Court also extensively scrutinized whether the copyright in the book Anne of Green Gables had ever devolved to the heirs and called for extensive filing of evidence on this point. Sullivan filed an original 1919 agreement between Montgomery and L.C. Page & Co. which specifically excluded the heirs' reversionary claims. Montgomery sold all of her publishing and copyright to her series of novels, in perpetuity, to her original American publisher in 1919, to the exclusion of her heirs.[4][5]
The Court further questioned whether the heirs' licensing authority was engaged in activities of sufficient public interest as to qualify as a controlling body of Montgomery's works. The Court stated: '..the possibility cannot be denied that the Anne of Green Gables Licensing Authority is the heirs' private profit-seeking enterprise as far as the activities with which the heirs of the subject case are involved are concerned. It is not proved from the evidence submitted in the subject case that the Anne of Green Gables Licensing Authority is involved in activities of public interest that are sufficient for the Anne of Green Gables Licensing Authority to be qualified as the owner of the registration of the subject mark as a controlling body of the subject literary work.'[4][5]
Trademark and copyright[edit]
After recent speculation as to who owned the copyrights and trademarks concerning Anne of Green Gables today, there are principally two entities that control rights relating to Anne of Green Gables. The Anne of Green Gables Licensing Authority (AGGLA – which includes Lucy Maude Montgomery's heirs and the Province of Prince Edward Island)[14] and Sullivan Entertainment (the producers of the well-known films and TV series based on Montgomery's novels).[15]
The Anne of Green Gables Licensing Authority controls certain exclusive trademarks relating to Anne of Green Gables commercial merchandise and service related to Montgomery's literary works and any copyright in the Montgomery books which have not reverted to the public domain.[14]
Sullivan Entertainment Inc, under agreement with the Anne of Green Gables Licensing Authority, retains all of the dramatic copyright and motion picture copyright in over 125 hours of their original movies, mini-series and television series based on both the Anne and Avonlea series of novels and certain trade-marks relating to Sullivan sourced Anne of Green Gables merchandise and services. Sullivan's use of the Anne of Green Gables trademarks extends from motion picture products and books, DVDs, CDs etc. to all commercial merchandise related to Sullivan's films and television series based on their visual images, costume and production designs, settings, themes and original characters. Sullivan Entertainment also solely controls the commercial trademarks to Anne of Avonlea, Anne of the Island, and Road to Avonlea.[16]
Kevin Sullivan Anne Series[edit]
- Anne of Green Gables - 1985
- Anne of Green Gables: The Sequel - 1987
- Anne of Green Gables: The Continuing Story - 2000
- Anne of Green Gables: A New Beginning - 2008
References[edit]
- ^Heilbron, Alexandra (1999). Lucy Maud Montgomery Album. pp. 346–347. ISBN978-1550413861.
- ^'Gazebo TV - Anne of Green Gables'. gazebotv.com. Retrieved 2018-03-05.
- ^ abcdMcCabe, Kevin. The Lucy Maud Montgomery Album. Fitzhenry and Whiteside. p. 544. ASIN1550413864.CS1 maint: ASIN uses ISBN (link)
- ^ abcdefJapanese court verdict
- ^ abcdefC21 report on court case
- ^Hall, Lucie (October 1985). 'The Stubbornness of Kevin Sullivan'. Cinema Canada (123).
- ^ abcdSlane, Andrea (2011). 'Sullivan Entertainment Inc. v Anne of Green Gables Licensing Authority Inc'(PDF). McGill Law Journal. Retrieved 24 October 2012.[permanent dead link]
- ^ abChidley, Joe (August 1999). 'Let's Call the Whole Thing Off'. Canadian Business. 72 (13).
- ^ abcTony Atherton (July 21, 1999). 'Anne of Red Ink'. Ottawa Citizen.
- ^Judge throws out case against Montgomery's heirs[permanent dead link], The Globe and Mail, January 20, 2004
- ^Sullivan Entertainment Group Inc. v. MacDonald Butler, 2004 CanLII 8939 (ON S.C.)
- ^The case can be found here [1].
- ^Girard, Michael (April 26, 2004). 'Canadian Parliament rejects Copyright extension'(PDF). E-Lawg-IP. Retrieved 24 October 2012.[permanent dead link]
- ^ ab'The Anne of Green Gables Licensing Authority Inc.' 'The Government of Prince Edward Island'. Retrieved 25 July 2013.
- ^'The Anne of Green Gables Licensing Authority Inc.' 'Innovation PEI'. Retrieved 26 July 2013.
- ^'Trademark & CopyrightArchived 2016-03-06 at the Wayback Machine', Sullivan Entertainment. Retrieved 25 July 2013.
External links[edit]
Anne Of Green Gables Free Online
- The L.M. Montgomery Literary Society This site includes information about Montgomery's actual works (not reinterpreted), her life, and new research in the newsletter, The Shining Scroll.
- The Official Anne of Green Gables Movie Website – The official website of Sullivan series of Anne of Green Gables movies
- Watch Anne of Green Gables online – The official Streaming Platform for Anne of Green Gables movies
- Sullivan Entertainment Website – The Official website of Sullivan Entertainment. Includes a wealth of information on the Anne movies and it's spinoffs
- Road to Avonlea Website – The official website for Road to Avonlea, the spinoff to the Green Gables series of movies
- L.M. Montgomery Online This scholarly site includes a blog, a bibliography of reference materials, and a complete filmography of all adaptations of Montgomery texts. See, in particular, the page for Anne of Green Gables.
- The Anne Shirley Homepage – A great resource for all Anne fans with galleries, fan art, timelines, recipes and calendars.
- An L.M. Montgomery Resource Page – excellent resource on L.M. Montgomery and her legacy in film and television
- Anne of Green Gables on IMDb
- Anne of Green Gables at AllMovie
- Anne of Green Gables Centenary – This site includes information about the centenary anniversary of Lucy Maud Montgomery's Anne of Green Gables.
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Anne of Green Gables
Based on the international best-selling novel by L.M. Montgomery, this Emmy Award-winning production follows the provocative life drama of orphan Anne Shirley (Megan Follows), from her struggles as an adolescent to her triumphs as a young woman. The result is a delicate epic full of wit, style, and emotional power.
Anne of Avonlea
The enchanting sequel to Anne of Green Gables, Anne of Avonlea tells the story of Anne Shirley (Megan Follows) as she makes the transition from a romantic, impetuous orphan to an outspoken, adventurous, and accomplished young teacher. Leaving the world of Green Gables for the first time, Anne finds all her romantic notions challenged, but ultimately realizes what is important in life.
Anne of Green Gables: The Continuing Story
In the third film, now in her twenties, Anne (Megan Follows) returns to Avonlea for the first time since Marilla Cuthbert's death. Soon after her return, her fiancé Gilbert is offered a position in a hospital in New York and he persuades Anne to come with him. The Continuing Story follows the characters from New York, to the Great War in Europe and eventually returns them to the red earth of Prince Edward Island and the home fires of Avonlea.
Anne of Green Gables: A New Beginning
In 1945 Anne Shirley (Barbara Hershey) returns to Avonlea for an extended visit. On a whim, she agrees to write a play for a theater producer, with hopes that it will keep her busy enough to keep her mind off of her only son who is in service in the War overseas. But a long-hidden secret in the form of a letter from her father provides a distraction of its own.
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