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7313
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dbpedia
|
2
| 74
|
https://thehockeywriters.com/wild-grade-report-2023-24-marcus-johansson/
|
en
|
Wild Report Cards for 2023
|
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"Mariah Stark (Holland)"
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2024-08-07T13:45:00+00:00
|
It was time to see the impact Minnesota Wild forward Marcus Johansson's season performance had on his report card.
|
en
|
The Hockey Writers
|
https://thehockeywriters.com/wild-grade-report-2023-24-marcus-johansson/
|
The Minnesota Wild grade reports keep flowing in, and this time, it’s for Marcus Johansson who’s had a complex reputation with Wild fans. “JoJo” as his teammates call him, joined the Wild for the second time shortly before the trade deadline in 2023. He started his journey with Minnesota looking strong in a short stint, but once he returned for a full season, things looked a little different.
Johansson’s season was complicated. On paper, he had a strong offensive season, but watching him play, things could’ve been better. Without the postseason, we’ll rely on his regular-season performance for a grade. We’ll examine a rough part of his game and a strong part of his game and then combine those for a grade.
Johansson’s Defensive Game Lacks
Johansson isn’t a defenseman, but every player on the team has to take responsibility in the defensive zone when they can. This includes blocking shots, pushing opponents to the outside, and breaking the puck out efficiently. Johansson contributed more blocked shots than some of his teammates, but he could’ve done better.
He played in 78 games for the Wild and had 29 blocked shots, which tied him for 17th place on the roster. This was shared with Jared Spurgeon, who only played 16 games. It’s understandable that he wouldn’t have as many blocked shots as the top defensemen on the Wild, but he could’ve done slightly more to help.
The other area he needs to improve on, more than his blocked shots, is his turnovers. He made a difference offensively, but he also gave up the puck 33 times, which was one of the highest on the team. Only five players were higher than he was, and they all handled the puck more than Johansson.
He has to improve his puck handling for this coming season so he doesn’t turn over the puck as much. That was a big issue with the entire team, but certain players were worse than others, and that can’t happen if they want to win games. Hopefully, Johansson can find a way to improve this part of his game before this coming season starts.
Johansson Finds Offense
Johansson is known for his speed and making a break for the net to score. He hasn’t gotten career numbers in the past few seasons, but this past season, he found a way to increase his points. He scored 11 times and assisted on 19 other goals for 30 points. He hasn’t been a big point producer over the years except the 2011-12’ season, when he tallied 46 points, and then a stretch from the 2013-14 season to the 2016-17 season, where he recorded over 40 points per season with one season coming in at 58 points.
Johansson’s 30 points don’t seem like a big deal, but for the Wild, it was, and it put him at eighth on the roster. While he found a way to score points, he wouldn’t have been able to do so without taking shots. He wasn’t shy about shooting whenever he could, as he took 112 shots on goal and was rewarded. He needs to keep that confidence going into this season and continue to take as many shots as he can.
The other area that deserves attention for being a good part of his game was the low number of penalty minutes he took. In the 78 games he played, he only took 22 minutes in penalties, and all of them were minors. He didn’t cost his team by taking any major or misconduct penalties; although he did take penalties, they were minimal.
Johansson’s Overall Grade
After reviewing the rough and good parts of his game, Johansson earned a C. Originally, his grade would’ve been lower, but after considering how much he contributed offensively compared to some of his teammates, he earned a slightly higher grade. However, on the flip side, it could’ve been higher, but his turnovers and small number of blocked shots made his grade a little lower.
Related: Report: Minnesota Wild Interested In Patrik Laine
|
|||||
7313
|
dbpedia
|
1
| 21
|
https://kids.kiddle.co/Vladimir_Tarasenko
|
en
|
Vladimir Tarasenko facts for kids
|
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Learn Vladimir Tarasenko facts for kids
|
en
|
/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Vladimir_Tarasenko
|
In this article, the patronymic is Andreyevich and the family name is Tarasenko.
Vladimir Andreyevich Tarasenko (Russian: Влади́мир Андре́евич Тарасе́нко; born 13 December 1991) is a Russian professional ice hockey right winger for the Florida Panthers of the National Hockey League (NHL). Prior to playing in the NHL, he played in the system of Sibir Novosibirsk organization, first playing for the senior team in the Kontinental Hockey League (KHL) in 2008–09. He spent a total of three seasons with Novosibirsk before being traded to SKA Saint Petersburg in 2012. Tarasenko was selected in the first round, 16th overall, in the 2010 NHL Entry Draft by the St. Louis Blues, joining the team for the 2012–13 season. He spent parts of 11 seasons in St. Louis, becoming one of the franchise's leading scorers, playing in three NHL All-Star Games, and winning the Stanley Cup in 2019. Tarasenko was then traded to the New York Rangers in February 2023, and later played for the Ottawa Senators before a trade to the Panthers.
Playing career
Russia
Tarasenko made his professional debut with Sibir Novosibirsk of the Kontinental Hockey League (KHL) in 2008–09, scoring seven goals and ten points in 38 games and was the runner up in voting for Rookie of the Year in the KHL's inaugural season. He was released to play with the Russian junior team at the 2009 IIHF World U18 Championships, where he scored eight goals in seven games and was named a tournament all-star as Russia won silver. Tarasenko returned to Sibir in 2009–10 as the seventh-youngest player in the League. He again represented Russia at the 2010 World Junior Ice Hockey Championships, finishing third in team scoring with five points in six games.
International Scouting Services (ISS) ranked Tarasenko as the top-ranked European skater, and fourth overall, in its mid-term rankings ahead of the 2010 NHL Entry Draft. Described by scouts as strong and mobile with no glaring weaknesses, Tarasenko had expressed interest in playing in the NHL, though his father, also his coach with Sibir, believed it was important that his son remain in Russia. Tarasenko was ultimately drafted by St. Louis Blues of the National Hockey League (NHL) in the first round, 16th overall, at the 2010 Draft with the pick obtained via a trade from the Ottawa Senators St. Louis had acquired in exchange for David Rundblad.
On 13 January 2012, Tarasenko was traded to SKA Saint Petersburg in exchange for Vyacheslav Solodukhin. On 2 June 2012, Tarasenko announced that he would be moving to North America to play in the NHL for the St. Louis Blues rather than staying and playing in the KHL. As a result of the 2012–13 NHL lockout that cancelled a large part of the NHL regular season, however, Tarasenko instead returned to SKA to begin 2012–13. He credited the decision in part to a desire to play with Ilya Kovalchuk, the captain of the team who also joined as a result of the lockout.
St. Louis Blues
Once the lockout ended, Tarasenko began the shortened, 48-game 2012–13 season with the Blues. He scored his first and second career NHL goals on the first two shots of his league debut on 19 January 2013, against Jimmy Howard of the Detroit Red Wings in a 6–0 blowout. On 4 February, Tarasenko was named the NHL's Rookie of the Month for January after scoring five goals and four assists (nine points). He ultimately finished his first NHL season with eight goals and 11 assists in 38 games.
On 19 March 2014, towards the conclusion of the 2013–14 season, Tarasenko underwent successful surgery to repair a hand injury sustained in a 4–1 Blues win over the Nashville Predators. He was expected to miss the remainder of the regular season, but made a quick recovery, returning to play in the 2014 Stanley Cup playoffs where he scored four goals in the series against the Chicago Blackhawks.
On 28 October 2014, during the 2014–15 season, Tarasenko recorded his first career NHL hat-trick against Kari Lehtonen of the Dallas Stars and was later named the NHL's First Star of the Week after scoring five goals and one assist during the week. Tarasenko finished the regular season leading the Blues in both goals (37) and points (73), also finishing fifth in the league in goals and ninth in total points. On 18 April 2015, Tarasenko scored his first career Stanley Cup playoff hat-trick against Devan Dubnyk of the Minnesota Wild in Game 2 of St. Louis' Western Conference Quarterfinals matchup. In the series, he scored six goals and one assist (seven points), though the Blues ultimately fell to the Wild in six games. On 7 July 2015, during the subsequent off-season, Tarasenko, as a restricted free agent, signed an eight-year, $60 million contract with St. Louis at an annual average value of $7.5 million. Tarasenko is known for his very accurate and unique wrist shot, which has earned him a reputation as one of the most dangerous goal scorers in the NHL. He was one of only two players to score at least 30 goals in a five-season stretch from 2014–15 through 2018–19, along with fellow-Russian Alexander Ovechkin of the Washington Capitals.
Tarasenko won the Stanley Cup with the Blues in 2019, St. Louis' first Stanley Cup in their 52-year franchise history. During the Blues' 2019 playoff run, Tarasenko recorded 11 goals, the second-highest total among Blues players and the third-highest among all players in the playoffs. In game 5 of the 2019 Western Conference Final against the San Jose Sharks, Tarasenko became the first player in Blues playoff history to score a goal on a penalty shot.
On 24 October 2019, during a 5–2 win over the Los Angeles Kings, Tarasenko was forced to leave the game after getting tangled up with Kings defenceman Sean Walker. Four days later, it was announced that Tarasenko would require shoulder surgery and be sidelined at least five months. This was the second of three shoulder surgeries Tarasenko would undergo in a span of less than three years due to lingering instability, the first after an April 2018 injury and the third following an early departure from the team in the 2020 postseason.
On 7 July 2021, it was reported that Tarasenko had requested a trade from St. Louis due to him being unhappy with how the club had handled his shoulder surgeries. He was left unprotected in the 2021 NHL Expansion Draft, but was not selected.
Despite tensions between the Blues and Tarasenko, a trade could not be made to honor his request to be moved. The two sides ultimately put the situation behind them and Tarasenko remained with St. Louis for the 2021–22 season. Tarasenko went on to have the most productive year of his career to that point, scoring 34 goals and setting career highs in assists (48) and points (82), averaging more than a point per game. He helped the Blues advance to the second round of the 2022 NHL playoffs, tallying nine points and six goals in 12 playoff games, including his second career playoff hat trick in Game 5 of the Blues' first round series against the Minnesota Wild. During the playoffs, he also scored his 40th career postseason goal, becoming the second player in franchise history besides Brett Hull to reach that mark.
New York Rangers
Tarasenko, alongside defenceman Niko Mikkola, was traded to the New York Rangers on 9 February 2023. In his Rangers debut a day later against the Seattle Kraken, Tarasenko scored his first goal with his new team in only 2:49 in the first period, which was the fourth fastest goal in Rangers debut in franchise history, behind Norman Lowe (1:00 in 1950), Lane Lambert (2:28 in 1986), and Mike Allison (2:44 in 1980). He scored eight goals and 21 points in 31 games with the Rangers while going unpenalized. He added three goals and four points in seven playoff games.
Ottawa Senators
Having left the Rangers as an unrestricted free agent, on 27 July 2023, Tarasenko signed a one-year, $5 million contract with the Ottawa Senators. Tarasenko joined the Senators with the intention of getting them to the playoffs. He made his debut with Ottawa in the season opener versus the Carolina Hurricanes on 11 October 2023. Tarasenko scored his first goal in a Senators uniform on 15 October against Matt Tomkins in a 5–2 win over the Tampa Bay Lightning. On 5 December, Tarasenko scored twice and assisted on another in a 6–2 win over his former team, the New York Rangers. On 12 January 2024, Tarasenko registered his 600th career point when he scored on Ukko-Pekka Luukkonen in a 5–3 loss to the Buffalo Sabres. However, the Senators were not in a playoff position near the trade deadline. Tarasenko had been given a no-movement clause in his contract by former general manager Pierre Dorion, the new general manager Steve Staios asked him to waive it in order to trade him.
Florida Panthers
On 6 March 2024, the Senators traded Tarasenko to the Florida Panthers in exchange for a conditional 2024 fourth-round and a 2025 third-round picks. He made his Panthers debut on 7 March against the Philadelphia Flyers. He scored his first two goals as a Panther on 9 March on Jacob Markstrom in a 5–1 win over the Calgary Flames.
International play
Tarasenko with the Russian men's national ice hockey team in April 2011 Medal record Representing Russia Ice hockey World Championships Silver 2015 Czech Republic World Junior Championships Gold 2011 United States IIHF World U18 Championship Silver 2009 United States
Internationally, Tarasenko has played for the Russian junior team three times, winning a silver medal at the 2009 IIHF World U18 Championships, sixth place at the 2010 World Junior Ice Hockey Championships and captained Russia to a gold medal at the 2011 World Junior Ice Hockey Championships. At the senior level, Tarasenko has also played for Russia at the 2011 IIHF World Championship and was a member of the Russian national team for the 2014 Winter Olympics held in his native Russia, in Sochi. He represented Russia at the 2015 IIHF World Championship, winning a silver medal, the 2016 World Cup of Hockey, and 2021 IIHF World Championship.
Personal life
Tarasenko's father, Andrei, is a former Russian league scoring champion and Olympian who competed at the 1994 Winter Olympics.
Tarasenko and his wife were married on 1 July 2015. The couple has two sons. Tarasenko's wife has a son from previous marriage.
Tarasenko was the cover athlete for EA Sports' NHL 17.
Career statistics
Regular season and playoffs
Regular season Playoffs Season Team League GP G A Pts PIM GP G A Pts PIM 2007–08 Sibir–2 Novosibirsk RUS.3 17 6 4 10 2 — — — — — 2008–09 Sibir Novosibirsk KHL 38 7 3 10 2 — — — — — 2009–10 Sibirskie Snaipery Novosibirsk MHL 1 1 0 1 0 — — — — — 2009–10 Sibir Novosibirsk KHL 42 13 11 24 18 — — — — — 2010–11 Sibir Novosibirsk KHL 42 9 10 19 8 3 0 0 0 0 2010–11 Sibirskie Snaipery Novosibirsk MHL 3 2 2 4 2 — — — — — 2011–12 Sibir Novosibirsk KHL 39 18 20 38 15 — — — — — 2011–12 SKA Saint Petersburg KHL 15 5 4 9 0 15 10 6 16 6 2012–13 SKA Saint Petersburg KHL 31 14 17 31 8 — — — — — 2012–13 St. Louis Blues NHL 38 8 11 19 10 1 0 0 0 0 2013–14 St. Louis Blues NHL 64 21 22 43 16 6 4 0 4 0 2014–15 St. Louis Blues NHL 77 37 36 73 31 6 6 1 7 0 2015–16 St. Louis Blues NHL 80 40 34 74 37 20 9 6 15 2 2016–17 St. Louis Blues NHL 82 39 36 75 12 11 3 3 6 0 2017–18 St. Louis Blues NHL 80 33 33 66 17 — — — — — 2018–19 St. Louis Blues NHL 76 33 35 68 22 26 11 6 17 4 2019–20 St. Louis Blues NHL 10 3 7 10 0 4 0 0 0 0 2020–21 St. Louis Blues NHL 24 4 10 14 0 4 2 0 2 0 2021–22 St. Louis Blues NHL 75 34 48 82 32 12 6 3 9 0 2022–23 St. Louis Blues NHL 38 10 19 29 8 — — — — — 2022–23 New York Rangers NHL 31 8 13 21 0 7 3 1 4 2 2023–24 Ottawa Senators NHL 57 17 24 41 12 — — — — — 2023–24 Florida Panthers NHL 19 6 8 14 0 KHL totals 207 66 65 131 51 18 10 6 16 6 NHL totals 751 293 336 629 197 97 44 20 64 8
International
Year Team Event Result GP G A Pts PIM 2008 Russia IH18 2 4 3 2 5 0 2009 Russia U18 2 8 8 7 15 6 2010 Russia WJC 6th 6 4 1 5 2 2011 Russia WJC 1 7 4 7 11 0 2011 Russia WC 4th 6 1 0 1 0 2014 Russia OG 5th 5 0 1 1 0 2015 Russia WC 2 9 4 3 7 2 2016 Russia WCH 4th 4 2 0 2 0 2021 ROC WC 5th 3 0 2 2 2 Junior totals 24 19 17 36 8 Senior totals 27 7 6 13 4
Awards and honors
|
|||||
7313
|
dbpedia
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3
| 38
|
https://prohockeynews.com/blues-season-reaches-halfway-mark-with-scoring-surge-but-has-areas-to-shore-up/
|
en
|
Blues season reaches halfway mark with scoring surge, but has areas to shore up
|
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"Dennis Morrell"
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2015-01-11T12:59:57-05:00
|
ST LOOUIS - Last season, the St. Louis Blues ended a promising campaign with four straight losses to the then defending Champion Chicago Blackhawks. Adding to the pain, the opening-round playoff series began with two home victories with momentum swung the way of the note before surrendering the series to Chicago in a week’s time.
|
https://prohockeynews.com/wp-content/themes/prohockeynews/favicon.ico
|
Pro Hockey News | Global Hockey News Network
|
https://prohockeynews.com/blues-season-reaches-halfway-mark-with-scoring-surge-but-has-areas-to-shore-up/
|
ST LOOUIS – Last season, the St. Louis Blues ended a promising campaign with four straight losses to the then defending Champion Chicago Blackhawks. Adding to the pain, the opening-round playoff series began with two home victories with momentum swung the way of the note before surrendering the series to Chicago in a week’s time.
Off-season changes were needed again. Along with a continued commitment to a disciplined, defensive system, increased scoring was added, but as the current campaign has played out, some players from last season are emerging to provide a potent jolt to the St. Louis attack.
Third-year sniper Vladimir Tarasenko leads the way with 22 goals, one more than he netted in 64 games last season. Along with Jaden Schwartz (13 goals) and newcomer Jori Lehtera (9 goals), St. Louis’ top line has accounted for 35% of the team’s goals.
While Schwartz has been an emerging threat for several years with a hockey I.Q. among the league’s top players, Lehtera is enjoying his first season in the NHL. Lehtera has rekindled the magic he enjoyed with Tarasenko when both were line mates during the 2011-12 season with Sibir Novosibirsk of the KHL.
Veteran players are also contributing, even as the newer threats lead the scoring parade. Mainstay and Captain David Backes is second in goals scored with 14. He has 5 goals in his last two games including 4 in a 6-0 win over Arizona. Last year’s team leader in scoring, Alex Steen, has 11 goals, the same number as American Olympic star T.J. Oshie has netted. In his last five games, Oshie has 6 goals and 11 points.
Youngster Dmitrj Jaskin has netted 4 goals in just 16 games, one less than disappointing veteran Patrik Berglund, who armed with a new contract in the off-season, continues to waste his natural size and strength when it is needed most. Free agent acquisition Paul Stastny, while in the middle of the pack in team scoring has recently surged in scoring and has 9 goals in 33 games, but has goals in the last two wins and 9 points in his last five games. He is expected to contribute more down the stretch.
For the first time since December 2000, St. Louis scored 6 or more goals in a game their last three games, all victories in San Jose (7-2) and Arizona (6-0) and at home Thursday night (7-2). In the Arizona game, Backes scored 4 goals, a first for any NHL player this season.
As an added bonus, defenseman Kevin Shattenkirk has contributed to the attack scoring 9 goals and 29 assists with a +8 rating. The veteran will most certainly shatter his numbers from last year when he registered 10 goals and 35 assists and +1 rating.
Like Shattenkirk, Alex Pietrangelo continues to play significant minutes while contributing offensively in similar fashion as he did in his best season last year. He has 4 goals and 19 assists while sitting with a team-worst -7 rating, an uncharacteristic metric for the potent backliner.
As a team, St. Louis is scoring 3.12 goals per game, good for fourth in the league. Only the New York Rangers (3.13), Toronto Maple Leafs (3.15) and Tampa Bay Lighting (3.26) have scored more. Last year, the Blues scored 2.92 per game, 7th overall. That the club is shooting more this season (31.4 vs. 29.3 shots per game) has to account for some of the improvement.
The offensive output is a welcome change for a team who has long-relied on defensive discipline to win games. That end of the ice continues to perform respectably, even with a revolving goalie situation due to injuries to veteran Brian Elliott and inconsistent play from youngster Jake Allen.
Future HOFer Martin Brodeur has helped stabilize the play in net when Brian Elliott went to down with a left knee injury. Still, there is needed improvement in the backstop position. The team continues to carry three goaltenders as Brian Elliott continues to get work after having been out for over a month. Of the three goaltenders, Elliott is the only one with a goals against average below 2.00 (1.81) and save percentage above 0.900 (0.933). The balance of the year will be interesting for the three goaltenders as either Allen or Brodeur will have to emerge as the regular back-up.
This season, the Blues are allowing 2.42 goals a game, good for 8th, but a far cry from where they were last season when they allowed 2.29 goals per game, a 3rd place finish. While the club is allowing just more than one shot per game more than last season (27.6 vs. 26.4), it seems the quality of the goaltending is slightly less than in the previous campaign.
A bigger impact in the team’s overall results, though, has been the role special teams have played. Last season, the Blues had a respectable power play converting 19.8% if the time. This season, St. Louis is the league’s top team with the man advantage, converting 26.4% of the time with 38 power play goals.
It is the shorthanded situation which is cause for concern. Last season, the Blues held the 2nd best survival rate when shorthanded with a 85.7% kill rate. This season, St. Louis ranks 18th in the league with a 79.9% survival rate. This side of the St. Louis game must improve if it is to challenge the top teams.
With a 25-13-3 record with 51 points, the current Blues are slightly off last year’s pace at the same point when they delivered a record of 29-7-5 for 63 points. They are 3rd in the division, 4th in the Western Conference and 8th overall.
St. Louis is cursed by being in the league’s most challenging conference. They are aligned with Chicago and top-ranked Nashville in the Central Division. Surviving without home ice advantage in the first round of the playoffs will be difficult, even despite last year’s result after having the better seed than their opponent.
As the second half of the season begins, St. Louis enjoys three weeks and five games at home, a stretch which will include the All-Star break in Columbus, Ohio. Tarasenko and Shattenkirk will certainly be honored with selections to the mid-season classic.
In those give games, Carolina, Edmonton, Detroit, Toronto and Colorado come to town. It is a string of games St. Louis might more easily add to their point total and gain momentum as the home stretch arrives. At least 7 of 10 possible points in these games will be needed to achieve success as the Blues continue to falter against the Conference’s heavyweights.
Among Chicago, Nashville, Anaheim, Los Angeles and San Jose, St. Louis is 6-5-2. Against the rest of the League, the Blues are 19-8-1. St. Louis will have to learn the beat the NHL’s top teams if they are to be a contender for the Stanley Cup.
Follow me on Twitter @DMMORRELL
|
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7313
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dbpedia
|
2
| 23
|
https://thereportonsports.com/brian-elliott-set-to-retire-joins-st-louis-blues-in-front-office-role/
|
en
|
Brian Elliott Set to Retire, Joins St. Louis Blues in Front Office Role
|
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2024-06-17T12:37:39-05:00
|
Veteran Goalie Transitions to Development and Scouting Role with the St. Louis Blues After 16 Remarkable Seasons
|
en
|
The Report On Sports
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https://thereportonsports.com/brian-elliott-set-to-retire-joins-st-louis-blues-in-front-office-role/
|
As the NHL offseason approaches, veteran netminder Brian Elliott appears to be calling it a career after 16 remarkable seasons. St. Louis Blues general manager Doug Armstrong confirmed today that the team has hired Elliott in a goalie development and scouting role, signaling the end of his playing days and the beginning of a new chapter in his hockey journey.
Elliott last played in the NHL with the Tampa Bay Lightning during the 2022-23 season. After not being re-signed, he became an unrestricted free agent and did not play during the 2023-24 campaign. This hiatus from the ice set the stage for his transition into a mentoring and scouting role.
Edmonton Oilers Begin Extension Talks with Leon Draisaitl
St. Louis Blues Considering Trading Brandon Saad
Ottawa Senators Start Shopping Seventh Overall Pick
Early Career and College Success
Selected by the Ottawa Senators in the ninth round of the fabled 2003 NHL Draft, Elliott’s journey to the NHL was not straightforward. His path began with a standout college career at the University of Wisconsin, where he was pivotal in leading the Badgers to the 2006 national championship. His stellar performance that season earned him a finalist spot for the Hobey Baker Award, given to the top player in the NCAA. This collegiate success laid a strong foundation for his professional career.
Transition to the NHL
Turning pro with Ottawa, Elliott made his NHL debut in the 2007-08 season, playing one game but showcasing his potential. He became a full-time NHL goaltender in the 2008-09 season, splitting time with Alex Auld and Martin Gerber. He posted a solid 16-8-3 record with a .902 SV% and a 2.77 GAA in 31 games. His promising performance earned him the starting role for the Senators in the 2009-10 season.
Challenges and Trade to Colorado
Elliott’s tenure as the Senators’ starter continued into the 2010-11 campaign, but his performance dipped amidst the team’s struggles. Despite his efforts, the Senators’ underpowered offense and his .894 SV% that season were far below the league average. In a move to shake up their goaltending situation, Ottawa traded him to the Colorado Avalanche in a one-for-one swap for Craig Anderson shortly before the 2011 trade deadline. Unfortunately, Elliott’s time in Denver was brief and challenging, winning just two of his 12 games with a .891 SV%. The Avalanche decided to let him walk as a free agent that offseason.
Resurgence with the St. Louis Blues
In the summer of 2011, Elliott signed a one-year, two-way deal with the St. Louis Blues, a move that would become one of the best value signings in club history. Under the guidance of Blues’ general manager Doug Armstrong, Elliott quickly proved his worth. Initially brought in as a backup to Jaroslav Halák, Elliott’s exceptional performance forced a goaltending tandem. He posted a league-best .940 SV% and 1.56 GAA in 38 appearances during the 2011-12 season, earning the Jennings Trophy alongside Halák for the fewest goals allowed by a team. Elliott also finished fifth in Vezina Trophy voting, solidifying his reputation as a top-tier goaltender.
Peak Years and Consistency
Elliott’s tenure with the Blues was marked by consistent excellence. Over five seasons, he made 164 starts and 17 relief appearances, compiling a sparkling 104-46-16 record behind one of the league’s better teams in the mid-2010s. His stats in a Blues uniform were impressive: a .925 SV%, a 2.01 GAA, and 25 shutouts. Elliott’s stellar play helped the Blues make the playoffs each season he was there, including a memorable run to the Western Conference Final in 2016. During that playoff run, Elliott posted a .921 SV% and a 2.44 GAA in 18 postseason games, further cementing his legacy in St. Louis.
Later Career and Final Seasons
Despite his success, the emergence of Jake Allen as a promising young goaltender made Elliott expendable. The Blues traded him to the Calgary Flames in exchange for draft picks, one of which turned into current Blues star Jordan Kyrou. Elliott’s career continued with stints in Calgary, Philadelphia, and Tampa Bay. In Calgary, he played 49 games in the 2016-17 season, posting a respectable .910 SV% and a 2.55 GAA. His time with the Philadelphia Flyers saw him in a more transitional role, where he provided veteran leadership and stability in net.
Elliott’s final NHL season was with the Tampa Bay Lightning in 2022-23, where he played 22 games, posting a .891 SV% and a 3.40 GAA. Though his performance dipped, his experience and presence were invaluable to the team.
Legacy and Future
Elliott’s career stats reflect his resilience and skill. Over 16 seasons, he played 543 games, with a 281-179-60 record, a .910 SV%, and a 2.55 GAA. His journey from a late-round draft pick to a respected veteran underscores his dedication and impact on the game.
As Elliott transitions to his new role with the Blues, he leaves behind a legacy of excellence and mentorship for future generations of goaltenders. His experience and knowledge of the game will undoubtedly be an asset to the Blues’ organization, as he helps develop the next wave of goaltending talent and contributes to the team’s scouting efforts.
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7313
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dbpedia
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3
| 80
|
https://www.yardbarker.com/nhl/articles/wild_report_cards_for_2023_24_marcus_johansson/s1_16448_40713159
|
en
|
Wild Report Cards for 2023-24: Marcus Johansson
|
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2024-08-07T10:02:21-04:00
|
The Minnesota Wild grade reports keep flowing in, and this time, it’s for Marcus Johansson who’s had a complex reputation with Wild fans. “JoJo” as his teammates call him, joined the Wild for the second time shortly before the trade deadline in 2023.
|
en
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/apple-touch-icon.png?v=2
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Yardbarker
|
https://s3951.pcdn.co/wild-grade-report-2023-24-marcus-johansson/
|
The Minnesota Wild grade reports keep flowing in, and this time, it’s for Marcus Johansson who’s had a complex reputation with Wild fans. “JoJo” as his teammates call him, joined the Wild for the second time shortly before the trade deadline in 2023. He started his journey with Minnesota looking strong in a short stint, but once he returned for a full season, things looked a little different.
Johansson’s season was complicated. On paper, he had a strong offensive season, but watching him play, things could’ve been better. Without the postseason, we’ll rely on his regular-season performance for a grade. We’ll examine a rough part of his game and a strong part of his game and then combine those for a grade.
Johansson’s Defensive Game Lacks
Johansson isn’t a defenseman, but every player on the team has to take responsibility in the defensive zone when they can. This includes blocking shots, pushing opponents to the outside, and breaking the puck out efficiently. Johansson contributed more blocked shots than some of his teammates, but he could’ve done better.
He played in 78 games for the Wild and had 29 blocked shots, which tied him for 17th place on the roster. This was shared with Jared Spurgeon, who only played 16 games. It’s understandable that he wouldn’t have as many blocked shots as the top defensemen on the Wild, but he could’ve done slightly more to help.
The other area he needs to improve on, more than his blocked shots, is his turnovers. He made a difference offensively, but he also gave up the puck 33 times, which was one of the highest on the team. Only five players were higher than he was, and they all handled the puck more than Johansson.
He has to improve his puck handling for this coming season so he doesn’t turn over the puck as much. That was a big issue with the entire team, but certain players were worse than others, and that can’t happen if they want to win games. Hopefully, Johansson can find a way to improve this part of his game before this coming season starts.
Johansson Finds Offense
Johansson is known for his speed and making a break for the net to score. He hasn’t gotten career numbers in the past few seasons, but this past season, he found a way to increase his points. He scored 11 times and assisted on 19 other goals for 30 points. He hasn’t been a big point producer over the years except the 2011-12’ season, when he tallied 46 points, and then a stretch from the 2013-14 season to the 2016-17 season, where he recorded over 40 points per season with one season coming in at 58 points.
Johansson’s 30 points don’t seem like a big deal, but for the Wild, it was, and it put him at eighth on the roster. While he found a way to score points, he wouldn’t have been able to do so without taking shots. He wasn’t shy about shooting whenever he could, as he took 112 shots on goal and was rewarded. He needs to keep that confidence going into this season and continue to take as many shots as he can.
The other area that deserves attention for being a good part of his game was the low number of penalty minutes he took. In the 78 games he played, he only took 22 minutes in penalties, and all of them were minors. He didn’t cost his team by taking any major or misconduct penalties; although he did take penalties, they were minimal.
Johansson’s Overall Grade
After reviewing the rough and good parts of his game, Johansson earned a C. Originally, his grade would’ve been lower, but after considering how much he contributed offensively compared to some of his teammates, he earned a slightly higher grade. However, on the flip side, it could’ve been higher, but his turnovers and small number of blocked shots made his grade a little lower.
It’ll be interesting to see if Johansson can keep up his scoring this coming season now that he has scored 30 points. Hopefully, he can find a way to keep up his offense while also keeping his turnovers low and blocked shots high. The Wild will need his contributions if they expect to win more games this season.
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7313
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dbpedia
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1
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https://law.marquette.edu/facultyblog/author/gordon-hylton/page/16/
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en
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J. Gordon Hylton – Page 16 – Marquette University Law School Faculty Blog
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With the National Hockey League lockout now well into its second 100 days, and with chances of there being a 2012-13 season looking more and more remote, some NHL owners are apparently thinking about expanding the number of teams in the league from 30 to 32. The most frequently mentioned locations for new teams are Seattle and Quebec.
Apparently, the idea is that the labor dispute will be settled eventually, and that current owners could make up for some of their losses by dividing up sizeable expansion fees from the two new teams.
In reality, the best thing for the NHL would be to contract back to 21 teams, the number it had between 1979 and 1991, which is increasingly looking like the league’s golden age.
In 1979, the then 17-team NHL agreed to add four teams from its former competitor, the World Hockey Association. For the next twelve seasons, the league played with three 5-team and one 6-team divisions. The growing popularity of NHL hockey in the early 1990’s led the league to somewhat ambitiously add nine teams between 1991 and 2000. In retrospect, this decision to expand the league into new markets in the southern half of the United States is a major source of the league’s current financial problems.
The league simply has too many teams and too many teams in markets that will not support major league hockey.
How would one decide which nine teams to jettison and which 21 to keep? The goal could be reached by simply eliminating the nine post-1991 expansion teams, but that would overlook the fact that a few of the expansion teams—the San Jose Sharks, the Ottawa Senators, and the Minnesota Wild—are among the league’s more financially successful teams.
Fortunately, the recent Forbes Magazine franchise value evaluations provide the data that makes such a determination fairly simple.
According to Forbes, there are currently 20 NHL franchises with valuations of more than US $200 million, ranging from the Toronto Maple Leafs (worth an estimated $1b) to the Winnipeg Jets (worth $200m). Similarly, there were 20 franchises that had revenues during the 2011-12 season in excess of $95 million, ranging from Toronto ($200m) to Buffalo ($95m).
A total of 21 teams appear on these two lists. Nineteen are on both, with only Colorado (21st in terms of revenue) and Buffalo (22nd in terms of estimated value) appearing on one list but not the other. The nine franchises that appear on neither of these lists are the logical ones to eliminate.
The nine “to be folded” franchises are, in descending order of value according to the Forbes estimates: Anaheim Ducks, Tampa Bay Lightning, Florida Panthers, Nashville Predators, Carolina Hurricane, New York Islanders, Columbus Blue Jackets, Phoenix Roadrunners, and St. Louis Blues.
Six of the nine are post-1991 expansions teams, and Phoenix is a transformed beyond recognition version of the original Winnipeg Jets, since restored to Winnipeg in the form of the transferred Atlanta Thrashers. The other two teams, the New York Islanders and the St. Louis Blues, have been around for a much longer time.
The Islanders were founded in 1970, and a decade later began one of the greatest runs in North American sports history. The team won four consecutive Stanley Cups from 1980 to 1983, and almost won a fifth title, before losing in the Cup finals to Wayne Gretzky’s Edmonton Oilers in the 1984. However, for the past 20 years, the Isles have been one of the Sad Sacks of the NHL, qualifying for only 6 of the last 21 Stanley Cup play-offs and only one of the past seven.
Attendance has also tumbled as it has become clear that New York is not a good enough hockey town to support three NHL teams. The Islanders ranked dead last in the NHL in revenue last year with a total that was less than 80% of that garnered by the 29th ranked team (Phoenix).
The St. Louis Blues date back to 1967, when they were part of a decision to increase the size of the league from six teams to twelve. Thanks to a decision to put all of the expansion teams in their own division, the Blues played in the Stanley Cup finals their first three seasons in the NHL (1968 to 1970), but have not been back to the finals since. In most years, they have made the post-season, but they have usually exited early on. In the past 25 years, they have won only two division titles, and have a post-season series record of 12-19.
Losing the St. Louis franchise would be disappointing for me personally. I was a Blues season ticket holder from 1991 to 1993, and I have followed the team ever since. However, it is hard to deny the facts: the Blues are the least valuable franchise in the NHL, and their value has been declining rapidly. To flourish, the NHL needs to get rid of franchises like the Blues, and St. Louis will do fine without the team.
What would be left if these nine teams were eliminated? Simply an NHL on a much sounder financial footing with a much higher caliber of play (as only 70% of current players would still be in the league, with their less talented teammates returned to the minor leagues or to Europe).
Imagine the following divisional line-ups.
Northern Division: Montreal Canadiens, Boston Bruins, Ottawa Senators, Toronto Maple Leafs, Buffalo Sabers.
Eastern Division: New York Rangers, Pittsburgh Penguins, Philadelphia Flyers, Washington Capitals, New Jersey Devils
Midwest Division: Detroit Red Wings, Chicago Black Hawks, Dallas Stars, Minnesota Wild, Winnipeg Jets, Colorado Avalanche
Western Division: Vancouver Canucks, Los Angeles Kings, Calgary Flames, Edmonton Oilers, San Jose Sharks
With one-third of the teams in Canada and only three “warm weather” cities (LA, San Jose, and Washington), the league’s “old-time hockey” feel would be restored.
Dramatic contractions have occurred before in American sports history. In 1890, there were three major league baseball leagues with 24 teams. Multiple teams in single cities were the norm. After a negotiated settlement, the total was reduced to two leagues and 16 cities in 1891. In 1892, it was further reduced to one league and 12 teams, and in1900, to eight teams.
Similarly, between 1926 and 1927, the number of teams in the National Football League was reduced from 22 to 12. In 1950, the NFL and the competing All America Football Conference combined, and in doing so reduced the total number of teams from 18 in 1948 to 13 in 1950, and 12, in 1951. The National Basketball Association began play with 17 teams in 1949, but reduced the number of teams to 11 the following year and to eight in 1953-54.
In each case, teams were eliminated to insure the economic profitability of the remaining clubs.
Obviously, it would not be an easy task to buy out the nine NHL franchises identified for contraction. According to the Forbes estimates the combined value of the nine franchises is $1.43 billion. On the other hand, it is telling that the combined value of the nine weakest franchises is significantly less than the value of the Maple Leafs and Rangers ($1.75 billion), the two most valuable franchises.
In recent years, commentators have talked incessantly about the United States being divided between “red” states and “blue” states. However, as Professor Idleman’s recent post on Alabama’s 1819 admission to the Union noted, an even more fundamental distinction in pre-Civil War America was the divide between “slave” states and “free” states. Ultimately, the fear on the part of the white population of the slave states that the free states were no longer committed to the preservation of their “peculiar institution” led to the dismemberment of the Union and a bloody four-year war to reassemble it.
For the first portion of the antebellum period, the free-state versus slave-state description was more general than precise, as African slavery was initially a continental phenomenon. In 1776, slavery existed in all of the thirteen colonies (though apparently not in Vermont, which was then officially part of New York).
In 1780, Pennsylvania became the first state to abolish slavery when it adopted a statute that provided for the freedom of every slave born after its enactment (once that individual reached the age of majority). Massachusetts was the first to abolish slavery outright, doing so by judicial decree in 1783. The remaining New England states–New Hampshire, Connecticut, and Rhode Island–adopted gradual emancipation schemes modeled on Pennsylvania’s statute in the mid-1780s, and the United States Congress abolished slavery in future states north of the Ohio River in the Northwest Ordinance of 1787.
Gradual emancipation came to New Jersey in 1804 and to New York in 1817, albeit with an operational date of July 4, 1827. In 1828, New York abolished slavery outright, as did Pennsylvania in 1847 (an act that liberated the state’s fewer than 100 remaining slaves). Somewhat unusually, New Hampshire appears to have formally abolished slavery in 1857 (apparently more than a decade after the death or manumission of the last New Hampshire slave).
Between 1840 and 1850, the last slaves in Connecticut, New Hampshire, and Rhode Island either died or were emancipated, and, as a result, the only northern state where slavery continued to exist after 1850 was New Jersey, where it was limited to slaves born before 1805. Technically, slavery had still not died out in New Jersey by the time of the Civil War. The United States Census recorded 236 slaves in the Garden State in 1850, and 18 in 1860 (though by 1860, the 18 individuals were classified not as “slaves,” but as individuals “indentured for life”).
Even though gradual emancipation statutes left a handful of individuals in bondage down to the time of the Civil War, from 1817 onward, every state in the northern and western United States had committed itself to a future without slavery.
However, no such developments were forthcoming in the South. Although an effort to adopt a very gradual emancipation plan almost passed in Virginia in 1832, by 1861, slavery had not been abolished in any Southern state. Even in Delaware, where the number of slaves had dwindled to less than 2000 by 1860, the institution remained legally alive. And while a vigorous two-party competition had characterized Southern politics for much of the ante-bellum period, support for the institution of slavery created a cohesive Southern regional identity.
One of the central constitutional questions in pre-Civil War America was the extent to which the national government could regulate slavery. (As Virginian John Marshall observed in a different context, “The power to regulate is the power to destroy.”) Obviously, the greater the involvement of Southerners in national affairs and the greater their control of the institutions of governance, the greater their capacity to protect the institution of African slavery.
Southern control and influence was weakest in the legislative branch. From the beginning, Southerners were a distinct minority in the House of Representatives. (By Southern, I am referring to any state south of the Mason-Dixon Line or the Ohio River, plus the Southwestern states of Louisiana, Missouri, Arkansas, and Texas.)
In the First Congress (1789-1791), for which the size of Congressional delegations was specified in Article I, Section 2 of the Constitution, Southern delegations accounted for 30 of 65 members of the House of Representatives, or 46% of the total. In 1799, when there were sixteen states and the House had been reapportioned based upon the First United States Census in 1790, the eight Southern delegations still accounted for 46% of the members of the House of Representatives.
By 1809, the number of states, with the addition of Ohio, had grown to seventeen, but the Southern percentage in the House of Representatives remained at 46%. By 1819, the number of states had grown to 21, with the addition of Louisiana, Indiana, Mississippi, and Illinois, and the Southern percentage had declined slightly to 44%. By 1824, following the admission of Alabama, Maine, and Missouri, and the 1820 United States Census, the percentage dropped again to 42%.
In other words, between 1789 and the early 1830s, when representation was reapportioned on the basis of the 1830 United States Census, Southern representation in the House of Representatives varied only from 42% to 46%. The number continued to erode slowly after 1830, and after the 1850 Census representatives of the 15 slave states accounted for 38% of the House membership. Had the Civil War not intervened, the Southern percentage would have further declined to 36% in 1862.
Unlike the situation in the House, for most of the antebellum period, the Senate was essentially equally divided between North and South. For a three year period (1845-1848), Southerners actually held a majority of the seats in the Senate, but after 1850 slave state senators became a permanent minority in Congress’ upper chamber as well.
By the end of the first session of the First Congress there were 12 Northern and 12 Southern senators. However, when Rhode Island finally ratified the Constitution in 1790, Northerners gained a two seat margin, which increased to four with the admission of Vermont in 1791. Parity returned in the mid-1790s, with the admission of Kentucky (1792) and Tennessee (1796).
The Northern majority returned in 1803 with the admission of Ohio, where slavery was banned by the Northwest Ordinance, and remained until the admission of Louisiana in 1812. The admission of Indiana, Mississippi, Illinois, and Alabama between 1816 and 1819 kept the Senate balanced, as did the paired admission of Maine and Missouri under the terms of the Missouri compromise in 1820 and 1821.
The Senate actually gained a Southern majority for the first time in June of 1836 with the admission of Arkansas, but this was countered by the admission of Michigan seven months later. The admission of Florida in March 1845, followed by the annexation of Texas later the same year, gave the South a four seat majority in the Senate, but this was countered by the admission of Iowa in 1846 and Wisconsin in 1848 (originally scheduled for 1846, but delayed by the failure of its proposed constitution in a statewide referendum).
The return of the northern majority to the United States Senate came in 1850 with the admission of California as a free state. (The organization of New Mexico and Utah Territories without regard to the status of slavery as part of the Compromise of 1850—which opened them to slavery– may have been motivated by a desire to facilitate the creation of future slave states.)
This two-vote free-state edge continued throughout the 1850s until 1858, when Minnesota was admitted to the Union, over the objections of most, but not all, Southern congressmen. (The Minnesota Enabling Act of 1857 was, for example, opposed by 22 of 30 Southern senators.)
The violent controversy over the status of slavery in Kansas Territory may have been motivated, in part, by a concern that the free-state majority in the Senate not grow too large. However, the 1859 admission of Oregon (whose state constitution prohibited both slavery and settlement by free African-Americans) and the adoption of an anti-slavery constitution by the Kansas Territory in 1859, created an even larger free state majority in the Senate.
By 1860, it was clear that if Congressional voting on issues of slavery were to occur on sectional lines, neither the House nor the Senate would support the South’s position.
On the other hand, the South was much more successful in controlling the executive and judicial branches of the government, especially the offices of President and Supreme Court justice. Southerners accounted for a majority of United States presidents and Supreme Court justices during the antebellum period. Thirteen of the first 16 presidential elections were won by Southerners,* and the two subsequent winners (Franklin Pierce and James Buchanan) were famously “Northern men of Southern principles.”
Southerners who were also well represented in presidential cabinets, as 13 of 21 Secretaries of State between 1790 and 1860 were Southerners, as were 12 of 24 Secretaries of War, 13 of 23 Secretaries of the Navy, 14 of 23 Attorneys General and 6 of 12 Postmasters General. (On the other hand only 8 of the first 22 Secretaries of Treasury were from the South.)
Southerner dominance on the Supreme Court was even more pronounced, as 19 of the 33 justices who served on the Court before 1861 were from Southern States, even though the early justices were selected by a formula designed to ensure geographic balance. The pattern continued throughout the antebellum period as the Court possessed a Southern majority from 1801 to 1830, and from 1837 to 1861.
However, by the end of the 1850s, Southerners appeared to be on the verge of losing control of these institutions as well. In the fall of 1860, the South lost the presidency to a Republican who, though Southern-born, was adamantly opposed to the expansion of slavery. The Supreme Court, which had a five-man Southern majority at the outset of 1860, along with three Northern justices identified with the pro-slavery wing of the Democratic Party, may still have been in Southern hands, but the prospects of it remaining so were uncertain following the election of Lincoln.
In 1858, a coalition of Republicans and anti-slavery Northerners in the Senate had nearly been able to block James Buchanan’s appointment of the pro-slavery Democrat Nathan Clifford of Maine to the Court. Following the May 1860 death of the militantly pro-slavery Justice Peter Daniel of Virginia, Buchanan had been unable to (or unwilling) to nominate another Southerner to take his place. With six members of the Court ranging in age from 66 to 83, it seemed likely that by the end of Lincoln’s presidency the Court would lose both its Southern majority and its pro-slavery orientation.
By the winter of 1860-61, it had become apparent that the Slave South was in the position of a permanent minority in the United States with little likelihood of controlling any of the national governmental institutions. At that point, for many Southerners secession appeared to be the only option. The rest, as they say, is history.
* I am counting the winner of the 1840 election as a Southerner. The actual winner, William Henry Harrison, was born in Virginia and did not move to Indiana/Ohio until he was 18. However one characterizes Harrison geographically, he was president for only 31 days, and the rest of his term was served by John Tyler, a dyed-in-the-wool Virginian.
The following essay is based on remarks delivered at the April 2011 Marquette Law Review banquet that marked the 95th anniversary of the journal.
In December of 1916, Volume 1, Issue # 1 of the Marquette Law Review rolled off the presses. The new publication announced itself as “A Journal Published Quarterly during the School Year by the Marquette Law Students.” The cover price was 35-cents per number, but an entire year’s subscription could be had for one dollar.
(By way of comparison, tuition and fees for students in 1916 were $60 for day students and $40 for those enrolled in the evening division. Relative to today’s tuition rates, that would be equivalent of $200 for an individual issue and about $600 for a year’s subscription. As current students have probably noticed, the cost of law school has gone up a good bit since 1916.)
Why Did the Marquette Law Review Appear in 1916?
The first two decades of the twentieth century was the time in which law school-based law reviews went from being anomalies to becoming an expected component of legal education at the most prominent law schools. Before 1900, there were six such law reviews: University of Pennsylvania Law Review (1852); the Harvard Law Review (1887); the Iowa Law Review (1891); the Yale Law Journal (1891); the West Virginia Law Quarterly (1894); and the Dickenson Law Review (1897). However, as the following list indicates, the number of law reviews had already grown dramatically between 1900 and 1916, as 20 law schools established law reviews between 1900 and 1920.
Columbia Law Review (1901)
Michigan Law Review (1902)
Oregon Law School Journal (1902, folded 1917)
Illinois Law Review (1906, the law review of Northwestern University)
Maine Law Review (1906, folded 1920)
California Law Review (1912)
Georgetown Law Review (1912)
Kentucky Law Journal (1912)
Virginia Law Review (1913)
Fordham Law Review (1914, closed 1917)
Cornell Law Quarterly (1915)
New Jersey Law Review (1915, closed 1916)
St. Louis Law Review (1915, law review of Washington University)
MARQUETTE LAW REVIEW (1916)
Tulane Law Review (1916)
Law Review of the University of Detroit (1916, folded 1931)
Southwestern Law Review (1916, folded 1918)
University of Illinois Law Review (1917)
Minnesota Law Review (1917)
Wisconsin Law Review (1920)
Another 27 were founded between 1921 and 1930, including, in the Midwest, Chicago-Kent and Nebraska (1922), Indiana and Notre Dame (1925), and Cincinnati (1927).
But the growing popularity of law reviews in the United States in the early 20th century doesn’t explain why Marquette started a law review in 1916, rather than 1908 or 1928, or any other year. Given that there were only two Roman Catholic law schools with law reviews at the start of 1916 (and one of those, Fordham, folded its law review the next year after an unsuccessful three year experiment), and that no midwestern Catholic School had created one, one might have thought that a law review would not have been high on the school’s agenda.
The reasons that Marquette established a law review in 1916 appear to be closely tied to a series of crises that Marquette experienced between 1913 and 1916 which raised questions regarding its worthiness of being included among the nation’s best law schools. While there are few records documenting its founding, it seems clear that the law review was one of a number of innovations adopted by the law school during the deanship of Max Schoetz (1916-1927) that were designed to demonstrate that Marquette belonged in the ranks of the nation’s top law schools.
The Marquette Law School was founded in 1908, when Marquette University, as part of its plan to convert itself from a small college into a university, acquired the 16-year old private Milwaukee Law School and the recently established Milwaukee University Law School (which despite its ambitious name was a stand-alone law school with one professor and only 10 students).
Marquette combined the two schools into a single night division, and in the fall of 1908, a new full-time day division was added as well. James G. Jenkins, a retired federal judge, was named as the first dean. The faculty, all of whom taught part-time, was recruited from the ranks of prominent Milwaukee lawyers and from the lawyers who had taught at the two predecessor schools. Two years later, the school added a second full-time faculty member (in addition to the dean) in the person of University of Chicago law graduate Arthur Richter, who doubled as faculty secretary.
No one connected with Marquette’s new law school appears to have given any thought to the idea of a law review in 1908.
From the beginning, Marquette wanted to have a have a highly regarded, and nationally known, law school. To that end, it applied for membership in the elite Association of American Law Schools in 1911. Although it was passed over for membership the first year, it was admitted in 1912, when the AALS met in conjunction with the ABA in Milwaukee. At the time only 45 of the nearly 200 American law schools were AALS members.
The two primary requirements of the AALS in 1912 was that all members offer a three year law course (which Marquette did, and had to because of the requirements for the Wisconsin bar exam), and they had to admit as degree candidates only students with a high school diploma or the equivalent (which Marquette did, sort of). In addition, member schools were required to maintain a law library of a certain size. Marquette did not meet the library requirement in 1912, but it was admitted based on its promise to remedy this situation as quickly as possible.
In spite of its promising beginning, the law school suffered a series of major setbacks beginning in 1913. Many at Marquette thought that its AALS membership would prompt the Wisconsin legislature to extend the diploma privilege to the new law school. University of Wisconsin graduates had been exempted from the Wisconsin bar exam since 1870, but Marquette graduates had to take it. Unfortunately, a Marquette-backed proposal to extend the privilege to the Milwaukee school was rejected by the Assembly. Crucial to the failure was the unwillingness of the justices of the Wisconsin Supreme Court to support the proposal.
A war of words then broke out in the pages of the American Law School Review between Marquette’s Professor Richter and Professor Howard Smith of the University of Wisconsin Law School. Richter accused the Madison school of hiding its deficiencies with the diploma privilege, which had already been denounced by the American Bar Association. Smith , in turn, noted the hypocrisy of Marquette’s opposition to the diploma privilege only after its efforts to obtain its benefits had been rejected by the state. Both articles relied upon intemperate language, and Marquette threatened to sue for libel, a decision that did not put the school in a particularly good light.
Then, in May of 1916, Marquette was hit by an unannounced inspection by the AALS, prompted, many believed, by allegations by the University of Wisconsin that Marquette was not compliant with AALS regulations. (Wisconsin, in 1911 and 1912, had opposed Marquette’s admission to the organization on the grounds that it was not really a AALS-type law school.) If nothing else, the investigation showed that record-keeping under Dean Jenkins had been chaotic, at best.
Fearing expulsion from the AALS, Marquette moved to make a number of changes. The 82-year-old Jenkins stepped down as dean in August, and University of Wisconsin graduate Max Schoetz was appointed acting dean. Schoetz, a Milwaukee lawyer since 1908, had joined the Marquette faculty in September 1914 as director of the practice court, and in February 1916 he replaced the recently fired Arthur Richter as Faculty Secretary.
In October, Marquette was charged with non-compliance of AALS regulations. (The was part of a broader crackdown by the AALS on member schools that were allegedly not honoring AALS standards, and the same charged was leveled the same year against six other laws Schools: Dickinson, Drake, Hastings, Pittsburgh, Tennessee and Trinity (Duke).
The establishment of the law review was in all likelihood part of Marquette’s effort to prove that it was in fact a law school worthy of AALS membership. On December 27, in the same month that the Marquette Law Review first appeared, Acting Dean Schoetz, Marquette President H. C. Noonan, S.J., Wisconsin Supreme Court member and Marquette faculty member Franz Eschweiler, and law professor Albert Houghton attended the AALS meeting in Chicago prepared to defend the law school and its practices. (It is probably significant that neither Jenkins nor any of the early Associate Deans or secretaries were asked to attend.)
At the meeting Marquette was acquitted of all of the charges against it and was found to be making appropriate progress toward meeting the library requirement. The following August, Schoetz’ “acting” title was dropped, and he was appointed the second dean of the law school at the uncommonly young age of 32.
During his tenure as Dean, Schoetz oversaw a number of additional changes that helped “modernize” the Marquette Law School. The appointment of full-time faculty, the use of the case method as the primary means of instruction, the requiring of first one and then two years of prior college coursework for degree candidates, an emphasis on the secular nature of the law school, the securing of ABA accreditation, and, somewhat reluctantly, the elimination of the night program were all products of Schoetz’ deanship.
Once the crisis passed, one could point to the Marquette Law Review as evidence that Marquette was in fact becoming what Dean Schoetz called the Midwest’s most progressive law school. While the rival University of Wisconsin created its law review four years later, it would always be the case that Marquette had the first law review in the state of Wisconsin.
Who Were the Members of the Original Marquette Law Review Staff?
The original law review staff in the fall of 1916 consisted of 15 students, eight of whom were in their final year of law school. Six were underclassmen, and one was a member of the recently graduated Class of 1916. According to the Law School Bulletin, there were 102 students enrolled that year in the day program and 98 in the evening division.
Although there were seven women in the law school that year, all 15 of the members of the law review were male. Twelve were enrolled in the day division and three in the evening. All were from Wisconsin, but only five hailed from Milwaukee. The communities of Tomah, Marinette, Green Bay, Cuba City, Sheboygan, Appleton, Glenbeulah, Fond du Lac, and Bradley, Wisconsin, were all represented on the original staff.
How the original law review staff was chosen is not known. Law Bulletin descriptions of the law review, which began in 1918, made no reference to the way that staff members were chosen until 1941 when it stated that “the editorial staff is chosen from second- and third-year students on the basis of scholarship.” One suspects, however, that the original staff was made up of volunteers.
Only ten of the 15 original law review staffers eventually graduated from the law school, although it should be remembered that only three years of law study, not graduation from law school, was a prerequisite for eligibility to take the Wisconsin bar exam, and the diploma privilege had not yet been extended to Marquette graduates. (That would not happen until 1934.) None of the three evening students graduated, and one, Joseph R. Fitzsimmons, appears to have dropped out of law school after one semester of working with the law review.
The editor-in-chief was James D. Moran, a senior law student from Tomah, Wisconsin. The only other named positions were business manager, held by Russell M. Frawley, a junior student from Marinette, and Secretary/Treasurer, filled by junior Edward H. Clemens from Green Bay. Notable among the remaining staff members was future Marquette law professor Francis A. Darnieder. By the time issue number 2 hit the streets several months later, the journal had added a circulation manager and three new staff members (although it had also lost two members).
The original faculty adviser was Professor Clifton Williams, who taught Code Pleading, Code Practice I and II, and Conveyancing, and also worked as the Milwaukee City Attorney. (In 1916, all Marquette faculty members were still part-time teachers.) Not coincidentally, he was also the law partner of Dean Max Schoetz, who had brought his friend on to the faculty. (Eleven years later Williams would succeed Schoetz as the dean of the law school following his Schoetz’ tragic death in an automobile accident on the way to the 1927 Marquette Commencement.)
What Was Published in Volume 1, Number 1?
Volume 1 began with a foreword written by Milwaukee lawyer William A. Hayes, then vice-president of both the American Bar Association and the Wisconsin State Bar Association. Hayes praised the student staff for undertaking “a most commendable work” that would help the law school “expand and fulfill its mission.” He also noted that the Marquette students involved in the production of the law review “have shown a spirit of which older and more pretentious colleges—presumably a reference to the University of Wisconsin—might well be proud.” He also called upon every member of the Wisconsin bar to the support the venture.
The editors themselves then proclaimed that their primary intention was “to furnish an attractive bond between the Marquette Law students and the Alumni and secondarily, to acquaint each and every lawyer in the state with the fact that the Cream City is the locus in quo of the most progressive law school in the middle west. Furthermore, we purpose to devote the REVIEW exclusively to a resume of Wisconsin law and to a discussion and exposition of matters which we may deem of special, practical value to the Wisconsin bar.”
The introduction also promised the future appearance of a humor column written by Dr. I. M. Clear. This did appear in Issue #2, but “fortunately” this feature had been discontinued by the time Volume 2 appeared.
The substantive content of Volume 1, Issue 1, established a pattern that the Review would follow for many years. It sought out articles from leading legal figures in Wisconsin, but it also served as a mouthpiece for the Marquette Law School faculty and its students.
The inaugural law review article was written by Chief Justice John B. Winslow of the Wisconsin Supreme Court and was entitled, “The Property Rights of Married Women under Modern Laws.” Footnote number one in the history of the Marquette Law Review appeared on page 11 and concisely cited to Montague Lush in “A Century of Law Reform” (1901), p. 342. Of Winslow’s remaining ten footnotes in the first part of his article—the conclusion was carried over to Issue 2—seven were to decisions of the Wisconsin Supreme Court and the remaining three were to Blackstone’s Commentaries. The second half of the article had only four additional footnotes.
Following Winslow’s article was an essay by Marquette professor A. C. Umbreit. Umbreit was an original faculty member at Marquette Law School and had been the dean and sole faculty member of the Milwaukee University Law School that Marquette had acquired in the summer of 1908. In 1919, he would become one of the school’s first full-time faculty members. Umbreit’s subject was “The Common Law of Wisconsin,” which he insisted was a different topic than the “common law in Wisconsin.”
Following Umbreit’s article, the law review introduced one of its more imaginative innovations—a section entitled: Legislative Suggestions. Designed to help implement the image of Marquette as “the most progressive law school in the Midwest” this feature was designed to point out areas of Wisconsin law that were in need of reform.
The first such article was contributed by Marquette professor and future American Bar Association president Carl B. Rix. Rix’s contribution, cleverly entitled, “Needed Property Legislation in Wisconsin,” actually dealt with Rix’s view that the Rule Against Perpetuities in Wisconsin needed to be reformed so that it applied to personal property as well as interests in land. (That the Rule applied only to interests in land was a distinctively Wisconsin position which was eventually reversed by the type of legislation that Rix called for in his contribution.)
The second contribution, written by editor-in-chief James Moran (who would end up practicing law in Tampa, Florida), called for an end to the practice of Wisconsin judges signing statements of findings of fact submitted to them by attorney. That was followed by an entry from W. C. McGeever, the recent graduate on the staff, entitled “Tenancies at Will and Notice to Quit,” and one from senior law student Francis Darnieder, “The Right to Try the Title of a De Facto Officer by Injunction.” The latter topic grew out of an incident a few years earlier when partisan strife in Madison had created a controversy as to who was entitled to hold the office of Wisconsin Insurance Commissioner.
Issue #2
The law review’s second issue followed a similar pattern. Chief Justice Winslow’s article was concluded. Milwaukee City Attorney Garfield S. Canright contributed an article on “Testimony as to Transactions or Communications with Deceased Persons.”
In the Legislative Suggestions section, Milwaukee lawyer John F. Woodmansee argued that Wisconsin should scrap nearly one hundred years of history and replace the existing land registration system with the Torrens System. Prof. Rix contributed another article, this time one arguing for a change in the sections of the corporation law of Wisconsin dealing with “watered” stock.
Student articles in Issue 2 included an extremely prescient article by junior law student, C. Stanley Perry, calling for the abolition of the privity doctrine in products liability law so that injured bystanders could more easily sue the manufacturers of defective products that had injured them. (Perry appears to have left the law school without ever actually graduating, but went on to a successful career as a lawyer in Wisconsin and published another article in the Marquette Law Review 28 years later.)
The second student comment was by Irving Rosenheimer and dealt with the use of physicians as expert witnesses. Both Perry and Rosenheimer joined the Law Review for the issue that included their articles. The second issue ended with Dr. M. I. Clear’s humorous take on the subject of judicial notice.
In March of 1917, half-way through the first volume, the Marquette Law Review revamped its staff, replacing editor-in-chief Moran with former Business Manager Russell Frawley. The goal, as the editor’s statement made clear, was to guarantee continuity from the 1916-1917 academic year to the next. As it turned out, the rude intrusion of World War I did disrupt the law review that year anyway, as business manager John W. Kelly ended up as Lieutenant John W. Kelly in the U.S. Field Artillery in France. For good measure, Prof. Carl Rix also ended up replacing Clayton Williams as Faculty Advisor.
Nevertheless, the pattern that the Marquette Law Review would follow for many years was now set. Although its focus was on the law and politics of Wisconsin, it purpose was to establish beyond doubt that the Marquette Law School was a significant and progressive institution whose students and faculty did not hesitate to involve themselves in the significant legal issues of their time.
Of course, over time articles in the law review got longer and longer and footnotes got more and more numerous. Poor Chief Justice Winslow would today likely be laughed out of Eckstein Hall if he submitted an article with only 15 footnotes. While the focus of its content became more and more national in scope, the journal has never forgotten its commitment to the analysis and reform of the legal system of Wisconsin.
Today’s version of the law review has more than fulfilled the dreams and ambitions of those who created the journal 95 years ago.
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St. Louis Blues Jake Allen Is Fine Despite Fan Narrative
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[] |
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[
""
] | null |
[
"Todd Panula"
] |
2018-06-27T00:00:00
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The St. Louis Blues have been searching for THE goalie for years. Whether Jake Allen is that one is up for debate, but his value as a player is not.
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en
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https://images2.minutemediacdn.com/image/upload/c_fill,w_1440,ar_1:1,f_auto,q_auto,g_auto/shape/cover/sport/favicon_2-7584840191d9f13dce826391650b7201.ico
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Bleedin' Blue
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https://bleedinblue.com/2018/06/27/st-louis-blues-jake-allen-fine-despite-fan-narrative/
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https://www.nhl.com/goldenknights/player/alex-pietrangelo-8474565
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Alex Pietrangelo Stats And News
|
[
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[
""
] | null |
[] | null |
Get all the latest stats, news, videos, and more on Alex Pietrangelo.
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en
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https://www.nhl.com/assets/icons/fav/teams/54/favicon.ico
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https://www.nhl.com/goldenknights/player/alex-pietrangelo-8474565
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2011-12 St. Louis Blues: Season Outlook with NHL Futures Odds
|
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[
""
] | null |
[
"Doc Moseman"
] |
2011-10-01T01:33:00-04:00
|
The St. Louis Blues are practically an invisible franchise. They aren’t bad enough to pity, but they aren’t good enough to take notice of, either...
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en
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https://static-assets.bleacherreport.net/favicon.ico
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Bleacher Report
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https://bleacherreport.com/articles/873627-2011-12-st-louis-blues-season-outlook-with-nhl-futures-odds
|
Doug Pensinger/Getty Images
The St. Louis Blues are practically an invisible franchise.
They aren’t bad enough to pity, but they aren’t good enough to take notice of, either. They have made the playoffs just once in the last six years, and although they have looked at times like they may have turned a corner, they consistently return to mediocrity and, essentially, irrelevance.
That might sound harsh, but honestly, when was the last time you spent any significant time thinking about this team?
How many players can you name on this squad? Can you think of a single Blues fan? They are the Golden State Warriors of the NHL.
St. Louis Blue Offseason Moves
The magic number this offseason, it seems, was 36 for the Blues.
They added several players to try and mix up the chemistry, and three of them were 36 years old. Jason Arnott, Jamie Langenbrunner and Scott Nichol were all useful players, but they are all past their prime.
It remains to be seen how much they have left in their tanks.
The team also decided to be the latest team to take a gamble on Jonathan Cheechoo, hoping he will rediscover his lost form. He had 93 goals in two seasons between 2005 and 2007.
He has just 40 goals in four seasons since, and he spent all of last year in the minors. He lost his confidence like few before him, and many people don’t think he can find it again and perform like he once did.
The 31-year-old will start the season in the minors, but could be an intriguing call up for the team. At the very least he is one to watch.
2011-12 St. Louis Blues NHL Outlook
The goaltender position is one to watch with this team.
The Blues made what seemed to be a major gamble when they acquired Jaroslav Halak from the Canadiens last year, signing him to a new four-year deal.
The distinguishing element of Halak’s career up to that point was a strong playoff run right before he was traded. While he wasn’t bad last year, he also didn’t establish himself as a strong No. 1 in his new surroundings.
He has the potential to be a top goalie, but he has yet to realize that potential. If this team wants to be relevant then they will need more from Halak.
What the team does have is a nice core of young talent.
David Backes had 31 goals and 31 assists last year, and was the best player on the team. He should be able to provide a similar year, and he’ll have more young talent around them if they can stay healthier this year than they did last year.
David Perron, Andy McDonald and T.J. Oshie all missed big chunks of time last year. If they can stay healthy then there is at least a decent chance that the team will be better than they were last year when they fell 10 points short of a playoff spot.
The addition of all the veteran talent should be a positive influence on the youngsters.
Center Patrick Berglund is a player to watch closely because he could be poised for a nice breakthrough.
The 23-year-old Swede was a pleasant surprise last year with 22 goals and 52 points. He showed considerably more promise than his total suggested, and if he can find some chemistry he has a chance to be a big piece of the offensive picture this year.
The Blues were top 10 in the league last year in goals scored per game, so increased performance from Berglund, the returning youngsters, and the new veterans has the potential to provide a nice boost.
2011-12 St. Louis Blues Schedule
One of the biggest factors working against this team is their division.
They play in the hardest grouping there is.
The Red Wings and Blackhawks are both recent Cup winners who will again be strong. Nashville is a strong team, and no team was more aggressive in the offseason than Columbus. There will be no such thing as an easy divisional game.
St. Louis Blues NHL Futures Odds (from Bodog)
The Blues are fittingly placed in the futures odds—at 35/1 they are the 17th most likely Cup winner according to oddsmakers. Since only 16 teams make the playoffs, this team is viewed—accurately—as not much more than a fringe playoff contender.
Similarly, they are tied for eighth in the race to win the Western Conference at 18/1, according to NHL odds.
2011-12 St. Louis Blues Predictions
If everything worked out for this squad there is no reason that they couldn’t finish in a playoff spot—perhaps sixth to eighth. After the last couple of years, though, it is hard to have faith that everything will work.
Though I like this team more than some of the other contenders for those playoff spots—like Calgary, for example—I would not confidently predict that they will make the playoffs, and even if they do I would expect little from them in the playoffs.
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The most memorable defunct NHL teams
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[] |
[
""
] | null |
[
"Jeff Mezydlo"
] |
2024-07-31T10:40:29-04:00
|
In the rich, storied history of the National Hockey League, there have been plenty of memorable teams to grace the ice. Especially those who no longer exist.
|
en
|
/apple-touch-icon.png?v=2
|
Yardbarker
|
https://www.yardbarker.com/nhl/articles/the_most_memorable_defunct_nhl_teams/s1__39462833
|
The first try at hockey in "Hotlanta," the initial version of the Flames actually made the playoffs in six of their eight seasons in town. Calder Trophy winners Eric Vail and Willi Plett, plus 1980 United States Olympic hero Jim Craig, were some of the most noteworthy players to don the Atlanta Flames sweater. However, these Flames went just 2-15 in the postseason, and after average attendance peaked at a little more than 14,000 during their second season, the Atlanta Flames struggled to draw 10,000 fans per game by the end of the decade. That stagnant play and attendance ultimately led to the franchise being sold to a group out of Calgary, for a then-NHL-record $16 million in May 1980. The Flames still call Calgary home.
The second attempt at an NHL venture in Atlanta lasted slightly longer than the first one. During that run of 11 official seasons, the Thrashers made just one playoff appearance. That came when Marian Hossa (100 points), Ilya Kovalchuk (42 goals) and Kari Lehtonen (2.79 goals against average) led the club to 43 victories and a Southeast Division title. However, the Thrashers were swept by the New York Rangers in their first-round playoff series. Financial problems and deficits eventually led to the franchise being sold and relocated to Winnipeg prior to the 2011-12 campaign, thus ushering in the second installment of the Winnipeg Jets.
Before the San Jose Sharks made NHL hockey a staple in the Bay Area, there were the Golden Seals. Also known as the California Seals, Oakland Seals or Bay Area Seals, the franchise was part of the NHL's expansion of 1967, but lasted only nine seasons. Even with the likes of prominent stars Al MacAdam and Gilles Meloche, and late ownership by the flamboyant Charlie Finley, the Golden Seals were inconsistent on the ice (no winning seasons, two playoff appearances) and in terms of attendance. Following the 1975-76 season, when the Seals managed to win at least 20 games for the first time since '71-'72, the franchise was sold and moved to Cleveland — where, as we'll see, things were even worse.
When the aforementioned Golden Seals moved out of their Oakland home, the franchise landed in Cleveland, and the move seemed doomed from the get-go. The move wasn't finalized until August 1976, just months before the start of the season. On the ice, the Barons, guided by Stanley Cup-winning coach Jack Evans, went 47-87-28 and averaged between 5,000-6,000 fans during its two seasons before ceasing operations. Rather than fold completely, the Barons merged with the Minnesota North Stars, another struggling franchise at the time.
After two seasons playing in Kansas City, the franchise known as the Scouts headed further west to Denver, where the Colorado Rockies were born. However, the Rockies' lifespan was relatively short — six seasons to be exact. And even with the likes of star rookie Bred Beck, the venerable Lanny McDonald, netminder Chico Resch and over-the-top, outspoken head coach Don Cherry, Colorado never won more than 22 games in a season and generated just one playoff appearance. A poorly negotiated contract with the club's home McNichols Arena also played a part in the franchise's inability to stay in Denver, even though the NHL claimed to want a team to remain in the city. After various failed deals, owner Jack Vickers and his group eventually sold the club to New Jersey shipping tycoon and then-Houston Astros owner John McMullen, who moved it to the Meadowlands — renaming the franchise the New Jersey Devils.
Not to be confused with the Hamilton Tiger-Cats CFL team, these hockey Tigers resided in the gritty Ontario town during the first half of the 1920s. The roots of the club go back to the Quebec Bulldogs, but on-ice struggles plagued the Tigers in Hamilton. The team never won more than nine games in each of its first five seasons, then went 19-10-1 in '24-'25 to finish first during the regular season. However, disgruntled Tigers forced the NHL's first players' strike prior to the playoffs. That proved to be the end of Hamilton's NHL team, which was suspended from the league, and a bevy of its players eventually became part of the expansion New York Americans.
Hartford, the Whale. When it comes to NHL nostalgia, the Whalers tend to still hold a special place in the hearts of hockey fans. The franchise began in Boston while in the World Hockey Association (WHA) before moving to Hartford. Following the WHA-NHL merger, the Whalers lasted 18 years in the latter. Gordie Howe, Ron Francis, Rick Ley and Brendan Shanahan were just a few of the marquee names to star for the Whalers, who made seven playoff appearances. However, they won just one postseason series, and by the mid-1990s the team was sold to a group led by Compuware CEO Peter Karmanos, The intent was to keep the Whalers in Hartford, but attendance continued to lag, there was no real corporate presence invested in the franchise and issues when it came to financial terms on a new arena. Thus, these issues led to the franchise's move to Raleigh.
We touched on the Scouts as the origin of the franchise that also played in Colorado and currently in New Jersey. The NHL history of the Scouts is dismal and brief. Spanning its two NHL seasons, the Scouts went 27-110-23 for a total of 77 points. They allowed almost 700 goals during their Kansas City stay, and averaged slightly more than 8,000 fans amid the tenure. That poor play, weak attendance showing and almost-unaffordable, high-priced talent all played a part in the team's sale and subsequent move to Denver.
For hockey fans of a certain age, the North Stars were a grind-it-out, blue-collar franchise that built a heated rivalry with the Chicago Blackhawks, and produced some of the game's most noteworthy stars in Bobby Smith, Dino Ciccarelli and Mike Modano. The team received new life upon its merger with the aforementioned Cleveland Barons, and made 17 playoff appearances while in Minnesota, including two trips to the Stanley Cup Final. However, wavering attendance, poor financial decisions and the consistent drama involving owner Norm Green were just a few reasons for the team's move from Minnesota to Dallas. It was a stunning circumstance considering the state's passion for hockey. However, the NHL would eventually return to the "State of Hockey" in 2000, via the Minnesota Wild.
Yes, for those not in the know, the Canadiens were not the only game in town when it came to NHL action in Montreal. When it came to the Maroons, the franchise was intended to cater to the English-speaking population of Montreal (as an alternative to the French-speaking allegiance of the Canadiens). However, both teams would be under the same ownership, and shared the famed Montreal Forum, though the Maroons were the initial tenants. The Maroons were a successful franchise for the most part, winning the Stanley Cup in 1926 and '35, and making 11 playoff appearances. NHL greats like Clint Benedict, Toe Blake and King Clancy played for the Maroons, who lasted until it was unable to recover financially from the Great Depression.
In the shadows of the Canadiens and Maroons in Montreal are the Wanderers. Likely forgotten, the Wanderers' stay in the NHL lasted all of six official games — four actually decided on the ice — and two forfeits. When the National Hockey Association (NHA) was suspended, the Wanderers were part of the new NHL. However, despite winning multiple Stanley Cup Finals prior to the creation of the NHL, the Wanderers were struggling to be competitive by 1917-18. Then, when their home at Montreal Arena burned down, ownership opted to suspend the franchise.
After absorbing players from the aforementioned Hamilton Tigers, New York City's first NHL team was born. For 17 seasons, the Americans represented the Big Apple. But even with the likes of Hall of Famers Harry Oliver and Red Dutton in tow, the Americans made just five playoff appearances and won only two postseason series while playing at Madison Square Garden. Consistent financial struggles and World War II ultimately led to the end of the franchise, which played its final '41-'42 season known as the Brooklyn Americans. This occurred during a time when ownership threatened to move the club to Brooklyn, even though there was no arena to host.
Not to be confused with the current incarnation of the Ottawa Senators hockey club, these Senators were a founding member of the NHL. Even before its NHL run, Ottawa was a successful Canadian hockey franchise. During its time as part of the NHL, the Senators won four Stanley Cups and were associated with such legendary hockey names as King Clancy and Syd Howe. However, the usual financial issues that doomed many of the professional sports teams located in smaller cities around the time of the Great Depression led to the Senators' relocation to St. Louis.
The 1930-31 season proved to be the entire existence of the Philadelphia Quakers. The franchise actually got its start in Pittsburgh (more on that in a bit), but was temporarily moved to Philly while the Steel City could build a new arena that was better suited for hockey. However, things actually got worse for the franchise in Philadelphia, going 4-36-4 during that lone season in town, while continuing to bleed money and ultimately leading to the end of the organization. There would not be hockey in Philadelphia until the Flyers took the ice in 1967.
No, we're not talking baseball. There was a NHL hockey team in Pittsburgh that happened to have the same name as the baseball club. However, the Pirates, on the ice, won just 67 games in five seasons as a member of the NHL and essentially got worse each year going forward. Financial struggles and perhaps the more-pressing need for a proper arena were key reasons the ownership moved to Philadelphia while trying to get things together to build said stadium. However, as noted, the team played worse in Philly, and the hockey Pirates never returned to Pittsburgh. Thankfully for hockey fans in town, the Penguins have given them plenty to celebrate.
The history of this Quebec franchise (officially recognized as the Quebec Hockey Club and then Quebec Athletic Club) dates back to the 1880s. After being a part of various Canadian leagues, the Bulldogs won a pair of Stanley Cups in the National Hockey Association, a precursor to the NHL. Though Quebec was one of the NHL's four founding members in 1917, financial issues and other circumstances prevented the franchise from playing in the lead, and even led to its suspension, before reforming as an expansion club and winning just four games, despite 39 goals from Joe Malone, during its lone 1919-20 campaign. The NHL then sold the franchise, which was moved to Hamilton.
Michel Goulet, Dale Hunter, the Stastny brothers. Just some of the legends to sport the famed Nordiques sweater. With these stars helping the cause, the Nordiques won nearly 500 games and made nine playoff appearances during its 16 seasons. However, beautiful Quebec City was always the club's downfall. Predominantly French-speaking, the city was not all that endearing to non-French speaking players and it was the smallest market of any NHL city. Thus financial concerns, even amid the team's success, led to its move to Colorado, where the current-day Avalanche has won three Stanley Cups.
When the aforementioned Ottawa Senators decided to relocate to St. Louis, the belief was to prove more financially viable in a larger United States city. However, that plan never came to fruition as the existence of the St. Louis Eagles lasted just one season. In that 1934-35 season they went 11-31-6 to finish last in the Canadian Division, and continue to lose money — notably because of increased travel expenses. Eventually, the NHL bought out the franchise and the club's players were distributed to other NHL teams.
In NHL terms, this was the start of the Toronto Maple Leafs. The St. Patricks, also known as the Toronto Blueshirts and Toronto Arenas, spent eight seasons in the NHL, and are arguably the most successful version of the franchise leading up to the debut of the legendary Maple Leafs. They won the Stanley Cup in 1921-22. But, like nearly every other team on this list, financial issues plagued the franchise in the mid-to-late 1920s, when it was sold to Conn Smythe. He promptly changed the name to the Toronto Maple Leafs.
Before the current version of the original Winnipeg Jets franchise moved to the desert in Arizona, it was an NHL staple. Part of the WHA-NHL merger, the Jets — who employed Bobby Hull during their WHA days — made the playoffs 11 times while a member of the NHL. Paced by marquee names like Dale Hawerchuk, Thomas Steen and Paul MacLean, the Jets enjoyed various levels of NHL success but never reached the conference finals. Meanwhile the usual financial issues, rising player salaries and monetary status that plagued small-market, Canadian NHL clubs during the early 1990s all led to the Jets' relocation. However, NHL hockey did return to Winnipeg, in the second coming of the Jets as an expansion club in 1999.
|
||||
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|
2
| 19
|
https://msumavericks.com/sports/2009/10/13/MHOCKEY_1013094604.aspx
|
en
|
Minnesota State University - Mankato Athletics
|
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[] |
[
""
] | null |
[] |
2009-10-13T00:00:00
|
Tim Jackman (hockeydb.com profile appears here)
Selected in the 2001 National Hockey League draft by Columbus, forward Tim Jackman made his NHL debut Dec. 20,
|
en
|
/images/logos/site/site.png
|
Minnesota State University - Mankato Athletics
|
https://msumavericks.com/sports/2009/10/13/MHOCKEY_1013094604.aspx
|
Mavericks in the NHL
|
||||
7313
|
dbpedia
|
3
| 55
|
https://clutchpoints.com/4-bold-blues-predictions-2023-24-nhl-season
|
en
|
Blues: 4 bold predictions for 2023-24 NHL season
|
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[] |
[] |
[
"St. Louis Blues"
] | null |
[
"Tristin McKinstry",
"clutchpoints.com"
] |
2023-10-09T05:33:14+00:00
|
The St. Louis Blues missed the Stanley Cup Playoffs last season, but they hope to avoid that fate in 2023-24.
|
en
|
ClutchPoints
|
https://clutchpoints.com/4-bold-blues-predictions-2023-24-nhl-season
|
The St. Louis Blues enter the 2023-24 NHL season with something to prove. Last season, the team missed the Stanley Cup Playoffs. It marked just the second time since 2011-12 that the team failed to qualify for the playoffs. And it was the first time since the team took down the Boston Bruins in 2019 to win the Stanley Cup.
The Blues are not a bad hockey team. St. Louis has a rather interesting core of players, including Jordan Kyrou, Jake Neighbours, and Robert Thomas. But the team also has a group of veterans that represent more of a mixed bag than a sign of hope.
The Blues certainly want a return to playoff hockey, but a lot has to go their way. With that in mind, here are four bold predictions regarding the St. Louis Blues ahead of their regular season opener on Thursday.
Pavel Buchnevich scores 40
The Blues swung a trade with the New York Rangers ahead of the 2021 NHL Draft for Pavel Buchnevich. And at the time, it seemed like a rather interesting bet on behalf of St. Louis. The Russian forward was coming off a 20-goal, 48-point career season. Buchnevich was good and seemed to have the potential to become even better.
His first season with St. Louis was absolutely incredible. He scored 30 goals and 76 points as the Blues made the Stanley Cup Playoffs. However, he took a bit of a step back in 2022-23. Buchnevich scored 26 goals and 67 points while being limited to 63 games.
The 28-year-old is still a fine player, and he'll show that this season. He will score 40 goals in 2023-24, leading the Blues as they give other Western Conference contenders nightmares. But, he won't be the team's only 40-goal scorer.
Jakub Vrana scores 40, too
Back in March, the Blues linked up with their favorite trade partner, the Detroit Red Wings. St. Louis acquired forward Jakub Vrana from the Red Wings in what essentially amounted to a cap dump for Detroit. And much like he did when he originally arrived in Detroit, Vrana found success.
The 27-year-old Czechian forward played 20 games in St. Louis following the trade. He scored 10 goals and 14 points during that time. It became clear that Vrana had the talent to succeed. Whatever his issues with Detroit, they were of no concern to St. Louis. The Blues benefitted mightily, and they'll continue to do so.
Vrana will also score 40 goals this season. He'll need to find ways to stay on the ice this season for this to happen. He suffered a shoulder injury ahead of 2021-22 that forced him to miss time. And he entered the player's assistance program last season after just two games. However, with all that behind him, Vrana will thrive, and St. Louis will reap the rewards.
Joel Hofer takes over
Joel Hofer enters the 2023-24 NHL season as the backup to Jordan Binnington. The 23-year-old Winnipeg native has received some time in with St. Louis in the past. This will be his first true taste of action at the highest level in the game. And I believe he'll do more than hold his own.
Hofer has played well in the AHL and NHL over the last two seasons. He had a few lackluster starts down the stretch last season. But his first three starts saw the 23-year-old puck-stopper post an otherwordly .959 save percentage. Of course, he won't post those kinds of numbers this season. But it certainly inspires confidence he can thrive at the NHL level.
Contrast this with Binnington, who has not had the best run of things recently. Since debuting in 2019, his save percentage has steadily declined each season. This culminated in his posting a .894 save percentage in 2022-24. That marked his first season with a save percentage below .900 in any season.
Binnington certainly can bounce back, but it's hard to see it. He is not the goalie who inspired the Blues to the 2019 Stanley Cup. And that could become readily apparent this season. Don't be surprised if Hofer becomes the primary option in goal for St. Louis at some point in 2023-24.
Blues claim top wild card
The Blues have had a solid track record of making the playoffs in recent times. That's a testament to the team's they've built and the quality on their roster. St. Louis did not become significantly better this summer. But they didn't need to, as they'll surprise everyone this upcoming season.
The Blues will claim the top wild-card spot in the Western Conference. They'll certainly face stiff competition for the spot, without a doubt. The Calgary Flames, Vancouver Canucks, Winnipeg Jets, and Seattle Kraken are all threats coming out of the Pacific Division. In the Central, the Nashville Predators are obvious contenders. The Arizona Coyotes are dark horses that St. Louis needs to respect.
The Blues will have their work cut out for them, but they are up for the task. How far St. Louis can go obviously remains to be seen. That said, the Blues should make the playoffs as the top wild card team in the West.
|
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7313
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| 57
|
https://www.thecanadianencyclopedia.ca/en/article/toronto-maple-leafs
|
en
|
Toronto Maple Leafs
|
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The Toronto Maple Leafs are a hockey team that plays in the National Hockey League (NHL). The Maple Leafs are one of the "Original Six" NHL teams, and have won ...
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https://www.thecanadianencyclopedia.ca/en/article/toronto-maple-leafs
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Early History of Hockey in Toronto
Toronto was slow to enter the competitive hockey field, by the late 1890s the city had a number of competitive teams, including the Toronto Granites, one of the founding teams of the Ontario Hockey Association in 1890. Toronto's first professional hockey team was the Toronto Professional Hockey Club, also known as the Torontos, who first played on 28 December 1906. The Torontos initially played exhibition matches against other professional teams in North America. However, the team was under constant criticism from the Ontario Hockey Association for its professional status. Consequently, the team became a founding member of the Ontario Professional Hockey League, one of Canada’s first professional hockey leagues. The Torontos unsuccessfully challenged the Montreal Wanderers for the Stanley Cup in 1908, before disbanding in 1909.
In 1909, the National Hockey Association (NHA) was founded, with teams in Québec and Ontario. One of Toronto's teams was the Toronto Tecumsehs, who played from 1912 to 1913. Although the Tecumsehs did not initially have a home arena, on 28 December 1912 the team played in the newly constructed Arena Gardens in Toronto. The Tecumsehs finished the 1912–13 season in last place in the NHA. The team was subsequently sold, and played as the Toronto Ontarios in the 1913–14 season. The team operated under that name until 1915, when they were renamed the Toronto Shamrocks. The Shamrocks operated for just one year, finishing in fifth place, ahead of only the Montreal Canadiens.
Another Toronto team in the NHA was the Toronto Blueshirts, founded in 1911, who also played home games at Arena Gardens upon its completion in 1912. In the 1913–14 season, the Blueshirts became Stanley Cup champions after defeating the Victoria Aristocrats from the Pacific Coast Hockey League (PCHL). The team struggled the following season, however, and finished the 1914–15 season in fourth place. Following the 1914–15 season, the NHA lost many players to the expanding Pacific Coast Hockey League. As a result, the Toronto Blueshirts absorbed the Shamrocks players to form one team under the Blueshirts name. The amalgamation of the two teams, both operated by Eddie Livingstone, bothered other NHA owners, who were annoyed by Livingstones's business practices. Consequently, by the end of the 1916–17 season, these owners decided to form a new league known as the National Hockey League (NHL), without Livingstone.
Toronto in the Early NHL
Although the Blueshirts were initially blocked from the NHL, the team was allowed to enter the league when the Quebec Bulldogs could not organize a team. The Blueshirts, owned by the Toronto Arena Company, kept the playing roster intact, but cut its ties with Livingstone and adopted another name, the Toronto Arenas. (There is some debate about the team’s name, as it was known simultaneously as the Toronto Blueshirts, the Toronto Arenas or the Torontos). The Toronto team played its first NHL game on 19 December 1917 at Arena Gardens (also known as the Mutual Street Arena).
Only three of the original five members of the NHL remained at the end of the season. The Toronto Arenas won the NHL's first Stanley Cup against the Pacific Coast Hockey League's Vancouver Millionaires. The next season, the team withdrew from the NHL.
Toronto's departure from the NHL did not last long. The franchise returned for the 1919–20 season under a new name — the Toronto St. Patricks (also known as the St. Pats). The team was so named in the hopes that Toronto's large Irish population would attend home games. The new team was off to a good start in the early 1920s, claiming the Stanley Cup once again from the Vancouver Millionaires in 1922.
Although they did not make it to the Cup again for the next few years, the St. Pats were hard at work building the foundations for a stronger team. New player additions to the team included Clarence "Hap" Day for the 1924–25 season, and Irvine "Ace" Bailey for the 1926–27 season. By 1927, the St. Pats were at risk of being moved to Philadelphia. Fortunately, an investor named Conn Smythe came forward to purchase the team, and raised enough money to keep the team in Toronto.
Toronto Maple Leafs
Conn Smythe's first tasks as new owner was a name change from the St. Patricks to the Toronto Maple Leafs – although his reasons for this change are not clear, the team may have been named in honour of a First World War fighting unit, the Maple Leaf Regiment.
Smythe next set to work building a team of strong players. New additions to the team included Joe Primeau, Red Horner and goaltender Lorne Chabot for the 1928–29 season. The new name and the new players drove the Leafs to the playoffs for the first time since 1925. By the next year, the team had also added Charlie Conacher and Harvey Jackson. Together, Primeau, Conacher and Jackson would make up the "Kid Line" of the Leafs; nevertheless, the team failed to make the 1930 playoffs. So, Smythe returned to the bargaining table, and purchased "King" Clancy from the Ottawa Senators for the unprecedented sum of $35,000 and two players. The Leafs team was now a powerhouse, known as a gutsy, hardworking team exemplifying Smythe's (perhaps apocryphal) dictum: "if you can't beat them in the alley, you can't beat them on the ice." The team finished second in the Canadian Division during the 1930–31 season, and was, thanks in part to Foster Hewitt's radio broadcasts of Leafs’ games, gaining popularity in Toronto.
As the team's popularity increased, Smythe recognized the need for a new home for the Leafs. In the depths of the Depression he was able to arrange financing for a new arena. Maple Leaf Gardens was built in five months in 1931. The Leafs played their first game at the new arena on 12 November 1931, when the Chicago Blackhawks defeated them. Built above the ice was a gondola for Foster Hewitt. From his perch, Hewitt began his famous Hockey Night in Canada broadcasts (originally known as the General Motors Hockey Broadcast). As if in celebration of the team's new beginnings, the Toronto Maple Leafs won their first franchise Stanley Cup in 1932. The following season, they reached the final, but lost the Cup to the New York Rangers.
The Leafs were involved in an infamous incident on 12 December 1933, while playing against their chief 1930s rival, the Boston Bruins. During the game, the Bruins' Eddie Shore crashed into Leafs' star Ace Bailey. Bailey hit the ice and cracked his skull. The incident nearly killed Bailey, and ended his hockey career. The Leafs rallied and finished the season as leaders in league scoring. However, their luck in the post-season ran out as the team was knocked out of the finals from 1935 to 1940. Although the 1930s had seen the team reach the finals seven times, they only won the Cup once. Consequently, coach Dick Irvin stepped down, and was replaced by former Leaf defenceman Hap Day.
The 1940s
The Leafs began the 1940s with high hopes. With their lineup of Gordie Drillon, Syl Apps and goaltender Turk Broda, the stage was set for Leaf success. During the 1942 Stanley Cup final series against the Detroit Red Wings, the Leafs were thought to be the team to beat. Although Detroit won the first three games, Toronto went on to win the next four games handily, and took home their second Stanley Cup.
However, the team lost many star players to the armed forces in the Second World War, including 1942 Cup stars Apps and Broda. Detroit eliminated Toronto from the 1943 playoffs, while the Montreal Canadiens did the same in the 1944 playoffs.
In 1945, the Toronto Maple Leafs met the Montreal Canadiens in the first round of playoffs. The Canadiens, who had not lost as many players to the war front, were considered the superior team; nonetheless, Toronto eliminated the Canadiens in six games. They then met the Detroit Red Wings in the final. Though Toronto won the first three games, Detroit tied the series at three games each. Nevertheless, Toronto won the seventh game and their third Stanley Cup.
Though the team failed to reach the playoffs in 1946, they were soon strengthened by the return of many star players from the war. In the 1946–47 season, Toronto met the first place Montreal Canadiens in the Cup final. The first game was a disaster. Toronto lost 6–0, which prompted the Canadiens to accuse them of not belonging in the final. Inspired to prove their rivals wrong, Toronto edged the Canadiens in six games, and won the 1947 Stanley Cup. The following playoffs, the team defeated the Red Wings in four straight games. The two teams would meet again the next year at the 1949 Stanley Cup final. Once again the Leafs triumphed and swept the Red Wings in four straight games for their sixth Stanley Cup.
The 1950s
The Red Wings would get their chance to meet Toronto again in the 1950 playoffs. This series, however, had a very different ending for Toronto. During the first game, Red Wing Gordie Howe was seriously injured when he crashed into the boards, an incident involving Leafs player Theodore Kennedy. The Red Wings were furious, and swore to bring down Kennedy and the Leafs, whom they accused of deliberately causing the accident. Detroit finally succeeded in beating the Leafs in the seventh game of the series, and went on to defeat the New York Rangers in the final.
Toronto's return to the Cup final was an all-Canadian battle, with the Leafs meeting the Montreal Canadiens in 1951. Leafs defenceman Bill Barilko was credited with saving the day in game five. Despite orders from coach Joe Primeau to stay put in his defence position, Barilko scored the winning goal in overtime. (See Barilko has won the Stanley Cup for the Maple Leafs!) The win secured the series for the Leafs, and gave the team their fourth Stanley Cup in five years. Celebrations were short lived, however, as Barilko went missing in the summer following the Cup win, having never returned from a fishing trip. Convinced that their star was returning, the team began the 1951–52 season with Barilko's locker ready to go. Years later, Barilko's body, and that of his pilot friend, was found in the wreckage of an airplane crash north of Timmins.
The loss of Barilko seemed to set the Leafs down a mediocre path. They finished the 1951–52 season in third place, and were swept by their Detroit rivals in the semi-finals. They went on to finish out of playoff contention in 1953, their first time missing the playoffs since 1946. As a result, coach Joe Primeau stepped down, replaced by King Clancy. In an attempt to spruce up the team, owner Smythe brought in a series of new players and traded away many of the Leafs' former champions. Replacements included Tim Horton, George Armstrong, Ron Stewart, Dick Duff, Bob Pulford, Carl Brewer and Frank Mahovlich. Despite the overhaul, however, the team met with little playoff success. Howie Meeker replaced Clancy as team coach, but he led the Leafs to the bottom of the NHL. By 1958, they were in fifth place of the six-team league, with their fourth coach of the decade, Billy Reay.
Changes arrived in the form of a relatively unknown Punch Imlach, the Leafs' new general manager. Almost immediately, Imlach fired coach Reay, named himself coach and declared that Toronto, despite sitting at the bottom of the league, would reach the playoffs in 1959. Imlach's prediction came true, and the Leafs made the playoffs on the last night of the season, their first appearance since 1956. Imlach then made another bold prediction: the Leafs would win the Stanley Cup. Although it was not to be, the Leafs, who had begun the season in the bottom of the NHL, did meet the Montreal Canadiens in the 1959 Stanley Cup final. Despite Imlach's prediction, the Leafs failed to dethrone the Canadiens.
The 1960s
Punch Imlach is often credited with choosing veteran players from other NHL clubs to finish their careers in Toronto. One significant acquisition by Imlach was a trade for Red Kelly of the Detroit Red Wings. He also acquired junior hockey star David Keon. With players like Keon, Kelly, Tim Horton, Carl Brewer and captain George Armstrong, the Leafs had a strong line-up. However, in the 1961 playoffs, the team was riddled with injuries, and was defeated by the Detroit Red Wings in the first round. That series was the last Conn Smythe would enjoy as Leafs' owner; that year, he relinquished control to his son, Stafford Smythe, Harold Ballard and John Bassett. The following season, the Leafs took home the 1962 Stanley Cup, 11 years after their last win at the hands of Barilko's overtime winning goal. Poignantly, soon after their 1962 win, the cause of Barilko's disappearance was finally discovered.
The team went on to their second consecutive Cup in 1963, and the following year tied their record of three Stanley Cups in a row. However, the team's playoff successes could not stop the Montreal Canadiens from taking the Cup in 1965.
The two teams met again at the 1967 Stanley Cup finals. By most accounts, the 1967 playoffs should have belonged to the Canadiens. Not only was Montréal the host of the Expo 67, but the Canadiens planned to display their winning 1967 Stanley Cup in the Québec Pavilion at Expo. They had reason to expect the win, as they had won the Cup for the past two seasons and had a much younger team than Toronto. Moreover, the Leafs had played a mediocre season. However, the Leafs took the series to a game seven deciding match and won their 11th Stanley Cup.
The win would be the last Stanley Cup for the Leafs. The 1967 playoffs were the last of the NHL's "Original Six " era — the six teams that formed the basis of the NHL from 1942 to 1967. Following the 1966–67 season, the NHL doubled in size to 12 teams. The Maple Leafs' status as a NHL powerhouse was over. The Leafs are the only one of the Original Six not to have won the Stanley Cup since the expansion of the league.
Although Imlach attempted to bolster the Leafs in 1968 with a number of ill-advised trades to Detroit for Norm Ullman, Paul Henderson and Floyd Smith, his magic was gone. Players became disgruntled, and, although the team did advance to the playoffs in 1969, they were quickly beaten by Bobby Orr and the Boston Bruins. Leafs President Stafford Smythe soon after fired Imlach, bringing an end to what would be the first Imlach era.
The 1970s
With Imlach gone, the Leafs were led by coach John McLellan and general manager Jim Gregory. Although the team finished out of the playoffs, their low ranking allowed them to draft Darryl Sittler, who would come to dominate the Leafs through the 1970s and become the second highest scorer in the team’s history. Despite the team’s promise, it was knocked out of both the 1971 and 1972 playoffs in the first round. In 1973, Red Kelly succeeded John McLellan as coach of the team.
One of the most significant challenges was the leadership of Harold Ballard. In 1969, Leafs president Stafford Smythe and vice president Harold Ballard were charged with tax evasion. Although John Bassett tried to limit the influence of both men, between them, they owned almost half of the company’s shares. Bassett resigned and sold his shares to the two men in 1971. However, Smythe died not long after and Ballard bought his shares, given him a controlling interest in the team.
Ballard would lead the once great team to ruin. Not long after taking control, he was convicted of tax evasion, fraud and theft, and spent a year behind bars. More significantly for the team, Ballard did not respect his players and lost many of them to the newly formed World Hockey Association (1972–79).
General Manager Jim Gregory went on a mission to rebuild the team roster, acquiring Lanny McDonald, Bob Neely and Ian Turnbull. He also sent scouts to Europe, and signed Inge Hammarstrom and Borje Salming. Along with Sittler, who scored 10 points in a victory over the Boston Bruins on 7 February 1976 (the best-ever offensive game in league history), these additions brought new life to the team. However, they were still eliminated three playoffs in a row by the physically-dominant Philadelphia Flyers.
By the 1977–78 season, Kelly was relieved of his coaching duties and replaced by Roger Neilson. Despite Neilson leading the team to the playoff semi-finals, the team continued to be plagued by the antics of team owner Ballard. Late in the 1978–79 season, Ballard fired Neilson, only to reinstate him a few days later due to the lack of a replacement.
In 1979, owner Harold Ballard made the unexpected decision to fire Neilson and Gregory, and re-hire Imlach to run the franchise. The team suffered serious setbacks in the decade that followed. Leafs players feuded with Imlach for the better part of the 1979–80 season, and, by the end, Imlach had traded nearly half the Leafs roster. Sittler and fellow teammates were incensed by the new management and the loss of star players such as Lanny McDonald. Sittler cut the "C " ("Captain ") off his sweater prior to a 1979 game in protest. Ballard's antics continued through the next decade.
The 1980s
The 1980s are considered the darkest period in Leafs’ history, remembered not for the stellar play of the team, but for the antics of its owner, Harold Ballard. Throughout the 1980s, the Toronto Maple Leafs appeared to be in disarray at the hands of Ballard, who replaced three general managers and seven coaches during the decade.
Just as the decade was beginning, many players had had enough. Leafs star Darryl Sittler demanded to be traded midway through the 1981–82 season, and was subsequently sent to the Philadelphia Flyers. The Leafs experienced little success at the start of the decade, and missed the playoffs in 1982, 1984 and 1985.
As a result of their low standings, the Leafs were awarded a number of early draft picks. This brought Jim Benning, Gary Nyland, Russ Courtnall and Al Iafrate to the team. Although the team managed to secure these draft picks, Ballard refused to pay the salaries they demanded and the talent was soon lost to other NHL teams.
One highlight came in 1985 when the team had the first pick overall in the NHL entry draft. The Leafs selected Wendel Clark of the Western Hockey League's Saskatoon Blades. Clark went on to become one of the most popular players in Leafs’ history, serving as the team's captain. His physical play exhilarated fans during the late 1980s. With Clark, the team made it to the second round of playoffs in both 1986 and 1987, and the first round in 1988. However, in 1989, the Leafs missed the playoffs entirely. By the 1989–90 season, it was obvious that the once great team was gone. Though they returned to the playoffs in 1990, they were knocked out in the first round by the more disciplined St Louis Blues.
Perhaps most significantly for the Leafs, the end of the Ballard era arrived on 11 April 1990, when the owner passed away.
The 1990s
By the beginning of the 1990s, the Toronto Maple Leafs and their fans were looking to put the dismal past decade behind them. Following Ballard's death in 1990, supermarket entrepreneur Steve Stavro purchased the team. Hope came in the form of General Manager Cliff Fletcher, who had led the Calgary Flames to success. Fletcher was hired in the hopes that he could build this kind of success in Toronto. One of Fletcher's first moves was a seven-player trade with the Edmonton Oilers that brought goaltender Grant Fuhr and winger Glenn Anderson to the Leafs. In addition, he masterminded a 10-player trade with the Calgary Flames for Gary Leeman. In return, the Leafs acquired Doug Gilmour and Jamie Macoun.
Although the Leafs missed the 1991–92 playoffs, the team had a new spirit. This was bolstered when Fletcher hired former Canadiens coach Pat Burns to lead the Leafs. Although Fuhr was sent to Buffalo, the Leafs had a new goaltender in Felix Potvin. The new team appeared to have a winning lineup, with the Leafs finishing the 1992–93 season in third place with a team record of 99 points. The Leafs made it to the third round of the 1993 playoffs. Despite the heartbreaking loss to Wayne Gretzky's Los Angeles Kings in game seven, it was the furthest the team had made it since 1967. They repeated this result in the 1994 playoffs.
Before the 1994–95 season began, Fletcher unexpectedly traded many Leaf stars, including captain Wendel Clark, for Swedish centre Mats Sundin, who went on to become one of the most popular Leaf players and captains. Nevertheless, the Leafs lost in the first round of the 1995 playoffs, and followed this with a slump in the 1995–96 season. Coach Burns was fired, and Doug Gilmour, who had twice led the team to the third round of the playoffs, was traded to New Jersey. Fletcher was subsequently let go by the Leafs owners. The team missed the playoffs in 1997 and 1998.
The decade ended with a new coach behind the bench, Pat Quinn, a new goaltender, Curtis Joseph, and a new venue. The Leafs played their last game at Maple Leaf Gardens on 13 February 1999 and a week later, played their first game in the new Air Canada Centre (now Scotiabank Arena). They celebrated the year with a trip to the Stanley Cup semi-finals under coach Quinn, but were knocked out by the Buffalo Sabres.
2000–2015
The Leafs continued to improve into 2000, the first year they reached the 100-point mark and their first division title in 37 years. The team reached the second round of playoffs in both 2000 and 2001, losing both times to the New Jersey Devils. In 2002, with many of their players (including captain Mats Sundin) sidelined with injuries, the team lost in the Eastern Conference finals in six games. Despite attempts to re-sign Curtis Joseph, the Leafs' goalie left for the Red Wings. Although the team re-signed Doug Gilmour, he suffered a season-ending knee injury and retired after the 2003 regular season.
In 2004, the Leafs accumulated a franchise record for points and finished second in the Northeast Division. However, after the NHL lockout (which cancelled the 2004–05 season), the Leafs struggled, failing to qualify for the playoffs for seven consecutive seasons. Star player and long-time captain Sundin left as a free agent in 2008 and signed with the Vancouver Canucks. In 2008, the contract of general manager John Ferguson, Jr., was not renewed. He was replaced on an interim basis by Cliff Fletcher while the team searched for a replacement.
Pressure was on the club to hire a general manager to take the team back to its glory days of the 1960s. Eventually, they secured Brian Burke, who left the GM position with the Anaheim Ducks to join the Leafs in November 2008. He made an impression early by trading away the team's first round draft choices in the 2010 and 2011 entry draft to get forward Phil Kessel from the Boston Bruins. The Leafs again struggled, even with Kessel, and finished 29th in the 2009–10 season.
After struggling throughout the 2011–12 season, the Leafs dismissed head coach Ron Wilson on 2 March 2012. Wilson’s time with the franchise, dating back to the 2008–09 season, had not been successful and he finished with a coaching record of 130–135–45. The Leafs replaced Wilson with Randy Carlyle, who, as head coach of the Anaheim Ducks, had won the Stanley Cup in 2007.
Not long after the 2012–13 season began, the Leafs fired Brian Burke as the team’s general manager, replacing him with assistant general manager Dave Nonis. Under Nonis and Carlyle, the Leafs made it to the playoffs, ending a seven-year drought. They faced long-time rivals the Boston Bruins in the first round of the Eastern Conference quarterfinals. Projected to be the underdogs, Toronto valiantly forced the series to seven games. In the final game in Boston, the Leafs were leading 4–1 with less than 15 minutes remaining in the third period, but a series of miscues allowed the Bruins to tie the game. Boston subsequently won the game in overtime, eliminating Toronto from the playoffs.
The Maple Leafs’ return to the postseason was short lived, as they were unable to clinch another playoff berth the following season, and finished 23rd in the league with a 38–36–8 record. In the offseason that year, the Leafs hired the National Hockey League’s former head of player safety, Brendan Shanahan, to become the club’s president of hockey operations and alternate governor.
The Leafs’ troubles continued in the 2014–15 season. On 6 January 2015, the team fired Carlyle and appointed assistant coach Peter Horachek as the interim bench boss. However, the team continued to struggle. Not long after Horachek assumed his new role, the Leafs set a franchise record when they recorded an 11-game winless streak. The last time the team had lost 10 games in row was in the 1966–67 season. After once again failing to qualify for the playoffs, the Leafs parted ways with general manager Dave Nonis (and much of their coaching staff) on 12 April 2015.
2015–Present
Change continued to sweep through the Leafs organization in the offseason. On 20 May 2015, after months of speculation and rumours, Toronto hired Mike Babcock as the team’s new head coach. Babcock had previously been the bench boss of the Detroit Red Wings, guiding the team to a Stanley Cup victory in 2008. He had also been at the helm for Canada’s gold medal wins in the 2010 and 2014 Olympic Winter Games. The Leafs inked him to an eight-year contract worth approximately $50-million, making Babcock the highest paid coaching in NHL history.
In the off-season, the Maple Leafs made a change in net, acquiring goaltender Frederik Andersen from the Anaheim Ducks. They promptly signed him to a five-year, $25-million contract. Less than a week later, at the NHL Entry Draft, the Maple Leafs selected Mitchell Marner fourth overall and nabbed defenceman Travis Dermott in the second round. On 1 July 2015, the Maple Leafs made a big splash by trading one of the franchise’s most prolific goal scorers, Phil Kessel, to the Pittsburgh Penguins as the club continued with plans to rebuild the team. Later that summer, the Maple Leafs appointed Lou Lamoriello as the club’s 16th general manager. Lamoriello had been the president and general manager of the New Jersey Devils for 28 years and presided over three Stanley Cup–winning teams.
Following the 2015–16 campaign, in which the Maple Leafs finished at the bottom of the league standings with 69 points, the club won the NHL Draft Lottery to secure the first overall pick at the upcoming NHL Entry Draft. On 24 June 2016, Toronto used the top pick to select Auston Matthews, who had just finished his first season playing professional hockey in Switzerland.
Matthews immediately lived up to his billing, scoring four goals in his first NHL game against the Ottawa Senators. By the end of the season, he had racked up 40 goals and 69 points and established new Maple Leafs rookie scoring records. Matthews took home the league’s Calder Trophy as the NHL’s top rookie, becoming the first Toronto player to win the award in more than 50 years. Fellow newcomers William Nylander and Mitchell Marner also gave stellar performances. The team finished fourth in the Atlantic Division with 95 points — a marked improvement over the previous season.
The team built on its success in the 2017–18 campaign and established franchise records for most wins (49), most home wins (29) and most points (105). Expectations were high for the Maple Leafs heading into the postseason, but they fell to the Boston Bruins in the first round of the playoffs, losing four games to three in a hard-fought battle.
On 1 July 2018, after months of speculation, centre John Tavares fulfilled his childhood dream and signed a seven-year, $77-million contract with the Maple Leafs.
Stanley Cup Results
1967 Stanley Cup Final
Toronto Maple Leafs vs. Montreal Canadiens
Game One - Montreal Canadiens 6, Toronto Maple Leafs 2
Game Two - Toronto Maple Leafs 3, Montreal Canadiens 0
Game Three - Toronto Maple Leafs 3, Montreal Canadiens 2
Game Four - Montreal Canadiens 6, Toronto Maple Leafs 2
Game Five - Toronto Maple Leafs 4, Montreal Canadiens 1
Game Six - Toronto Maple Leafs 3, Montreal Canadiens 1
Toronto Maple Leafs win series 4–2, and the Stanley Cup
1964 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Toronto Maple Leafs 3, Detroit Red Wings 2
Game Two - Detroit Red Wings 4, Toronto Maple Leafs 3
Game Three - Detroit Red Wings 4, Toronto Maple Leafs 3
Game Four -Toronto Maple Leafs 4, Detroit Red Wings 2
Game Five - Detroit Red Wings 2, Toronto Maple Leafs 1
Game Six - Toronto Maple Leafs 4, Detroit Red Wings 3
Game Seven - Toronto Maple Leafs 4, Detroit Red Wings 0
Toronto Maple Leafs win series 4–3, and the Stanley Cup
1963 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Toronto Maple Leafs 4, Detroit Red Wings 2
Game Two -Toronto Maple Leafs 4, Detroit Red Wings 2
Game Three - Detroit Red Wings 3, Toronto Maple Leafs 2
Game Four - Toronto Maple Leafs 4, Detroit Red Wings 2
Game Five - Toronto Maple Leafs 3, Detroit Red Wings 1
Toronto Maple Leafs win series 4–1, and the Stanley Cup
1962 Stanley Cup Final
Toronto Maple Leafs vs. Chicago Blackhawks
Game One - Toronto Maple Leafs 4, Chicago Blackhawks 1
Game Two - Toronto Maple Leafs 3, Chicago Blackhawks 2
Game Three - Chicago Blackhawks 3, Toronto Maple Leafs 0
Game Four - Chicago Blackhawks 4, Toronto Maple Leafs 1
Game Five - Toronto Maple Leafs 8, Chicago Blackhawks 4
Game Six - Toronto Maple Leafs 2, Chicago Blackhawks 1
Toronto Maple Leafs win series 4–2, and the Stanley Cup
1960 Stanley Cup Final
Toronto Maple Leafs vs. Montreal Canadiens
Game One - Montreal Canadiens 4, Toronto Maple Leafs 2
Game Two - Montreal Canadiens 2, Toronto Maple Leafs 1
Game Three - Montreal Canadiens 5, Toronto Maple Leafs 2
Game Four - Montreal Canadiens 4, Toronto Maple Leafs 0
Montreal Canadiens win series 4–0, and the Stanley Cup
1959 Stanley Cup Final
Toronto Maple Leafs vs. Montreal Canadiens
Game One - Montreal Canadiens 5, Toronto Maple Leafs 3
Game Two - Montreal Canadiens 3, Toronto Maple Leafs 1
Game Three - Toronto Maple Leafs 3, Montreal Canadiens 2
Game Four - Montreal Canadiens 3, Toronto Maple Leafs 2
Game Five - Montreal Canadiens 5, Toronto Maple Leafs 3
Montreal Canadiens win series 4–1, and the Stanley Cup
1951 Stanley Cup Final
Toronto Maple Leafs vs. Montreal Canadiens
Game One - Toronto Maple Leafs 3, Montreal Canadiens 2
Game Two - Montreal Canadiens 3, Toronto Maple Leafs 2
Game Three - Toronto Maple Leafs 2, Montreal Canadiens 1
Game Four - Toronto Maple Leafs 3, Montreal Canadiens 2
Game Five - Toronto Maple Leafs 3, Montreal Canadiens 2
Toronto Maple Leafs win series 4–1, and the Stanley Cup
1949 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Toronto Maple Leafs 3, Detroit Red Wings 2
Game Two - Toronto Maple Leafs 3, Detroit Red Wings 1
Game Three - Toronto Maple Leafs 3 Detroit Red Wings 1
Game Four - Toronto Maple Leafs 3, Detroit Red Wings 1
Toronto Maple Leafs win series 4–0, and the Stanley Cup
1948 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Toronto Maple Leafs 5, Detroit Red Wings 3
Game Two - Toronto Maple Leafs 4, Detroit Red Wings 2
Game Three - Toronto Maple Leafs 2 Detroit Red Wings 0
Game Four - Toronto Maple Leafs 7, Detroit Red Wings 2
Toronto Maple Leafs win series 4–0, and the Stanley Cup
1947 Stanley Cup Final
Toronto Maple Leafs vs. Montreal Canadiens
Game One - Montreal Canadiens 6, Toronto Maple Leafs 0
Game Two - Toronto Maple Leafs 4, Montreal Canadiens 0
Game Three - Toronto Maple Leafs 4, Montreal Canadiens 2
Game Four - Toronto Maple Leafs 2, Montreal Canadiens 1
Game Five - Montreal Canadiens 3, Toronto Maple Leafs 1
Game Six - Toronto Maple Leafs 2, Montreal Canadiens 1
Toronto Maple Leafs win series 4–2, and the Stanley Cup
1945 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Toronto Maple Leafs 1, Detroit Red Wings 0
Game Two - Toronto Maple Leafs 2, Detroit Red Wings 0
Game Three - Toronto Maple Leafs 1, Detroit Red Wings 0
Game Four - Detroit Red Wings 5, Toronto Maple Leafs 3
Game Five - Detroit Red Wings 2, Toronto Maple Leafs 0
Game Six - Detroit Red Wings 1, Toronto Maple Leafs 0
Game Seven - Toronto Maple Leafs 2, Detroit Red Wings 1
Toronto Maple Leafs win series 4–3, and the Stanley Cup
1942 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Detroit Red Wings 3, Toronto Maple Leafs 2
Game Two - Detroit Red Wings 4, Toronto Maple Leafs 2
Game Three - Detroit Red Wings 5, Toronto Maple Leafs 2
Game Four - Toronto Maple Leafs 4, Detroit Red Wings 3
Game Five -Toronto Maple Leafs 9, Detroit Red Wings 3
Game Six - Toronto Maple Leafs 3, Detroit Red Wings 0
Game Seven - Toronto Maple Leafs 3, Detroit Red Wings 1
Toronto Maple Leafs win series 4–3, and the Stanley Cup
1940 Stanley Cup Final
Toronto Maple Leafs vs. New York Rangers
Game One - New York Rangers 2, Toronto Maple Leafs 1
Game Two - New York Rangers 6, Toronto Maple Leafs 2
Game Three - Toronto Maple Leafs 2, New York Rangers 1
Game Four - Toronto Maple Leafs 3, New York Rangers 0
Game Five - New York Rangers 2, Toronto Maple Leafs 1
Game Six - New York Rangers 3, Toronto Maple Leafs 2
New York Rangers win series 4–2, and the Stanley Cup
1939 Stanley Cup Final
Toronto Maple Leafs vs. Boston Bruins
Game One - Boston Bruins 2, Toronto Maple Leafs 1
Game Two - Toronto Maple Leafs 3, Boston Bruins 2
Game Three - Boston Bruins 3, Toronto Maple Leafs 1
Game Four - Boston Bruins 2, Toronto Maple Leafs 0
Game Five - Boston Bruins 3, Toronto Maple Leafs 1
Boston Bruins win series 4–1, and the Stanley Cup
1938 Stanley Cup Final
Toronto Maple Leafs vs. Chicago Blackhawks
Game One - Chicago Blackhawks 3, Toronto Maple Leafs 1
Game Two - Toronto Maple Leafs 5, Chicago Blackhawks 1
Game Three - Chicago Blackhawks 2, Toronto Maple Leafs 1
Game Four - Chicago Blackhawks 4, Toronto Maple Leafs 1
Chicago Blackhawks win best-of-five series 3–1, and the Stanley Cup
1936 Stanley Cup Final
Toronto Maple Leafs vs. Detroit Red Wings
Game One - Detroit Red Wings 3, Toronto Maple Leafs 1
Game Two - Detroit Red Wings 9, Toronto Maple Leafs 4
Game Three - Toronto Maple Leafs 4, Detroit Red Wings 3
Game Four - Detroit Red Wings 3, Toronto Maple Leafs 2
Detroit Red Wings win best-of-five series 3–1, and the Stanley Cup
1935 Stanley Cup Final
Toronto Maple Leafs vs. Montreal Maroons
Game One - Montreal Maroons 3, Toronto Maple Leafs 2
Game Two - Montreal Maroons 3, Toronto Maple Leafs 1
Game Three - Montreal Maroons 4, Toronto Maple Leafs 1
Montreal Maroons win best-of-five series 3–0, and the Stanley Cup
1933 Stanley Cup Final
Toronto Maple Leafs vs. New York Rangers
Game One - New York Rangers 5, Toronto Maple Leafs 1
Game Two - New York Rangers 3, Toronto Maple Leafs 1
Game Three - Toronto Maple Leafs 3, New York Rangers 2
Game Four - New York Rangers 1, Toronto Maple Leafs 0
New York Rangers win best-of-five series 3–1, and the Stanley Cup
1932 Stanley Cup Final
Toronto Maple Leafs vs. New York Rangers
Game One - Toronto Maple Leafs 6, New York Rangers 4
Game Two - Toronto Maple Leafs 6, New York Rangers 2
Game Three - Toronto Maple Leafs 6, New York Rangers 4
Toronto Maple Leafs win best-of-five series 3–0, and the Stanley Cup
1922 Stanley Cup Final
Toronto St. Pats vs. Vancouver Millionaires
Game One - Vancouver Millionaires 4, Toronto St. Pats 3
Game Two - Toronto St. Pats 2, Vancouver Millionaires 1
Game Three - Vancouver Millionaires 3, Toronto St. Pats 0
Game Four - Toronto St. Pats 6, Vancouver Millionaires 0
Game Five - Toronto St. Pats 5, Vancouver Millionaires 1
Toronto St. Pats win best-of-five series 3–2, and the Stanley Cup
1918 Stanley Cup Final
Toronto Arenas vs. Vancouver Millionaires
Game One - Toronto Arenas 5, Vancouver Millionaires 3
Game Two - Vancouver Millionaires 6, Toronto Arenas 4
Game Three - Toronto Arenas 6, Vancouver Millionaires 3
Game Four - Vancouver Millionaires 8, Toronto Arenas 1
Game Five - Toronto Arenas 2, Vancouver Millionaires 1
Toronto Arenas win best-of-five series 3–2, and the Stanley Cup
Hall of Famers
|
||||||
7313
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| 58
|
https://www.startribune.com/2011-12-minnesota-wild-schedule-released/124435778/
|
en
|
2011-12 Minnesota Wild schedule released
|
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[
""
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[] |
2011-06-23T21:16:07+00:00
|
Wild news
|
en
|
/icon.svg?4b87dad22ad1ea28
|
https://www.startribune.com/2011-12-minnesota-wild-schedule-released/124435778
|
The Wild will open the season Oct. 8 at home against the Columbus Blue Jackets. Eight of the Wild's first 12 games are at home and 10 of the final 14 games are at home.
The Wild will play 18 games against the Eastern Conference. The three East teams the Wild plays twice are Winnipeg, Florida and the New York Islanders. The Wild will also visit Buffalo, Montreal, Ottawa, Philadelphia, Toronto and Washington, while hosting Boston (Feb. 19), Carolina (March 17), New Jersey (Dec. 2), the New York Rangers (March 27), Pittsburgh (Oct. 18) and Tampa Bay (Nov. 28).
Popular out-of-town visits at Xcel Energy Center include: the defending Stanley Cup champion Boston Bruins (Feb. 19), the Anaheim Ducks (Oct. 27, Feb. 14), the Calgary Flames (Nov. 27, March 11, March 22), the Chicago Blackhawks (Dec. 14, April 5), the Dallas Stars (Jan. 21, March 13), the Detroit Red Wings (Oct. 15, Oct. 29), the St. Louis Blues (Nov. 5, Nov. 19), the San Jose Sharks (Jan. 10, Feb. 26), Winnipeg, in its first-ever trip to St. Paul (Feb. 16), and the defending Western Conference champion Vancouver Canucks (Nov. 3, Feb. 9, March 19). The Wild's game against Dallas on Saturday, Jan. 21, is part of the Sixth Annual Hockey Day Minnesota.
Minnesota's home schedule features traditional holiday games such as the Wednesday before Thanksgiving (Nov. 23) versus Nashville; the Friday matinee after Thanksgiving (Nov. 25) at 1:00 p.m. against Edmonton; the day after Christmas (Dec. 26), a 5:00 p.m. start versus Colorado; as well as the New Year's Eve game, a 5:00 p.m. contest versus Phoenix.
The Wild will have a six-game homestand – Nov. 17-28 versus Colorado, St. Louis, Nashville, Edmonton, Calgary and Tampa Bay. The Wild will play nine home games in March – matching the most in franchise history. The club has a pair of five-game road trips, with both making stops in all three California cities. Minnesota plays 10 back-to-backs in 2011-12, down from a team-record 19 last season.
Dumbest back-to-back? At Florida and at Dallas in February. Not exactly a stone's throw away.
Season Tickets for the 2011-2012 home schedule are available now. More information on season tickets is available at www.wild.com, or by contacting a Wild Ticket Sales Representative at 651-222-WILD.
OCTOBER – REGULAR SEASON
SAT. 8 COLUMBUS 7:00 P.M.
Mon. 10 @ N.Y. Islanders 12:00 P.M.
Tue. 11 @ Ottawa 6:30 P.M.
THUR. 13 EDMONTON 7:00 P.M.
SAT. 15 DETROIT 7:00 P.M.
TUE. 18 PITTSBURGH 7:00 P.M.
Thur. 20 @ Edmonton 8:30 P.M.
Sat. 22 @ Vancouver 3:00 P.M.
THUR. 27 ANAHEIM 7:00 P.M.
SAT. 29 DETROIT 7:00 P.M.
NOVEMBER
Tue. 1 @ Detroit 6:30 P.M.
THUR. 3 VANCOUVER 7:00 P.M.
SAT. 5 ST. LOUIS 7:00 P.M.
Tue. 8 @ Calgary 8:00 P.M.
Thur. 10 @ San Jose 9:30 P.M.
Sat. 12 @ Los Angeles 9:30 P.M.
Sun. 13 @ Anaheim 7:00 P.M.
Tue. 15 @ Columbus 6:00 P.M.
THUR. 17 COLORADO 7:00 P.M.
SAT. 19 ST. LOUIS 7:00 P.M.
WED. 23 NASHVILLE 7:00 P.M.
FRI. 25 EDMONTON 1:00 P.M.
SUN. 27 CALGARY 5:00 P.M.
MON. 28 TAMPA BAY 7:00 P.M.
Wed. 30 @ Edmonton 8:30 P.M.
DECEMBER
FRI. 2 NEW JERSEY 7:00 P.M.
Sun. 4 @ Anaheim 7:00 P.M.
Tue. 6 @ San Jose 9:30 P.M.
Thur. 8 @ Los Angeles 9:30 P.M.
Sat. 10 @ Phoenix 7:00 P.M.
Tue. 13 @ Winnipeg 7:30 P.M.
WED. 14 CHICAGO 7:00 P.M.
SAT. 17 N.Y. ISLANDERS 7:00 P.M.
Mon. 19 @ Vancouver 9:00 P.M.
Tue. 20 @ Calgary 8:00 P.M.
Thur. 22 @ Edmonton 8:30 P.M.
MON. 26 COLORADO 5:00 P.M.
Wed. 28 @ Nashville 7:00 P.M.
THUR. 29 EDMONTON 7:00 P.M.
SAT. 31 PHOENIX 5:00 P.M.
DAY DATE OPPONENT TIME (CT)
JANUARY
Wed. 4 @ Vancouver 9:00 P.M.
Sat. 7 @ Calgary 9:00 P.M.
TUE. 10 SAN JOSE 7:00 P.M.
Thur. 12 @ Chicago 7:30 P.M.
Sat. 14 @ St. Louis 7:00 P.M.
Tue. 17 @ Philadelphia 6:00 P.M.
Thur. 19 @ Toronto 6:00 P.M.
SAT. 21 DALLAS 8:00 P.M.
Tue. 24 @ Colorado 8:00 P.M.
Sun. 29 NHL All-Star Game (Ottawa, Ont.) TBA
TUE. 31 NASHVILLE 7:00 P.M.
FEBRUARY
Thur. 2 @ Colorado 8:00 P.M.
Sat. 4 @ Dallas 7:00 P.M.
Tue. 7 @ Columbus 6:00 P.M.
THUR. 9 VANCOUVER 7:00 P.M.
SAT. 11 COLUMBUS 7:00 P.M.
TUE. 14 ANAHEIM 7:00 P.M.
THUR. 16 WINNIPEG 7:00 P.M.
Sat. 18 @ St. Louis 1:00 P.M.
SUN. 19 BOSTON 2:00 P.M.
Thur. 23 @ Florida 6:30 P.M.
Fri. 24 @ Dallas 7:30 P.M.
SUN. 26 SAN JOSE 5:00 P.M.
TUE. 28 LOS ANGELES 7:00 P.M.
MARCH
Thur. 1 @ Montreal 6:00 P.M.
Fri. 2 @ Detroit 6:30 P.M.
SUN. 4 COLORADO 6:00 P.M.
Tue. 6 @ Colorado 8:00 P.M.
Thur. 8 @ Phoenix 8:00 P.M.
SUN. 11 CALGARY 5:00 P.M.
TUE. 13 DALLAS 7:00 P.M.
SAT. 17 CAROLINA 1:00 P.M.
MON. 19 VANCOUVER 7:00 P.M.
THUR. 22 CALGARY 7:00 P.M.
Sat. 24 @ Buffalo 6:00 P.M.
Sun. 25 @ Washington 4:00 P.M.
TUE. 27 N.Y. RANGERS 7:00 P.M.
THUR. 29 FLORIDA 7:00 P.M.
SAT. 31 LOS ANGELES 7:00 P.M.
APRIL
Sun. 1 @ Chicago 6:00 P.M.
Tue. 3 @ Nashville 7:00 P.M.
THUR. 5 CHICAGO 7:00 P.M.
SAT. 7 PHOENIX 7:00 P.M.
|
|||||
7313
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0
| 41
|
https://www.eliteprospects.com/staff/391/davis-payne
|
en
|
Davis Payne Team Staff Profile
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[
"davis payne",
"staff",
"hockey"
] | null |
[] | null |
Eliteprospects.com staff profile of Davis Payne, 1970-10-24 King City, ON, CAN Canada.
|
en
|
https://www.eliteprospects.com/staff/391/davis-payne
|
Staff Facts
History
- 2012-07-27 • Named Assistant Coach by the Los Angeles Kings
- 2011-11-06 • Fired by the St. Louis Blues
- 2010-01-02 • Named Head Coach by the St. Louis Blues
- 2008-07-08 • Named Head Coach by the Peoria Rivermen
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|
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| 14
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https://www.rawcharge.com/tampa-bay-lightning-season-review-2011-12-nhl-season-stamkos-60-goals/
|
en
|
Lightning Season Review: 2011-12 NHL Season
|
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[
"Justin G",
"www.facebook.com"
] |
2022-07-29T17:17:32+00:00
|
We’re into the height of the offseason and quite frankly, there isn’t much to talk about. So I put the years that the Lightning have existed into a random…
|
en
|
Raw Charge
|
https://www.rawcharge.com/tampa-bay-lightning-season-review-2011-12-nhl-season-stamkos-60-goals/
|
We’re into the height of the offseason and quite frankly, there isn’t much to talk about. So I put the years that the Lightning have existed into a random number picker to pick out a year that we could review. Ironically, the first selection was the 2004-05 season… whelp… that quick.
I spun again and got the 2011-12 NHL Season. So let’s look back at that season, what happened, and just remember some times. If you want to see more of this, let me know in the comments and we’ll see about doing some other random seasons before training camp and the real fun of the NHL season starts.
The Previous Season
The 2010-11 season was a transitional one for the Lightning. Jeff Vinik bought the team in March 2010 and soon after hired Steve Yzerman to be the General Manager for the Lightning. Yzerman hired Guy Boucher out of the QMJHL to be the head coach and went about making some moves before and during the season to bolster a roster that had some aging stars, some young stars, and a lot of middling players in between. The Lightning surprised many by going 46-25-11 and finishing 2nd in the old Southeast Division to make the playoffs (preseason odds placed their total points at 92.5 and they ended up with 103). They beat the Pittsburgh Penguins in seven games in the first round, swept the Washington Capitals in the second round, and lost a heartbreaking game seven to the Boston Bruins who went on to win the Stanley Cup.
The Offseason
During the offseason, the Lightning re-signed Eric Brewer, whom the team had acquired at the trade deadline from the St. Louis Blues. The scouting staff had one of their best showings of the Vinik Era drafting Vladislav Namestnikov, Nikita Kucherov, and Ondrej Palat at the draft. The team also re-signed Bruno Gervais, Marc-Andre Bergeron, and Adam Hall before free agency opened up. Another mid-season trade acquisition, Dwayne Roloson, also re-signed to a one-year contract to continue in net for the Lightning.
In free agency, the most significant losses for the Lightning were Simon Gage and Sean Bergenheim who both played roles in the middle six forward group for the Lightning with Bergenheim in particular coming up big during the playoffs which led to him signing a nice contract in the offseason to leave the Lightning.
The other signings the Lightning made were not big impact signings, other than getting restricted free agent contracts done for Steven Stamkos and Teddy Purcell. Other than that, most of the free agents signed were depth players to fill out the roster.
The Season
The season? Well, it didn’t go super great. Only Steven Stamkos, Eric Brewer, and Brett Clark played in every game, with Teddy Purcell missing just one game. Only six players played more than 70 games. Ryan Malone missed 14 games. Vincent Lecavalier missed 18 games. Victor Hedman missed 21 games. Just a lot of injuries all over the roster.
Dwayne Roloson couldn’t match the performance he had put up after being acquired in the previous season and posted a 13-16-3 record in 31 stars and 40 games played with an .886 SV% and 3.66 GAA. Mathieu Garon, a free agent signing to be Roloson’s back-up, posted a .901 SV% and 2.85 GAA, giving the team marginally better but still not great goaltending, and went 23-16-4 in 44 stars and 48 games played.
On the positive side though, Steven Stamkos had one of the best goal scoring seasons of the Salary Cap Era posting 60 goals. Alex Ovechkin had scored 65 goals in 2007-08 and Auston Matthews just achieved 60 goals this past season. Those are the only three 60 goal seasons in the salary cap era. A couple things to point out is that Matthews did it in only 73 games played, but also in a season where scoring was significantly up. The other is that Stamkos hit 60 goals in a season where goal scoring was a lot harder.
To give some perspective to that, in Ovechkin’s 65 goal season, three players scored 50+ and 10 players scored 40+ goals. In Stamkos’ 60 goal season, two players scored 50+ and only four players scored 40+ goals. Ovechkin actually only managed 38 goals, 5th best in the NHL, in 2011-12. This past season, four players scored 50+ goals (including Ovechkin) and 17 players scored 40+ goals (including Stamkos).
Stamkos getting to the 60th goal was actually a bit of a dramatic moment. The very last game of the season for the Lightning was being played in Winnipeg. Also to add oddity, the Atlanta Thrashers relocated to become the Winnipeg Jets, but the divisions did not re-align immediately so this was a Divisional game playing in Central Canada. Stamkos entered the third period of the game still sitting on 59 goals for the season and scored on a wrist shot 3:29 into the third period off a feed from Martin St. Louis.
I have to give a nod here to the Winnipeg Jets fans recognizing the significance of the goal and giving Stamkos a standing ovation.
But that was pretty much the only real highlight in an otherwise forgettable season.
Stamkos won the Rocket Richard for the second time in his career and placed second in the Hart Trophy voting. If the Lightning had made it to the playoffs, it’s likely his 60 goal season would have got him the win over Evgeni Malkin who won the Art Ross with 109 points. That was Stamkos’ only Hart Trophy finalist finish in his career.
Mid-Season Transactions
Before we got to the half-way point of the season, Steve Yzerman got ahead of some upcoming offseason work by signing Dana Tyrell and Victor Hedman to extensions before they because restricted free agents. Pierre-Cedric Labrie was signed to a two-year entry level contract just before New Year’s due to his performance in the AHL. He would later play a season for the Lightning in a fourth line, enforcer role.
At the trade deadline, the Lightning picked up some future pieces, moving on from some expiring contracts and making some other general moves. The first move came when the Lightning traded center Dominic Moore and a 7th round pick to the San Jose Sharks for a 2012 second round pick. A couple days later, the Lightning shipped Pavel Kubina off to the Philadelphia Flyers for a 2012 second round pick and 2013 fourth round pick and Jon Kalinski. Yzerman also acquired a couple of depth defensemen in Brian Lee (who got the secondary assist on Stamkos’ 60th goal) and Keith Aulie for Matt Gilroy and Carter Ashton respectively.
The big trade though. The big one. This was the franchise changing trade. Yzerman sent forward Steve Downie to the Colorado Avalanche in exchange for defenseman Kyle Quincey. Which was confusing when the news first broke. But shortly after, he flipped Quincey to the Detroit Red Wings for a 1st round pick. That made more sense after that happened.
What changed the franchise though was who that pick was used for…
Andrei Vasilevskiy.
Yup. That one. The Big Cat. The two-time Stanley Cup winning goaltender. You know him. You love him. That story starts with the 2011-12 season and the Lightning not being very good in net, and not being a very competitive team.
During March of 2012, Yzerman got a couple of college players signed to entry level contracts. First up with Alex Killorn, a 2007 third round pick and you should hopefully know the story of Killorn since then. He joined the Norfolk Admirals for their playoff run and then played the first half of 2012-13 with the Syracuse Crunch before making it to the NHL full time. Yzerman was also able to lure NCAA free agent J.T. Brown to the Lightning and as part of the agreement to sign, Brown made his NHL debut, immediately burning the first year of his entry-level contract.
Another piece of significant work that Yzerman got done towards the end of the season was signing Cory Conacher to an NHL contract. Conacher would make the Lightning roster the next season and then be traded to the Ottawa Senators for Ben Bishop. Yup. Bish. Big Ben. That goaltender.
Concluding Thoughts
So yeah, this season and the transactions made during it had a big impact down the line for the Lightning and getting them to back-to-back Stanley Cup Championships. It may have been a forgettable season on the ice, outside of Stamkos scoring 60 goals, but man, some things happened. Like really happened that were big for the franchise moving forward.
|
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| 43
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https://stathead.com/hockey/vs/anaheim-ducks-vs-st-louis-blues
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en
|
Anaheim Ducks vs. St. Louis Blues: Head-to-Head Reg Season and Playoffs Stats Comparison
|
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[
"nhl",
"wha",
"hockey",
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"statistics",
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Compare Teams: Check out the head-to-head stats of Anaheim Ducks and St. Louis Blues including their regular season and playoff stats, championships, win-loss %, and much more on Stathead.com
|
en
|
Stathead.com
|
https://stathead.com//hockey/vs/anaheim-ducks-vs-st-louis-blues
|
All logos are the trademark & property of their owners and not Sports Reference LLC. We present them here for purely educational purposes. Our reasoning for presenting offensive logos.
Logos were compiled by the amazing SportsLogos.net.
Copyright © 2000-2024 Sports Reference LLC. All rights reserved.
The SPORTS REFERENCE, STATHEAD, IMMACULATE GRID, and IMMACULATE FOOTY trademarks are owned exclusively by Sports Reference LLC. Use without license or authorization is expressly prohibited.
Most historical data provided by Dan Diamond and Associates.
WHA hat tricks courtesy Scott Surgent. Buy his book.
Some hockey portraits on this site are licensed from Images on Ice, Hockey’s Photo Agency
|
|||||
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dbpedia
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| 5
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https://www.espn.com/nhl/team/schedule/_/name/stl/st-louis-blues
|
en
|
25 Preseason NHL Schedule
|
https://a.espncdn.com/combiner/i?img=/i/teamlogos/nhl/500/stl.png
|
https://a.espncdn.com/combiner/i?img=/i/teamlogos/nhl/500/stl.png
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
ESPN has the full 2024-25 St. Louis Blues Preseason NHL schedule. Includes game times, TV listings and ticket information for all Blues games.
|
en
|
ESPN
|
https://www.espn.com/nhl/team/schedule/_/name/stl/st-louis-blues
| ||||
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dbpedia
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| 34
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https://www.hhof.com/induction_archives/ind15Pronger.shtml
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en
|
Induction Showcase
|
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HHOF - Archives
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/favicon/apple-touch-icon.png
| null |
Pronger was named captain of the St. Louis Blues in 1997.
Chris Pronger was one of the most dominant (and feared) defencemen in the National Hockey League.
Pronger was awarded the Norris Trophy as the league's top defenceman and the Hart Trophy as league MVP in 2000.
Born in Dryden, Ontario on October 10, 1974, Pronger was inclined to play hockey on a scholarship in the U.S., but changed his mind and joined the Peterborough Petes of the Ontario Hockey League. In his second season with the Petes, Chris was honoured by being selected to the league's First All-Star Team, was awarded the Max Kaminsky Trophy as the OHL's premiere defenceman, was also named the Canadian Hockey League's Best Defenceman and had the best plus/minus of any junior player in Canada. At the NHL Draft in June 1993, Chris Pronger was the second overall selection, chosen by the Hartford Whalers. He made his debut that fall and earned a spot on the 1993-94 NHL All-Rookie Team. After two seasons in Connecticut, Pronger was dealt to the St. Louis Blues for Brendan Shanahan.
Pronger helped lead the Anaheim Ducks to the Stanley Cup championship in 2007.
Under St. Louis coach/general manager Mike Keenan, Pronger flourished, and in 1997-98, his third season with the Blues, he was named captain and earned a spot on the NHL's Second All-Star Team. He was also the recipient of the NHL Plus/Minus Award. Chris had a career season in 1999-2000, collecting 62 points and also had a +52 plus/minus rating. He was named to the First All-Star Team, was awarded the James Norris Memorial Trophy as the league's top defenceman and won the coveted Hart Memorial Trophy as the NHL's most valuable player.
Pronger is a member of the IIHF Triple Gold Club by virtue of winning the Stanley Cup, Olympic gold and World Championship gold.
Injuries reduced Pronger to 51 games in 2000-01, and yet, he recorded 47 points. Injuries plagued him again in 2002-03, reducing his season to just five games, but he rebounded in 2003-04 and was again named to the Second All-Star Team.
After nine seasons in St. Louis, Chris was traded to the Edmonton Oilers in 2005. He would lead the Oilers to the Stanley Cup Final the following spring, and in the first game, became the first player in history to score on a penalty shot in a Stanley Cup Final contest. Although the Oilers lost to the Carolina Hurricanes, Pronger led his team with 21 points (5 goals and 16 assists) in 24 games, as well as a team-leading plus/minus of +10.
After a single season with the Oilers, Pronger was traded to the Anaheim Ducks, with whom he would return to the Stanley Cup Final in 2007. This time however the result would be much different, as Anaheim claimed the Stanley Cup title. To top off an extraordinary season, Pronger was selected to the Second All-Star Team.
Pronger led the Flyers to the Stanley Cup Final in 2010.
Prior to the 2007-08 season, Pronger was named captain of the Ducks, replacing Scott Niedermayer, who had decided at that time that he was not going to play. Although Niedermayer returned to the lineup late in the season, Pronger remained captain until the start of next season when Niedermayer was renamed captain. Pronger retained a role as alternate captain.
In June 2009, Pronger was traded to the Philadelphia Flyers. Pronger and the Flyers would reach the Stanley Cup Final in 2010, but were beaten by the Chicago Blackhawks. That summer, Chris underwent knee surgery, and combined with other injuries, had his season reduced to 50 games. By the start of the 2011-12 season, Pronger was given the captaincy of the Flyers, but in mid-December, playing just his 13th game, he was forced to end his season after suffering post-concussion syndrome and problems in his right eye after being struck by a stick earlier that season. The challenges did not subside, and Pronger would not return to the ice.
He concluded his NHL career with 157 goals and 541 assists for 698 points, as well as 1,590 penalty minutes in 1,167 regular season games, and also had 26 goals, 95 assists and 121 points in 173 playoff contests.
During his brilliant career, Chris also played internationally for Canada, winning Olympic gold medals with Team Canada in 2002 and 2010. Having also been part of Canada's World Championship in 1997, Chris Pronger is a member of the exclusive Triple Gold Club with a Stanley Cup, an Olympic gold medal and a World Championship.
The towering three-time NHL captain established himself as a fearless leader, and one of the finest defencemen in hockey history.
CAREER STATISTICS REGULAR SEASON PLAYOFFS Season Club League GP G A TP PIM +/- GP G A TP PIM 1990-91 Stratford Cullitons ON-Jr.B 48 15 37 52 132 1991-92 Peterborough Petes OHL 63 17 45 62 90 10 1 8 9 28 1992-93 Peterborough Petes OHL 61 15 62 77 108 21 15 25 40 51 1992-93 Canada WJC-A 7 1 3 4 6 1992-93 Peterborough Petes M-Cup 5 1 5 6 8 1993-94 Hartford Whalers NHL 81 5 25 30 113 -3 1994-95 Hartford Whalers NHL 43 5 9 14 54 -12 1995-96 St. Louis Blues NHL 78 7 18 25 110 -18 13 1 5 6 16 1996-97 St. Louis Blues NHL 79 11 24 35 143 +15 6 1 1 2 22 1996-97 Canada WC-A 9 0 2 2 12 1997-98 St. Louis Blues NHL 81 9 27 36 180 +47 10 1 9 10 26 1997-98 Canada Olympics 6 0 0 0 4 1998-99 St. Louis Blues NHL 67 13 33 46 113 +3 13 1 4 5 28 1999-00 St. Louis Blues NHL 79 14 48 62 92 +52 7 3 4 7 32 2000-01 St. Louis Blues NHL 51 8 39 47 75 +21 15 1 7 8 32 2001-02 St. Louis Blues NHL 78 7 40 47 120 +23 9 1 7 8 24 2001-02 Canada Olympics 6 0 1 1 2 +2 2002-03 St. Louis Blues NHL 5 1 3 4 10 -2 7 1 3 4 14 2003-04 St. Louis Blues NHL 80 14 40 54 88 -1 5 0 1 1 16 2004-05 Canada W-Cup 2004-05 2005-06 Edmonton Oilers NHL 80 12 44 56 74 +2 24 5 16 21 26 2005-06 Canada Olympics 6 1 2 3 16 +2 2006-07 Anaheim Ducks NHL 66 13 46 59 69 +27 19 3 12 15 26 2007-08 Anaheim Ducks NHL 72 12 31 43 128 -1 6 2 3 5 12 2008-09 Anaheim Ducks NHL 82 11 37 48 88 0 13 2 8 10 12 2009-10 Philadelphia Flyers NHL 82 10 45 55 79 +22 23 4 14 18 36 2009-10 Canada Olympics 7 0 5 5 2 +3 2010-11 Philadelphia Flyers NHL 50 4 21 25 44 +7 3 0 1 1 4 2011-12 Philadelphia Flyers NHL 13 1 11 12 10 +1 NHL Totals 1167 157 541 698 1590 173 26 95 121 326
|
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| 95
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https://unitedstatesofhockey.com/2011/03/21/ntdps-first-seven-commits-for-2011-12-unveiled/
|
en
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NTDP’s First Seven Commits for 2011-12 Unveiled
|
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2011-03-21T00:00:00
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If you hadn't heard, the National Team Development Program announced the first seven players to commit to be part of the 2011-12 U.S. National Under-17 Team Saturday. The announcement came the day before 45 players arrived in Ann Arbor to take part in the NTDP Tryout Camp. The first seven are as follows: Forwards Connor…
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https://secure.gravatar.com/blavatar/6cb3d3c2e7fe1585074b88a5950bccd1ac1271404bc40cc60ef504182ebbe143?s=32
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The United States of Hockey
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https://unitedstatesofhockey.com/2011/03/21/ntdps-first-seven-commits-for-2011-12-unveiled/
|
If you hadn’t heard, the National Team Development Program announced the first seven players to commit to be part of the 2011-12 U.S. National Under-17 Team Saturday. The announcement came the day before 45 players arrived in Ann Arbor to take part in the NTDP Tryout Camp.
The first seven are as follows:
Forwards
Connor Chatham – Shiloh, Ill. – St. Louis Blues Midget Minor
J.T. Compher – Northbrook, Ill. – Team Illinois Midget Minor
Hudson Fasching – Apple Valley, Minn. – Apple Valley H.S.
Brandon Shea – Marshfield, Mass. – Noble & Greenough School
Defensemen
Will Butcher – Sun Prairie, Wis. – Madison Capitols Midget Major
Steve Santini – Mahopac, N.Y. – New York Apple Core (EJHL)
Scott Savage – San Clemente, Calif. – LA Selects Midget Minor
With those seven signed, that means there are five open spots on D, nine forward positions and both goalie slots are all up for grabs.
Coming up after the jump, a look at the commits, the impact of signing Hudson Fasching, and the importance of early commitments.
It was no surprise to see the names of Butcher, Santini, Savage and Compher on the release. It wasn’t all that quiet that they had pledged to the NTDP. It was reported widely that Fasching was offered a spot, but was taking his time with his decision. However, Shea and Chatham were not names that had been floating around as much.
The group of Butcher, Santini, Savage is a solid one. With that trio, the NTDP has a very good core of defensemen to build around. I talked about these three and J.T. Compher in my previous post about the NTDP camp, so check that out for more on that group.
Chatham was an interesting sign, mainly because he has been out for most of the year with an injury. One thing that can’t be denied is his size. At 6-foot-2, 185, he and the similarly-sized Fasching give the U.S. an imposing duo right off the bat. Chatham had two goals in 12 games this year with the St. Louis Blues Mm. He’s the second player to join the NTDP out of that St. Louis program in as many years, with Dakota Mermis joining up last year. It’s good to see a pair of players from Central Illinois, which could be considered a less traditional hockey area, have a place to develop and get seen.
Shea had a solid season at Nobles, with 34 points in 27 games. The forward verbally committed to Boston College when he was 14 years old and has continually lived up to the hype. I’ve heard good things about Shea’s hockey sense and that he’s not one to shy away from contact or the hard areas.
Clearly, scoring 16 goals and adding 18 assists as a young player in prep school hockey, he can produce. With an early commitment to BC, Shea now has the honor of being one of the first commitments to the NTDP for 2011-12. Not a bad start to his career.
Fasching was the one guy that it seemed everyone wanted. I mean everyone. Many believe him to be the best American forward in the 1995 birth year. He was certainly the top sophomore in the state of Minnesota and his leaving home made some headlines.
Perhaps one of the NTDP’s toughest places to recruit is Minnesota. The pressure on some of those players to stay home and the desire to win a state title for their hometown and school have kept some players in the State of Hockey. Just last year, Fasching’s Apple Valley teammate, A.J. Michaelson* was offered a spot at the NTDP and he turned it down to stay with his high school club. Nick Bjugstad, a first-round draft pick in 2010, also declined a spot in Ann Arbor, in favor of Blaine H.S. Another 2010 first-rounder, Derek Forbort, said no when first offered, but got a second crack when a spot opened up at the NTDP and he left Duluth East for his under-18 season.
Knowing that, signing Fasching is a coup for the NTDP. The top Minnesotan available is going to Ann Arbor right away. Having posted 50 points (18g-32a) in 28 games, Fasching brings a heavy dose of offense. At 15, he’s already 6-foot-2, 190 pounds, so size isn’t going to be an issue. A natural athlete, Fasching also excelled for Apple Valley’s soccer team. All good news for the folks in Ann Arbor.
What also makes this signing a touch surprising is that many believed Fasching would stay home for family reasons as he has two younger siblings, each suffering from a rare cell disorder. Fasching admitted to the Minneapolis Star Tribune that the decision to leave was a tough one:
“I think my leaving will be the hardest on my dad,” Fasching said. “My mom takes care of my siblings, so my dad and I were always stuck together. Now he’s losing his wing man.”
While the decision wasn’t easy, for a player of Fasching’s caliber, it was the right one. I was told that the NTDP gave the Faschings as much time and space to make the decision and to be sure it made sense for the family. It definitely made sense for Hudson to go from a hockey standpoint. Having produced at a high level for two years in high school, it was time for a new challenge and he’ll get a big one in Ann Arbor.
In every interview and everything anyone has ever said about him to me, it is clear that Fasching is a remarkable young man. Mature beyond his years and humble, despite being one of the best athletes in high school hockey in a hockey-mad state. All signs point to the NTDP getting a gem of a player, but also a person of great character.
* – Michaelson admitted to Minnesota Hockey Hub that if the NTDP offered him a spot on the U.S. National Under-18 Team for 2011-12, he’d take it and forgo his senior season at Apple Valley. However, there may not be a spot available to him unless a player leaves Ann Arbor before his two-year commitment is up. Time will tell.
The timing of the announcement of these signings is intriguing to me. As a former PR guy, I’m always curious as to why certain things are announced when they are. Typically (or at least when I was there), an announcement regarding early commitments to the NTDP wouldn’t come out until after the camp, but announcing it just days before competition started might actually be a really smart move.
The most important thing in any tryout camp is that the competition level should be high. Announcing the early commitments before camp should light a fire under the participating players that felt they should have been among the first to sign on the dotted line. Sometimes perceiving that you’ve been slighted sticks in your craw a little bit.
It also ngives other players a bit of a measuring stick. Seeing the guys that the NTDP thought so highly of to offer them a spot even before the tryout camp gives players an idea where they need to be if they want to make the team. Also, when players of a high caliber sign, others follow. When a player sees some of the top kids in his age group make that commitment, it’s a signal that this is where the top players go.
One could also assume that the reason for announcing the commits prior to camp is to signal to the junior hockey scouts, GMs and coaches in attendance that those seven players are off limits.
To explain the commitment a bit more, when a player commits to the NTDP, that player enters in a binding two-year agreement. By signing with the NTDP, the player will commit to training and playing for two years at the National Team Development Program. The NTDP, in turn, commits to the player saying that it will give that player two years of world-class training/competition, will house the player with a billet, provide schooling for the player, etc.
It’s different from any other junior league. The NTDP can’t trade the player and it will not cut the player without due cause (the cause usually being disciplinary reasons).
Players have asked to be released from the agreement in the past, leaving after one season, like Emerson Etem and Alexx Privitera in recent years. The terms of granting a player a release are never made public by the NTDP. So basically, once a player is signed to an agreement, the likelihood of that player leaving is slim as both parties have made a commitment to each other, essentially.
The camp is underway and will run through Thursday. Several players often sign agreements at the end of the camp and that tends to get announced in the following few weeks. So we’ll know more about the team then.
So there you have it. The 2011-12 U.S. National Under-17 Team is starting to take shape and we’re beginning to find out who some of the elite players across the country are. As we learn more about these players, we can be extremely confident in saying that the future of American hockey is incredibly bright.
Editorial note: I’ll have full Big Ten Hockey Conference reaction coming up tomorrow morning. In case you’d like to know my knee-jerk opinion: It’s a very, very good thing for college hockey in this country. Find out why tomorrow. I’ll also have the Tuesday American Prospect Update with analysis from my trip to see the U.S. National Under-18 Team take on Dubuque.
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https://stathead.com/hockey/vs/dallas-stars-vs-st-louis-blues
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en
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Dallas Stars vs. St. Louis Blues: Head-to-Head Reg Season and Playoffs Stats Comparison
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Compare Teams: Check out the head-to-head stats of Dallas Stars and St. Louis Blues including their regular season and playoff stats, championships, win-loss %, and much more on Stathead.com
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Stathead.com
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https://stathead.com//hockey/vs/dallas-stars-vs-st-louis-blues
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All logos are the trademark & property of their owners and not Sports Reference LLC. We present them here for purely educational purposes. Our reasoning for presenting offensive logos.
Logos were compiled by the amazing SportsLogos.net.
Copyright © 2000-2024 Sports Reference LLC. All rights reserved.
The SPORTS REFERENCE, STATHEAD, IMMACULATE GRID, and IMMACULATE FOOTY trademarks are owned exclusively by Sports Reference LLC. Use without license or authorization is expressly prohibited.
Most historical data provided by Dan Diamond and Associates.
WHA hat tricks courtesy Scott Surgent. Buy his book.
Some hockey portraits on this site are licensed from Images on Ice, Hockey’s Photo Agency
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https://howlings.net/2017/10/10/rangers-to-battle-the-blues-at-msg-tonight/
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RANGERS TO BATTLE THE BLUES AT MSG TONIGHT
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2017-10-10T00:00:00
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NEW YORK RANGERS vs. ST. LOUIS BLUES Tuesday, Oct. 10, 2017, 7:00 p.m. ET Madison Square Garden – New York, NY Rangers: 1-2-0 (2 pts) Blues: 3-0-0 (6 pts) The New York Rangers’ 2017-18 Media Guide is at the following link: HERE TODAY’S GAME The Rangers play their fourth game of the 2017-18 season today, Oct.
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Howlings - NEW YORK RANGERS, HARTFORD WOLF PACK, CINCINNATI CYCLONES, COLLEGE, JUNIOR HOCKEY NEWS & MORE
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https://howlings.net/2017/10/10/rangers-to-battle-the-blues-at-msg-tonight/
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NEW YORK RANGERS vs. ST. LOUIS BLUES
Tuesday, Oct. 10, 2017, 7:00 p.m. ET
Madison Square Garden – New York, NY
Rangers: 1-2-0 (2 pts)
Blues: 3-0-0 (6 pts)
The New York Rangers’ 2017-18 Media Guide is at the following link: HERE
TODAY’S GAME
The Rangers play their fourth game of the 2017-18 season today, Oct. 10, against the St. Louis Blues at Madison Square Garden (7:00 p.m. ET – TV: MSG Network; Radio: ESPN 98.7 FM). Including today’s game, the Rangers will play seven of their next eight games at MSG.
RANGERS VS. BLUES
All-Time: 79-43-16-1 (47-13-6-1 at home; 32-30-10-0 on the road)
2017-18: Today’s game is the first of two meetings between the Rangers and Blues, and the only meeting between the two teams at MSG. Following today’s contest, the Rangers and Blues will play against each other on the following date: Mar. 17 (at St. Louis).
2016-17: The Rangers posted a 1-1-0 record (1-0-0 at home; 0-1-0 on the road). Henrik Lundqvist posted a 1-1-0 record, along with a 1.52 GAA, a .943 SV%, and 1 SO in two appearances in the season series, and he earned his 60th career NHL shutout on Nov. 1, 2016, against the Blues at MSG. Chris Kreider led all skaters with three assists and four points in the season series, while Jimmy Vesey and Mika Zibanejad each recorded three points (one goal, two assists) in two contests.
The Rangers have earned at least one point in five of their last six games against the Blues, dating back to the start of the 2014-15 season (4-1-1 record over the span).
Dating back to Nov. 3, 2002, 15 of 19 meetings between the Rangers and St. Louis, the margin of victory was two or fewer goals. Also, 13 of those contests have been decided by one goal or fewer.
RANGERS-BLUES CONNECTIONS
Kevin Shattenkirk played parts of seven seasons with the Blues (2010-11 – 2016-17).
Adam Cracknell began his NHL career with St. Louis and played 65 games over parts of four seasons with the Blues (2010-11 – 2013-14).
Alain Vigneault played parts of two seasons with St. Louis (1981-82 and 1982-83).
Ondrej Pavelec and Chris Thorburn were teammates with Atlanta/Winnipeg for parts of 10 seasons (2007-08 – 2016-17).
Steven Kampfer, Kyle Brodziak, and Nate Prosser were teammates with Minnesota for part of one season (2011-12).
Henrik Lundqvist and Alexander Steen were teammates with Frolunda in Sweden for five seasons (1999-00 – 2003-04). During the five-year stretch, Lundqvist and Steen were teammates with Frolunda in the Swedish Elite League (now Swedish Hockey League), as well as with Frolunda’s junior team and U-18 team.
Rick Nash, Jay Bouwmeester, and Alex Pietrangelo helped Canada win a gold medal at the 2014 Winter Olympics.
Ryan McDonagh, Kevin Shattenkirk, and Paul Stastny all represented the United States at the 2014 Winter Olympics.
J.T. Miller and Colton Parayko were teammates with Team North America at the 2016 World Cup of Hockey.
Kevin Shattenkirk and Wade Megan were teammates at Boston University for one season (2009-10).
Nick Holden and Paul Stastny were teammates with the Avalanche for one season (2013-14).
Rick Nash and Scottie Upshall were teammates with Columbus for part of one season (2010-11).
Steven Kampfer and Scottie Upshall were teammates with Florida for part of one season (2014-15).
Marc Staal, Robert Bortuzzo, and Carter Hutton are all from Thunder Bay, Ontario.
Nick Holden and Colton Parayko are both from St. Albert, Alberta.
INDIVIDUAL CAREER STATISTICS VS. BLUES
Henrik Lundqvist – 10 GP, 4-5-0, 2.28 GAA, .923 SV%, 1 SO – In his last five appearances against St. Louis, Lundqvist has posted a 4-1-0 record, along with a 1.81 GAA, a .939 SV%, and 1 SO.
Chris Kreider – 7 GP, 4-5-9 – Kreider enters the contest with a six-game point streak against St. Louis (four goals, five assists), and he has registered a goal in four of the six games.
Rick Nash – 55 GP, 24-23-47 – Nash has tallied a point in six of his last seven games against the Blues, registering 10 points (four goals, six assists) in those contests.
Mika Zibanejad – 7 GP, 2-6-8 – Zibanejad enters the contest with a three-game assist/point streak against St. Louis (one goal, three assists), and he has recorded a point in six of seven career games against the Blues.
Mats Zuccarello – 8 GP, 2-3-5 – Zuccarello has recorded a goal/point in each of his last two games against the Blues at MSG, tallying four points (two goals, two assists) in the two contests.
RANGERS CONNECTIONS (IN ADDITION TO CURRENTLY PLAYING WITH THE BLUESHIRTS)
Ryan McDonagh and Kevin Shattenkirk have represented the United States together in several tournaments, including the 2014 Winter Olympics, the 2011 IIHF World Championship, the 2009 IIHF World Junior Championship, and the 2007 IIHF World U18 Championship. McDonagh, Shattenkirk, and Chris Kreider were all teammates with Team USA at the 2011 IIHF World Championship.
Ryan McDonagh, Kevin Shattenkirk, and Brendan Smith were all selected in the first round of the 2007 NHL Entry Draft (McDonagh – 12th overall by Montreal; Shattenkirk – 14th overall by Colorado; Smith – 27th overall by Detroit).
Ryan McDonagh and Brendan Smith were teammates at the University of Wisconsin for three seasons (2007-08 – 2009-10).
Paul Carey, Chris Kreider, and Kevin Hayes were all teammates at Boston College for two seasons (2010-11 and 2011-12). They helped Boston College win the National Championship in 2011-12; Carey and Kreider were teammates for three seasons (2009-10 – 2011-12) and helped Boston College win two National Championships (2009-10 and 2011-12).
Kevin Hayes and Jimmy Vesey were friends growing up in Massachusetts.
J.T. Miller and Jimmy Vesey helped the United States win a gold medal at the 2013 IIHF World Junior Championship.
Kevin Hayes and Brady Skjei represented the United States at the 2017 IIHF World Championship.
Michael Grabner’s first head coach in the NHL was Alain Vigneault (2009-10 with Vancouver).
Paul Carey and Nick Holden were teammates with Colorado for parts of two seasons (2013-14 and 2014-15).
Paul Carey and Kevin Shattenkirk were teammates with Washington for part of one season (2016-17).
Nick Holden and Rick Nash were teammates with Columbus for part of one season (2010-11).
Kevin Shattenkirk is a native of New Rochelle, New York. He was a Rangers fan growing up, and his favorite player was Brian Leetch.
SHUTTING THE DOOR
The Rangers earned their first shutout of the 2017-18 season on Oct. 8 vs. Montreal (2-0 win). New York posted a shutout in one of its first three games of a season for the first time since Oct. 16, 2003, vs. Atlanta (0-0 tie). The Blueshirts registered a shutout win in one of their first three contests of a season for the first time since Oct. 14, 1995, at Toronto (2-0 win). The Rangers are one of five NHL teams that have posted a shutout thus far in 2017-18.
HOW THE WEST WAS WON
The Rangers posted a 21-6-1 record in games against Western Conference opponents last season. The Blueshirts led all Eastern Conference teams in wins against Western Conference opponents in 2016-17.
10-IN-10
The Rangers are playing ten home games in October this season. Since the start of the 2015-16 season, New York has posted an 11-3-1 record at MSG in October.
WHAT A LINE
The Chris Kreider-Mika Zibanejad-Pavel Buchnevich line registered three points (one goal, two assists) on Oct. 8 vs. Montreal, as Buchnevich and Kreider both recorded an assist on Zibanejad’s goal in the third period of the contest. The three players have tallied nine points (four goals, five assists) thus far this season, and at least one of the three players has notched a point on six of the team’s nine goals in 2017-18.
THREE’S COMPANY
Over the last four seasons (including this season), a Ranger has tallied a goal in each of the team’s first three games of the season. They include Rick Nash – first four games of 2014-15; Oscar Lindberg – first three games of 2015-16; Chris Kreider – first three games of 2016-17; Mika Zibanejad – first three games of 2017-18. Nash is the only player in franchise history who has recorded at least one goal in each of the Rangers’ first four games of a season.
ON POINT
Three Rangers defensemen have recorded a goal over the team’s last two games (Kevin Shattenkirk, Marc Staal, and Brady Skjei). New York is one of two NHL teams that has three defensemen who have tallied a goal this season (St. Louis – four).
AV SQUAD
Alain Vigneault leads all NHL head coaches in wins since the start of the 2006-07 season (506). Vigneault has earned 615 career wins as an NHL head coach, and he is two wins away from tying Jacques Lemaire for 13th place on the league’s all-time wins list among head coaches.
KING HENRIK
Henrik Lundqvist earned his 62nd career NHL shutout on Oct. 8 vs. Montreal, passing Turk Broda for sole possession of 16th place on the NHL’s all-time shutouts list. Lundqvist enters the game with 406 career NHL wins, and he is one win away from tying Glenn Hall for ninth place on the NHL’s all-time wins list. Lundqvist is the only goaltender in Rangers history who has earned at least one shutout in 13 different seasons with the team (2005-06 – 2017-18; Ed Giacomin and Gump Worsley are in a tie for second with nine different seasons).
NHL CAREER WINS LEADERS NHL CAREER SHUTOUTS LEADERS 1. Martin Brodeur 691 1. Martin Brodeur 125 2. Patrick Roy 551 2. Terry Sawchuk 103 3. Ed Belfour 484 3. George Hainsworth 94 4. Curtis Joseph 454 4. Glenn Hall 84 5. Roberto Luongo 453 5. Jacques Plante 82 6. Terry Sawchuk 445 T-6. Tiny Thompson 81 7. Jacques Plante 437 T-6. Dominik Hasek 81 8. Tony Esposito 423 T-6. Alec Connell 81 9. Glenn Hall 407 T-9. Tony Esposito 76 10. Henrik Lundqvist 406 T-9. Ed Belfour 76 11. Roberto Luongo 73 T-12. Lorne Chabot 71 T-12. Harry Lumley 71 14. Roy Worters 67 15. Patrick Roy 66 16. Henrik Lundqvist 62
MIKA MAGIC
Mika Zibanejad has recorded a goal/point in each of the Rangers’ first three games in 2017-18, tallying four goals in the three contests. Zibanejad’s current three-game goal streak is in a tie for his career-high in the NHL. He leads the NHL in power play goals (three) and is tied for second in the NHL in goals (four) thus far this season. Also, Zibanejad is tied for the NHL lead in power play points (three) and ranks third in the NHL in shots on goal (15) in 2017-18. His 55.7% faceoff win percentage (34-for-61) is the best in the NHL among players who have taken at least 50 faceoffs this season.
WELCOME MATS
Mats Zuccarello established a single-game career-high with four points (one goal, three assists) and tied a single-game career-high with three assists on Oct. 7 at Toronto. Zuccarello, who was named an alternate captain on Oct. 4, tallied five points (one goal, four assists) through the first two games this season and became the first Ranger to register five points in the first two games of a season since Bernie Nicholls in 1990-91. He is tied for the NHL lead in power play assists (three) and power play points (three) this season, and he leads the Rangers in assists and points in 2017-18.
SHATT STATS
Kevin Shattenkirk registered two points (one goal, one assist), including his 300th career NHL point, on Oct. 7 at Toronto. He has tallied three points (one goal, two assists) this season, all on the power play, and he is in a tie for the NHL lead in power play points in 2017-18. Since the start of the 2011-12 season, Shattenkirk ranks second among NHL defensemen in power play points (134). He ranks third among NHL defensemen in power play goals (33) and power play assists (101); he is the only NHL defenseman who ranks third or higher in all three categories over the span. He established career-highs in assists (43), points (56), power play goals (eight), and power play points (27) last season.
IT’S MILLER TIME
J.T. Miller has skated in each of the Rangers’ last 200 regular season games, dating back to Feb. 7, 2015. He has registered 50 goals and 65 assists for 115 points, along with a plus-36 rating over the last 200 contests. Miller was the only Ranger who skated in all 82 regular season games last season. He has won 63.6% of faceoffs he has taken thus far in 2017-18 (21-for-33), and he has notched an assist/point in each of the last two games (one goal, two assists).
SPECIAL TEAMS
Power Play:
The Rangers were 0-for-3 (6:00) and recorded seven shots on goal on Oct. 8 vs. Montreal.
The Blueshirts are tied for third in the NHL in power play efficiency this season (33.3%; 4-for-12).
New York recorded four power play goals in its first two games of the season in 2017-18; the team accomplished the feat for the first time since 2000-01.
Penalty Kill:
The Rangers were 1-for-1 (2:00) on Oct. 8 vs. Montreal.
UPCOMING MILESTONES
Ondrej Pavelec – 18 saves away from 10,000 in his NHL career
Rick Nash – 8 games away from 1,000 in his NHL career
INJURIES (3 Man-Games Lost to Injury)
Jesper Fast (offseason hip surgery)
RECENT TRANSACTIONS
Oct. 9 – Claimed Adam Cracknell off waivers from Dallas
THIS DAY IN RANGERS HISTORY
Oct. 9, 1952 – Gump Worsley made his NHL/Rangers debut against the Detroit Red Wings.
Oct. 9, 1986 – Ron Greschner was named the Rangers captain.
Oct. 9, 1991 – Kris King and James Patrick tallied goals four seconds apart, establishing a franchise record for the two quickest goals, as the Rangers defeated the New York Islanders, 5-3, at MSG.
Oct. 10, 1975 – John Davidson stopped 25 of 26 shots he faced to earn his first win as a Ranger while making his debut with the team as the Blueshirts defeated the Atlanta Flames, 2-1. Rod Gilbert (one goal, one assist), Jean Ratelle (one goal, one assist), and Steve Vickers (two assists) all recorded two points in the contest.
Oct. 10, 1996 – Wayne Gretzky registered his first goal as a Ranger in the Blueshirts’ game against the Dallas Stars at MSG.
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LAFC Signs France Football Legend Olivier Giroud
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2024-05-14T14:30:00+00:00
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Forward Olivier Giroud will join Los Angeles Football Club on a Designated Player contract through 2025, with an option through 2026. Giroud arrives in L.A. this summer and will occupy an international roster slot upon the receipt of his P1 Visa and International Transfer Certificate (ITC).
One of the greatest
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LAFC
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https://www.lafc.com/news/lafc-signs-france-football-legend-oliver-giroud
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A native of Chambéry, France, Giroud is the all-time leading scorer for the French National Team, with 57 goals for his country. Along with LAFC teammate Hugo Lloris, Giroud helped France win the 2018 FIFA World Cup and the 2021 UEFA Nations League trophy, while also reaching the Final of the 2016 UEFA European Championship and the 2022 World Cup. Since making his international debut with Les Bleus on November 11, 2011, in a friendly against the United States, Giroud has represented France in three World Cups and three European Championships. His 137 appearances rank third all-time in French history, and he is expected to add to that total this summer at Euro 2024 in Germany prior to joining LAFC.
âIt is an incredibly exciting day for all associated with LAFC to welcome Olivier, his wife Jennifer, and his family to the club,â LAFC Co-President& General Manager John Thorrington said. âOlivier has a clear hunger to win, which he has done consistently throughout his club and international career. His championship ambition and his qualities as a man and as a player directly align with ours as a club, therefore we believe Olivier will be a great addition as we continue in our pursuit of more trophies.â
Giroud, 37, will join LAFC after completing three successful seasons with AC Milan of the Italian Serie A, where to date he has registered 14 goals and eight assists in 2023-2024, helping Milan to a second-place league finish as well as a berth in the quarterfinals of the UEFA Europa League and Coppa Italia. In his time with Milan, Giroud reached double figures in goals each season, tallying nearly 50 goals for the club in all competitions and helping the Rossoneri win the Serie A title in 2021-2022.
âI am delighted and excited to join LAFC,â Giroud said. âI canât wait to get to Los Angeles and to play in front of the 3252 and all of the incredible fans.â
After starting his professional career in France with Grenoble, Istres FC, and Tours FC, Giroud joined Montpellier HSC in 2010. During the 2011-12 campaign, Giroud led the league with 21 goals and helped Montpellier claim the Ligue 1 championship for the first and only time in club history.
On July 1, 2012, Giroud joined Arsenal of the English Premier League, where he would win three FA Cups (2014, 2015, 2017), three English Community Shield titles (2014, 2015, 2017), and receive the 2017 FIFA Puskás Award for best goal of the year. He scored 105 goals and registered 40 assists in 253 appearances across all competitions for Arsenal, including 12 goals in 29 UEFA Champions League games. He left Arsenal as the seventh-leading scorer in club history when he signed with Premier League side Chelsea in January 2018.
With Chelsea, Giroud lifted the FA Cup for the fourth time in his career, helping Chelsea win the competition in 2018 before leading the club to the UEFA Europa League one year later. The 2020-21 season would be Giroudâs last at Chelsea, and he made it a memorable one by scoring a team-high six goals in the UEFA Champions League, including all four in a 4-0 win at Sevilla during the Group Stage, to help Chelsea win the Champions League for the second time in its history. In two-and-a-half seasons with Chelsea, Giroud tallied 38 goals and 14 assists in 119 appearances in all competitions before joining AC Milan in July 2021.
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Third String Goalie: 1977
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The history of hockey told through hockey jerseys
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http://thirdstringgoalie.blogspot.com/favicon.ico
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http://thirdstringgoalie.blogspot.com/2011/12/1977-78-st-louis-blues-red-berenson.html
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Looking to reach our loyal readers with your hockey related product or service? Of our hundreds of readers each day, 60% are located in the United States and 30% come from Canada. Our audience is your audience and you can target them now with our reasonable ad rates.
We've been linked to by SI.com, ESPN.com, Uni-Watch.com, NBCSports.com and the Yahoo! Sports Puck Daddy blog among others.
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Doug Armstrong: No More Heartbreaks; Let the Fun Begin! – Inside Hockey
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"Matthew Dibiase"
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en
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https://insidehockey.com/doug-armstrong-no-more-heartbreaks-let-the-fun-begin/
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In my book The Art of the Dealers: the NHL’s Greatest General Managers I not only ranked St. Louis Blues GM Doug Armstrong as one of the 50 greatest general managers in hockey history I was also forced to assign him membership in sad club: the Heartbreak Managers club because Armstrong had more than five playoff failures as an NHL General Manager without ever reaching the Stanley Cup finals.
Armstrong had joined that club at the end of the 2011/12 NHL playoffs with his fifth playoff loss. In the years that followed the St. Louis Blues tacked on five more playoff losses. At one time Doug Armstrong was the third worst Heartbreak Manager behind Bob Pulford and Ron Caron.
But on May 21, the St. Louis Blues ended a 49 year Stanley Cup finals appearance drought when they beat the San Jose Sharks in the Western Conference finals. That signal victory also ended Doug Armstrong’s heartbreak managing streak. After ten playoff failures while managing the Dallas Stars and the St. Louis Blues Doug Armstrong has become the 11th NHL general manager to end a heartbreak managing streak and the fourth GM to do so during the 2010s (the others are Dean Lombardi (former L.A. Kings GM) in 2011/12; Doug Wilson (Sharks GM) in 2015/16; and David Poile (Nashville Predators GM) in 2016/17.
When the season began the Blues had every right to sing the Blues: firing head coach Mike Yeo before Thanksgiving; replacing him with Craig Berube. It wasn’t until January 14 that St. Louis regained the .500 level however St. Louis under Berube regained its rhythm and began playing some righteous jams on the ice.
Doug Armstrong had augmented the offense with pre-season acquisition Ryan O’Reilly from the Buffalo Sabres (O’Reilly led the Blues in assists and points scored). Free agent David Perron strengthened the Blues offensive line with his solid two-way skills. But the biggest prize of all came in the form of goalie Jordan Binnington who was snatched from the Bruins farm system. When he became the starting goalie in January he sparked the Blues comeback with a 24-5-1 record in the regular season; and during the playoffs showed courage in the face of adversity through the first three rounds: shrugging off back-to-back losses against Winnipeg in the first round by standing tough in games five and six to win the series; holding the Dallas Stars to only four goals scored in the last three games of the series to clinch the second round; again shrugging off a loss due to a controversial goal by the San Jose Sharks to hold San Jose to only two goals in the last three games of the series to lead St. Louis to the Stanley Cup finals.
If the Blues win the Stanley Cup it will come as a result of Jordan Binnington’s courageous goal-tending. A St. Louis Stanley Cup win will also end the second longest Stanley Cup drought in the NHL today (Toronto still has the longest drought at 52 years). It would also be their first Cup win ever.
For Doug Armstrong a Cup win would be the icing on the cake but for now Armstrong can bask in the glow of putting to rest a heartbreaking string of playoff losses. He has finally earned his ticket to the Big Dance.
The question remains: will the Blues be hoisting the Stanley Cup when the fat lady sings?
|
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https://kids.britannica.com/students/article/St-Louis-Blues/574182
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St. Louis Blues
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Based in St. Louis, Missouri, the Blues are a professional ice hockey team that plays in the Western Conference of the National Hockey League (NHL). They have appeared in…
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en
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Britannica Kids
|
https://kids.britannica.com/students/article/St-Louis-Blues/574182
|
Based in St. Louis, Missouri, the Blues are a professional ice hockey team that plays in the Western Conference of the National Hockey League (NHL). They have appeared in four Stanley Cup finals (1968–70 and 2019) and have won one championship (2019).
The Blues joined the NHL during the 1967–68 season as one of the six teams added to the league when it expanded from the so-called “Original Six” franchises. They were named for musician W.C. Handy’s classic composition “St. Louis Blues.” Led by head coach Scotty Bowman and featuring defenseman Barclay Plager, the Blues advanced to the Stanley Cup finals in their first season but were defeated by the Montreal Canadiens. The Blues won the NHL West Division—composed of the six expansion franchises—in each of the following two seasons as well, only to be swept by the winner of the East Division in the Stanley Cup finals (Montreal again in 1969, the Boston Bruins in 1970). The Blues were much less successful during the 1970s. Between 1970–71 and 1979–80, St. Louis posted just two winning records and advanced past the opening play-off round only once.
In 1980–81 the Blues, behind the play of left wing Brian Sutter and center Bernie Federko, won 45 games—the best record in team history up to that point—and captured a division title. Their play-off struggles continued, however, as they were eliminated in the second round of the postseason. The Blues finished with a losing record six times over the following eight seasons but still qualified for the play-offs each year. During the 1987–88 season St. Louis acquired future star right wing Brett Hull. He would go on to score the most goals in franchise history over the course of his 10 full seasons with the Blues—and eventually follow his father, Bobby Hull, into the Hall of Fame—but he led the team no further than the second round of the play-offs.
In 1999–2000 the Blues posted the best record in the NHL behind the play of right wing Pavol Demitra and defensemen Chris Pronger and Al MacInnis, but St. Louis was upset in the first round of the play-offs by the San Jose Sharks. In the following season the Blues advanced to the conference finals, which they lost to the eventual champion Colorado Avalanche. St. Louis continued to qualify for the postseason through the 2003–04 season, which brought the team’s run of consecutive play-off appearances to 25 seasons—the third longest such streak in league history at the time. Over that period, however, the Blues failed to reach the Stanley Cup finals and only advanced past the second play-off series twice.
In the six seasons following the end of the streak, the Blues earned just one play-off berth—a first-round loss in 2008–09. The struggling team brought in head coach Ken Hitchcock early in the 2011–12 season. The Blues rallied behind his leadership, winning 49 games and capturing the franchise’s first division title in 11 years. However, St. Louis continued to falter in the play-offs, losing in the second round that year and in the first round in each of the next three seasons.
In 2015–16 St. Louis advanced to its first conference final in 14 years, but the Blues were eliminated by the San Jose Sharks. St. Louis staged a dramatic turnaround during the 2018–19 season, rising from last place in the Central Division in January to end the regular season with a second-place divisional finish. Led by interim head coach Craig Berube and a stellar defense, the Blues then advanced through the play-offs to reach the Stanley Cup finals for the first time in 49 years. St. Louis defeated the Boston Bruins in a seven-game series to claim the first championship in franchise history.
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https://novacapsfans.com/2019/08/20/recent-draft-picks-of-the-washington-capitals-and-st-louis-blues-part-2/
|
en
|
Recent Draft Picks Of The Washington Capitals and St. Louis Blues – Part 2
|
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2019-08-20T00:00:00
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Photo: NHL via Getty Images As most hockey fans know, the last two Stanley Cup winners, the St. Louis Blues in 2019 and the Washington Capitals in 2018, had never won the Stanley Cup until their recent wins. However, the two teams also have another similarity. While neither team had ever won a prior Stanley…
|
en
|
NoVa Caps
|
https://novacapsfans.com/2019/08/20/recent-draft-picks-of-the-washington-capitals-and-st-louis-blues-part-2/
|
Photo: NHL via Getty Images
As most hockey fans know, the last two Stanley Cup winners, the St. Louis Blues in 2019 and the Washington Capitals in 2018, had never won the Stanley Cup until their recent wins. However, the two teams also have another similarity. While neither team had ever won a prior Stanley Cup, both teams have consistently made the playoffs during this past decade. As a result, both teams have not benefited from early draft picks (prior to sixth overall, which is generally when the game-changing superstars are drafted). NoVa Caps examines the draft positions of both the Caps and the Blues for the last decade. Part 1 covered the drafts from 2009 through 2014, which you can find here. In Part 2 we cover draft selections from 2015 and later.
The Caps have been a contender since their “turn-around” season of 2007-08. Since that season, they have made the playoffs in every season except for 2013-14. They have won three President’s Trophies (2009-10, 2015-16, 2016-17), had the second-best record in the Eastern Conference one other season (2010-11), and have won nine Division titles.
The Blues did not develop into a contender until the 2011-12 season, but made the playoffs in all the ensuing seasons, except for 2017-18.
2015 Entry Draft
Capitals
During the 2014-15 season, the Caps earned a 45-26-11 record, finished in second place in the Metropolitan Division, and returned to the playoffs. They had the fourth best record in the conference, tying the New York Islanders in points but won the tie breaker. In the playoffs, the Caps beat the Islanders in Round 1 but lost to the Presidents’ Trophy winning, New York Rangers, in Round 2. In the 2015 Draft, the Caps selected at position #22 and chose Russian goaltending prospect, Ilya Samsonov. While he has not arrived in the NHL yet, he is currently considered the Caps’ best prospect. They also chose defenseman, Jonas Siegenthaler late in the second round. Siegenthaler has appeared in 26 games and is considered a leading candidate, along with Christian Djoos, to play on the third defensive pairing. Their remaining draft picks have not made it to the NHL to date.
Blues
During the 2014-15 season, the Blues went 51-24-7, finished first place in the Central Division and tied for first place in the Western Conference. However, due to tie breakers, they were considered as the second place team in the Conference. The Blues fell in Round 1 to the Minnesota Wild, who had finished as a Wild Card team. The Blues would have picked at #25 except they traded the pick to the Buffalo Sabres in the Ryan Miller trade at the 2014 trade deadline. The pick eventually became the property of the Winnipeg Jets. The Blues went on to pick Vince Dunn in the second round with pick #56. Dunn has played in two seasons with the St. Louis Blues and played in 20 post season games for the Blues, but has missed several playoff games due to a facial injury.
2016 Entry Draft
Capitals
During the 2015-16 season, the Caps earned a 56-18-8 record, finished first in the Metropolitan Division, and won the Presidents’ Trophy. However, similar to their fate in the 2008-09 season, they lost to the Pittsburgh Penguins in Round 2. Thus, they were slated to pick at #26 in the first round, however they made a trade with the St Louis Blues to acquire an extra pick and ended up picking at #28 instead. With that pick, they chose defenseman, Lucas Johansen. Johansen is currently playing with the Hershey Bears and has still not made it to the NHL. None of the Caps remaining picks from that draft have made it to the NHL so far, either.
Blues
During the 2015-16 season, the Blues went 49-24-9, finished second in the Central Division and were just one point shy from finishing first in the division and first in the Conference. They advanced to Round 3, after beating the Chicago Blackhawks and the Dallas Stars, only to fall to the San Jose Sharks. By advancing to the Conference Final, they earned the 28th pick, but then traded that pick and another draft pick to the Washington Capitals so they could move up to choose at #26 instead of #28. With that pick, they chose forward Tage Thompson. Thompson debuted for the Blues during 2017-18 but was traded to the Buffalo Sabres in the Ryan O’Reilly deal that took place after the 2017-18 season. Their second rounder pick, Jordan Kyrou, has played 16 NHL game so far and is considered to be a promising forward prospect for the Blues. The rest of their picks have not yet made it to the NHL.
2017 Entry Draft
Capitals
During the 2016-17 season, the Caps earned a 55-19-8 record, finished first in the Metropolitan Division, and won the Presidents’ Trophy. But similar to their fate in 2016, they lost to the Pittsburgh Penguins in Round 2. Thus, they were slated to pick at #26 in the first round. However, they sent their first round pick for 2017 to the St Louis Blues at the trade deadline to acquire defenseman Kevin Shattenkirk, who left the team in free agency. They had already sent their second round pick to Montreal as part of the Lars Eller trade before the 2016-17 season, and had sent their third round pick to Buffalo as part of the trade for Mike Weber at the 2015-16 trade deadline. Hence, the Caps had no draft picks prior to the fourth round. So far, none of the Caps from that draft have made it to the NHL.
Blues
During the 2016-17 season, the Blues went 46-29-7 and finished third in the Central Division. They advanced to Round 2 of the playoffs after beating Minnesota, on the strength of hot goaltending play by Jake Allen. The would lose in Round 2 to Nashville. This earned them pick #20 in the NHL Entry draft which they used to pick Robert Thomas. Thomas was a rookie during the 2018-19 season and played in 21 games during the Blues’ run to the Cup. They had an additional first round pick, Klim Kostin, who they had acquired in the deal where they sent Ryan Reeves to the Penguins. So far, none of the Blues draft choices, besides Thomas, have made it to the NHL.
2018 Entry Draft
Capitals
During the 2017-18 season, the Caps earned a 49-26-7 record and finished first in the Metropolitan Division. The Caps tied for the third best record in the Eastern Conference but “won” the tie breaker. They had a worse regular season record than they had the previous two years, since they were forced to shed players, due to giving raises to Evgeny Kuznetsov, Dmitry Orlov, and T.J. Oshie. They also lost defenseman Nate Schmidt in the expansion draft. However, they did much better in the playoffs. They first beat the Columbus Blue Jackets in Round 1 after falling behind in the series, 2 games to 0. Then, they beat the Pittsburgh Penguins in Round 2, the same team they had fallen to in both the 2015-16 and 2016-17 seasons. After that, they beat the Tampa Bay Lightning to advance to the Stanley Cup Finals for the first time since 1998. This time, after falling behind in the first game to the Las Vegas Knights, they won the remaining four games and won the Stanley Cup for the first time in their history.
In the 2018 NHL Entry Draft, they had pick #31 and used it to select Alexander Alexeyev, a defenseman. They picked six other players in that draft, as well. So far, none of their draftees from 2018 have made it to the NHL .
Blues
During the 2017-18 season, the Blues went 44-32-6, finished fifth in the Central Division and missed out on the playoffs entirely, due to a very poor second half of the season. Their finishing position earned them the right to pick at #14. However, before the season, they traded the pick to the Philadelphia Flyers in exchange for Brayden Schenn. Schenn had a very good year but was not able to help them win enough games to make the playoffs. The Blues did have a first round pick they had acquired in a trade with Winnipeg. The pick originally belonged to the Toronto Maple Leafs. They used that pick to acquire Dominik Bokk, a winger. None of the Blues’ draft picks have made it to the NHL yet.
2019 Entry Draft
Capitals
During the 2018-19 season, the Caps earned a 48-26-8 record and finished in first place in the Metropolitan Division and had the third best record in the Eastern Conference. They were hoping to repeat as the Stanley Cup winner but, instead, they fell in Round 1 to the Carolina Hurricanes. Hence, they chose at #25 in the NHL Entry Draft and chose Connor McMichael. They chose three other players, as well. They chose in Round 1 and Round 2 but their third round pick was sent to the Los Angeles Kings in exchange for Carl Hagelin. None of their picks are expected to make it to the NHL in 2019-20.
Blues
During the 2018-19 season, the Blues went 45-28-9 and finished third in the Central Division. They tied the Winnipeg Jets in second place in points but the Jets held the tie breaker. They were also just one point behind Nashville, who had won the division. The Blues had started off poorly and in early January, found themselves with the worst record in the NHL. But they turned their season round and made the playoffs. They beat the Jets in the first round and followed that up by beating the Dallas Stars who they had beaten in Round 3 three years earlier. After that, they played the San Jose Sharks in Round 3. Unlike in 2016, the Blues were able to beat the Sharks in Round 3 and advanced to the Stanley Cup final. They beat the Boston Bruins in a 7 game series for their first Stanley Cup ever.
They did not have a draft pick until the second round as they had traded it to the Buffalo Sabres prior to the start of the season in exchange for Ryan O’Reilly. The Blues did not pick until the second round when they chose Nikita Alexandrov with pick #62. None of the Blues picks are expected to play in the NHL for 2019-20,
Summary
Capitals
Since 2009, most of the Washington Capitals first round picks were after #20. In fact, there were only two seasons where they chose before slot #20, which were 2012, when they had picks #11 (Filip Forsberg) and #16 (Tom Wilson), and 2014 when they had pick #13 (Jakub Vrana).
The Caps traded their first round pick twice, once to acquire Troy Brouwer at the 2012 NHL Entry Draft and the other time in 2017 when they acquired Kevin Shattenkirk as a rental.
Several of the first rounders chosen by the Caps from 2009 on had important roles on their Stanley Cup team of 2018, including Evgeny Kuznetsov (2010), Tom Wilson (2012), Andre Burakovsky (2013), and Jakub Vrana (2014) along with players chosen prior to then, including Ovechkin, Backstrom, Carlson, and Holtby.
Later round picks having an impact include Dmitry Orlov (2009), Philipp Grubauer (2010), Chandler Stephenson (2012), Christian Djoos (2015). The last player the Caps had chosen prior to draft slot #10 was when they drafted Karl Alzner in the 2007 NHL Entry Draft at draft slot #5.
Blues
Since 2009, all Blues first picks were after #10, with all picks since 2011 after #20. In 2009, they had pick #17 (David Rundblad), while in 2010, they had picks #14 (Jaden Schwartz) and #16 (Vladimir Tarasenko). The Blues had traded Rundblad to the Ottawa Senators for their first round pick which was pick #16, with which the Blues selected Tarasenko. Their remaining first picks were chosen after #20.
On four occasions, the Blues traded their first round pick so they had to pick later in the draft. Their first round picks were traded for the following seasons: their 2011 first rounder, in the deal to acquire Kevin Shattenkirk and Dave Stewart, their 2013 first rounder, in the deadline deal to acquire defenseman Jay Bouwmeester, their 2015 first rounder in the deal to acquire Ryan Miller at the 2014 trade deadline, their 2018 first rounder in the deal to acquire Brayden Schenn, and their 2019 first rounder in the deal to acquire Ryan O’Reilly. The last player the Blues had chosen prior to draft slot #10 was when they drafted Alex Pietrangelo with the fourth pick overall in the 2008 NHL Entry draft.
The Blues were able to find talent in later rounds of the draft to fulfill needs. This included Jordan Binnington and Joel Edmonston from the 2011 draft, Colton Parayko from the 2012 draft, Ivan Barbashev and Sammy Blais from the 2014 draft, Vince Dunn from the 2015 draft, and Robert Thomas from the 2017 draft.
Overall
Both of the recent Stanley Cup winners, the Washington Capitals in 2018 and St Louis Blues in 2019, were able to win the Cup with no early draft picks during the last ten years, having been consistent contenders throughout most of that time frame. They had identified talent, either late in the first round or in subsequent rounds, to fill needs and had made strategic trades or free agent acquisitions.
Related Reading
Recent Draft Picks Of The Washington Capitals and St. Louis Blues – Part 1
By Diane Doyle
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St. Louis Blues
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[
"St. Louis Blues",
"encyclopedia",
"encyclopaedia",
"article"
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[] | null |
Based in St. Louis, Missouri, the Blues are a professional ice hockey team that plays in the Western Conference of the National Hockey League (NHL). They have appeared in…
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en
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/resources/icons/favicons/bkids/bkids-favicon-57c.png
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Britannica Kids
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https://kids.britannica.com/students/article/St-Louis-Blues/574182
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Based in St. Louis, Missouri, the Blues are a professional ice hockey team that plays in the Western Conference of the National Hockey League (NHL). They have appeared in four Stanley Cup finals (1968–70 and 2019) and have won one championship (2019).
The Blues joined the NHL during the 1967–68 season as one of the six teams added to the league when it expanded from the so-called “Original Six” franchises. They were named for musician W.C. Handy’s classic composition “St. Louis Blues.” Led by head coach Scotty Bowman and featuring defenseman Barclay Plager, the Blues advanced to the Stanley Cup finals in their first season but were defeated by the Montreal Canadiens. The Blues won the NHL West Division—composed of the six expansion franchises—in each of the following two seasons as well, only to be swept by the winner of the East Division in the Stanley Cup finals (Montreal again in 1969, the Boston Bruins in 1970). The Blues were much less successful during the 1970s. Between 1970–71 and 1979–80, St. Louis posted just two winning records and advanced past the opening play-off round only once.
In 1980–81 the Blues, behind the play of left wing Brian Sutter and center Bernie Federko, won 45 games—the best record in team history up to that point—and captured a division title. Their play-off struggles continued, however, as they were eliminated in the second round of the postseason. The Blues finished with a losing record six times over the following eight seasons but still qualified for the play-offs each year. During the 1987–88 season St. Louis acquired future star right wing Brett Hull. He would go on to score the most goals in franchise history over the course of his 10 full seasons with the Blues—and eventually follow his father, Bobby Hull, into the Hall of Fame—but he led the team no further than the second round of the play-offs.
In 1999–2000 the Blues posted the best record in the NHL behind the play of right wing Pavol Demitra and defensemen Chris Pronger and Al MacInnis, but St. Louis was upset in the first round of the play-offs by the San Jose Sharks. In the following season the Blues advanced to the conference finals, which they lost to the eventual champion Colorado Avalanche. St. Louis continued to qualify for the postseason through the 2003–04 season, which brought the team’s run of consecutive play-off appearances to 25 seasons—the third longest such streak in league history at the time. Over that period, however, the Blues failed to reach the Stanley Cup finals and only advanced past the second play-off series twice.
In the six seasons following the end of the streak, the Blues earned just one play-off berth—a first-round loss in 2008–09. The struggling team brought in head coach Ken Hitchcock early in the 2011–12 season. The Blues rallied behind his leadership, winning 49 games and capturing the franchise’s first division title in 11 years. However, St. Louis continued to falter in the play-offs, losing in the second round that year and in the first round in each of the next three seasons.
In 2015–16 St. Louis advanced to its first conference final in 14 years, but the Blues were eliminated by the San Jose Sharks. St. Louis staged a dramatic turnaround during the 2018–19 season, rising from last place in the Central Division in January to end the regular season with a second-place divisional finish. Led by interim head coach Craig Berube and a stellar defense, the Blues then advanced through the play-offs to reach the Stanley Cup finals for the first time in 49 years. St. Louis defeated the Boston Bruins in a seven-game series to claim the first championship in franchise history.
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NHL Team Guide: St. Louis Blues
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[] |
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[
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Read more about the St. Louis Blues here in this NHL team guide.
|
en
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https://www.livesportsontv.com/news/nhl-team-guide-st-louis-blues
|
The St. Louis Blues were founded in 1967 as part of the NHL’s first major expansion after the Original Six era. The team took its name from an old W.C. Handy song called “Saint Louis Blues.” The Blues history is rich, but the franchise has struggled in the postseason.
St. Louis fans can watch the Blues on TV on NBC or NBCSN whenever the team is part of a national broadcast. Regional coverage of Blues games on TV can be found and FOX Sports Midwest. St. Louis games are also available for streaming on the FOX Sports Go app and YouTubeTV.
NHL Standings
The Blues entered the NHL in the 1967-68 season and were part of the new West Division. After a number of realignments, St. Louis is currently in the Central Division of the Western Conference. The Blues are one of seven current teams in the division. With expansion, St. Louis will be one of eight teams in the Central Division beginning in 2021-22.
Championship History
St. Louis has had its share of success making the postseason in all but nine of the franchise’s 53 seasons. The Blues’ 42 playoff appearances are the most of any team not in the Original Six. In their first three NHL seasons, the Blues advanced all the way to the Stanley Cup Finals. They were swept in four games in each series.
St. Louis has won nine division titles: 1968-69, 1969-70, 1976-77, 1980-81, 1984-85, 1986-87, 1999-2000, 2011-12, and 2014-15. The Blues won just one conference championship and that was in 2018-19. St. Louis advanced to the Stanley Cup Finals that year and won the franchise’s first and only Cup with a seven-game victory over Boston. Until that win, the Blues were the oldest franchise to have never won the Stanley Cup.
Home of the Blues
St. Louis plays its home NHL schedule at the Enterprise Center, which is located in downtown St. Louis. The arena opened in 1994 as the Kiel Center and has undergone a series of name changes. For hockey games, the Enterprise Center seats 18,096 fans.
Best of the Blues
The Blues organization has a number of players affiliated with the team in the Hall of Fame but only six that played most of their career in St. Louis. Leading career scorer Bernie Federko played all but one of his 14 NHL (1976-90) seasons in St. Louis. Federko scored 1,073 points in 13 seasons with the Blues. He was the first player who played primarily for the Blues inducted into the Hockey Hall of Fame.
Brett Hull and his father Bobby Hull are the only father-son duo to each score 1,000 career NHL points. In 11 seasons in St. Louis, Hull totaled 936 points and a franchise-best 527 goals. He scored a career-high 86 goals in 1990-91.
Brian Sutter is one of the six famous Sutter brothers to have played in the NHL. He spent his entire 12-year career with the Blues where he remains third on the all-time scoring list with 636 points. He is the only Sutter brother to have his jersey retired.
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St. Louis Blues | History & Notable Players
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[
"St. Louis Blues",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
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[
"Adam Augustyn"
] |
2011-10-13T00:00:00+00:00
|
St. Louis Blues, American professional ice hockey team based in St. Louis, Missouri, that plays in the Western Conference of the National Hockey League. The Blues have appeared in four Stanley Cup finals (1968–70 and 2019) and have won one championship (2019).
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en
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/St-Louis-Blues-American-hockey-team
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St. Louis Blues, American professional ice hockey team based in St. Louis, Missouri, that plays in the Western Conference of the National Hockey League (NHL). The Blues have appeared in four Stanley Cup finals (1968–70 and 2019) and have won one championship (2019).
The Blues (whose name is derived from musician W.C. Handy’s classic composition “St. Louis Blues”) joined the NHL during the 1967–68 season as one of the six teams added to the league when it expanded from the so-called “Original Six” franchises. Led by first-time head coach Scotty Bowman and featuring hard-nosed defenseman Barclay Plager, the Blues advanced to the Stanley Cup finals in their first season but were defeated by the Montreal Canadiens in four contests that were each decided by just one goal. The Blues won the NHL West Division—composed of the six expansion franchises—in each of the following two seasons as well, only to be swept by the winner of the Original Six-filled East Division in the Stanley Cup finals (Montreal again in 1969, the Boston Bruins in 1970). The team’s hot start was not sustainable, however, and the Blues were markedly less successful during the 1970s. Between 1970–71 and 1979–80, St. Louis posted just two winning records and advanced past its opening playoff round but once.
Britannica Quiz
Great Moments in Sports Quiz
In 1980–81 the Blues, behind the play of left wing Brian Sutter and centre Bernie Federko, won 45 games—posting the best record in team history up to that point—and captured a division title, but their playoff struggles continued as they were eliminated in their second postseason series. The Blues finished with a losing record six times over the following eight seasons, but nevertheless qualified for the playoffs each year. During the 1987–88 season St. Louis acquired future star right wing Brett Hull. He would go on to score the most goals in franchise history over the course of his 10 full seasons with the Blues—and ultimately follow his father, Bobby Hull, into the Hall of Fame—but he led the team no farther than the second round of the playoffs during that period.
In 1999–2000 the Blues posted the best record in the NHL behind the play of right wing Pavol Demitra and defensemen Chris Pronger and Al MacInnis, but St. Louis was upset in the first round of the NHL playoffs by the Western Conference’s lowest seed, the San Jose Sharks. The Blues rebounded from that disappointment the following season by earning a berth in the conference finals, which they lost to the eventual champion Colorado Avalanche. St. Louis continued to qualify for the postseason through the 2003–04 season, which brought the team’s run of consecutive playoff berths to 25 seasons—the third longest such streak in league history at the time. Over that period, however, the Blues failed to appear in the Stanley Cup finals and only advanced past their second playoff series twice. In the six seasons following the end of the streak, the Blues primarily finished their seasons with win-loss records around .500 but earned just one postseason berth (a first-round loss in 2008–09). The struggling team brought in head coach Ken Hitchcock 14 games into the 2011–12 season, and the Blues rallied behind the new leadership, winning 49 games and capturing the franchise’s first division title in 14 years. However, postseason success continued to elude the team as the Blues lost in the second round of the playoffs that year, which was followed by first-round upset losses in the subsequent three seasons. St. Louis broke through to a degree during the 2015–16 season, advancing to its first conference final in 14 years, where the Blues were eliminated by the San Jose Sharks.
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https://clutchpoints.com/4-bold-blues-predictions-2023-24-nhl-season
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en
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Blues: 4 bold predictions for 2023-24 NHL season
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[
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2023-10-09T05:33:14+00:00
|
The St. Louis Blues missed the Stanley Cup Playoffs last season, but they hope to avoid that fate in 2023-24.
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en
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ClutchPoints
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https://clutchpoints.com/4-bold-blues-predictions-2023-24-nhl-season
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The St. Louis Blues enter the 2023-24 NHL season with something to prove. Last season, the team missed the Stanley Cup Playoffs. It marked just the second time since 2011-12 that the team failed to qualify for the playoffs. And it was the first time since the team took down the Boston Bruins in 2019 to win the Stanley Cup.
The Blues are not a bad hockey team. St. Louis has a rather interesting core of players, including Jordan Kyrou, Jake Neighbours, and Robert Thomas. But the team also has a group of veterans that represent more of a mixed bag than a sign of hope.
The Blues certainly want a return to playoff hockey, but a lot has to go their way. With that in mind, here are four bold predictions regarding the St. Louis Blues ahead of their regular season opener on Thursday.
Pavel Buchnevich scores 40
The Blues swung a trade with the New York Rangers ahead of the 2021 NHL Draft for Pavel Buchnevich. And at the time, it seemed like a rather interesting bet on behalf of St. Louis. The Russian forward was coming off a 20-goal, 48-point career season. Buchnevich was good and seemed to have the potential to become even better.
His first season with St. Louis was absolutely incredible. He scored 30 goals and 76 points as the Blues made the Stanley Cup Playoffs. However, he took a bit of a step back in 2022-23. Buchnevich scored 26 goals and 67 points while being limited to 63 games.
The 28-year-old is still a fine player, and he'll show that this season. He will score 40 goals in 2023-24, leading the Blues as they give other Western Conference contenders nightmares. But, he won't be the team's only 40-goal scorer.
Jakub Vrana scores 40, too
Back in March, the Blues linked up with their favorite trade partner, the Detroit Red Wings. St. Louis acquired forward Jakub Vrana from the Red Wings in what essentially amounted to a cap dump for Detroit. And much like he did when he originally arrived in Detroit, Vrana found success.
The 27-year-old Czechian forward played 20 games in St. Louis following the trade. He scored 10 goals and 14 points during that time. It became clear that Vrana had the talent to succeed. Whatever his issues with Detroit, they were of no concern to St. Louis. The Blues benefitted mightily, and they'll continue to do so.
Vrana will also score 40 goals this season. He'll need to find ways to stay on the ice this season for this to happen. He suffered a shoulder injury ahead of 2021-22 that forced him to miss time. And he entered the player's assistance program last season after just two games. However, with all that behind him, Vrana will thrive, and St. Louis will reap the rewards.
Joel Hofer takes over
Joel Hofer enters the 2023-24 NHL season as the backup to Jordan Binnington. The 23-year-old Winnipeg native has received some time in with St. Louis in the past. This will be his first true taste of action at the highest level in the game. And I believe he'll do more than hold his own.
Hofer has played well in the AHL and NHL over the last two seasons. He had a few lackluster starts down the stretch last season. But his first three starts saw the 23-year-old puck-stopper post an otherwordly .959 save percentage. Of course, he won't post those kinds of numbers this season. But it certainly inspires confidence he can thrive at the NHL level.
Contrast this with Binnington, who has not had the best run of things recently. Since debuting in 2019, his save percentage has steadily declined each season. This culminated in his posting a .894 save percentage in 2022-24. That marked his first season with a save percentage below .900 in any season.
Binnington certainly can bounce back, but it's hard to see it. He is not the goalie who inspired the Blues to the 2019 Stanley Cup. And that could become readily apparent this season. Don't be surprised if Hofer becomes the primary option in goal for St. Louis at some point in 2023-24.
Blues claim top wild card
The Blues have had a solid track record of making the playoffs in recent times. That's a testament to the team's they've built and the quality on their roster. St. Louis did not become significantly better this summer. But they didn't need to, as they'll surprise everyone this upcoming season.
The Blues will claim the top wild-card spot in the Western Conference. They'll certainly face stiff competition for the spot, without a doubt. The Calgary Flames, Vancouver Canucks, Winnipeg Jets, and Seattle Kraken are all threats coming out of the Pacific Division. In the Central, the Nashville Predators are obvious contenders. The Arizona Coyotes are dark horses that St. Louis needs to respect.
The Blues will have their work cut out for them, but they are up for the task. How far St. Louis can go obviously remains to be seen. That said, the Blues should make the playoffs as the top wild card team in the West.
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dbpedia
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2
| 9
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https://mosportshalloffame.com/inductees/barret-jackman/
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en
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Barret Jackman – Missouri Sports Hall of Fame
|
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en
|
https://mosportshalloffame.com/inductees/barret-jackman/
|
Barret Jackman won’t be remembered for being a flashy goal scorer.
But St. Louis Blues fans will remember Jackman for being the guy who did all the little things during his 13 seasons with the Blues.
Block a shot with his body? No problem, Jackman did that more than 1,000 times during his 14-year NHL career. He stopped 153 shots alone during the 2011-12 season. He never shied away from putting his body in front of the puck to take away a potential goal.
Start a fight? He wasn’t afraid to do that, either. And he finished plenty, as well. Jackman racked up over 1,100 penalty minutes in his career.
Playing with a toughness and an edge not seen as much in today’s NHL, Jackman was a mainstay for the Blues’ for over 13 seasons. For his leadership, toughness and accomplishments on the ice, the Missouri Sports Hall of Fame proudly inducted Jackman as a member of its Class of 2023.
Born in Trail, British Columbia, Canada, Jackman rose quickly through the ranks of junior hockey, eventually becoming the 17th overall selection by St. Louis in the 1999 NHL Entry Draft.
It wouldn’t be long before he was making an impact in the NHL.
During his rookie season in St. Louis in 2002-03, Jackman recorded three goals, 16 assists, 190 penalty minutes, and a plus-23 rating, helping lead the Blues to the playoffs. Playing on a line which included greats Al MacInnis and Chris Pronger, Jackman became the first – and still only – St. Louis Blue to be voted winner of the Calder Memorial Trophy, given annually to the NHL’s top rookie.
Jackman’s growth and development at the NHL level stalled a bit over the next two seasons. He was limited to just 15 games in 2003-04 due to a shoulder injury, and in 2004-05 Jackman played with the Missouri River Otters of the United Hockey during the NHL lockout.
He returned to form when the NHL returned to the ice in 2005-06, playing in 63 games and recording a career-high 24 assists.
Jackman showed his durability over the next three seasons, playing in no fewer than 70 games each year. In 2008-09, he appeared in all 82 regular-season games for the Blues and had 17 assists to go with four goals.
Over time, Jackman developed into one of the more reliable defensemen in the NHL, averaging 20-plus minutes per game for his career.
In the summer of 2012, Jackman signed a three-year contract extension with the Blues, his last multi-year deal with the club.
Jackman closed out his career in 2015-16 with the Nashville Predators. He played in 73 regular season games and appeared in all 14 playoffs games as the Preds reached the second round.
He officially retired from the ice when he signed a one-day contract with the Blues on October 4, 2016. Jackman finished his career with 181 points, or 28 goals and 153 assists. He and Bernie Federko (MSHOF 2002) are the only Blues to play at least 13 seasons with the club.
“It’s a huge honor to be able to stand up there for the old swan song,” he said at his retirement press conference. “It’s just an unbelievable opportunity that the Blues and (team owner) Mr. (Tom) Stillman and (general manager) Doug Armstrong gave me to retire in the same place where my whole career started. This is overwhelming, to have so many alumni and all of the players behind me; I’m happy I didn’t have to stare them in the face. It probably would have been a lot harder if I had to look at those guys the entire time.”
MacInnis had high praise for Jackman upon his retirement.
“No one played the game with probably some of the toughest injuries you can play with, played hard each and every night,” MacInnis said. “That’s just Barret. That’s just the way he is.”
Pronger shared his thoughts.
“When you think of his name, you think of the passion and the toughness that he played with,” Pronger said. “Back then he was still very young. Everybody leads in their own way. I’ve played with a lot of guys that are the strong, silent type. [Jackman] was one of those guys that leads by example, played the game hard, and he wanted you to follow that lead.”
Since retirement, Jackman has remained in the St. Louis area and become a businessman, partnering with former Blues great Kelly Chase and Brett Hull on several ventures.
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https://records.nhl.com/stl/franchises/st-louis-blues/history
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STL Records
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https://www.stltoday.com/sports/professional/nhl/blues/blues-will-open-2011-12-season-at-home/article_4251d9a4-9d28-11e0-aa4d-0019bb30f31a.html
|
en
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Blues will open 2011-12 season at home
|
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] |
[] |
[] |
[
"st. louis blues",
"nhl",
"2011-12 schedule",
"jeremy rutherford",
"nashville predators"
] | null |
[
"JEREMY RUTHERFORD"
] |
2011-06-22T18:24:00-05:00
|
The complete 2011-12 NHL schedule will be released Thursday afternoon, but a league source has told the Post-Dispatch that the Blues will open the season Oct. 8 against the Nashville
|
en
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https://www.stltoday.com/content/tncms/site/icon.ico
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STLtoday.com
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https://www.stltoday.com/sports/professional/nhl/blues/blues-will-open-2011-12-season-at-home/article_4251d9a4-9d28-11e0-aa4d-0019bb30f31a.html
|
The complete 2011-12 NHL schedule will be released Thursday afternoon, but a league source has told the Post-Dispatch that the Blues will open the season Oct. 8 against the Nashville Predators at Scottrade Center.
The Blues did release their preseason schedule Wednesday. Here's a look:
Sept. 20 vs. Tampa Bay, 7 p.m.
Sept. 21 against Tampa Bay (location TBA), 7 p.m.
Sept. 22 vs. Minnesota, 7 p.m.
Sept. 23 at Colorado, 7 p.m.
Sept. 24 at Dallas, 7 p.m.
Sept. 27 at Minnesota, 7 p.m.
Sept. 29 vs. Colorado, 7 p.m.
Oct. 1 vs. Dallas, 1:30 p.m.
Get in the game with our Prep Sports Newsletter
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https://www.cbc.ca/sports/hockey/nhl/stanley-cup-final-blues-bruins-game-7-recap-1.5173134
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en
|
St. Louis Blues get Hollywood ending as worst-to-first run ends with Stanley Cup
|
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] |
[] |
[] |
[
""
] | null |
[
"Tim Wharnsby",
"for CBC Sports"
] |
2019-06-13T03:53:00+00:00
|
If you thought the expansion Vegas Golden Knights were a good story last spring, all you had to do was wait 12 months. The Blues, with 14 Canadian born players in their lineup, authored an even better tale as they went from worst to first.
|
en
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/a/apple-touch-icon.png
|
CBC
|
https://www.cbc.ca/sports/hockey/nhl/stanley-cup-final-blues-bruins-game-7-recap-1.5173134
|
From outhouse to penthouse in 161 days: the sensational story of the 2018-19 Stanley Cup champion St. Louis Blues.
If you thought the expansion Vegas Golden Knights were a good story last spring, all you had to do was wait 12 months. The Blues authored a way better tale — almost too good to be true.
The Blues, with 14 Canadian born players in their lineup, claimed the franchise's first championship in its 52-year history with a perfect road 4-1 road victory in Game 7 against the Boston Bruins on Wednesday.
St. Louis was dead last in the league on Jan. 2. Instead of talk of a playoff run, the chatter around the club six months ago centred around which players would be available at the trade deadline.
WATCH | Blues are finally Stanley Cup champions:
But interim head coach Craig Berube's boys turned it on. They went 30-10-5 to make the playoffs and disposed of the Winnipeg Jets, Dallas Stars and San Jose Sharks in the first three rounds, respectively. They then took care of the Bruins in the seven-game final.
Berube, Binnington bring burst
Berube, a 53-year-old from Calahoo, Alta., and of First Nations descent, took over the Blues on Nov. 19. He required another six weeks for the Blues to get into gear.
The promotion of rookie goalie Jordan Binnington was perhaps the most important ingredient. He was called up on Dec. 9. He had a couple of relief appearances that provided no evidence he would eventually become the Blues saviour.
But his first NHL start on Jan. 7 in Philadelphia against the Flyers was a precursor to the Blues' success. He blanked Berube's old team 3-0 and finished the season a remarkable 24-5-1.
Then, he set a rookie-goalie record with 16 more wins in the playoffs. The names Binnington passed en route to his record included Patrick Roy, Ron Hextall, Cam Ward and Matt Murray.
Binnington made a bevy of big saves for the Blues, especially in the first period. But none was more significant than the right pad stop on Bruins left wing Joakim Nordstrom with 11:03 remaining with his team ahead by two goals at the time.
St. Louis centre Brayden Schenn made it 3-0 a few minutes later.
WATCH | Blues beat Bruins in Game 7 to win Stanley Cup:
The Blues were so good defensively. Hockey Hall of Famer Larry Robinson and assistant coach Mike Van Ryn did a magnificent job in turning the St. Louis blue line into a world-class group.
The Blues hit hard, forechecked hard and they were unrelentingly diligent in their own end. They always seemed to come up with a critical blocked shot. And if they didn't, Binnington was there to block it himself.
They were also overwhelmingly physical. The way the Blues skated, hit and paid attention to defensive detail was reminiscent of Darryl Sutter's two championships with the Los Angeles Kings in 2011-12 and 2013-14.
WATCH | O'Reilly: 'You dream of this for so long:'
Team performance
It was fitting the Blues won on the road. Ten of their 16 post-season victories came away from St. Louis.
Their entire playoff run was the ultimate team performance, and so naturally, the Conn Smythe Trophy was a toss-up. Binnington, captain Alex Pietrangelo and Ryan O'Reilly were all worthy candidates.
O'Reilly received the nod in the end as he became the first player to score a goal in each of Games 4, 5, 6 and 7 of the Stanley Cup final.
Like Binnington, O'Reilly, of Seaforth, Ont., represents a remarkable story. The man who sports a playoff beard all season long had played for Canada too many times at the IIHF World Championship because his teams in Colorado and Buffalo failed to make the playoffs.
An off-season trade from the Sabres gave O'Reilly a new lease on his hockey life. He now has two world championship titles, a World Cup of Hockey win and a Stanley Cup victory to his name.
The Stanley Cup celebration, as always, was riveting and joyful. Pietrangelo took the Stanley Cup from Bettman and handed it to Jay Bouwmeester, he of 1,184 regular season outings and another 76 in the post-season before he finally won the Stanley Cup.
The Cup made it from Bouwmeester to Alex Steen, the longest-serving member of the Blues, to Chris Thorburn to veteran forward David Perron to O'Reilly to Vladimir Tarasenko to Tyler Bozak to Jaden Schwartz to St. Louis native Patrick Maroon and, eventually, the prized trophy found its way to Berube.
The job was complete. Quite the story, indeed.
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https://russianmachineneverbreaks.com/2019/06/21/in-their-season-opener-the-capitals-will-play-the-stanley-cup-champion-st-louis-blues-on-their-banner-raising-night/
|
en
|
In their season opener, the Capitals will play the Stanley Cup champion Blues on their banner-raising night
|
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2019-06-21T00:00:00
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The Washington Capitals' opening games of the 2019-20 season will be rife with narrative and storylines. On October 2, the Capitals will…
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https://russianmachineneverbreaks.com/2019/06/21/in-their-season-opener-the-capitals-will-play-the-stanley-cup-champion-st-louis-blues-on-their-banner-raising-night/
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The Washington Capitals’ opening games of the 2019-20 season will be rife with narrative and storylines. On October 2, the Capitals will open their season against the St. Louis Blues in a battle between the last two championship-winning teams.
Before the game, the Blues will raise their Stanley Cup Championship banner to the Enterprise Center rafters in a special pregame ceremony.
The Capitals will then hold their home opener three days later on October 5 against the Carolina Hurricanes. The Hurricanes defeated the Capitals in the first round last season.
This will mark the third time in four seasons the Capitals have either watched another team raise its banner or be involved in one of their own. During the 2016-17 season opener, the Capitals watched the Penguins raise their banner. Last year, the Capitals raised their own. Now the Blues will do the same.
The Capitals’ second game of the regular season will be against Barry Trotz and the New York Islanders on October 4, the Isles’ home opener. The very next night, in the second game of their first back-to-back of the season, the Capitals will host their home opener against the Carolina Hurricanes.
The Capitals will play both the Blues and the Hurricanes twice in the preseason as a precursor.
So, you guys, cancel all your plans. The Capitals first regular season game of the 2019-20 season is now only 103 days away.
Is it October yet?
Here is the full list of home openers from the NHL:
Anaheim Ducks: Thursday, Oct. 3 vs. Arizona
Arizona Coyotes: Saturday, Oct. 5 vs. Boston
Boston Bruins: Saturday, Oct. 12 vs. New Jersey
Buffalo Sabres: Saturday, Oct. 5 vs. New Jersey
Calgary Flames: Saturday, Oct. 5 vs. Vancouver
Carolina Hurricanes: Thursday, Oct. 3 vs. Montreal
Chicago Blackhawks: Thursday, Oct. 10 vs. San Jose
Colorado Avalanche: Thursday, Oct. 3 vs. Calgary
Columbus Blue Jackets: Friday, Oct. 4 vs. Toronto
Dallas Stars: Thursday, Oct. 3 vs. Boston
Detroit Red Wings: Sunday, Oct. 6 vs. Dallas
Edmonton Oilers: Wednesday, Oct. 2 vs. Vancouver
Florida Panthers: Saturday, Oct. 5 vs. Tampa Bay
Los Angeles Kings: Saturday, Oct. 12 vs. Nashville
Minnesota Wild: Saturday, Oct. 12 vs. Pittsburgh
Montreal Canadiens: Thursday, Oct. 10 vs. Detroit
Nashville Predators: Thursday, Oct. 3 vs. Minnesota
New Jersey Devils: Friday, Oct. 4 vs. Winnipeg
New York Islanders: Friday, Oct. 4 vs. Washington
New York Rangers: Thursday, Oct. 3 vs. Winnipeg
Ottawa Senators: Saturday, Oct. 5 vs. New York Rangers
Philadelphia Flyers: Wednesday, Oct. 9 vs. New Jersey
Pittsburgh Penguins: Thursday, Oct. 3 vs. Buffalo
San Jose Sharks: Friday, Oct. 4 vs. Vegas
St. Louis Blues: Wednesday, Oct. 2 vs. Washington
Tampa Bay Lightning: Thursday, Oct. 3 vs. Florida
Toronto Maple Leafs: Wednesday, Oct. 2 vs. Ottawa
Vancouver Canucks: Wednesday, Oct. 9 vs. Los Angeles
Vegas Golden Knights: Wednesday, Oct. 2 vs. San Jose
Washington Capitals: Saturday, Oct. 5 vs. Carolina
Winnipeg Jets: Thursday, Oct. 10 vs. Minnesota
More from the Capitals:
ARLINGTON, Va. – The Washington Capitals, in conjunction with the National Hockey League, today announced the club’s season and home opener for the 2019-20 season. Washington will open the season at Enterprise Center on Oct. 2 against the St. Louis Blues, who will raise their first Stanley Cup banner. The Capitals home opener will take place on Saturday, Oct. 5 vs. the Carolina Hurricanes at 7 p.m. at Capital One Arena.
The Capitals are 16-2-1-1 all-time in home openers at Capital One Arena and will face Carolina in their home opener for the fourth time in franchise history (2006-07, 2007-08, 2011-12), 3-0-0 record in those games. Washington posted a 4-0-0 record against Carolina last season and is 35-16-2-4 all-time at home. John Carlson (2g, 5a) led the Capitals with seven points in four games against Carolina in 2018-19. Alex Ovechkin recorded six points (4g, 2a) in four games against the Hurricanes last season. Ovechkin’s four goals tied for the most he scored against an opponent in 2018-19 (Detroit, Montreal, Pittsburgh, Tampa Bay). Braden Holtby posted a 4-0-0 record against the Hurricanes last season with a 2.21 goals-against average and a .918 save percentage.
The Capitals’ full schedule and League’s complete 1,271-game schedule will be released on Tuesday, June 25 at 12 p.m. ET.
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https://unitedstatesofhockey.com/2012/01/26/2011-12-mid-season-all-america-team-nhl/
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2011-12 Mid-Season All-America Team — NHL
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2012-01-26T00:00:00
|
Editor’s Note: As we’ve reached the mid-way point for the overall hockey season, it’s time to select the mid-season All-America teams for each of the three major levels of hockey in the United States. If you’ll recall, at the beginning of the season, preseason All-America teams were named on United States of Hockey for the…
|
en
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https://secure.gravatar.com/blavatar/6cb3d3c2e7fe1585074b88a5950bccd1ac1271404bc40cc60ef504182ebbe143?s=32
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The United States of Hockey
|
https://unitedstatesofhockey.com/2012/01/26/2011-12-mid-season-all-america-team-nhl/
|
Editor’s Note: As we’ve reached the mid-way point for the overall hockey season, it’s time to select the mid-season All-America teams for each of the three major levels of hockey in the United States. If you’ll recall, at the beginning of the season, preseason All-America teams were named on United States of Hockey for the National Hockey League, NCAA and also a team featuring 2012 NHL Entry Draft-eligible players. Each team is made up of American-born players, with one player listed for each position, with a few honorable mentions for each as well. We kicked off the mid-season teams with the 2012 Draft-eligibles last Wednesday and unveiled the NCAA team on Tuesday. We wrap-up the mid-season honors with the NHL first and second teams today.
This has been a solid year for Americans in the National Hockey League. Many players have been highly productive and integral to their teams. With a higher American population in the NHL than ever before, it should be expected that American-born players will step up into the elite ranks of the league.
However, the U.S. has only one American in the top-10 in league scoring and only seven in the top 60. This is an area that certainly needs improvement. The United States is undoubtedly an elite hockey nation, but the lack of the consistently productive players is an area of concern.
Despite those concerns, there’s still tremendous depth among American players in the league. Several players that weren’t listed on the preseason All-America Team have stepped up and earned a spot on the first-team this time around. Plenty of tough decisions, to be sure.
Goaltending however is an overwhelmingly bright spot for the United States. Of the nine Americans named to the NHL All-Star Game, three are goaltenders. Not since Mike Richter, John Vanbiesbrouck and Tom Barrasso, has the United States enjoyed such high-end depth at the position.
Defense has also been a position of strength, and based on the number of talented young defenders coming up in the NHL ranks like Cam Fowler, Justin Faulk, Jake Gardiner and Kevin Shattenkirk, the U.S. could be pretty well set in that area for a long time.
While the present isn’t so bad, the future is very bright for USA Hockey in terms of producing high-end NHL players.
Coming up after the jump, a look at the best America has to offer in the NHL today.
Left Wing — Zach Parise — New Jersey Devils
Preseason: Zach Parise, New Jersey Devils
After missing most of last season due to injury, the Devils captain has seemingly picked up right where he left off in terms of production. Parise is the fourth leading scorer among American-born players in the NHL with 40.
Parise, currently third on the Devils in scoring, has New Jersey firmly in the playoff hunt and showing marked improvement as a whole this year with him in the lineup. The left winger hasn’t been held without a point for longer than three consecutive games, and that’s only happened twice this season. His consistent offensive presence and diligent work ethic at both ends of the ice easily put Parise in this first-team left wing spot.
His highly-publicized one-year deal with New Jersey has led some to believe he may be trade bait should the Devils fall out of contention. If he enters the trade market, he’d be one of the most highly sought after commodities in years.
2nd Team: Erik Cole — Montreal Canadiens
Preseason: James van Riemsdyk, Philadelphia Flyers
Erik Cole has quietly had a fantastic season, production wise for the Montreal Canadiens. He leads the Habs with 37 points including 19 goals. Though Montreal has struggled this season, Cole has been a bright spot.
Hampered by injuries throughout his career, Cole has appeared in all 48 games for the Canadiens, after completing the first 82-game season of his career in 2010-11. He is on pace for a career year, with a previous personal high of 61 points in an injury-shortened 2006-07 campaign.
Many weren’t sure how much gas the 33-year-old had in the tank after a pretty solid 26-goal season last year. Cole has proven he’s not done yet, far from it.
Honorable Mentions: Max Pacioretty, Montreal Canadiens; Nick Foligno, Ottawa Senators; R.J. Umberger, Columbus Blue Jackets
Center — David Backes — St. Louis Blues
Preseason: Ryan Kesler, Vancouver Canucks
The St. Louis Blues have been the comeback kids of the NHL since Ken Hitchcock took over, and they’ve been led by their captain the whole way. Backes paces the Blues with 37 points and an American-forward-leading plus-16 rating.
Backes is the definition of an all-around player. He can skate, he can score, he can hit, he’s responsible defensively and he has tremendous size. All of that has combined to make Backes one of the premier power centers in the National Hockey League.
A strong case could be made for Backes being the American most valuable to his team. In the hotly contested Central Division, St. Louis has traded the top spot with rivals Chicago and Detroit in recent weeks and currently sits fourth in the Western Conference. The Blues have only lost three times in regulation (four in overtime/shootout) on home ice and Backes has been a big part of pleasing the home fans with 26 points playing in the shadow of the Arch. That he’s not part of the All-Star festivities is a real shame. He certainly deserves to be there.
This 27-year-old is beginning to step into the spotlight in a market hungry for winning hockey.
2nd Team: Ryan Kesler — Vancouver Canucks
Preseason: Paul Stastny, Colorado Avalanche
While Kesler hasn’t really lit it up offensively like he did in 2010-11, he’s still bringing his solid two-way game night in and night out. After starting the year on the IR, still recovering from hip surgery, Kesler is fourth for Vancouver with 33 points, while recording his typical high plus/minus rating, 27 takeaways and 62 hits.
Though he might be off the pace of his incredible 2010-11, Kesler remains one of the premier American-born players in the game.
Honorable Mention: David Legwand, Nashville Predators; Paul Stastny, Colorado Avalanche; Derek Stepan, New York Rangers; Brandon Dubinsky, New York Rangers
Right Wing — Phil Kessel — Toronto Maple Leafs
Preseason: Patrick Kane, Chicago Blackhawks
In the absolute deepest position among American-born players, Phil Kessel is still the easy choice for the first-team All-America nod. His 51 points and 26 goals are tops among American-born players. His point total ranks ninth overall in the NHL and his 26 goals are tied for fourth. Kessel is on pace for an 84-point season, which would be the best by an American since Zach Parise’s 94-point campaign in 2008-09.
Undoubtedly the most natural goal-scorer among Americans in the NHL right now, Kessel has been consistent in that department. Closing in on his fourth consecutive 30-plus-goal season, Kessel is beginning to step into that upper-echelon in the NHL.
He isn’t the most popular player, but he’s one of the most talented and he’s shown every bit of his ability for much of this season. Playing in Toronto won’t make Kessel as big of a household name in the U.S. media markets, but he’s certainly made a huge impact on the way Americans are perceived in the game internationally. Phil Kessel, quite simply, is a star.
2nd Team: Jason Pominville — Buffalo Sabres
Preseason: TIE — Phil Kessel, Toronto Maple Leads; Bobby Ryan, Anaheim Ducks
I spent a lot of time thinking this one through between Pominville and Patrick Kane, who are awfully close in points, but gave the nod to the Sabres captain. It’s been a rough go in Buffalo this season as the team hovers around the basement of the Eastern Conference.
Pominville, however, has been an awfully bright spot for this lackluster team. Through it all, the captain has 17 goals and 30 assists for a team that has really struggled offensively. He leads the team in points and assists, while sitting 13th and 11th overall in the league in both categories, respectively.
Though born in Quebec, Pominville has represented the United States in international play as a dual citizen. He’s close to a career pace right now, despite all of the struggles around him. When the Sabres look back on this sorry year, they won’t have their captain to blame. He’s been outstanding this year and will represent the Sabres at the All-Star Game.
Honorable Mention: Patrick Kane, Chicago Blackhawks; Ryan Callahan, New York Rangers; Bobby Ryan, Anaheim Ducks; T.J. Oshie, St. Louis Blues
Defense — Ryan Suter — Nashville Predators
Preseason: Ryan Suter, Nashville Predators
The best American defenseman in the NHL has continued to be the best American defenseman in the NHL in 2011-12. Ryan Suter might be overshadowed by teammate Shea Weber, but he is undoubtedly one of the best blueliners in the game and has continued to prove that this season.
Suter was named to the All-Star Game after posting 28 points in the first half. He’s currently on pace to meet or beat most of his career offensive stats. Additionally, Suter has put up a plus-8 rating on a team right in the thick of the Central Division race.
Suter hasn’t done a lot of hitting this year, but beats a lot of his opponents with his elite hockey sense and positioning. Suter has blocked 66 shots so far this season while logging an average of 26:28 a night.
The Predators will do all they can to lock up this 27-year-old star, but there’s going to be a lot of interest in Suter in both the trade market and, if he gets there, the free-agent market. He’s the type of player every team would love to have.
Defense — Keith Yandle — Phoenix Coyotes
Preseason: Jack Johnson, Los Angeles Kings
Yandle has really solidified himself as one of the best offensive defensemen in the NHL. He’ll represent the Coyotes at the NHL All-Star Game after putting up 29 points including 23 assists. He may not be on the same pace as a season ago, but has been a significant part of Phoenix’s attack.
Yandle has put 121 shots on net so far this year, but he’s also shown plenty of defensive responsibility with 52 blocked shots. He needs to limit turnovers, as he’s been guilty of 51 giveaways this year.
Either way, Yandle is a deserving All-Star and at just 25 years of age, he’s still not quite hit his prime. He’s going to be a solid defender for years to come and should remain as one of the elite American-born offensive defensemen in the game.
2nd Team: Dustin Byfuglien — Winnipeg Jets
Preseason: Keith Yandle, Phoenix Coyotes
Though he won’t be able to attend the All-Star Game due to injury, Byfuglien has been outstanding when in the lineup. In just 35 games, Byfuglien already has 24 points and has the Jets firmly in the playoff hunt.
Byfuglien has plenty of offensive abilities, but has honed his defensive game in just his second year as a full-time defenseman in the NHL. The burly defenseman has 64 hits so far this year and is logging an average of 23-plus minutes a game. When he returns to health, he’ll be a force once again.
2nd Team: Kevin Shattenkirk — St. Louis Blues
Preseason: Alex Goligoski, Dallas Stars
In just his second season in the NHL, Kevin Shattenkirk has shown some incredible skills and is a big part of the Blues’ success this season. He has 23 points and a solid plus-17, while averaging more than 21 minutes a game in his sophomore campaign.
Shattenkirk is just 22 years old and appears to have a lot of great years ahead of him. He’s had success at both ends of the ice and looks like a seasoned vet out there. The Blues are looking like geniuses for picking up Shattenkirk and Chris Stewart for Erik Johnson and Jay McClement near the deadline last season. It could be a big reason the Blues are fighting for a Central Division title.
Honorable Mention: Matt Carle, Philadelphia Flyers; Jack Johnson, Los Angeles Kings; Ryan McDonagh, New York Rangers; John-Michael Liles, Toronto Maple Leafs
Goalie — Jonathan Quick — Los Angeles Kings
Preseason: Ryan Miller, Buffalo Sabres
The 26-year-old UMass alum has had his official breakout season. If he didn’t turn enough heads last year, Jonathan Quick is certainly turning them this year, in break-neck fashion.
The Kings are not yet a sure thing for the playoffs due to the lack of consistency in their offence, making Quick all-the-more important.
Quick has started 42 of of LA’s 50 games this year, posting a 21-12-9 record, 1.93 goals-against average and .934 save percentage. Quick ranks in the top five in most categories and boasts a league best six shutouts. He’s fourth in goals-against average and save percentage and fifth in minutes played.
Quick is looking like a contender for the Vezina and might have a shot at making this the fourth consecutive year of an American winning goaltending’s top award. There’s no telling what the second half will bring, but based on his first-half performance, expect a continued career-best effort from Quick.
2nd Team: Jimmy Howard — Detroit Red Wings
Preseason: Tim Thomas, New England Patriots Boston Bruins
The NHL’s leader in wins often won’t get enough credit for the success he’s had with much of it being attributed to the team he’s on. Make no mistake, Jimmy Howard is becoming one of the premier goaltenders in the NHL and is contributing to the outstanding depth in the goaltending position for the United States.
With a 30-11-1 record, Howard hasn’t just been letting the wins piled up. His 2.03 goals-against average ranks fifth in the NHL, while his five shutouts put him behind only Quick. He also has a .924 save percentage, which ranks seventh in the league.
Only 27, Howard has plenty of time left in this league to continue building his reputation.
Honorable Mention: Tim Thomas, Boston Bruins; Craig Anderson, Ottawa Senators
Mid-Season Awards…
Mike Modano Award — American MVP
David Backes, St. Louis Blues — This may be a controversial choice, but Backes may be the player most valuable to his own team. Ken Hitchcock will deservingly get credit for the Blues turnaround, but without Backes, it’s simply not possible. The big centerman is the straw that stirs that drink.
A strong case could be made for both Quick and Kessel, but I gave Backes the nod for his all-around game and how important he has been to the success of the Blues.
First Runner Up: Jonathan Quick, LA Kings; Second Runner Up: Phil Kessel, Toronto Maple Leafs
Joe Mullen Award — Top American Scorer
Phil Kessel, Toronto Maple Leafs — 51 points — This one’s simple math. Phil Kessel has more goals and more points than any other American. Case closed.
First Runner-Up: Jason Pominville, Buffalo Sabres — 47 points; Second Runner-Up: Patrick Kane — 41 points
Brian Leetch Carl Voss Trophy — American Rookie of the Year (I don’t remember why I initially named this the Brian Leetch Trophy in the pre-season. The first player ever to win the Calder Memorial Trophy (in 1933) as the NHL’s rookie of the year was actually American. His name was Carl Voss. The (imaginary) trophy should be named for him.)
Craig Smith, Nashville Predators — A year removed from his junior season at the University of Wisconsin, Craig Smith has stepped right into the NHL and performed well. Save for one hilarious gaffe in the season, it’s been mostly positive. With 11 goals and 18 assists, Smith ranks 18th among all American-born NHLers this season with 29 points, while playing significant minutes for the Preds.
First Runner-Up: Jake Gardiner, Toronto Maple Leafs; Second Runner-Up: Justin Faulk, Carolina Hurricanes
Well that’s it for the mid-season team and awards. Feel free to leave your own thoughts about who should or shouldn’t be on the list in the comments.
The end-of-season NHL All-America team will be unveiled upon the conclusion of the Stanley Cup Finals in June.
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https://goduquesne.com/sports/womens-basketball/roster/wumi-agunbiade/2139
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Wumi Agunbiade - Women's Basketball
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Wumi Agunbiade (10) Forward - Wumi Agunbiade Photo Gallery
As a Senior (2013-14)
2014 Second-Team All-Conference ... College Sports Madness Second-Team All-Conference
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/images/logos/site/site.png
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Duquesne University Athletics
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https://goduquesne.com/sports/womens-basketball/roster/wumi-agunbiade/2139
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Wumi Agunbiade Photo Gallery
As a Senior (2013-14)
2014 Second-Team All-Conference ... College Sports Madness Second-Team All-Conference ... finished career as program's 2nd all-time leading scorer and 3rd all-time rebounder 27 double-figure scoring games ... 2013 Maggie Dixon Classic All-Tournament Team ... back-to-back double-doubles against Providence and Saint Francis to earn A-10 Player of the Week ... 26 points at Fordham ... double-double of 17 points and 10 rebounds at Saint Louis ... 23 points against La Salle ... 25 career double-doubles ... season-high 30 points against Dayton ... only player in Duquesne history to score 1,700 points and record 900 rebounds.
As a Junior (2012-13)
2013 Atlantic 10 First-Team All-Conference ... College Sports Madness Second-Team All-Conference ... scored her 1,000th career point versus Delaware on 12/30/12 ... named A-10 Player of the Week on 01/21/13 after recording back-to-back 23 point games versus Saint Louis and Temple ... season-high 10 FG and career-highs 22 attempts and 46 minutes at George Washington ... career-high 10 FT and 18 FTA vs. James Madison.
As a Sophomore (2011-12)
2012 Atlantic 10 Second-Team All-Conference ... finished fourth in scoring, 13th in rebounds and ninth in field goal percentage in the A-10 ... two-time A-10 Player of the Week ... two-time College Sports Madness Player of the Week ... Pickin' Splinters Performance of the Week ... started 31-of-32 games ... scored a career-high 32 points on 12-of-15 shooting against North Dakota State ... career-high 16 rebounds versus Ohio ... was a perfect 10-for-10 and scored 21 points versus George Washington ... recorded four double-doubles ... led the Dukes in scoring 12 times ... played on Canadian Senior National Team during the summer.
As a Freshman (2010-11)
2011 Atlantic 10 Conference Rookie of the Year ... 2011 Atlantic 10 Conference All-Rookie Team ... six-time A-10 Rookie of the Week ... started 32 of 33 games ... season-highs of 21 points and 16 rebounds at Miami, Ohio ... five blocks at Kansas in 2nd Round of WNIT ... recorded a team-high seven double-doubles ... five assists at La Salle and vs. Saint Louis.
High School
One of the top players in Ontario ... averaged over 20 points per game ... led Dunbarton (coach Jan Heyes) to the semifinals of the Lake Ontario Secondary School Athletics AAAA League in 2009 ... selected as one of the top 5 players in Onatrio by the Toronto Star ranked the 43rd best power forward by ESPN HoopGurlz ... ranked the 108th best player according to Blue Star Basketball ... three-time athlete of the year at Dunbarton ... named 2009 MVP of the Spartans ... once scored 47 points as a member of the Scarborough Blues (coach Charles Kissi) club team ... also played for the Advantage Titans (coach Christopher Smalling) and 'A' Game (coach Scottie Afful) ... one of the most heavily recruited players in the Greater Toronto Area ... selected to the 2010 Canadian Junior Women's National Team ... part of the 2010 Blue Star Basketball recruiting class that ranked Duquesne 47th best in the nation ... chose Duquesne over Michigan State, DePaul and Vermont.
Personal
Full name is Omowumi Abigail Agunbiade ... psychology major ... Director of Athletics' Honor Roll.
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|
||||
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|
dbpedia
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3
| 23
|
https://archauthority.com/2015/06/29/st-louis-blues-legend-chris-pronger-elected-to-hockey-hall-of-fame/
|
en
|
St. Louis Blues Legend Chris Pronger Elected to Hockey Hall of Fame
|
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[] |
[] |
[
""
] | null |
[
"Patrick Karraker"
] |
2015-06-29T00:00:00
|
Former St. Louis Blues defenseman Chris Pronger has been elected to the Hockey Hall of Fame.
|
en
|
https://images2.minutemediacdn.com/image/upload/c_fill,w_1440,ar_1:1,f_auto,q_auto,g_auto/shape/cover/sport/favicon_2-7584840191d9f13dce826391650b7201.ico
|
Arch Authority
|
https://archauthority.com/2015/06/29/st-louis-blues-legend-chris-pronger-elected-to-hockey-hall-of-fame/
| |||||
7313
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dbpedia
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2
| 38
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https://nhltoseattle.com/2013/01/24/2011-12nhlattendance/
|
en
|
Attendance Volatility of the 2011
|
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] |
[] |
[] |
[
""
] | null |
[
"John Barr"
] |
2013-01-24T00:00:00
|
Last night on did some analysis on attendance to date over the first 34 games of this appreciated NHL season. I posted my findings on twitter and it created quite the buzz. It was not the most in depth analysis but it was a relatively fair view at the games year over year. So I […]
|
en
|
https://nhltoseattle.com/wp-content/themes/Grimag/favicon.ico
|
NHL to SEATTLE
|
https://nhltoseattle.com/2013/01/24/2011-12nhlattendance/
|
Last night on did some analysis on attendance to date over the first 34 games of this appreciated NHL season. I posted my findings on twitter and it created quite the buzz.
It was not the most in depth analysis but it was a relatively fair view at the games year over year. So I decided to take it a little further and determine what the typical season looks like from a seasonality perspective to see when we might really understand the impacts, if any to the lockout.
We often hear that NHL operates at a +95% occupancy. That’s outstanding but I wanted to take a look at some of the teams that have more attendance volatility. So I’ve decided to take a deep dive at the seasonality for the 2011-12 season. For this exercise, I’ve isolated any team that operate at a 99% occupancy rate for the season. The assumption here is that they virtually sell out every night so there isn’t much sense analyzing their data. Including those teams in the data will hide some of the fluctuations. As the season goes on, analyzing their attendance will be very easy.
Half the league virtually sells out the season. The teams I’ve eliminated from the data set that have averaged over 99% capacity are Boston, Buffalo, Calgary, Chicago, Detroit, Edmonton, Montreal, NY Rangers, Pittsburgh, San Jose, Toronto, Vancouver, Washington, Winnipeg. If your team is on this list…be proud!!! So that leaves these following teams that had attendance volatility during the 2011-12 season: Anaheim, Carolina, Colorado, Columbus, Dallas, Florida, Los Angeles, Minnesota, Nashville, New Jersey, NY Islanders, Ottawa, Phoenix, St. Louis, Tampa Bay. I should quickly point out that the Ottawa numbers are debatable. I read that Scotiabank Place has a capacity of 19153 for hockey but several times last year the Senators drew 20,500 six times during the season so I used 20,500 as max capacity. If anyone has some insight here feel free to share. I had similar issues with Minnesota and used their max capacity as 19,290.
Of the 15 teams with Attendance volatility, the Kings, Blues and Nashville have highest occupancy rate, over 97% (all three of them were playoff teams). Remember that would put them 16th – 18th for occupancy rate so it isn’t as great as it sounds. The lowest occupancy rate was Phoenix (surprise), Dallas and Columbus.
With the same data set, I wanted to see what games (#s) have the lowest occupancy rate.
In an 82 game season, the lowest attended games are Games 3,4,5,2 & 7. Listed in order with game 3 having the lowest occupancy (77%).
Isolating some of the more interesting teams attendance you can see the crazy volatility.
I imagine we will see a huge increase in attendance for the Stars and Coyotes. Stars have re-stabilized the team and their fan base while the Coyotes had a great playoff run and appear to have an owner right around the corner (yes, I know you’ve heard that before).
There are a host of other factors to consider when digging into these numbers such as Giveaways, promotions, price points, opponents etc. I am sure the teams look at this in detail but I don’t have access to this information so I kept it simple and consistent.
One thing I did not do was try to understand the impact of giveaways, special promotions, like entertainment competition (i.e. Football, Baseball). The fact that NHL is starting this year clears the way of competition they face in the fall. Ever wonder why NBC Network (not Sports) doesn’t really start carrying games until Jan/Feb? Football.
Let me know your thoughts.
|
||||
7313
|
dbpedia
|
3
| 74
|
https://www.retroseasons.com/teams/st-louis-blues/2012/overview/
|
en
|
RetroSeasons.com
|
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[] |
[] |
[
""
] | null |
[] |
2022-05-20T05:46:24+00:00
|
The 2012 St. Louis Blues, coached by Davis Payne (6-7) and Ken Hitchcock (43-15), lost the Confere...
|
en
|
RetroSeasons
|
https://www.retroseasons.com/teams/st-louis-blues/2012/overview/
|
RetroSeasons
RetroSeasons recaps past sports seasons through stories, photos, videos, and stats from every team, league, and stadium in history. Coverage includes the NBA, NFL, MLB and NHL, as well as vintage media from defunct teams and leagues.
The 2012 St. Louis Blues, coached by Davis Payne (6-7) and Ken Hitchcock (43-15), lost the Conference Semifinals after finishing the NHL regular season in 1st place in the Western Conference Central Division with a 49-22 record.
|
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7313
|
dbpedia
|
3
| 1
|
https://en.wikipedia.org/wiki/List_of_St._Louis_Blues_seasons
|
en
|
List of St. Louis Blues seasons
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
[
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[] |
[] |
[
""
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[
"Contributors to Wikimedia projects"
] |
2007-05-09T23:24:06+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/List_of_St._Louis_Blues_seasons
|
Season Blues season Conference Division Regular season[1] Postseason[2] Finish GP W L T[3] OT[4] Pts GF GA GP W L OT GF GA Result 1967–68 1967–68 — West 3rd 74 27 31 16 — 70 177 191 18 8 10 — 42 50 Won in quarterfinals, 4–3 (Flyers)
Won in semifinals, 4–3 (North Stars)
Lost Stanley Cup Finals, 0–4 (Canadiens) 1968–69 1968–69 — West↑ 1st 76 37 25 14 — 88 204 157 12 8 4 — 36 20 Won in quarterfinals, 4–0 (Flyers)
Won in semifinals, 4–0 (Kings)
Lost Stanley Cup Finals, 0–4 (Canadiens) 1969–70 1969–70 — West↑ 1st 76 37 27 12 — 86 224 179 16 8 8 — 46 46 Won in quarterfinals, 4–2 (North Stars)
Won in semifinals, 4–2 (Penguins)
Lost Stanley Cup Finals, 0–4 (Bruins) 1970–71 1970–71 — West 2nd 78 34 25 19 — 87 223 208 6 2 4 — 15 16 Lost in quarterfinals, 2–4 (North Stars) 1971–72 1971–72 – West 3rd 78 28 39 11 — 67 208 247 11 4 7 — 27 47 Won in quarterfinals, 4–3 (North Stars)
Lost in semifinals, 0–4 (Bruins) 1972–73 1972–73 — West 4th 78 32 34 12 — 76 233 251 5 1 4 — 9 22 Lost in quarterfinals, 1–4 (Black Hawks) 1973–74 1973–74 — West 6th 78 26 40 12 — 64 206 248 — — — — — — Did not qualify 1974–75 1974–75 Campbell Smythe 2nd 80 35 31 14 — 84 269 267 2 0 2 — 6 9 Lost in preliminary round, 0–2 (Penguins) 1975–76 1975–76 Campbell Smythe 3rd 80 29 37 14 — 72 249 290 3 1 2 — 8 7 Lost in preliminary round, 1–2 (Sabres) 1976–77 1976–77 Campbell Smythe↑ 1st 80 32 39 9 — 73 239 276 4 0 4 — 4 19 Lost in quarterfinals, 0–4 (Canadiens) 1977–78 1977–78 Campbell Smythe 4th 80 20 47 13 — 53 195 304 — — — — — — Did not qualify 1978–79 1978–79 Campbell Smythe 3rd 80 18 50 12 — 48 249 348 — — — — — — Did not qualify 1979–80 1979–80 Campbell Smythe 2nd 80 34 34 12 — 80 266 278 3 0 3 — 4 12 Lost in preliminary round, 0–3 (Black Hawks) 1980–81 1980–81 Campbell Smythe↑ 1st 80 45 18 17 — 107 352 281 11 5 6 — 42 50 Won in preliminary round, 3–2 (Penguins)
Lost in quarterfinals, 2–4 (Rangers) 1981–82 1981–82 Campbell Norris 3rd 80 32 40 8 — 72 315 349 10 5 5 — 39 36 Won in division semifinals, 3–1 (Jets)
Lost in division finals, 2–4 (Black Hawks) 1982–83 1982–83 Campbell Norris 4th 80 25 40 15 — 65 285 316 4 1 3 — 10 16 Lost in division semifinals, 1–3 (Black Hawks) 1983–84 1983–84 Campbell Norris 2nd 80 32 41 7 — 71 293 316 11 6 5 — 30 31 Won in division semifinals, 3–1 (Red Wings)
Lost in division finals, 3–4 (North Stars) 1984–85 1984–85 Campbell Norris↑ 1st 80 37 31 12 — 86 299 288 3 0 3 — 5 9 Lost in division semifinals, 0–3 (North Stars) 1985–86 1985–86 Campbell Norris 3rd 80 37 34 9 — 83 302 291 19 10 9 — 64 70 Won in division semifinals, 3–2 (North Stars)
Won in division finals, 4–3 (Maple Leafs)
Lost in conference finals, 3–4 (Flames) 1986–87 1986–87 Campbell Norris↑ 1st 80 32 33 15 — 79 281 293 6 2 4 — 12 15 Lost in division semifinals, 2–4 (Maple Leafs) 1987–88 1987–88 Campbell Norris 2nd 80 34 38 8 — 76 278 294 10 5 5 — 35 38 Won in division semifinals, 4–1 (Blackhawks)
Lost in division finals, 1–4 (Red Wings) 1988–89 1988–89 Campbell Norris 2nd 80 33 35 12 — 78 275 285 10 5 5 — 35 34 Won in division semifinals, 4–1 (North Stars)
Lost in division finals, 1–4 (Blackhawks) 1989–90 1989–90 Campbell Norris 2nd 80 37 34 9 — 83 295 279 12 7 5 — 42 44 Won in division semifinals, 4–1 (Maple Leafs)
Lost in division finals, 3–4 (Blackhawks) 1990–91 1990–91 Campbell Norris 2nd 80 47 22 11 — 105 310 250 13 6 7 — 41 42 Won in division semifinals, 4–3 (Red Wings)
Lost in division finals, 2–4 (North Stars) 1991–92 1991–92 Campbell Norris 3rd 80 36 33 11 — 83 279 266 6 2 4 — 19 23 Lost in division semifinals, 2–4 (Blackhawks) 1992–93 1992–93 Campbell Norris 4th 84 37 36 11 — 85 282 278 11 7 4 — 24 28 Won in division semifinals, 4–0 (Blackhawks)
Lost in division finals, 3–4 (Maple Leafs) 1993–94 1993–94 Western Central 4th 84 40 33 11 — 91 270 283 4 0 4 — 10 16 Lost in conference quarterfinals, 0–4 (Stars) 1994–951 1994–95 Western Central 2nd 48 28 15 5 — 61 178 135 7 3 4 — 27 27 Lost in conference quarterfinals, 3–4 (Canucks) 1995–96 1995–96 Western Central 4th 82 32 34 16 — 80 219 248 13 7 6 — 37 37 Won in conference quarterfinals, 4–2 (Maple Leafs)
Lost in conference semifinals, 3–4 (Red Wings) 1996–97 1996–97 Western Central 4th 82 36 35 11 — 83 236 239 6 2 4 — 12 13 Lost in conference quarterfinals, 2–4 (Red Wings) 1997–98 1997–98 Western Central 3rd 82 45 29 8 — 98 256 204 10 6 4 — 29 31 Won in conference quarterfinals, 4–0 (Kings)
Lost in conference semifinals, 2–4 (Red Wings) 1998–99 1998–99 Western Central 2nd 82 37 32 13 — 87 237 209 13 6 7 — 31 33 Won in conference quarterfinals, 4–3 (Coyotes)
Lost in conference semifinals, 2–4 (Stars) 1999–2000 1999–2000 Western Central↑ 1st 82 51 19 11 1 114# 248 165 7 3 4 — 22 20 Lost in conference quarterfinals, 3–4 (Sharks) 2000–01 2000–01 Western Central 2nd 82 43 22 12 5 103 249 195 15 9 6 — 40 34 Won in conference quarterfinals, 4–2 (Sharks)
Won in conference semifinals, 4–0 (Stars)
Lost in conference finals, 1–4 (Avalanche) 2001–02 2001–02 Western Central 2nd 82 43 27 8 4 98 227 188 10 5 5 — 24 19 Won in conference quarterfinals, 4–1 (Blackhawks)
Lost in conference semifinals, 1–4 (Red Wings) 2002–03 2002–03 Western Central 2nd 82 41 24 11 6 99 253 222 7 3 4 — 21 17 Lost in conference quarterfinals, 3–4 (Canucks) 2003–04 2003–04 Western Central 2nd 82 39 30 11 2 91 191 198 5 1 4 — 9 12 Lost in conference quarterfinals, 1–4 (Sharks) 2004–05 2004–05 Season cancelled due to the 2004–05 NHL lockout 2005–062 2005–06 Western Central 5th 82 21 46 — 15 57 197 292 — — — — — — Did not qualify 2006–07 2006–07 Western Central 3rd 82 34 35 — 13 81 214 254 — — — — — — Did not qualify 2007–08 2007–08 Western Central 5th 82 33 36 — 13 79 205 237 — — — — — — Did not qualify 2008–09 2008–09 Western Central 3rd 82 41 31 — 10 92 233 233 4 0 4 — 5 11 Lost in conference quarterfinals, 0–4 (Canucks) 2009–10 2009–10 Western Central 4th 82 40 32 — 10 90 225 223 — — — — — — Did not qualify 2010–11 2010–11 Western Central 4th 82 38 33 — 11 87 240 234 — — — — — — Did not qualify 2011–12 2011–12 Western Central↑ 1st 82 49 22 — 11 109 210 165 9 4 5 — 20 23 Won in conference quarterfinals, 4–1 (Sharks)
Lost in conference semifinals, 0–4 (Kings) 2016–17 2016–17 Western Central 3rd 82 46 29 — 7 99 235 218 11 6 5 — 22 23 Won in first round, 4–1 (Wild)
Lost in second round, 2–4 (Predators) 2017–18 2017–18 Western Central 5th 82 44 32 — 6 94 226 222 — — — — — — Did not qualify 2018–19 2018–19 Western‡ Central 3rd 82 45 28 — 9 99 247 223 26 16 10 — 75 70 Won in first round, 4–2 (Jets)
Won in second round, 4–3 (Stars)
Won in conference finals, 4–2 (Sharks)
Won Stanley Cup Finals, 4–3 (Bruins)† 2019–204 2019–20 Western Central↑ 1st 71 42 19 — 10 94 225 193 9 2 6 1 22 32 Finished fourth in seeding round-robin (0–2–1)
Lost in first round, 2–4 (Canucks) 2020–215 2020–21 — West 4th 56 27 20 — 9 63 169 170 4 0 4 — 7 20 Lost first round, 0–4 (Avalanche) 2021–22 2021–22 Western Central 3rd 82 49 22 — 11 109 311 242 12 6 6 — 40 38 Won in first round, 4–2 (Wild)
Lost in second round, 2–4 (Avalanche) 2022–23 2022–23 Western Central 6th 82 37 38 — 7 81 263 301 — — — — — — Did not qualify 2023–24 2023–24 Western Central 5th 82 43 33 — 6 92 239 250 — — — — — — Did not qualify
|
||||
7313
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dbpedia
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1
| 82
|
http://sports.yahoo.com/blogs/nhl-puck-daddy/stanley-cup-playoff-preview--st--louis-blues-vs--minnesota-wild-201241912.html
|
en
|
Stanley Cup Playoff Preview: St. Louis Blues vs. Minnesota Wild
|
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[
"https://www.youtube.com/embed/kYQTOa08ibk",
"https://www.youtube.com/embed/6jzPnsqJnBY"
] |
[] |
[
""
] | null |
[
"Josh Cooper"
] |
2015-04-15T20:12:40+00:00
|
(Ed. Note: There are five Canadian teams in the 2015 Stanley Cup Playoffs, trying their hardest to recapture Lord Stanley’s Cup and return it to the Great White North after it’s been in the grimy, unworthy hands of American teams since 1994. Here is Puck Daddy’s Playoff Preview for the first round, complete with a celebration of their Canadian elements.)
|
en
|
Yahoo Sports
|
http://sports.yahoo.com/blogs/nhl-puck-daddy/stanley-cup-playoff-preview--st--louis-blues-vs--minnesota-wild-201241912.html
|
(Ed. Note: There are five Canadian teams in the 2015 Stanley Cup Playoffs, trying their hardest to recapture Lord Stanley’s Cup and return it to the Great White North after it’s been in the grimy, unworthy hands of American teams since 1994. Here is Puck Daddy’s Playoff Preview for the first round, complete with a celebration of their Canadian elements.)
It seems like since Ken Hitchcock was brought on as coach of the Blues in 2011-12, St. Louis has been a solid choice to make the Stanley Cup Final. But they haven’t made it past the second round.
What has been the Blues’ problem? Goaltending? Personnel? Coaching? A little of everything, probably, but it just hasn’t all come together. Same could be said for the Wild since their wet hot American summer in 2012 when they signed Team USA super buddies Ryan Suter and Zach Parise.
The Wild have made the playoffs twice since this sacred union, but never gone further than the second round, which happened a year ago. Much, if not all, rests on Devan Dubnyk, the Wild’s mid-season goaltending addition/savior to slow down the Blues’ absurd amount of depth.
Forwards
The Blues do not have any big Tim Horton’s fed Canadian centers. But do they really need any when they have Paul Stastny (American, raised in St. Louis though born in Quebec), David Backes (#merican) and Jori Lehtera (Finnish). Marcel Goc, the fourth line center, isn’t prolific but can provide some decent minutes. All finished with 44 points or more except for Goc. The Wild counter with Mikko Koivu (Finnish with 14 goals) and Mikael Granlund (also Finnish with just eight goals) down the middle, and not a lot else except perhaps Charlie Coyle. Plus, the Wild has no answer for Russian sniper Vladimir Tarasenko, the Blues’ resident game changer/ home run hitter with 37 goals. You can’t gameplan for him because’ he’s simply too creative. And of course, not to be forgotten are Alexander Steen (64 points in 74 games) and Jaden Schwartz (63 points). They all give the Blues even more wing scoring.
Minnesota winger Zach Parise (super American) scored 33 goals (El) Nino Niederreiter (Swiss) notched 24 and Thomas Vanek (Austrian) still has some pop in his stick and notched 21 goals. But really, the Blues are deep, healthy and so, so powerful up front. The Wild has some nice pieces, but not even a few more Canadians could help them at forward.
ADVANTAGE: Blues
Defensemen
The Wild has American hero Ryan Suter – who is as flag waving as they come – but coach Mike Yeo has a tendency to play his top players way too much in order to get into the playoffs … and then tries to figure out the rest on the fly after his team makes the postseason. Suter’s time on ice was a whopping 29:03 on average – and this came in a year where he was slammed by the mumps. No wonder his two goals were his lowest since he was a rookie. He must be exhausted. The Wild actually have solid depth at this position with Jared Spurgeon (Canadian), Marco Scandella (Canadian), Jonas Brodin (Swedish) and all average over 20 minutes per-night and are capable.
But when you’re going against that Blues offense it should take a toll. Plus, the Blues have two of the more underrated elite blueliners in the game with Kevin Shattenkirk (American) and Alex Pietrangelo (Canadian). Shattenkirk was an All-Star last year and notched 44 points in 56 games, in spite of injury. Pietrangelo had 46 points and averaged 25:24 per-game. Shattenkirk’s possession numbers are in the positive territory per Behind the Net. Pietrangelo’s aren’t, though his quality of competition is higher. Regardless, they’re a good tandem, along with Jay Bouwmeester, who plays 22:39 per-game.
ADVANTAGE: Blues
Marco Scandella head-shot of T.J. Oshie
Ryan Reaves slams Jared Cowen and then fights Eric Gryba in one shift
Goaltending
Jake Allen, who has been scorching hot down the stretch, starts the series for the Blues. Allen started every game in April except the season finale – including contests against the Flames and Jets, both teams that still were trying to make the playoffs – and posted a .964 save percentage.
He’ll face Devan Dubnyk, who was absurdly good for Minnesota with a 1.78 goals against average and .936 save percentage in 39 games. Only issue is that he started those 39 all in a row. Which makes you wonder if fatigue will be an issue in the playoffs. Also, both are Canadian, which evens out whatever tiebreaker there could have been.
ADVANTAGE: Wild
Blues: 13,
though it’s amazing Backes hasn’t taken a few out with his fists at some point – even if they’re on the same team.
Wild: 10, and these guys are way too internationally oriented to compete with the Blues’ Old Time Hockey-like ways. Even their Americans play like Canadians (Backes, David)
Coaches
Ken Hitchcock has won a Stanley Cup, been to multiple Cup Finals. Though his playoff success with the Blues is lacking, he seems to have a firm grasp on this particular group. I have no faith that Mike Yeo has this team ready for this fight. Suter has played an absurd amount of minutes and Dubnyk had almost no break time from his trade to the Wild until the end of the season. Stylistically speaking, the Blues rank 11th in CF % 5-on-5 puck according to Puckalytics, while the Wild ranks 16th at 51.0 percent. From a normal stats perspective, they’re neck and neck defensively at 2.40 goals against per-game for St. Louis and 2.42 for the Wild. Both these coaches like defense … because they’re both Canadian and obviously love old time hockey.
ADVANTAGE: Blues
Special Teams
The Blues rank fourth in the NHL on the power play at 22.3 percent. The Wild ranks a dismal 27th at 15.8 percent. Minnesota’s PK is phenomenal at 86.3 percent – tops in the NHL. St. Louis ranks eighth at 83.7 percent.
ADVANTAGE: Even
Devan Dubnyk of Regina, Saskatchewan, because it’s pronounced DOOObnick.
Steve Ott of St. Louis, you know – like an otter, because they have those in Canada!
Players To Watch
From Minnesota, it’ll be up to Dubnyk to stop the Blues’ attack and Suter to provide some layer of protection for Dubnyk against the Blues and their powerful forwards. For the Blues, it’s clearly Tarasenko – the human highlight reel.
Prediction
|
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https://www.pembrokelumberkings.ca/jim-montgomery-gets-another-chance-at-coaching-in-the-nhl
|
en
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Lumber Kings Alumnus Jim Montgomery Gets Another Chance at Coaching in the NHL
|
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2020-09-19T13:45:32+00:00
|
en
|
https://www.pembrokelumberkings.ca/jim-montgomery-gets-another-chance-at-coaching-in-the-nhl
|
Jim Montgomery is on his way back to the National Hockey League. The St. Louis Blues recently hired the former Pembroke Lumber King to be an assistant coach, a reunion of sorts as Montgomery returns to the organization that gave him his first crack as an NHL player.
It was almost 30 years ago when Montgomery made his NHL debut with the Blues in the 1993-94 season. Now, the Blues are offering Montgomery another chance to coach at the highest level of the sport after a devastating departure from the game.
Montgomery’s road to the NHL is a story of determination and perseverance. He was never drafted and never played major junior hockey. Instead his path took him through a small Eastern Ontario city where he met a gruff Junior A coach who had a profound impact on him and planted a seed that maybe some day he would be a coach, but as a teenage boy his first focus was to gain a scholarship to play hockey in the United States.
Playing minor hockey in Montreal, Montgomery knew some other players who had made their way to Pembroke from his hometown including Peter White, Bruce Coles and Glenn Painter. He had heard good things about Pembroke and decided to travel to the city to learn more about the Lumber Kings. He believed that playing for the Lumber Kings would help him get noticed by an American college scout. The Lumber Kings were a favourite destination for scouts in the 1980’s because of the success the club was having. By the time Montgomery arrived, the Kings were in the midst of a run that included six championships in eight years in the Central Canada Hockey League.
His first impressions were good. “I just loved the rink. I loved the small town feel and I loved the tradition of excellence that Pembroke had,” Montgomery said in a 2018 interview. He also liked his new coach, but admitted he was a bit fearful of Jim Farelli. “He had a gruff voice. His arms were huge. He was intimidating.”
As one of the stars on the team, Farelli had Montgomery playing on his top line. He also played on the powerplay and killed penalties, sometimes spending the full two minutes on the ice. With that much ice time and with great linemates like Brian Downey, Montgomery racked up the points. He finished the season with 53 goals and 101 assists and complimented his 154 point season by collecting 115 minutes in penalties, demonstrating the grit he likely inherited from his father, Jim Montgomery Senior, who was an Olympic boxer.
Montgomery says his Dad really liked Farelli. Both men were “old school” tough, but straight shooters. Years later when he began coaching hockey, Montgomery adopted some of Farelli’s approach to communicating with his players. “That was my greatest takeaway from Jim. All of us respected him because when he was being tough on us we knew he cared, but he was just being honest with us.”
Playing in Pembroke paid off. Montgomery secured a scholarship at the University of Maine where over four years he again put up strong offensive numbers. That earned him a professional contract and sparked a pro playing career that would last for more than decade. While much of his career was spent in the minor leagues, Montgomery did suit up for 122 NHL games with St. Louis, Montreal, Philadelphia, San Jose and finally Dallas. That last stop in Texas would lead to another reunion when he got his chance to take over an NHL bench.
When it was time for Montgomery to hang up his skates, he started to think more seriously about coaching. He tiptoed into coaching while playing his final season with the Missouri River Otters, acting as an assistant coach while still contributing as a player. A year later in 2006, he joined the coaching staff at Notre Dame and then spent four years as an assistant with Rensselaer Polytechnic Institute. He left R.P.I. for a head coaching role, and that first experience of being fully in charge produced a championship.
Over three seasons as the head coach of the Dubuque Fighting Saints of the United States Hockey League, Montgomery won two titles, but it was his success at the University of Denver that really got him noticed as a prospective NHL coach. From 2013 to 2018, Montgomery’s teams were always among the top NCAA clubs and in one of those years they were national champions. He had reached the pinnacle of college hockey and was ready for the big stage. By the spring of 2018, Jim Montgomery had been named the head coach of the Dallas Stars.
In his first season with the Stars the team was ten games over .500 and was knocked out in a grueling seven games series with the eventual Stanley Cup Champion, St. Louis Blues in the second round of the Stanley Cup playoffs. The Stars were a team on the rise, but the club got off a rough start the following season. The sophomore NHL coach was in trouble, but not because the team was struggling, but because his own life had hit rock bottom. Montgomery was a man who was in trouble and needed help.
32 games into his second season of coaching the Stars, Montgomery was fired by the club. In the days after the dismissal there was mystery about why he had been let go, the club only offering it was for behaviour inconsistent with the core values of the Dallas Stars and the NHL. A few weeks later, the rest of the story was known. Montgomery admitted he had checked himself into a rehabilitation program for alcohol abuse, saying “Losing my job as head coach of the Dallas Stars was a wake up call. It was also the appropriate call.”
Just like Jim Farelli had taught him. Jim Montgomery was being honest with himself. He needed to seek professional help to get his life back on track. In his statement, Montgomery said, “The team’s decision to end my role forced me to look into the mirror and decide whether I wanted to continue living a damaging lifestyle or get help. I decided to get help.”
The team that Montgomery was forced to leave in the hands of his assistant coach Rick Bowness is now in the Stanley Cup Final. Who knows if it would have played out this way had Montgomery still been behind the bench of the Stars, but the silver lining in this story is that Montgomery has been welcomed back into the NHL coaching fraternity. In an interview conducted by the Blues, Montgomery said, “Sometimes it takes an unbearable consequence in your life to happen to have an unbelievable breakthrough, and that’s the way I look at it. I’m just thankful for what happened because now I’m a better person and obviously a better husband, father and son.”
Now nine months sober, Montgomery is excited about the chance to return to the game that he loves. For those who watched him play junior hockey in Pembroke it is an opportunity to root once more for the underdog. Nothing has come easy for Montgomery but the battle he is now facing is much tougher than winning a hockey game. It’s real life and we’re all hoping Jim Montgomery will be okay.
In his last shift with the Lumber Kings in the spring of 1989 while playing in the Centennial Cup playdowns against Thunder Bay, Montgomery was assessed a match penalty and game misconduct after he speared an opponent who had butt-ended him. That competitive spirit to never backdown from a fight helped him build his professional career in hockey.
The young man who chose an alternative route to the NHL is now in his early 50’s. He has a lifetime of experiences to draw on as he recalibrates his NHL coaching career. More importantly, he has surrounded himself with a support network to help him move forward. There’s a lot of people rooting for Jim Montgomery, including those who were there when his hockey career started to unfold in Pembroke.
|
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https://www.hockeybuzz.com/blog/Jeff-Quirin/St-Louis-Blues--San-Jose-Sharks-First-Round-Preview/168/43697
|
en
|
St. Louis Blues & San Jose Sharks First Round Preview
|
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https://twointhebox.com/tag/2011-12-nhl-season-preview/
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en
|
12 NHL Season Preview – Two in the Box
|
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[
"Chris Ostrander"
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2011-10-07T01:03:03-04:00
|
Posts about 2011-12 NHL Season Preview written by Chris Ostrander
|
en
|
Two in the Box
|
https://twointhebox.com/tag/2011-12-nhl-season-preview/
|
The first half of this post focused on the five things you have to be confident about as the Sabres season begins. This portion will focus on the things that will have fans worried for the entire season, or until the issue is resolved.
Is the team’s depth going to be an issue? Will Ville Leino excel as a center? Will Ryan Miller return to Vezina form? There are flaws to every team, but in a championship-starved town the slightest slip up could flip the turnip truck. Continue reading →
Most prognosticators have decided that the Sabres will either finish second in the Eastern Conference or out of the playoff race. While I don’t share that level of division, there are certainly a lot of questions surrounding the Sabres as they prepare to drop the puck on a new season.
Will the new additions on defense improve life for Ryan Miller? Will Jhonas Enroth provide to be an effective backup? Will Ville Leino be able to effectively play center? All of these questions lay at the forefront of the massive expectations that the fans and media have for this team. Of course, there are plenty of things to like about this team. Continue reading →
Since it is a yearly occurrence for the West to have 13 teams in the playoff race and two team at least 20 points out of eighth, I struggled to find a good balance of picks this season. I made a bold choice with the Kings last year. While I don’t have them coming out of the West, I have made a similarly bold statement
Continue reading →
Another NHL season is upon us after a summer that was filled with more Buffalo hockey news than you could shake a stick at. The entire Eastern Conference saw a shake up over the summer and the conference could see a similar playoff race, with seeds 7-12 all within shouting distance of each other. I think the same playoff cast will return this season, but with a few minor changes: Continue reading →
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| 4
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https://en.wikipedia.org/wiki/St._Louis_Blues
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en
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St. Louis Blues
|
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https://en.wikipedia.org/wiki/St._Louis_Blues
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National Hockey League team in St. Louis, Missouri
This article is about the ice hockey team. For the song, see Saint Louis Blues (song). For other uses, see St. Louis Blues (disambiguation).
St. Louis Blues 2024–25 St. Louis Blues seasonConferenceWesternDivisionCentralFounded1967HistorySt. Louis Blues
1967–presentHome arenaEnterprise CenterCitySt. Louis, MissouriTeam colorsRoyal blue, gold, navy blue, white[1][2]
MediaBally Sports Midwest
101 ESPNOwner(s)SLB Acquisition Holdings LLC
(Tom Stillman, chairman and governor)General managerDoug ArmstrongHead coachDrew BannisterCaptainBrayden SchennMinor league affiliatesSpringfield Thunderbirds (AHL)
Florida Everblades (ECHL)Stanley Cups1 (2018–19)Conference championships1 (2018–19)Presidents' Trophy1 (1999–00)Division championships10 (1968–69, 1969–70, 1976–77, 1980–81, 1984–85, 1986–87, 1999–00, 2011–12, 2014–15, 2019–20)Official websitenhl .com /blues
The St. Louis Blues are a professional ice hockey team based in St. Louis. The Blues compete in the National Hockey League (NHL) as a member of the Central Division in the Western Conference. The franchise was founded in 1967 as one of the six teams from the 1967 NHL expansion and is named after the W. C. Handy song "Saint Louis Blues". They play their home games at the 18,096 seat Enterprise Center in downtown St. Louis, which has been their arena since moving from St. Louis Arena in 1994.[3]
The Blues won the Stanley Cup in 2019 and have the most Stanley Cup playoff appearances outside of the Original Six. Although frequent postseason contenders for most of their history, the franchise has usually struggled in the playoffs, including consecutive Stanley Cup Finals defeats at the end of their first three seasons. With the Blues' victory in their fourth Stanley Cup Finals, 49 years after their last appearance and in their 52nd year of existence, they became the final active team from the 1967 expansion to win their first Stanley Cup.
The Blues have a rivalry with the Chicago Blackhawks, with whom they have shared a division since 1970.[a] The Springfield Thunderbirds of the American Hockey League (AHL) and the Florida Everblades of the ECHL are the team's minor league affiliates.[4]
Franchise history
Hockey in St. Louis before 1967
Although the St. Louis Arena was not originally designed with hockey in mind, it met NHL standards of the era for size and had good sight lines for the game. After an ice plant was installed, the minor league St. Louis Flyers began play there in 1929. St. Louis soon began to attract the interest as a potential NHL market, eventually leading the owners of the moribund Ottawa Senators to move there for the 1934-35 season. The move proved both ill-conceived and ill-timed, as the renamed St. Louis Eagles continued to lose money. Their situation was not helped by the decision to keep the Eagles in the Canadian Division to keep the divisions balanced, which left the team with unaffordable travel expenses to games in Toronto and Montreal. The team finished last in the division and disbanded after one season.
Following further contraction, the league stabilized at six teams after 1942. During this period, the NHL rebuffed attempts at further expansion. Eventually, the St. Louis Arena came under the control of the owners of the Chicago Black Hawks. The Black Hawks treated St. Louis as a secondary market, placing minor league affiliates there and even playing a few NHL games in St. Louis during the 1950s while the team still struggled to sell tickets at Chicago Stadium.
1967 expansion
The Blues were one of the six teams added to the NHL in the 1967 expansion, along with the Minnesota North Stars, Los Angeles Kings, Philadelphia Flyers, Pittsburgh Penguins, and California Seals. St. Louis was the last of the six expansion teams to gain entry into the League; the market was chosen over Baltimore at the insistence of the Black Hawks owners, James D. Norris and Arthur Wirtz. Following the Black Hawks' championship in 1961, the team became much more successful at the box office in Chicago, thus St. Louis was no longer useful as a secondary market. Nevertheless, the Black Hawks owners still owned the St. Louis Arena. They sought to unload what was then a decrepit facility which had not been well-maintained since the 1940s, and thus pressed the NHL to give the franchise to St. Louis, which had not submitted a formal expansion bid. The Black Hawks owners felt they could establish a "lovable loser" (much like the Cubs) with the St. Louis hockey team. NHL president Clarence Campbell said during the 1967 expansion meetings, "We want a team in St. Louis because of the city's geographical location and the fact that it has an adequate building."[5]
The team's first owners were insurance tycoon Sid Salomon Jr., his son, Sid Salomon III, and Robert L. Wolfson, who were granted the franchise in 1966. Sid Salomon III convinced his initially wary father to make a bid for the team. Former St. Louis Cardinals great Stan Musial and Musial's business partner Julius "Biggie" Garagnani were also members of the 16-man investment group that made the initial formal application for the franchise.[5] Garagnani would never see the Blues franchise take the ice, as he died from a heart attack on June 19, 1967, less than three months before the Blues played their first preseason game.[6] Upon acquiring the franchise in 1966, Salomon then spent several million dollars on extensive renovations for the 38-year-old arena, expanding it from 12,000 seats to 15,000.
Beginnings and Stanley Cup Finals' appearances (1967–1970)
Lynn Patrick initially served as general manager and head coach. However, he resigned as head coach in late November after recording a 4–13–2 record. He was replaced by assistant coach Scotty Bowman, who thereafter led the team to a winning record for the rest of the season. Like the other five expansion teams, the Blues' roster consisted primarily of castoffs from the Original Six and players who had previously never managed to break out of the minor leagues. As part of the expansion, the NHL had agreed to put all of the expansion teams in the new Western Division, an arrangement which was intended to ensure all of the new teams all had an equal chance of reaching the playoffs.
Under the expansion playoff format, Bowman's leadership was enough as the Blues qualified for the playoffs in their inaugural season. Although they had finished in third place, St. Louis was regarded as fairly evenly matched with the other three Western qualifiers since only four points separated first and fourth place. Ultimately, it was the Blues who prevailed by winning in seven games each over the Philadelphia Flyers and Minnesota North Stars to reach the 1968 Stanley Cup Finals. However, St. Louis was swept in their first Finals appearance by the heavily favored Montreal Canadiens.
Under Bowman, the Blues dominated the West for the next two seasons, becoming the only expansion team to compile a winning record, and they captured division titles by wide margins each year. However, they were swept in the Stanley Cup Finals by the Montreal Canadiens in 1969 and then by the Boston Bruins in 1970.
While the first Blues teams included fading veterans like Doug Harvey, Don McKenney and Dickie Moore, the goaltending tandem of veterans Glenn Hall and Jacques Plante proved more durable, winning a Vezina Trophy in 1969 behind a sterling defense that featured players like skilled defensive forward Jim Roberts, team captain Al Arbour and hardrock brothers Bob and Barclay Plager. Phil Goyette won the Lady Byng Trophy for the Blues in 1970 and New York Rangers castoff Red Berenson became the expansion team's first major star at center. The arena quickly became one of the loudest buildings in the NHL, a reputation it maintained throughout its tenure as the Blues' home.
During that time, Salomon gained a reputation throughout the NHL as the top players' owner. He gave his players cars, signed them to deferred contracts and treated them to vacations in Florida. The players, used to being treated like mere commodities, felt the only way they could pay him back was to give their best on the ice every night.[7]
Financial problems, near-move, and playoff streak (1970–1987)
The Blues' successes in the late 1960s, however, did not continue into the 1970s. The Stanley Cup playoff format changed in such a way that a Western team was no longer guaranteed a Finals berth, and also the Chicago Black Hawks were moved into the Western Division following the 1970 expansion. The Blues lost Bowman, who left during the 1970–71 season following a power-sharing dispute with Sid Salomon III (who was taking an increasing role in team affairs),[7] as well as Hall, Plante, Goyette and ultimately Berenson, who were all lost to retirement or trade. Veteran player Al Arbour hastily stepped in to coach the team. Under Arbour, the Blues essentially matched their 1969–70 regular season performance in their fourth season, and were still the best of the expansion teams; however, it was only good enough for second place in the West as St. Louis finished 20 points behind Chicago. The Blues would go on to be upset by the North Stars in six games, thus failing to advance past the first round for the first time in franchise history.
Arbour, who officially retired as a player after the 1970–71 season, would remain behind the Blues' bench for the next two seasons. The Berenson trade did bring then-Detroit Red Wings star center Garry Unger, who ultimately scored 30 goals in eight consecutive seasons while breaking the NHL's consecutive games played record. Defensively, however, the Blues were less than stellar and saw Chicago and the Philadelphia Flyers overtake the Division. After missing the playoffs for the first time in 1973–74, the Blues ended up in the Smythe Division after a League realignment. This division was particularly weak, and in 1976–77, the Blues won it while finishing five games below .500, though this would be their last playoff appearance in the decade.
In the meantime, the franchise was on the brink of financial collapse. This was partly due to the pressures of the World Hockey Association (WHA), but mostly the result of financial decisions made when the Salomons first acquired the franchise. The deferred contracts came due just as the Blues' performance began to slip. At one point, the Salomons cut the team's staff down to three employees. One of them was Emile Francis, who served as team president, general manager and head coach. In hopes of saving the franchise, Francis persuaded St. Louis-based pet food giant Ralston Purina to buy the team, arena, and the $8.8 million debt. The Salomons sold the Blues to Ralston on July 27, 1977. However, longtime Ralston Purina chairman R. Hal Dean said that he intended to keep the Blues as a Ralston subsidiary only temporarily until a more stable owner who would keep the team in St. Louis could be found. Ralston renamed the arena the "Checkerdome." After two awful years, including what is still a franchise-worst 18–50–12 record with 48 points in 1979, the Blues made the playoffs the following year, the first of 25 consecutive postseason appearances.
After being one of the worst teams a couple of years before, they were one of the best in 1981, as they finished with a then-franchise-best record of 45–18–17 record which translated to 107 points and the second-best record in the league. Ten players reached at least 20 goals, including Wayne Babych, future Hall of Famer Bernie Federko, and team captain Brian Sutter. They also had strong goaltending led by Mike Liut. They would get rewarded as head coach Red Berenson won the Jack Adams Award, Mike Liut finished a close second to Wayne Gretzky in the Hart Trophy voting, and earned the top spot on the NHL All-Star team, Larry Patey finished third in the Frank J. Selke Trophy voting, and Blake Dunlop won the Bill Masterton Memorial Trophy. Their regular season success, however, did not transfer into the playoffs, as they were eliminated by the New York Rangers in the second round 2–4 after beating the Pittsburgh Penguins in the first round 3–2. The Blues would underachieve greatly the following year as they posted a 32–40–8, but they beat the Winnipeg Jets 3–1 in the Norris Division Semi-Finals before dropping to the Chicago Black Hawks in the Norris Division 2–4.
While the Blues had returned to respectability on the ice, they were struggling off it. Ralston Purina lost an estimated $1.8 million a year during its six-year ownership of the Blues. However, Dean took the losses philosophically, having taken over out of a sense of civic responsibility. In 1981, Dean retired. His successor, William Stiritz, wanted to refocus on the core pet food business, and his personal sporting interests were in horse racing rather than hockey. He saw the Blues as just another money-bleeding division, and put the team on the market. While there were a number of interested parties, none had enough cash to meet Ralston's asking price. On January 12, 1983, Batoni-Hunter Enterprises Ltd., led by WHA and Edmonton Oilers founder Bill Hunter, tendered an offer to buy the team. Hunter intended to build a $43 million, 18,000-seat arena in his hometown of Saskatoon, Saskatchewan, to house the team in time for the 1983-84 season. While the fans were stunned, the players were aware of this. When the Blues faced the Oilers on December 7, 1982, brochures were distributed titled "Saskatchewan in the NHL". These distractions would greatly affect their performance as they squeezed into the playoffs with a 25–40–15 record in the 1983 season, good enough for 65 points. This led to a Norris Division semi-finals exit against the Chicago Black Hawks. Following their playoff exit, Ralston authorized the deal to Hunter's company, renamed Coliseum Holdings, Ltd., for $12 million on April 21.[8] Emile Francis would call it quits on May 2, leaving to become president and general manager of the Hartford Whalers. The Blues then fired 60 percent of their employees. The remaining staff included the accounting department, scouting staff, and coach Barclay Plager. They waited for an authorization by 75% of the NHL Board of Governors for the sale and transfer of the club. However, the NHL Board of Governors rejected the deal by a 15–3 vote on May 18.[9] feeling that Saskatoon was not big enough to support an NHL team, and also wary of Hunter's involvement based on his roles in the WHA.[10][11]
Ralston then filed a $60 million anti-trust lawsuit in U.S. District Court, claiming that the NHL broke federal antitrust laws and breached the duty of good faith and fair dealing by voting to reject the sale and transfer of the Blues to Hunter's group. They also requested that the court allow them to give up the team and bar the NHL from interfering with the sale of the team. On June 3, Ralston announced that it had no interest in running the team anymore. Because they were not required to participate in the 1983 NHL Entry Draft, they did not send a representative, which led the Blues to forfeit their picks. The day after the draft, the NHL filed a $78 million counter-suit against Ralston, accusing Ralston of "damaging the league by willfully, wantonly and maliciously collapsing its St. Louis Blues hockey operation." The NHL also said that Ralston broke a league rule that an owner had to give two years' notice before dissolving a franchise.[12] Ralston called the counter-suit "ridiculous" and gave the NHL an ultimatum: if the NHL would not accept Hunter's offer by June 14, Ralston would dissolve the team and sell its players and assets to other teams.[13] The Board of Governors rejected the offer and "terminated" the team on June 13, one day before Ralston's supposed deadline. It then took control of the franchise and began searching for a new owner. League president John Ziegler said they would try to keep the team in St. Louis. However, had the league not found a new owner by August 6, it would dissolve the team and hold a dispersal draft for the players. On July 27, 1983, ten days before the deadline, the NHL approved a bid from businessman Harry Ornest and a group of St. Louis-based investors for the team and the arena.[14] Ornest had made plans to buy the team as early as March, but built up his efforts in late June to have enough money. Ornest immediately reverted the name of the team's home venue to the St. Louis Arena.[15] To date, this is the closest that an NHL team has come to folding since the Cleveland Barons merged with the Minnesota North Stars after the 1977–78 season.
Ornest ran the Blues very cheaply, though the players did not mind. According to Sutter, they wanted to stay in St. Louis because it reminded them of the rural Canadian towns where many of them grew up. For instance, Ornest asked many players to defer their salaries to help meet operating costs, but the players always got paid in the end. During most of Ornest's tenure, the Blues had only 26 players under contract–23 in St. Louis, plus three on their farm team, the Montana Magic. Most NHL teams during the mid-1980s had over 60 players under contract.[16] Despite operating on a shoestring, the Blues remained competitive even though they never finished more than six games over .500 in Ornest's three years as owner. During this time, Doug Gilmour, drafted by St. Louis in 1982, emerged as a star.
While the Blues remained competitive, they were unable to keep many of their young players. More often than not, several of the Blues' emerging stars ended up as Calgary Flames, and the sight of Flames executive Al MacNeil was always greeted with dread. In fact, several of the Blues' young stars, such as Rob Ramage, Joe Mullen and Gilmour, were main cogs in the Flames' 1989 Stanley Cup win. Sutter and Federko were the only untouchables on the Blues during that era. By 1986, the team reached the Campbell Conference Finals against the Flames. Doug Wickenheiser's overtime goal in Game 6 to cap a furious comeback remains one of the greatest moments in team history (known locally as the "Monday Night Miracle"), but the Blues lost Game 7, 2–1. Years later, Sutter argued that had the Blues made it to the Stanley Cup Finals, they would have likely beaten the Canadiens, having won two out of three games against the Habs in the regular season.[16] After that season, Ornest sold the team to a group led by St. Louis businessman Michael Shanahan.
Brett Hull era (1988–1998)
St. Louis kept chugging along through the late 1980s and early 1990s. General manager Ron Caron made astute moves, landing forwards Brett Hull, Adam Oates and Brendan Shanahan, defenseman Al MacInnis and goaltender Curtis Joseph, among others. While the Blues contended during this time period, they never passed the second round of the playoffs. Nonetheless, their on-ice success was enough for a consortium of 19 companies to buy the team. They also provided the capital to build the Kiel Center (now the Enterprise Center), which opened in 1994.
Hull, nicknamed the "Golden Brett" (a reference to his father, NHL legend Bobby Hull, who was nicknamed the "Golden Jet"), became one of the League's top stars and a scoring sensation, netting 86 goals in 1990–91 en route to earning the Hart Memorial Trophy as the league's most valuable player. Hull's 86 goals set the record for most goals in a single season by a right-winger (and the third-most overall at the time). Only Wayne Gretzky found the net more than Hull during any given three-year period. Despite posting the second-best regular season record in the entire league in 1990–91, the Blues were upset in the second round of the playoffs to the Minnesota North Stars, a defeat that was symbolic of St. Louis' playoff struggles.
Mike Keenan was hired as both general manager and coach before the abbreviated 1994–95 season, with the hope that he could end the postseason turmoil that Blues fans had endured for years. Keenan instituted major changes, including trades that sent away fan favorites Brendan Shanahan and Curtis Joseph, as well as the acquisition of the legendary-but-aging Wayne Gretzky and goaltender Grant Fuhr, both from the declining Los Angeles Kings. During the season, he publicly criticized Gretzky, who entered free agency after the season, declined an offer from the Blues, and took a less lucrative contract with the New York Rangers. Ultimately, Keenan's playoff resume with St. Louis included a first-round exit in 1995 and a second-round exit in 1996, and he was fired on December 19, 1996. Caron was reinstated as interim general manager for the rest of the season, and general manager Larry Pleau was hired on June 9, 1997. Hull, who had a lengthy feud with Keenan, left for the Dallas Stars in 1998. He went on to win the Stanley Cup with the Stars the next year, scoring a controversial goal on the Buffalo Sabres' Dominik Hasek to clinch the Cup for Dallas. The Blues ended the 1990s as the only NHL team to make the playoffs for the entire decade, although a Stanley Cup title still eluded the franchise.
End of the playoff streak, lockout, and rebuild (1998–2011)
Defenseman Chris Pronger (acquired from the Hartford Whalers in 1995 for Brendan Shanahan), Keith Tkachuk, Pavol Demitra, Pierre Turgeon, Al MacInnis and goaltender Roman Turek kept the Blues a contender in the NHL. In 1999–2000, the team notched a franchise-record 114 points during the regular season, earning the Presidents' Trophy for the League's best record. However, they were stunned by the San Jose Sharks in the first round of the 2000 playoffs in seven games. In 2001, the Blues advanced to the Western Conference Finals before bowing out in five games to the eventual champions, the Colorado Avalanche. Nonetheless, the team remained competitive for the next three years, despite never advancing beyond the second round. Despite years of mediocrity and the stigma of never being able to "take the next step," the Blues were a playoff presence every year from 1980 to 2004 – the third-longest streak in North American professional sports history (all three of which being held by NHL teams). However, they never made an appearance in the Stanley Cup Finals. In fact, they made it to the conference finals only two times in their streak (1986 and 2001).
Amid several questionable personnel moves and an unstable ownership situation, the Blues finished the 2005–06 season with their worst record in 27 years. They missed the playoffs for only the fourth time in franchise history. Moreover, for the first time in club history, the normally excellent support seen by St. Louisans began to decrease, with crowds normally numbering around 12,000, notably less than the team's normal high (about 18,000 in a 19,500-seat arena). Wal-Mart heir Nancy Walton Laurie and her husband Bill purchased the Blues in 1999. On June 17, 2005, the Lauries announced that they would sell the team. Bill Laurie, a former point guard at Memphis State University, had long desired to buy and move a National Basketball Association (NBA) team to St. Louis (coming close to achieving this in 1999, with an unsuccessful attempt to purchase the then-Vancouver Grizzlies), and it was thought that this desire caused him to neglect the Blues. On September 29, 2005, it was announced that the Lauries had signed an agreement to sell the Blues to SCP Worldwide, a consulting and investment group headed by former Madison Square Garden president Dave Checketts. On November 14, 2005, the Blues announced that SCP Worldwide had officially withdrawn from negotiations to buy the team. On December 27, 2005, it was announced that the Blues had signed a letter of intent to exclusively negotiate with General Sports and Entertainment, LLC. However, after the period of exclusivity, SCP entered the picture again. On March 24, 2006, the Lauries completed the sale of the Blues and the lease to the Savvis Center to SCP and TowerBrook Capital Partners, L.P., a private equity firm. The Blues are currently the only team in the four major North American sports (ice hockey, basketball, baseball, and American football) to be owned by a private equity firm.
Following the disappointing 2005–06 season, which saw the Blues with the worst record in the NHL, the new management focused on rebuilding the franchise. Under new management, the Blues promptly installed John Davidson as president of hockey operations, moving Pleau to a mostly advisory role. The former New York Rangers goaltender promptly made multiple blockbuster deals, picking up Jay McKee, Bill Guerin and Manny Legace from free agency, and bringing Doug Weight back to St. Louis after a brief (and productive) stopover in Carolina. Weight was again traded in December 2007 to the Anaheim Ducks, along with a minor league player, in exchange for Andy McDonald. At the beginning of the 2006–07 season, the Blues looked to be competitive in the Central Division. However, injuries plagued the team all season, and the lack of a bona fide scorer hampered them as well. Fan support was sluggish during the first half of the campaign, and the end of the calendar year was capped by an 11-game losing streak. On December 11, 2006, the Blues fired head coach Mike Kitchen and replaced him with former Los Angeles Kings head coach Andy Murray.[17] Davidson also installed a strong development program under head scout Jarmo Kekalainen, using the team's raft of high draft picks in 2006 and 2007 to select highly touted prospects such as T. J. Oshie, Erik Johnson and David Perron. On January 4, 2007, the Blues had a record of 6–1–3 in their previous ten games, which was the best in the NHL during that stretch. Despite a healthy 24-point jump from the previous season, the strain of playing in a conference where seven teams finished with more than 100 points kept them out of the playoffs for the second year in a row.
Just before the 2007 NHL trade deadline, the Blues traded several key players, including Bill Guerin, Keith Tkachuk and Dennis Wideman, in exchange for draft picks, though they re-signed Tkachuk after the season ended. Brad Boyes, picked up from the Boston Bruins in exchange for Wideman, became the fastest Blues player to reach 40 goals since Brett Hull, doing so during the 2007–08 season. During the 2007 off-season, the Blues signed free agent Paul Kariya to a three-year contract worth $18 million, re-signed defenseman Barret Jackman to a one-year contract, lost their captain Dallas Drake to the Detroit Red Wings, and traded prospect Carl Soderberg to the Bruins in exchange for yet more depth in the goal crease, Hannu Toivonen.
On October 2, 2007, the Blues finalized the season-starting roster, which included rookies David Perron, Steven Wagner and Erik Johnson. On October 10, the Blues introduced a new mascot, Louie. Two months later, they traded Doug Weight, a 38-year-old four-time All-Star center, to the Anaheim Ducks as part of a package to acquire 30-year-old center Andy McDonald. On February 8, 2008, it was announced that, after going much of the season without a captain, defenseman Eric Brewer was chosen as the team's 19th captain.[18] The team later traded veteran defenseman Bryce Salvador to the New Jersey Devils for enforcer, and St. Louis native, Cam Janssen. He made his debut two days later, wearing number 55 against the Phoenix Coyotes.
After spending the first half of the 2008–09 season at or near the bottom of the Western Conference standings, the Blues began to turn things around behind the solid goaltending of Chris Mason. After a strong second-half run, the Blues made the 2009 playoffs on April 10, 2009, after defeating the Columbus Blue Jackets 3–1. On April 12, the Blues clinched the sixth seed in the West with a 1–0 win against the Colorado Avalanche. For the first time in five years (that is, since the lockout), the Blues were in the playoffs. They faced the third-seeded Vancouver Canucks in the first round, but despite the team's tremendous run to end the season, the Blues would ultimately lose the series in a quick four-game sweep.
The Blues fired head coach Andy Murray on January 2, 2010, after a disappointing record (17–17–6, 40 points), sitting in 12th place in the Conference. Especially galling were the frequent blown leads after two periods, and with the worst home record (6–13–3) posted in the entire NHL. After his duties as interim coach for the rest of the 2009–10 season, Davis Payne was named the 23rd head coach in the Blues' history on April 14. Payne was previously the head coach of the Blues top minor league affiliate, the Peoria Rivermen of the American Hockey League (AHL).[19]
Return to contention, first Stanley Cup championship (2011–present)
On March 17, 2011, it was announced that the St. Louis Blues were for sale.[20] During the 2011 off-season, the team signed many key free agents, including Brian Elliott, Scott Nichol, Kent Huskins, Jason Arnott and Jamie Langenbrunner. They fired their head coach, Davis Payne, and named Ken Hitchcock as his replacement on November 6, 2011. David Backes was also announced as the new team captain.
On March 17, 2012, the Blues became the first team to reach 100 points and clinch a playoff berth in the 2011–12 season under Hitchcock, qualifying for their first playoffs since 2008–09. They would finish second in the Western Conference, behind the Vancouver Canucks. During the 2012 playoffs, they won their first playoff series since 2002, eliminating the San Jose Sharks in five games. The Blues were swept by the eventual Stanley Cup champions, the Los Angeles Kings, in the following round.
In 2012–13, the Blues completed the lockout-shortened season in fourth place in the Western Conference. They were again eliminated by Los Angeles, however, this time in six games in the first round of the playoffs, despite taking an initial 2–0 series lead.
The following season, 2013–14, the team hit the 100-point mark for the sixth time in franchise history, and gained a franchise record of 52 wins. Their chance of winning the Central Division title, the top seed in the West, and the Presidents' Trophy would all evaporate, after they lost their final six games and wound up in second place in the Division, this time to the Colorado Avalanche. The slump haunted them, as they blew a 2–0 series lead to the defending champion Chicago Blackhawks, losing the first-round series in six games. This marked the second-straight year the Blues lost in the first round of the playoffs to the reigning champions in six games after leading the series 2–0.
In 2014–15, the Blues won their second Central Division championship in four years and faced the Minnesota Wild in round one of the 2015 playoffs. However, for the third straight year, they lost in the first round and in six games. During the off-season, forward T. J. Oshie was traded to the Washington Capitals in exchange for Troy Brouwer.
In 2015–16, the Blues finished in second place in the Central Division to the Dallas Stars. The Blues took on the defending champion Chicago Blackhawks in the first-round series. The Blues jumped to a 3–1 series lead, but struggled in games 5 and 6. However, St. Louis ended their first-round losing streak by beating Chicago 3–2 in game 7 of the series. They moved on to the next round, where they defeated the Dallas Stars in another seven-game series to advance to their first Western Conference Finals since 2001. The Blues season would come to an end at the hands of the San Jose Sharks, who eliminated them in six games.
On June 13, 2016, it was announced that Mike Yeo would replace Hitchcock as head coach of the Blues following the 2016–17 season. The 2016 off-season saw big changes for the Blues, as team captain David Backes left the team to sign with the Boston Bruins, and goaltender Brian Elliott was traded to the Calgary Flames, while veteran forward Troy Brouwer also signed with Calgary as a free agent. Steve Ott also left the team, signing a free-agent deal with the Red Wings. Jake Allen was now the starting goaltender for the Blues, while the team also signed former Nashville Predators backup Carter Hutton. Former Blues forward David Perron was brought back on a free agent deal, while defenseman Alex Pietrangelo was named team captain.
The team started the season by posting a record of 10–1–2 in their first 13 home games. However, they only won three games on the road during the first two months of the season. Despite defeating the Blackhawks in the 2017 NHL Winter Classic by the score of 4–1, the Blues fired Hitchcock and promoted Yeo to head coach on February 1, 2017. Despite an impressive run into the end of the season, when they gained most points in the league from February 1, when Hitchcock was fired, to the end of the season,[21] the Blues were eliminated in the second round by the Nashville Predators in six games.[22]
In the off-season for the 2017–18 season, the Blues would lose David Perron to the Vegas Golden Knights via an expansion draft. They would also pick up Brayden Schenn from the Philadelphia Flyers by giving away Jori Lehtera. Before the season began, the Blues were hit hard with injuries as they lost Robby Fabbri before the season began. Other players like Patrik Berglund, and Alex Steen did not return in time for the season. Despite these losses, the Blues raced out to a 21–8–2 start in their first 31 games. The Blues lost more players as Jay Bouwmeester suffered a season-ending injury, and Jaden Schwartz missed a large portion of the season. The Blues also dealt away Paul Stastny to the Winnipeg Jets at the trade deadline for their 1st round pick as they won only 23 games of their remaining 51, but they still had a chance to get into the playoffs on the last day of their season against the Colorado Avalanche. After losing Vladimir Tarasenko to injury during the game, the Blues lost to the Avalanche 5–2 as they missed the playoffs for the first time in seven years.
During the 2018 off-season, the Blues acquired forward Ryan O'Reilly from the Buffalo Sabres via trade and re-signed Perron to a third stint with the team in free agency, while also signing forwards Tyler Bozak, St. Louis native Pat Maroon, and goaltender Chad Johnson.[23] On November 19, 2018, the Blues fired head coach Mike Yeo after starting the season with a 7–9–3 record and replaced him with Craig Berube on an interim basis.[24] On March 29, 2019, the Blues became the seventh team in NHL since the 1967–68 season to qualify for the playoffs after being placed last after January 1.[25] This resurgence included an eleven-game winning streak between February and March, in large part thanks to the emergence of the eventual Calder Trophy nominee, rookie goaltender Jordan Binnington.
On May 21, the Blues advanced to the Stanley Cup Finals for the first time since 1970, defeating the San Jose Sharks in a six-game Western Conference Finals series. On May 29, the Blues won a Stanley Cup Finals series game for the first time in franchise history after getting swept in three previous series (1968–1970), when they defeated the Boston Bruins 3–2 in overtime.[26] On June 12, 2019, the Blues defeated the Bruins 4–1 in Game 7 to win their first Stanley Cup. Ryan O'Reilly won the Conn Smythe Trophy for playoff MVP.[27] Up until that point, the Blues were the oldest franchise to never win the Stanley Cup; they were also the last of the five surviving 1967 expansion teams to win the Cup for the first time.[28] This all but assured that Berube would have the "interim" tag removed from his title, which occurred two weeks after their Cup victory.[29] Shortly after the 2019 Stanley Cup Finals, Karla May of the Missouri Senate introduced a bill which would officially designate several items as state symbols of Missouri; including the Blues being as the state's official hockey team.[30] The bill was signed into law by Mike Parson, the Governor of Missouri, with the revised statute becoming effective August 29, 2019.[31]
In the 2019–20 season, the Blues suffered an early blow as forward Vladimir Tarasenko suffered a season-ending injury on October 24. However, they would continue their strong play even despite being plagued with various other injuries, consistently remaining at or near the top of the Western Conference. On February 12, 2020, the Blues suffered another loss as defenseman Jay Bouwmeester suddenly collapsed on the bench in a game against the Anaheim Ducks, and would not come back to play again in the season. The game against Anaheim was suspended during the first period and postponed to March 11. This ended up being the Blues' last game in the regular season, as the season would be cut short by the COVID-19 pandemic shortly afterwards. The Blues had remained in strong form throughout the season, finishing first in the Western Conference and second in the NHL. However, as the season was put on pause due to the pandemic, no team would play the full 82 games. Instead, a Return to Play tournament was organized, starting in August 2020. In the Round Robin tournament for the four top-seeded teams of the conference, the Blues failed to get a win, and thus despite winning the regular season conference title, they ended up being the fourth seed in the West. In the first round of the playoffs, they faced the Vancouver Canucks, to whom they lost in six games. In the hiatus preceding the NHL's Return to Play, several Blues players contracted COVID-19, which was cited by the coaching staff as one of the reasons why their play faltered in the playoffs. On September 2, 2020, the Blues traded goaltender Jake Allen, who had spent 10 years in the Blues organization, to the Montreal Canadiens.[32]
Team information
Arena
The Blues play in the 19,150 (not counting standing room) capacity Enterprise Center, where they have played since 1994. The arena was previously known as Scottrade Center, the Savvis Center, and before that as the Kiel Center. From 1967 until 1994, the team played in the St. Louis Arena (known as The Checkerdome from 1977 until 1983), where the old St. Louis Eagles played, and which the original owners had to buy as a condition of the 1967 NHL expansion.
Attendance
The St. Louis Blues are one of the more successful NHL teams in terms of attendance. After the 2004–05 lockout, the Blues' attendance suffered, but has since improved every year since its all-time low in 2006–07. In 2009–10, despite not having a playoff year, the Blues had an average attendance of 18,883 (98.6% total capacity), selling out 34 of its 40 home games, which placed them seventh in the NHL in attendance.[33] In 2010–11, the team sold out every home game.
Jerseys
The Blues have worn blue and white jerseys with the famous "Blue Note" crest and gold accents since their inception in 1967. From 1967 to 1984, the Blues jerseys featured a lighter shade of blue along with contrasting shoulder yoke and stripes. The blue jerseys lacked the contrasting yoke until 1979.
In 1984, the Blues drastically redesigned their look, adding red and darkening the shade of blue. Initially, the front of the jersey featured the team name above the crest logo, but was removed in 1987. In addition, the contrasting shoulder yoke was removed.
For the 1994–95 season, the Blues introduced a more radical jersey set, featuring red in a more prominent role. The jersey introduced the short-lived trumpet logo on the shoulders and featured thin diagonal stripes on the tail and sleeves. The bottom of the numbers taper off to give way to the aforementioned stripes. An updated version of the blue sweater, produced by Adidas, was brought back in 2019 as their "90s Vintage Jersey."
Before the 1997–98 season, the Blues introduced a new alternate white jersey. The jersey brought back the contrasting shoulder yoke and returned to the lighter blue of previous eras. It also replaced red with navy blue as an accent color. A corresponding blue jersey was introduced the following season, thus retiring the previous set.
Like all NHL teams, the Blues updated their jerseys for the 2007–08 season with new Rbk Edge jerseys. The Blues simplified their design, with only the blue note logo on the front; there were no third jerseys for the season. The Blues announced plans for a navy third jersey featuring a new logo, with the Gateway Arch with the Blue Note superimposed over it inside a circle with the words "St. Louis" above and "Blues" below. This third jersey was unveiled on September 21, 2008, and debuted during a Blues' home game against the Anaheim Ducks on November 21, 2008.[34]
For the 2014–15 season, the Blues made a few tweaks to their jerseys. While they kept the Reebok Edge-era template, they brought back the 1998–2007 look. The navy blue third jersey was kept without any alterations, before it was retired prior the 2016–17 season.[35]
When Adidas became the uniform provider before the 2017–18 season, the Blues kept most of the same template, with the exception of the home jersey numbers changing from gold to white.[36] For the 2018–19 season, the Blues added a third jersey based on the one worn during the 2017 NHL Winter Classic, to be worn on Saturday home games.[37] A corresponding vintage white version was unveiled for the 2022 NHL Winter Classic.[38]
Prior to the 2020–21 season, the Blues unveiled a "Reverse Retro" alternate uniform based on the design worn from 1995 to 1998, but with a red base.[39] A second "Reverse Retro" uniform was released in the 2022–23 season, this time based on the prototype uniforms the team first leaked in 1966 before eventually releasing the more longlasting "blue note" uniforms. The uniforms, which had the team name written around the primitive "blue note" logo along with contrasting stripes, had a gold base.[40]
Mascot
Louie is the mascot of the St. Louis Blues. He was introduced on October 10, 2007. On November 3, 2007, the fans voted on his name on the Blues' web site.[41] Louie is a blue polar bear and wears a Blues jersey with his name on the back, and the numbers "00".
Radio and television
Originally, the Blues aired their games on KPLR-TV and KMOX radio, with team patron Gus Kyle calling games alongside St Louis broadcasting legend Jack Buck. Buck elected to leave the booth after one season, though, and was replaced by another famed announcer in Dan Kelly. This setup—Kelly as commentator, with either Kyle, Bob Plager, or Noel Picard (whose heavy French-Canadian accent became famous, such as pronouncing owner Sid Salomon III "Sid the Turd" instead of "Third") joining as an analyst, simulcast on KMOX and KPLR—continued through the 1975–76 season, then simulcast on KMOX and KDNL-TV for the next three seasons. KMOX is a 50,000-watt clear-channel station that reaches almost all of North America at night, allowing Kelly to become a celebrity in both the United States and Canada. Indeed, many of the Blues' players liked the fact that their families could hear the games on KMOX.
From 1979 to 1981, the radio and television broadcasts were separated for the first time since the inaugural season, with Kelly doing the radio broadcasts and Eli Gold hired to do the television. Following the 1980–81 season, the television broadcasts moved from KDNL to NBC affiliate KSD-TV for the 1981–82 season, produced by Sports Network Incorporated (SNI), owned and operated by Greg Maracek who did the broadcasts with Channel 5 sportscaster Ron Jacober. The broadcasts failed to produce a profit and then returned to KPLR for the 1982 NHL playoffs and the 1982–83 season before returning to KDNL (currently St. Louis' ABC affiliate) for the 1983–84 season, the first under the ownership of Harry Ornest. The Blues skated back to KPLR 3 years later.
In 1985, Ornest, wanting more broadcast revenue, put the radio rights up for bid. A new company who had purchased KXOK won the bid for a three-year contract, and Kelly moved over from KMOX to do the games on KXOK. However, the station was never financially competitive in the market. Additionally, fans complained they could not hear the station at night (it had to readjust its coverage due to a glut of clear channels on adjacent frequencies). KXOK backed out of the contract after just 2 years, and the Blues immediately went back to KMOX, who held the rights until 2000. Dan Kelly continued to broadcast the games on radio, but he was diagnosed with lung cancer in October 1988 and died on February 10, 1989. After his death, Ron Jacober (who had left Channel 5 to be KXOK's sports director in 1985 then left for KMOX in 1987) finished the season as the radio play-by-play announcer before John Kelly took that position. Furthermore, Ken Wilson became St. Louis Blues' lead television play-by-play announcer alongside former Blues' players Joe Micheletti, Bruce Affleck, and Bernie Federko. During this time, from 1989 to 2000, more games began to be aired on Prime Sports Midwest, the forerunner to today's Bally Sports Midwest.
The long-term partnership between KMOX and the Blues had its problems, however, namely during spring when the ever-popular St. Louis Cardinals began their season. Blues games, many of which were crucial to playoff berths, would often be pre-empted for spring training coverage. Angry at having to play "second fiddle", the Blues elected to leave for KTRS in 2000. However, in an ironic twist the Cards purchased a controlling interest in KTRS in 2005, and once again preferred to air preseason baseball over regular season ice hockey. In response, the Blues moved back to KMOX starting in the 2006–07 season. The season of 2008–09 saw the Blues play their last game on KPLR, which had the rights since the 1986–87 season (except for the 1996–97 season on CBS affiliate KMOV), electing to move all their games to FS Midwest, starting with the 2009–10 season. The Cardinals moved back to KMOX in the 2011 season, with conflicting games moved to KYKY, an FM station owned by the same group as KMOX.
Since the 2019–20 preseason, WXOS (101 ESPN) has been the flagship radio station for the Blues. Chris Kerber and Joe Vitale are the current radio broadcast team. John Kelly (son of Dan) and Jamie Rivers are the current team for television coverage, while Scott Warmann, Alexa Datt, and Bernie Federko present the pre-game and post-game shows.
Traditions
The Blues have a tradition of live organ music. Jeremy Boyer, the Blues organist, plays a Glenn Miller arrangement of W. C. Handy's "St. Louis Blues" in its entirety before games and a short version at the end of every period, followed by "When the Saints Go Marching In." Boyer also plays the latter song on the organ after Blues goals, with fans replacing the word "Saints" with "Blues."[42] On October 1, 2018, it was reported that, for the upcoming season, a new goal song recorded by St. Louis-based band The Urge, "The Blues Have The Urge," would be played after Blues goals, immediately following the traditional organ music.[43]
At the end of the national anthem before every home game, the words "the home of the brave" are drowned out by fans with "the home of the Blues."[44]
Starting in 2014, the team introduced a win song in the form of Pitbull's "Don't Stop the Party",[45] but from 2016 to 2018, the win song was "Song 2" by Blur after public backlash against using a Pitbull song.[46] Beginning in 2018, the win song has been the aforementioned song recorded by The Urge.[43] However, during the 2019 playoffs, Laura Branigan's "Gloria" was played first before The Urge song.[47]
The Blues were one of the last teams to add a goal horn, doing so during the 1992–93 season at the St. Louis Arena.[48] All of these traditions carried over to the Kiel Center (now known as Enterprise Center) in 1994. After each goal, a bell is rung and each of the goals are counted by the crowd. Since 1990, Ron Baechle, also known as the "Towel Man" or "Towel Guy," has celebrated each goal by counting with the bell and throwing a towel into the crowd from section 314.[49]
The team also has a long tradition of fan-produced programs, sold outside the arena and providing an often biting, sarcastic, humor-filled alternative to team- and League-produced periodicals.[50] The longest-running fan publication, Game Night Revue, was created by a group of fans in the mold of the Chicago Blackhawks' Blue Line Magazine. It operated for over 10 years, from 1994 to 2005, when its owner decided not to resume the magazine after the 2004–05 NHL lockout (one final oversized "goodbye" issue was distributed the first two home games of the 2005–06 season). After hockey resumed in 2005, a few months after GNR's final issue, a new publication, St. Louis Game Time, was formed by several former GNR staffers.[51]
Starting after a couple of players heard "Gloria" by Laura Branigan, after their win in Philadelphia on January 3, 2019, the team started to use the song after every home win, and lasted all the way up to their Stanley Cup win. The song has since been retired; the last time they played it was during the raising of the Stanley Cup Championship banner ceremony on October 2, 2019.
On February 9, 2019, another tradition was born. During the 3rd Period, The Blues were winning by a large margin against the visiting Nashville Predators. The Enterprise Center was electric and buzzing with excitement with anticipation of the win. Blues Director of Entertainment, Jason Pippi, commented that they played Country Roads by John Denver, "was a bit of an mistake... because people love to sing along to that song". The mistake was that play resumed before the chorus was over and the music had to stop. However, despite the music stopping, the loyal Blues fans in attendance continued to sing loudly. It was loud enough, TV cameras picked up the song loud and clear. Fox Sports Midwest color commentator, Darren Pang, exclaimed he "just loved the crowd, they're singing!". Country Roads has been played during every Home game since, at approximately the 15:00 minute mark of the 3rd Period, regardless of the current score. Jason Pippi stated "its just a testament to the passion Blues fans bring each and every night... to the Cup (Stanley Cup) maybe?"[52][53] And it did take them to the Stanley Cup. The St. Louis Blues won their first Stanley Cup in franchise history later that season.
After each Home win, the entire St Louis Blues team skates to center ice and in unison, raise their sticks and clap while the goal horn blares, to thank the Blues fans in attendance and watching on TV. It has been called the "Fan Salute" by some.
Season-by-season record
This is a partial list of the last five seasons completed by the Blues. For the full season-by-season history, see List of St. Louis Blues seasons
Note: GP = Games played, W = Wins, L = Losses, OTL = Overtime losses, Pts = Points, GF = Goals for, GA = Goals against
Season GP W L OTL Pts GF GA Finish Playoffs 2019–20 71 42 19 10 94 225 193 1st, Central Lost in first round, 2–4 (Canucks) 2020–21 56 27 20 9 63 169 170 4th, West Lost in first round, 0–4 (Avalanche) 2021–22 82 49 22 11 109 311 242 3rd, Central Lost in second round, 2–4 (Avalanche) 2022–23 82 37 38 7 81 263 301 6th, Central Did not qualify 2023–24 82 43 33 6 92 239 250 5th, Central Did not qualify
Players
Current roster
Updated August 16, 2024[54][55]
No. Nat Player Pos S/G Age Acquired Birthplace 59 (RFA) C L 23 2019 Burgwedel, Germany 50 G L 31 2011 Richmond Hill, Ontario 89 LW L 29 2021 Cherepovets, Russia 12 C L 30 2024 Vitkov, Czech Republic 72 (A) D R 32 2019 South St. Paul, Minnesota 30 G L 24 2018 Winnipeg, Manitoba 71 RW L 27 2024 Laval, Quebec 77 D L 25 2024 Laval, Quebec 42 RW R 28 2023 Kuopio, Finland 47 D L 33 2020 Royal Oak, Michigan 25 C R 26 2016 Toronto, Ontario 4 D L 33 2022 Eden Prairie, Minnesota 63 LW L 22 2020 Airdrie, Alberta 55 (A) D R 31 2012 St. Albert, Alberta 48 D L 25 2018 Hibbing, Minnesota 20 LW L 31 2021 Pittsburgh, Pennsylvania 10 (C) C L 32 2017 Saskatoon, Saskatchewan 70 C R 30 2023 Boden, Sweden 22 D L 39 2024 Madison, Wisconsin 9 C L 24 2024 Grenoble, France 18 (A) C R 25 2017 Aurora, Ontario 13 RW L 25 2017 Moscow, Russia 75 D L 24 2018 Longlac, Ontario 26 LW L 30 2019 Cardiff, United Kingdom
Team captains
Hall of Fame
The St. Louis Blues acknowledge an affiliation with a number of inductees to the Hockey Hall of Fame, including 26 former players and seven builders of the sport.[57] The seven individuals recognized as builders by the Hall of Fame include former Blues executives, general managers, head coaches, and owners. In addition to players and builders, the team recognizes an affiliation with two broadcasters who were awarded the Foster Hewitt Memorial Award from the Hockey Hall of Fame.[57] Dan Kelly, the Blues' radio play-by-play announcer, was awarded the first Blues broadcaster to receive the award in 1989. John Davidson, received the award in 2009 for his contributions in television broadcasting.
Players
Builders
St. Louis Blues Hall of Fame
Beginning in 2023, the Blues established their own team Hall of Fame.[58]
2023 inductees
2024 inductees
Pavol Demitra
Mike Liut
Keith Tkachuk
Retired numbers
The following numbers have been retired from use within the St. Louis Blues:
St. Louis Blues retired numbers No. Player Position Career Date retired 2 Al MacInnis D 1994–2004 April 9, 2006 3 Bob Gassoff D 1974–1977 October 1, 1977 5 Bob Plager D 1967–1978 February 2, 2017[59] 8 Barclay Plager D 1967–1977 March 24, 1981 11 Brian Sutter LW 1976–1988 December 30, 1988 16 Brett Hull RW 1987–1998 December 5, 2006 24 Bernie Federko C 1976–1989 March 16, 1991 44 Chris Pronger D 1995–2004 January 17, 2022[60]
In addition to the aforementioned numbers, the NHL also retired Wayne Gretzky's number 99 from use for all of its members teams, including the Blues, at the 2000 NHL All-Star Game.[61] Gretzky had previously played for the Blues in 1996, although the Blues did not retire his number prior to its league-wide retirement.
Numbers honored
7 – Garry Unger, Red Berenson, Joe Mullen and Keith Tkachuk, recognized with a mural of the four players in the lower seating bowl.
14 – Doug Wickenheiser, LW, 1984–1987, number honored and no longer issued. Recognized with a banner in the Enterprise Center rafters.
Dan Kelly, broadcaster, 1968–1989, recognized with an honorary shamrock that hangs from the rafters at Enterprise Center
First-round draft picks
Franchise regular season scoring leaders
These are the top-ten point-scorers, goal scorers, and assist leaders in franchise regular season history.[63] Figures are updated after each completed NHL regular season.
* – current Blues player
Note: Pos = Position; GP = Games played; G = Goals; A = Assists; Pts = Points; P/G = Points per game
Franchise playoff scoring leaders
These are the top-ten-point-scorers, goal scorers, and assist leaders in franchise playoff history.[64] Figures are updated after each completed NHL season.
* – current Blues player
Note: Pos = Position; GP = Games played; G = Goals; A = Assists; Pts = Points; P/G = Points per game
NHL awards and trophies
Franchise individual records
Most goals in a season: Brett Hull, 86 (1990–91)
Most assists in a season: Adam Oates, 90 (1990–91)
Most points in a season: Brett Hull, 131 (1990–91)
Most penalty minutes in a season: Bob Gassoff, 306 (1975–76)
Most points in a season, defenseman: Jeff Brown, 78 (1992–93)
Most points in a season, rookie: Jorgen Pettersson, 73 (1980–81)
Most wins in a season: Roman Turek, 42 (1999–2000)
Most shutouts in a season: Brian Elliott, 9 (2011–12)
Lowest GAA in a season (min 30 GP): Brian Elliott, 1.56 (2011–12)
Best SV% in a season (min 30 GP): Brian Elliott, .940 (2011–12)[65]
See also
Ice hockey portal
United States portal
List of St. Louis Blues general managers
List of St. Louis Blues head coaches
Sports in St. Louis
Notes
References
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Alex Pietrangelo EstadÃstica y noticias
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Alex Pietrangelo EstadÃstica y noticias
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es
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https://www.nhl.com/es/assets/icons/fav/nhl/favicon.ico
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https://www.nhl.com/es/player/alex-pietrangelo-8474565
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| 54
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https://msuspartans.com/news/2022/5/2/mens-ice-hockey-three-spartans-begin-nhl-postseason.aspx
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en
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Four Spartans Begin NHL Postseason
|
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"Michigan State University Athletics"
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2022-05-02T00:00:00
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East Lansing, Mich. -- A trio of former Spartan hockey players begin their quest for Lord Stanley's Cup when the NHL postseason begins on Monday evening.
|
en
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Michigan State University Athletics
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https://msuspartans.com/news/2022/5/2/mens-ice-hockey-three-spartans-begin-nhl-postseason.aspx
|
East Lansing, Mich. -- Four former Spartan hockey players begin their quest for Lord Stanley's Cup when the NHL postseason begins on Monday evening.
Duncan Keith, in his first season in Edmonton after three Stanley Cup rings with Chicago, hits the ice tonight in game one against the LA Kings. NHL teammates Torey Krug and Mackenzie MacEachern (both metro Detroit products) will also begin on Monday evening as their St. Louis Blues take on the Minnesota Wild, while Rod Brind'Amour is the head coach of the Carolina Hurricanes, where he won a Cup as a player and finished first in the Metro division and will take on the Wild Card Boston Bruins.
Edmonton rode a hot finish to the regular season to finish second in the Pacific division, and will play LA. Keith is among the most decorated active players in the NHL, with three Stanley Cup rings (2010, 2013, 2015), a pair of Norris Trophies as the league's top defenseman, and he was the Conn Smythe winner (playoff MVP) in 2015. With more than 1,200 NHL games under his belt, the 17-year NHL veteran is looking to become the first defenseman to win the Stanley Cup four times since Nicklas Lidstrom. In 56 career games at MSU, Keith had six goals and 24 points.
The Blues enter the postseason as the No. 3 finisher in the central division and will take on the Minnesota Wild, which finished one slot ahead in the same division. Krug, completing his second season in St. Louis, appeared in 64 regular-season games for the bluenotes, with nine goals and 43 points. He completed his ninth full-time NHL season and 10th pro season overall after a standout career for the Spartans, where he was a captain and Hobey Baker finalist in 2011-12 as a junior. Overall, he had 26 goals and 83 points over three-seasons, capturing five CCHA post-season awards in his final campaign and earning All-America honors. Krug has played more than 600 NHL games.
MacEachern is in his fourth NHL season and sixth overall as a pro, and has played 115 career games. He split time with the NHL club and the AHL-affliate Springfield Thunderbirds in 2021-22, where he had 12 goals and 13 assists. In 14 NHL games this season, he had a pair of assists. MacEachern played three seasons at Michigan State (2013-16), compiling a 33-35-68 scoring line in 108 career contests.
Rod Brind'Amour, the NHL's reigning Jack Adams Coach of the Year, has guided the Hurricanes to a first-place finish in the Metropolitan division and has been behind the bench in Carolina as an assistant (2011-18) before taking the reigns in the start of the 2018-19 campaign. Brind'Amour was at Michigan State just one season (1988-89), where he had 59 points (27 goals) in 42 games. He went on to a stellar professional career, ranking 16th in NHL history in games played (1,484), 44th in assists (732), 46th in points (1,184) and 54th in goals (452), in 21 seasons with St. Louis, Philadelphia and Carolina.
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
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https://www.facebook.com/login/
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https://sports.yahoo.com/blogs/puck-daddy/nhl-2012-13-campaign-preview-st-louis-blues-201440419--nhl.html
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en
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NHL 2012-13 Campaign Preview: St. Louis Blues
|
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[
""
] | null |
[
"Greg Wyshynski"
] |
2012-10-04T20:14:40+00:00
|
Yes, indeed, despite the promise of impending labor Armageddon and a prolonged work-stoppage, your friends at Puck Daddy are previewing the 2012-13 NHL season (whenever the heck it starts). Why? Because this is the most important election in the history … <a href="http://blog.tools.news.yahoo.com/sptusnhlexperts/2012/10/04/nhl-2012-13-campaign-preview-st-louis-blues/">Continue reading <span class="meta-nav">→</span></a>
|
en
|
Yahoo Sports
|
https://sports.yahoo.com/blogs/puck-daddy/nhl-2012-13-campaign-preview-st-louis-blues-201440419--nhl.html
|
Yes, indeed, despite the promise of impending labor Armageddon and a prolonged work-stoppage, your friends at Puck Daddy are previewing the 2012-13 NHL season (whenever the heck it starts). Why? Because this is the most important election in the history of all-time ever, and you need to know the candidates — like the St. Louis Blues.
After 13 games in the 2011-12 season, the St. Louis Blues were a middling 6-7. Thus ended the tenure of Coach Davis Payne, as GM Doug Armstrong called in an old friend: Ken Hitchcock, who coached for Armstrong in Dallas.
The result: Hitchcock improved the team's special teams, solidified the defense and led the Blues to 109 points and first in the Western Conference. They defeated the San Jose Sharks in five games, but lost to the eventual Stanley Cup champion Los Angeles Kings in four games.
Can Hitchcock get the same results from a team that didn't see much turnover during the offseason, or was last season lightning in a bottle?
"Karma's a Hitch"
The Blues had a rather quiet offseason, which could be chalked up to a cautious approach from new owner Tom Stillman — or simply a desire to continue playing a winning hand.
Joining the Blues via free agency were Jeff Woywitka, defenseman from the Rangers; Andrew Murray, a center from San Jose; and Taylor Chorney, defenseman from Edmonton.
Another addition: Highly-touted rookie Vladimir Tarasenko signed after playing in the KHL. He can do this.
Leaving the Blues: Defensemen Danny Syvret (Flyers) and Carlo Colaiacovo (Red Wings), as well as unsigned veteran center Jason Arnott. They also traded grinder B.J. Crombeen to the Lightning.
At forward … David Backes saw his offensive numbers slip (24 goals, 54 points) but thrived as a leader under Hitchcock. He finally received recognition of his defensive prowess with a Selke nomination. T.J. Oshie had a career best 54 points, while David Perron rebounded from a career-threatening concussion to post the best points per game average (0.74) of his career.
Andy McDonald was limited to 25 games due to injury, but put up a strong 22 points. His frequent linemate Patrik Berglund had 19 goals. Alex Steen also battled through injuries, but was right around his expected level of production with 28 points.
Chris Stewart was a significant disappointment for the Blues, failing to fulfill the promise of his 28-goal season. He had 15 goals and 15 assists, was demoted down the lineup and was a healthy scratch twice in the playoffs. He's back on a 1-year deal.
Hitchcock liked to use Vladimir Sobotka in a number of different roles, and saw some time on the top line last season. He plays bigger than his size, and could be a good first linemate for Tarasenko.
Jamie Langenbrunner, back on a 1-year deal, is no longer a goal-scoring threat, with six in 70 games last season. But he brings some veteran leadership, and experience playing under Hitchcock. Matt D'Agostini's numbers dipped, as did his ice time. Scott Nichol, 37, returns as a truculent veteran down the lineup, and Ryan Reaves brings extra size and toughness.
The wild card at forward: Jaden Schwartz, who showed flashes of potential in 19 games last season and is a prized prospect.
On defense … Alex Pietrangelo had a breakout offensive season, and an overall campaign that deserved more Norris Trophy love. With Colaiacovo moving on, the options for Pietrangelo's new partner on the left side might be Ian Cole (15:55 TOI in 26 games last season) or Hitchcock favorite Kris Russell (plus-13 in 43 games). But really, anyone on the Blues' blueline will thrive with Pietrangelo.
Kevin Shattenkirk has posted 9 goals and 34 assists in each of his first two NHL seasons, and was a plus-20 last season. He could partner with veteran Barrett Jackman, who opted not to play the UFA game by signing a 3-year deal with the Blues. He was a plus-20 in 81 games last season. Roman Polak brings a solid defensive defenseman game, skating 18:52 per game last season. Jeff Woywitka brings depth and a rather high Words With Friends score.
Kent Huskins waits and wonders if the team needs another D-man.
In goal … Brian Elliott was snubbed in the Vezina voting after a record-setting season for the Blues. His 38 games might not have been a large enough sample, but his 1.56 GAA, .940 save percentage and nine shutouts in that span were incredible. He inked a 2-year extension with the Blues.
Jaroslav Halak found himself in another goalie platoon thanks to Elliott, but also benefitted from the Hitchcock system: 1.97 GAA and a .926 save percentage in winning 26 games in 46 appearances.
We'll go with DJ Quali-T with "Were (sic) Coming For It", because it manages to so deftly rhyme "it" with … "it."
Ken Hitchcock's Jack Adams Award-winning season for the Blues saw them go 43-15-11 under his guidance. He helped turn around their special teams, squeezed complete performances out of players like Oshie and transformed the Blues into a defensive juggernaut. He's one of the finest coaches in hockey, and a pretty good dude at that.
Armstrong's decision to hire Hitchcock could be seen as a panic move, knowing that new ownership might want its own people in place for the Blues. Whatever the case, it was a stroke of genius and earned Armstrong the chance to construct a champion with the purse strings finally loosened (one assumes).
We got a good glimpse at the St. Louis Blues without Pietrangelo and with a less-than-100-percent Pietrangelo in the series vs. the Kings. He led the team in the regular season in TOI (24:43) by over three minutes a game over the next highest ice-time earner. He's essential on the kill and on the power play.
Tarasenko is fast, strong and has been playing against professional competition since he was 16. The Blues have been eager to get him over to the NHL, and for good reasons: He's got the skills to challenge for the Calder if given the chance.
Elliott. It's nearly unfathomable that he'll be able to replicate his record numbers from last season, but we'd be happy to have been proven wrong.
[Male Narrator]
"He's tough. He's rugged. He answers with his fists. He scores dirty goals. And he's a born leader.
"So why does David Backes continue to lie about being a Canadian?
"David Backes: Plays like a Canadian. Pretends to be an American.
"Paid for by Hockey Canada."
There's no reason to believe that the Blues and Hitchcock will regress, especially with the rest of the Central Division facing some adversity (goodbye, Misters Lidstrom and Suter). They'll still need another veteran defenseman and a veteran winger to get over the hump and challenge for the Cup, but the window is wide open for this group.
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https://www.nhlpa.com/news/1-13323/future-bright-for-pietrangelo
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Future Bright for Pietrangelo
|
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[
""
] | null |
[] | null |
Blues highly-touted youngster continues to grow as a strong NHL defenceman
|
en
|
https://www.nhlpa.com/news/1-13323/future-bright-for-pietrangelo
|
When he mapped out what he'd like to achieve in his NHL career, Alex Pietrangelo hoped to become a dependable defenceman in all areas of the game. Less than 100 games into his big-league life, he's already achieved what he set out to do.
He was the fourth overall selection in the 2008 NHL Entry Draft, a highly-touted blueliner who brought skill, leadership and a veteran mentality to the rink.
After appearing in 17 games with the St. Louis Blues from 2008-09 to 2009-10, Pietrangelo was given an opportunity for full-time duty with the Western Conference club last season.
The 21-year-old, who took a few years to develop his love for hockey, didn't throw away the chance he was given, appearing in 79 games, scoring a team-best (for defencemen) 43 points.
That wasn't his only eye-catching statistic.
He also led team defencemen in plus/minus (+18), shots (161), while ranking third in average ice time per game.
“I love to play the power play, but offence is one of my upsides,” said Pietrangelo, who played with the Niagara IceDogs and the Barrie Colts of the Ontario Hockey League (OHL) during his junior career.
“But I see myself as a two way defenseman, a guy who can play in all different situations. I want to be that guy. For me it's real important on both ends, offence and defence. If I can have the offense going for me as well as the other side, that's a good thing.”
Or a great thing, if you happen to be a Blues fan.
Despite his age and NHL experience, Pietrangelo, who has drawn comparisons to veteran defenceman and former St. Louis standout Chris Pronger, has already stamped himself as one of the game's rising stars on the blue line, a key part of a St. Louis team that has won seven divisional titles in their history, but no Stanley Cup championships.
His commitment to self-improvement is more than evident in any conversation.
“I just think adapting to the quicker game and work on skating because the NHL is a different game than junior hockey, so it's a whole different level of speed,” said Pietrangelo, on what one of his top priorities was when he started out. “. Speed is an important factor. It's one of the things that you've got to continue to work on. Hopefully I can continue to work on the footwork, and like I said, speed, and hopefully that will help me in the long run.”
It's definitely helped Pietrangelo in the short term.
Having played for Team Canada has also helped shape his game.
Pietrangelo has been part of Canadian squads at both the junior and senior level, including a gold medal win with Canada's under-20 team at the 2009 World Junior Championships. He was named Best Defenceman at the 2010 World Junior Championship and 2011 Men's World Championship.
He points to his development in junior as having a major impact on his growth into a full-fledged NHL player.
“I played quite a bit, so I learned in all situations,” recalled the native of King City, Ontario, who in half a season with Barrie, recorded 29 points in 25 games, while adding 14 points in 17 playoff games. “That's one of the things that I really thought has helped me is they really taught me to be comfortable in all situations. Make simple plays, keep it simple.”
That simplicity has paid dividends for both Pietrangelo and the Blues, who will look to crack the top eight in the West in 2011-12.
Last season, St. Louis recorded 87 points, to finish fourth in the Central Division, leaving them on the sidelines for the post-season.
The last time the Blues made a playoff appearance was in 2008-09, when they were swept in four games by the Vancouver Canucks.
Pietrangelo is hoping the team's mix of youth and veteran talent pays off with a shot at contesting for the Stanley Cup.
“If you look at the future for this organization, it's going to be bright,” offered the blueliner. “Like I said, I'm real happy to be a part of it. I was hoping that I would go to St. Louis and I did.”
|
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http://individual.utoronto.ca/mfkolarcik/blue-his.htm
|
en
|
Blues History and Tradition
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The Hockey Blues, one of the University of Toronto's oldest and most successful teams, celebrated their 110th anniversary during the new millenium 2000-01 season. The Blues were formed on January 15, 1891, and played their first game (a 2-0 victory) one month later, on February 17. Some 11 years later (1902-03), the Blues joined Queen's and McGill in the country's first intercollegiate hockey league. The McGill University men's hockey team was one of the world’s first recorded, organized hockey clubs and played its first game on Jan. 31, 1877 against the Montreal Hockey Club, formed from the Montreal Football Club which is now acclaimed by the International Ice Hockey Federation for sponsoring the very first indoor hockey game on March 3rd, 1875. .
Since the Canadian Interuniversity Athletic Union (CIAU) launched national hockey championships in 1963, the Blues have won 10 titles, including a record five straight from 1969 to 1973. Toronto's most recent national championship was in 1983-84, when the Blues defeated the Concordia Stingers 9-1 in the championship game. Only the Alberta Golden Bears have surpassed the Blues in CIS Championships first by tying them with their back to back victories of 1999 and 2000 then with their 11th, 12th and 13th titles in 2005, 2006 and 2008. As well as the national titles, Toronto has won 20 Ontario league titles since 1955, and a total of 41 titles overall. [As of July 1st, 1997, a new organization, Ontario University Athletics (OUA), was formed from its two predecessors of Ontario university sports, the Ontario Universities Athletic Association (OUAA) and the Ontario Women's Interuniversity Athletic Association (OWIAA). As of January 2002 the name of the CIAU has changed to CIS-SIC, Canadian Interuniversity Sport-Sport interuniversitaire canadien.]
The late Conn Smythe was a former captain of the Blues while studying Engineering in 1915. In fact, when Smythe founded the Toronto Maple Leafs, he "borrowed" the familiar Blue and White sweater design for his new team. Smythe was also a coach of the Blues from 1923 to 1926, the first in a number of well-known personalities who have stood behind the Varsity bench. These include former Prime Minister Lester Pearson (1926-28), Ace Bailey (1935-40, 1945-49), Judge Joseph Kane (1962-65) and Mike Keenan (1983-84), who was coach and General Manager of the St. Louis Blues.
Tom Watt, the man responsible for nine of the Blues 10 national titles, and considered to be a major influence in Canadian hockey, coached the Blues from 1965-1979 and again in 1984-85. Watt was a member of the Canadian Olympic team coaching staff in 1980 and 1988, and has been head coach of the NHL's Winnipeg Jets, Vancouver Canucks and Toronto Maple Leafs.
Blues have also been prominent in international hockey circles. The Varsity Grads, a team of former Blues members, captured the Gold medal at the 1928 Olympic Games in St. Moritz, Switzerland.
The Varsity Blues participation in international hockey has taken the team to Poland, Austria, Germany, Switzerland and China. In 1990, Varsity competed in the Great Western Shootout tournament in Los Angeles and in 1993 the Blues travelled to the University of Wisconsin Christmas tournament. The following year, the Blues hosted the Can-Am Challenge Tournament in Varsity Arena, featuring NCAA favourites Cornell and Bowling Green, plus cross-town rival York Yeomen.
In 1968, the Blues earned the Bronze medal for Canada at the World Student Games. In February 1972, Blues thrilled a capacity crowd in Varsity Arena with a dramatic 5-1 victory over the USSR student national team. Goaltender Bruce Durno made a series of spectacular saves and centre John Wright collected three goals. Wright is one of Blues most decorated alumni, as he played on four consecutive CIS championship teams from 1969-72 and was named CIS tournament MVP three times. He received the U of T's Biggs Trophy in 1972 for "Leadership, Sportsmanship, and Performance" and after graduating played in the NHL with Vancouver, St. Louis and Kansas City.
At Varsity Arena, in November 1995, the Blues repeated a stunning victory in international hockey by defeating the Russian Junior team (5-2) in an exhibition game. Led by Scott McKinley and Jamie Coon, the Blues exerted so much continuous pressure in the opponents' zone that the Russians could not mount an effective attack for which they are so famous. At the Junior Championships, Russia would eventually take Bronze defeating the Czech Republic, with Canada taking its record-tying fourth consecutive Gold Medal defeating Sweden.
The Varsity presence in Olympic hockey continued during the 1980's. At Lake Placid in 1980, Tom Watt was a co-coach of Team Canada and the roster included no fewer than six Blues players: Warren Anderson, Dan D'Alvise, Cary Farelli, Joe Grant, Shane Pearsall and Stelio Zupancich. Anderson and current head coach Darren Lowe were Olympians four years later at Sarajevo and Lowe returned to the Blues, serving as captain in 1985-86 when he won the Biggs Trophy. Former Varsity players Dave MacLean and Ken Duggan were members of Team Canada which won the Gold medal at the 1987 Spengler Cup (Europe's most prestigious annual club tournament) played in Davos, Switzerland.
The Varsity Blues hockey tradition combines competitive excellence with a high rate of academic success. For example, Steve Monteith, whose U of T career scoring records set over 30 years ago have not been seriously challenged (Goals - 102, Assists - 147, Total Points - 249, 1962-67,69) holds Varsity degrees in Commerce and Law. Andre Hidi, MVP of the 1983-84 CIS tournament, went on to play for the Washington Capitals and then earned an MBA from Stanford.
Several Blues alumni were honoured as members of the U of T Sports Hall of Fame. Lester Pearson and Sandy Somerville were Charter Inductees in 1987. Dr. William A. Dafoe, Joseph Sullivan, Don Carrick and "Biddy" Barr joined in 1988. Former athletics director Warren Stevens, a 1989 inductee, coached the Blues from 1933-35. Conn Smythe was inducted in 1990, together with Wally Halder, who was Blues captain in 1945-46, coach from 1949-51 and leading scorer on Canada's 1948 Olympic champion team.
Tom Watt and Steve Monteith joined the Hall of Fame in October, 1991, and the late William "Bear" Kennedy was a 1993 inductee. Walter Bean, a defenseman on Varsity's OHA team in 1927-28, and John Wright joined the Hall of Fame in 1994. Donald Bark, who set a Varsity career scoring record between 1945-48, and Beattie Ramsay, captain of Blues 1921 Intercollegiate, OHA and Allan Cup champions and a member of Canada's 1924 Olympic Gold Medallists, were inducted on November 8, 1995. Ed Kryzanowski, captain of the Varsity Blues men’s hockey team in 1946-47 and 1947-48, helped the team win the Canadian Intercollegiate Hockey championships in both years. Kryzanowski played for NHL’s Boston Bruins in 1948 and played for both NHL and AHL teams until retiring in 1952; he was inducted into the Hall of Fame in 2006 also for rugby.
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https://www.cbc.ca/sports/hockey/nhl/stanley-cup-final-blues-bruins-game-7-recap-1.5173134
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en
|
St. Louis Blues get Hollywood ending as worst-to-first run ends with Stanley Cup
|
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[
""
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[
"Tim Wharnsby",
"for CBC Sports"
] |
2019-06-13T03:53:00+00:00
|
If you thought the expansion Vegas Golden Knights were a good story last spring, all you had to do was wait 12 months. The Blues, with 14 Canadian born players in their lineup, authored an even better tale as they went from worst to first.
|
en
|
/a/apple-touch-icon.png
|
CBC
|
https://www.cbc.ca/sports/hockey/nhl/stanley-cup-final-blues-bruins-game-7-recap-1.5173134
|
From outhouse to penthouse in 161 days: the sensational story of the 2018-19 Stanley Cup champion St. Louis Blues.
If you thought the expansion Vegas Golden Knights were a good story last spring, all you had to do was wait 12 months. The Blues authored a way better tale — almost too good to be true.
The Blues, with 14 Canadian born players in their lineup, claimed the franchise's first championship in its 52-year history with a perfect road 4-1 road victory in Game 7 against the Boston Bruins on Wednesday.
St. Louis was dead last in the league on Jan. 2. Instead of talk of a playoff run, the chatter around the club six months ago centred around which players would be available at the trade deadline.
WATCH | Blues are finally Stanley Cup champions:
But interim head coach Craig Berube's boys turned it on. They went 30-10-5 to make the playoffs and disposed of the Winnipeg Jets, Dallas Stars and San Jose Sharks in the first three rounds, respectively. They then took care of the Bruins in the seven-game final.
Berube, Binnington bring burst
Berube, a 53-year-old from Calahoo, Alta., and of First Nations descent, took over the Blues on Nov. 19. He required another six weeks for the Blues to get into gear.
The promotion of rookie goalie Jordan Binnington was perhaps the most important ingredient. He was called up on Dec. 9. He had a couple of relief appearances that provided no evidence he would eventually become the Blues saviour.
But his first NHL start on Jan. 7 in Philadelphia against the Flyers was a precursor to the Blues' success. He blanked Berube's old team 3-0 and finished the season a remarkable 24-5-1.
Then, he set a rookie-goalie record with 16 more wins in the playoffs. The names Binnington passed en route to his record included Patrick Roy, Ron Hextall, Cam Ward and Matt Murray.
Binnington made a bevy of big saves for the Blues, especially in the first period. But none was more significant than the right pad stop on Bruins left wing Joakim Nordstrom with 11:03 remaining with his team ahead by two goals at the time.
St. Louis centre Brayden Schenn made it 3-0 a few minutes later.
WATCH | Blues beat Bruins in Game 7 to win Stanley Cup:
The Blues were so good defensively. Hockey Hall of Famer Larry Robinson and assistant coach Mike Van Ryn did a magnificent job in turning the St. Louis blue line into a world-class group.
The Blues hit hard, forechecked hard and they were unrelentingly diligent in their own end. They always seemed to come up with a critical blocked shot. And if they didn't, Binnington was there to block it himself.
They were also overwhelmingly physical. The way the Blues skated, hit and paid attention to defensive detail was reminiscent of Darryl Sutter's two championships with the Los Angeles Kings in 2011-12 and 2013-14.
WATCH | O'Reilly: 'You dream of this for so long:'
Team performance
It was fitting the Blues won on the road. Ten of their 16 post-season victories came away from St. Louis.
Their entire playoff run was the ultimate team performance, and so naturally, the Conn Smythe Trophy was a toss-up. Binnington, captain Alex Pietrangelo and Ryan O'Reilly were all worthy candidates.
O'Reilly received the nod in the end as he became the first player to score a goal in each of Games 4, 5, 6 and 7 of the Stanley Cup final.
Like Binnington, O'Reilly, of Seaforth, Ont., represents a remarkable story. The man who sports a playoff beard all season long had played for Canada too many times at the IIHF World Championship because his teams in Colorado and Buffalo failed to make the playoffs.
An off-season trade from the Sabres gave O'Reilly a new lease on his hockey life. He now has two world championship titles, a World Cup of Hockey win and a Stanley Cup victory to his name.
The Stanley Cup celebration, as always, was riveting and joyful. Pietrangelo took the Stanley Cup from Bettman and handed it to Jay Bouwmeester, he of 1,184 regular season outings and another 76 in the post-season before he finally won the Stanley Cup.
The Cup made it from Bouwmeester to Alex Steen, the longest-serving member of the Blues, to Chris Thorburn to veteran forward David Perron to O'Reilly to Vladimir Tarasenko to Tyler Bozak to Jaden Schwartz to St. Louis native Patrick Maroon and, eventually, the prized trophy found its way to Berube.
The job was complete. Quite the story, indeed.
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https://www.baseball-reference.com/players/v/verlaju01.shtml
|
en
|
Justin Verlander Stats, Height, Weight, Position, Rookie Status & More
|
http://cdn.ssref.net/scripts/image_resize.cgi?min=200&url=https://www.baseball-reference.com/req/202408150/images/headshots/2/216e5d91_mlbam.jpg
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Check out the latest Stats, Height, Weight, Position, Rookie Status & More of Justin Verlander. Get info about his position, age, height, weight, draft status, bats, throws, school and more on Baseball-reference.com
|
en
|
Baseball-Reference.com
|
https://www.baseball-reference.com/players/v/verlaju01.shtml
|
All logos are the trademark & property of their owners and not Sports Reference LLC. We present them here for purely educational purposes. Our reasoning for presenting offensive logos.
Logos were compiled by the amazing SportsLogos.net.
Copyright © 2000-2024 Sports Reference LLC. All rights reserved.
The SPORTS REFERENCE, STATHEAD, IMMACULATE GRID, and IMMACULATE FOOTY trademarks are owned exclusively by Sports Reference LLC. Use without license or authorization is expressly prohibited.
Much of the play-by-play, game results, and transaction information both shown and used to create certain data sets was obtained free of charge from and is copyrighted by RetroSheet.
Win Expectancy, Run Expectancy, and Leverage Index calculations provided by Tom Tango of InsideTheBook.com, and co-author of The Book: Playing the Percentages in Baseball.
Total Zone Rating and initial framework for Wins above Replacement calculations provided by Sean Smith.
Full-year historical Major League statistics provided by Pete Palmer and Gary Gillette of Hidden Game Sports.
Some defensive statistics Copyright © Sports Info Solutions, 2010-2024.
Some high school data is courtesy David McWater.
Many historical player head shots courtesy of David Davis. Many thanks to him. All images are property the copyright holder and are displayed here for informational purposes only.
|
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7313
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dbpedia
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1
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|
https://www.arcticicehockey.com/winnipeg-jets-losing-cost-emotions-1551161916/
|
en
|
The emotional cost of losing is taking its toll on the Winnipeg Jets
|
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[
"CaraT"
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2019-02-26T06:18:36+00:00
|
Last spring, Nick Costsonika wrote a piece on the Montreal Canadiens and the re-birth from a horrid season the year before. It was interesting to note how Max…
|
en
|
Arctic Ice Hockey
|
https://www.arcticicehockey.com/winnipeg-jets-losing-cost-emotions-1551161916/
|
Last spring, Nick Costsonika wrote a piece on the Montreal Canadiens and the re-birth from a horrid season the year before. It was interesting to note how Max Pacioretty, their leading scorer, felt about playing in Montreal for their 2011-12 season.
"Last year, it was almost like you weren't playing in Montreal. It was like you were playing somewhere else.. I tried to stay away from the city as much as possible."
That sounds like a horrible way to live, and I worry that the emotional cost of losing is beginning to suffocate Winnipeg Jets‘ players as we speak.
These guys care about winning. They have to. It is their job to win hockey games. –
Comments made by Claude Noel, Mark Stuart, and Mark Scheifele after Tuesday’s game against the Tampa Bay Lightning indicated that something is awry. Noel has no answers and the players are frustrated and confused. I will acknowledge that the Jets have some bad players on their roster but with the current line-up they could be placing players in better positions to succeed. But there seems to be more there than just frustration: the players seem to want more guidance.
Imagine for a moment that you are Andrew Ladd. You were traded from Chicago to Atlanta after winning the Stanley Cup in 2010. You then move with the team to Winnipeg as their captain and you believe this is long term fit. You signed a big contract and now, just over two years later, you feel like your team is going nowhere fast.
It is hard to deal with failure at any level. Deal with it too much and you start to accept it because it is all you know. Even if you come from a winning organization, at some point the culture becomes part of you and you cannot fight the complacency that sets in after so much losing.
All the losing weighs on you.
How hard is it? I don’t know and neither does anyone else on this site; but professional athletes have egos and are programmed to believe that they are the best. To be told through losing that this belief is not reality must be hard. I know that they are paid good money to play a child’s game but they are human and you can tell that it is wearing on them. They talk about the fans; Ondrej Pavelec apologized for the game last night because he felt so bad about the teams performance.
These guys care about winning. They have to. It is their job to win hockey games.
The players want guidance. They sound like they want to be coached. They think that this situation is fixable, if someone changes the system that they are playing. I don't know if Noel is capable of making said changes because we know very little about him as a NHL coach. Capable coaches are available if the team wants to make an in season change. I do not think that the veteran players will take too kindly to another coach hired out of the AHL and you do have to appease them. They're all you've got.
Players who want to be coached are not uncoachable, they may be lost to the current coach but there is hope for them because they look and sound desperate to turn everything around but they can’t do it alone and it is killing them. The rookies want to do well, but they were not put in positions to succeed right away. It wasn’t until Evander Kane came back that Mark Scheifele was awarded two good line-mates.
The players may even look at General Manager Kevin Cheveldayoff and wonder if he is trying to bring in help. They need it and they must know that they need it. The team is littered with waiver wire pick-ups but an in-season trade for NHL caliber players has never happened under Chevy. (I am not including Eric Tangradi because, lets face it, he’s a replacement level player). Even if Chevy makes a move for a younger player, it would be something to let them know what direction this team will take moving forward.
A cry out for leadership beyond the room happened after the Tampa Bay loss. The room is not toxic according to numerous media members who go in there regularly to interview players. That is a good thing because a toxic room has to be cleaned with biohazard suits. If the room is a good room without any rifts than the cleanup is based on finding more talent, regardless of character because the room can handle more talent as long as that talent cares.
The players want to win and that is obvious. After efforts like the ones against Tampa Bay fans deserve to boo. But the players deserve some credit because they are hurting emotionally from these losses. They are asking for help because they know they cannot do it alone and they the players along with us the fans deserve better because effort can only do so much and sometimes that isn't enough.
|
|||||
7313
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dbpedia
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3
| 39
|
https://echl.com/news/2023/10/echl-has-72-former-players-on-nhl-opening-day-rosters
|
en
|
ECHL has 68 former players on NHL Opening-Day Rosters
|
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[
"ECHL"
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2023-10-10T12:08:00-04:00
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The ECHL has 68 former players and 54 coaches with an ECHL background on NHL opening-day rosters.
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en
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https://echl.imgix.net/production/echl/siteconfiguration/1/site_logo_raster/db0da499-a098-4877-92a0-047a57d36772/media-libraryDtCEXS?auto=compress&fill=solid&fill-color=0FFF&fit=fill&fm=png&h=180&w=180&s=1bd1308ec164bc108a2695cc2f03bbd1
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ECHL
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https://echl.com/news/2023/10/echl-has-72-former-players-on-nhl-opening-day-rosters
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The ECHL has 72 players on National Hockey League opening-day rosters, marking the 22nd season in a row with more than 50 former ECHL players on opening-day rosters.
The Premier ‘AA’ Hockey League, the ECHL has a player or coach each of the 32 teams and has affiliations with 28 of the 32 teams in the NHL, marking the 27th consecutive season that the league has had affiliations with at least 20 teams in the NHL.
There are 55 coaches with an ECHL background working behind the benches of teams in the NHL including Buffalo Sabres head coach Don Granato, Colorado Avalanche head coach Jared Bednar, Detroit Red Wings head coach Derek Lalonde, New York Rangers head coach Peter Laviolette, Vegas Golden Knights head coach Bruce Cassidy and Washington Capitals head coach Spencer Carbery, who all previously were ECHL head coaches. In addition, Columbus Blue Jackets head coach Pascal Vincent, Edmonton Oilers head coach Jay Woodcroft and Nashville Predators head coach Andrew Brunette are former ECHL players. It is the 13th consecutive season that there have been 30 or more coaches with an ECHL background working in the NHL. Last season, Cassidy became the third former ECHL head coach to lead his team to a Stanley Cup title, joining Laviolette (Carolina, 2006) and Bednar (Colorado, 2022). In 2021-22, Bednar became the first coach to lead teams to championships in the ECHL (South Carolina, 2009), AHL (Lake Erie, 2016) and NHL (Colorado, 2022). In 2019-20, Cassidy became the second former ECHL head coach to win the Jack Adams Award as NHL Coach of the Year, joining Bruce Boudreau, who received the honor in 2007-08.
There are 40 former ECHL officials who are scheduled to work as part of the NHL officiating team in 2023-24 with referees Riley Brace, Jake Brenk, Francis Charron, Tom Chmielewski, Mitch Dunning, Trevor Hanson, Beau Halkidis, Ghislain Hebert, Jean Hebert, Pierre Lambert, T.J. Luxmore, Peter MacDougall, Morgan MacPhee, Michael Markovic, Wes McCauley, Jon McIsaac, Dan O’Rourke, Brian Pochmara, Kevin Pollock, Kyle Rehman, Chris Rooney, Carter Sandlak, Graham Skilliter, Furman South, Justin St. Pierre and linesmen Steve Barton, Ryan Daisy, Julien Fournier, Brandon Gawryletz, Brandon Grillo, Mitchell Hunt, Trent Knorr, Matt MacPherson, Jesse Marquis, Kilian McNamara, Bevin Mills, C.J. Murray, Kory Nagy, Ben O’Quinn and Bryan Pancich.
There have been 740 players who have played in the NHL after playing in the ECHL including 13 who made their debuts in 2021-22. The ECHL has had 548 players reach the NHL since 2002-03 when it changed its focus to become the primary developmental league for the NHL and the AHL. The ECHL had 97 players reach the NHL in its first 10 seasons and 215 in the first 15 years. There have been 484 ECHL players have played their first game in the last 18 seasons for an average of more than 26 per year.
There were two players who played in both the ECHL and NHL in 2023-23: Kevin Mandolese (Allen and Ottawa) and Dylan Wells (Idaho and Chicago).
The ECHL was represented for the 23rd year in a row on the Stanley Cup champion in 2023 with a record 16 individuals on the Vegas Golden Knights, including Head Coach Bruce Cassidy; Assistant Coach Ryan Craig; players Laurent Brossoit, Adin Hill, Keegan Kolesar, Brayden Pachal, Jonathan Quick and Logan Thompson. There were 34 former players and 19 coaches on the 16 teams competing in the National Hockey League’s Stanley Cup Playoffs in 2023, marking the 18th year in a row that there have been at least 30 former ECHL players who have competed in the NHL postseason.
The first ECHL player to play in the NHL was Johnstown Chiefs goaltender Scott Gordon, who played his first game with the Quebec Nordiques against Buffalo on Jan. 30, 1990. The 100th player honor is shared by Jean-Sebastien Aubin and Manny Legace, who both made their debut on Oct. 21, 1998 with the Pittsburgh Penguins and the Los Angeles Kings, respectively. The 200th player was Brett McLean with the Chicago Blackhawks on Dec. 10, 2002 while the 300th was David Liffiton with the New York Rangers on April 11, 2006. The 400th was Phil Oreskovic on March 9, 2009 with the Toronto Maple Leafs while the 500th player honor is shared by Anthony Peluso and Darcy Kuemper, who both made their debut on Feb. 12, 2013 with the Winnipeg Jets and the Minnesota Wild, respectively. The 600th former ECHL player to reach the NHL was Florida Panthers forward Shane Harper on Oct. 13, 2016 while the 700th former ECHL player to debut in the NHL was New Jersey Devils defenseman Mason Geertsen on Oct. 19, 2021.
Former ECHL broadcasters working in the National Hockey League include John Ahlers and Steve Carroll of the Anaheim Ducks, Bob McElligott of the Columbus Blue Jackets, Josh Bogorad of the Dallas Stars, Jack Michaels of the Edmonton Oilers, Doug Plagens of the Florida Panthers, Joe O’Donnell of the Minnesota Wild, Brendan Burke of the New York Islanders, Chris Kerber of the St. Louis Blues, Everett Fitzhugh of the Seattle Kraken, Dave Mishkin of the Tampa Bay Lightning and Dave Goucher and Dan D’Uva of the Vegas Golden Knights. Former ECHL player Tyson Nash is an analyst with the Arizona Coyotes, former ECHL player Jody Shelley is an analyst with the Blue Jackets, former ECHL player Tripp Tracy is an analyst with the Carolina Hurricanes and former ECHL player Shane Hnidy is an analyst with the Golden Knights.
Former ECHL coaches and players on NHL Opening-Day Rosters (ECHL affiliate listed in parentheses):
(*) – Injured Reserve/Non-Roster
Anaheim Ducks (Tulsa Oilers) – Assistant Coach Brent Thompson (Alaska, 2009-11); Video Coach Austin Violette (Maine, 2018-19); Sam Carrick (Idaho, 2012-13),
Arizona Coyotes – Goaltending Coach Corey Schwab (Cincinnati, 1991-92); Josh Brown (Manchester, 2015-16) and Connor Ingram (Adirondack, 2017-18 and Orlando, 2018-19)
Boston Bruins (Maine Mariners) – Goaltending Development Coach Mike Dunham (Gwinnett, 2005-06)
Buffalo Sabres (Jacksonville Icemen) – Head Coach Don Granato (Columbus, 1991-93 and 1997-99 and Peoria, 1999-00); Assistant Coach Jason Christie (Columbus, 1991-93 and 1998-99; Charlotte, 1993-94; Peoria, 1999-2005; Utah, 2005-08; Ontario, 2011-15; Tulsa, 2015-17 and Jacksonville, 2017-21); Assistant Coach Matt Ellis (Toledo, 2002-03); Assistant Coach Marty Wilford (Columbus, 1998-99) and Ukko-Pekka Luukkonen (Cincinnati, 2019-20)
Calgary Flames (Rapid City Rush) – Assistant Coach Cail MacLean (Jacksonville, 1997-99; Trenton, 1999-02; Reading, 2004-05; South Carolina, 2005-11 and Adirondack, 2015-17); Goaltending Coach Jason LaBarbera (Charlotte, 2000-02); Dryden Hunt (Manchester, 2016-17); Dan Vladar (Atlanta, 2016-18 and 2019-20) and MacKenzie Weegar (Cincinnati, 2014-15)
Carolina Hurricanes – Michael Bunting (Rapid City, 2015-16)
Chicago Blackhawks (Indy Fuel) – Assistant Coach Kevin Dean (Cincinnati, 1991-92 and Trenton, 2010-11); Developmental Goaltending Coach Peter Aubry (Johnstown, 2002-03; Alaska, 2004-05 and Texas, 2007-08) and Petr Mrazek (Toledo, 2012-13)
Colorado Avalanche (Utah Grizzlies) – Head Coach Jared Bednar (Huntington, 1993-96 and South Carolina, 1996-09); Assistant Coach Nolan Pratt (Richmond, 1995-96) and Ivan Prosvetov (Rapid City, 2019-20)
Columbus Blue Jackets – Head Coach Pascal Vincent (Knoxville, 1992-93); Assistant Coach Steve McCarthy (Kalamazoo, 2015-16); Goaltending Development Coach Brad Thiessen (Wheeling, 2009-10 and Cincinnati, 2015-17); Justin Danforth (Reading, 2016-17 and Cincinnati, 2017-18) and Spencer Martin (Fort Wayne, 2015-16 and Orlando, 2019-20)
Dallas Stars (Idaho Steelheads) – Assistant Coach Steve Spott (Richmond, 1990-91); Jani Hakanpaa (Quad City, 2014-15); Joel Hanley (Gwinnett, 2014-15); Mason Marchment (Orlando, 2016-17) and Scott Wedgewood (Trenton, 2012-13 and Adirondack, 2015-16)
Detroit Red Wings (Toledo Walleye) – Head Coach Derek Lalonde (Toledo, 2014-16); Associate Coach Bob Boughner (Toledo, 1991-92); Goaltending Coach Alex Westlund (Dayton, 1999-2001; Cincinnati, 2001-02; Toledo, 2001-02; Trenton, 2003-04; Charlotte, 2004-05 and 2006-07 and Wheeling, 2013-14); Ben Chiarot (Colorado, 2011-12); Justin Holl (Indy, 2014-15); Ville Husso (Missouri, 2016-17) and James Reimer (Reading, 2008-09 and South Carolina, 2008-09)
Edmonton Oilers (Fort Wayne Komets) – Head Coach Jay Woodcroft (Jackson, 1999-00); Assistant Coach Glen Gulutzan (Las Vegas, 2003-09); Jack Campbell (Idaho, 2014-16); Vincent Desharnais (Wichita, 2019-21); Ryan Fanti * (Fort Wayne, 2022-23); Brett Kulak (Colorado, 2014-15) and Stuart Skinner (Wichita, 2018-20)
Florida Panthers (Florida Everblades) – Assistant Coach Jamie Kompon (Hampton Roads, 1989-90; Cincinnati, 1990-91 and Winston-Salem, 1990-91); Goaltending Coach Rob Tallas (Charlotte, 1994-95); Ryan Lomberg (Adirondack, 2016-17); Steven Lorentz (Florida, 2017-19); Anthony Stolarz (Reading, 2017-18) and Carter Verhaeghe (Missouri, 2015-17)
Los Angeles Kings (Greenville Swamp Rabbits) – Assistant Coach Derik Johnson (Missouri, 2014-15 and Reading, 2015-17); Goaltending Coach Mike Buckley (Mississippi, 2002-04 and Gwinnett, 2003-04); Pheonix Copley (South Carolina, 2013-14); Trevor Lewis (Utah, 2012-13) and Cam Talbot (Greenville, 2010-11)
Minnesota Wild (Iowa Heartlanders) – Assistant Coach Bob Woods (Johnstown, 1990-94; Hampton Roads, 1995-96; Mobile, 1996-97; Tallahassee, 1997-98 and Mississippi, 1998-05); Goaltending Coach Frederic Chabot (Winston-Salem, 1991-92); Frederick Gaudreau (Cincinnati, 2014-15); Filip Gustavsson (Brampton, 2018-19) and Jacob Middleton (Manchester, 2015-16)
Montreal Canadiens (Trois-Rivières Lions) – Assistant Coach Alexandre Burrows (Greenville, 2002-03; Baton Rouge, 2002-03 and Columbia, 2003-05); Goaltending Coach Eric Raymond (Wheeling, 1993-94; South Carolina, 1995-96 and Huntington, 1995-96); and Chris Wideman * (Elmira, 2012-13)
Nashville Predators (Atlanta Gladiators) – Head Coach Andrew Brunette (Hampton Roads, 1993-94); Kevin Lankinen (Indy, 2018-19); Thomas Novak (Florida, 2020-21) and Cole Smith (Florida, 2020-21)
New Jersey Devils (Adirondack Thunder) – Video Coach Ian Greenwald (Utah, 2013-15) and Vitek Vanecek (South Carolina, 2015-16 and 2017-18)
New York Islanders (Worcester Railers) – Ross Johnston (Missouri, 2015-16)
New York Rangers (Cincinnati Cyclones) – Head Coach Peter Laviolette (Wheeling, 1997-98) and Jonthan Quick (Reading, 2007-08)
Ottawa Senators (Allen Americans) – Associate Coach Jack Capuano (Tallahassee, 1995-97, Knoxville, 1996-97 and Pee Dee, 1997-05); Assistant Coach Davis Payne (Greensboro, 1992-95; Greenville, 1998-00; Pee Dee, 2000-03 and Alaska, 2003-07) and Goaltending Coach Zac Bierk (Augusta; 2001-02)
Philadelphia Flyers (Reading Royals) – Assistant Coach Darryl Williams (Newfoundland, 2019-21) and Felix Sandstrom (Reading, 2019-20)
Pittsburgh Penguins (Wheeling Nailers) – Associate Coach Todd Reirden (Raleigh, 1994-95; Tallahassee, 1994-96 and Jacksonville, 1995-96); Assistant Coach Mike Vellucci (Erie, 1989-90 and Winston-Salem, 1989-90); Assistant Coach Ty Hennes (Toledo, 2004-05; Bakersfield, 2004-05 and Texas, 2004-05); Goaltending Coach Andy Chiodo (Wheeling, 2003-06; Elmira, 2009-10 and Bakersfield, 2013-14); Jansen Harkins (Jacksonville, 2017-18) and Alex Nedeljkovic (Florida, 2014-15 and 2016-17)
San Jose Sharks (Wichita Thunder) – Assistant Coach Scott Gordon (Johnstown, 1988-89; Nashville, 1992-93; Knoxville, 1993-94; Roanoke, 1998-2000); Assistant Coach Ryan Warsofsky (South Carolina, 2013-18); Goaltending Coach Thomas Speer (Idaho, 2011-12 and Las Vegas, 2011-12); Mackenzie Blackwood (Adirondack, 2017-18); Kyle Burroughs (Missouri, 2015-16); Mike Hoffman (Elmira, 2010-11) and Jacob MacDonald * (Elmira, 2014-16 and Toledo, 2016-17)
Seattle Kraken (Kansas City Mavericks) – Assistant Coach Jay Leach (Mississippi, 2001-02; Augusta, 2002-03; Long Beach, 2003-04 and Trenton, 2003-05); Goaltending Coach Steve Briere (Mississippi, 2000-01; Cincinnati, 2001-02 and Toledo, 2001-02); Joey Daccord (Brampton, 2019-020); Yanni Gourde (San Francisco, 2012-13 and Kalamazoo, 2013-14) and Philipp Grubauer (South Carolina, 2011-12 and Reading, 2012-13)
St. Louis Blues – Jordan Binnington (Kalamazoo, 2013-14) and Josh Jacobs * (Adirondack, 2016-17)
Tampa Bay Lightning (Orlando Solar Bears) – Luke Glendening (Toledo, 2012-13); Tanner Jeannot (Florida, 2019-21); Jonas Johansson (Cincinnati, 2017-19); Matt Tomkins (Indy, 2017-19)
Toronto Maple Leafs (Newfoundland Growlers) – Goaltending Coach Curtis Sanford (Peoria, 2000-02); Timothy Liljegren (Newfoundland, 2018-19); Bobby McMann (Wichita, 2020-21 and Newfoundland, 2021-22) and Ryan Reaves (Alaska, 2007-08 and Orlando, 2012-13)
Vancouver Canucks (Kalamazoo Wings) – Casey DeSmith (Wheeling, 2015-16) and Dakota Joshua (Tulsa, 2019-20)
Vegas Golden Knights (Savannah Ghost Pirates) – Head Coach Bruce Cassidy (Jacksonville, 1996-98 and Trenton, 1999-00); Assistant Coach Dominique Ducharme (Huntington, 1995-96 and Raleigh, 1995-96); Adin Hill (Rapid City, 2016-17); Keegan Kolesar (Quad City, 2017-18); Daniil Miromanov * (Manchester, 2018-19); Brayden Pachal (Fort Wayne, 2019-20); Isaiah Saville * (Savannah, 2022-23) and Logan Thompson (Adirondack, 2018-19 and South Carolina, 2019-20)
Washington Capitals (South Carolina Stingrays) – Assistant Coach Spencer Carbery (Bakersfield, 2007-08; Stockton, 2007-08; Fresno, 2007-08; South Carolina, 2008-16); Assistant coach Scott Allen (Carolina, 1988-89; Winston-Salem, 1989-90; Erie, 1989-90; Greensboro, 1989-90; Cincinnati, 1990-91 and Johnstown, 1996-2002); Assistant Coach Mitch Love (Johnstown, 2007-08); Nick Jensen (Toledo, 2013-14) and Darcy Kuemper (Ontario, 2011-12 and Orlando, 2012-13)
Winnipeg Jets (Norfolk Admirals) – Assistant Coach Marty Johnston (Florida, 2002-03; Trenton, 2003-04; Long Beach, 2003-04 and Peoria, 2003-04); Goaltending Coach Wade Flaherty (Greensboro, 1989-90) and Laurent Brossoit (Alaska, 2013-14 and Bakersfield, 2013-14)
About the ECHL
|
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dbpedia
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https://www.angelfire.com/space/u_line/players.htm
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en
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London Lions ~ the players
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[] | null | null |
# 1 Leif Holmqvist (SWE)
Goalie. Born 12 November 1942 in Gävle, Sweden. Played 49 games for the Lions. During the 60s and 70s, he played 202 international games for Sweden. In 1968, Holmqvist participated in Boston Bruins' training camp but he never signed any contract. A third attempt as a professional came in 1975-76 when he played 19 games in the WHA. He was destined for AVCO Cup Champions Houston Aeros (where the legendary Gordie Howe was playing at the time) but as the Aeros ran into financial trouble, Honken was handed over to the Indianapolis Racers (which a couple of years later became Wayne Gretzkys first pro-team). He retired as player in 1978 and worked a couple of years as coach after that. # 3 Murray Wing (CAN)
Right Defenceman. Born 14 October 1950 in Thunder Bay, Ontario. He started at the University of North Dakota, moved to the Oklahoma City Blazers of the Central Hockey League, the Boston Braves of the American Hockey League, and the San Diego Gulls of the Western Hockey League. Wing dreamed of playing in the NHL and came close with Boston, playing six exhibition games one year. At the end of the 1973-74 season, after playing with the Lions, he got his chance. On 7 April 1974 he played one game with Detroit (against the Chicago Black Hawks). "I got an assist on a Mickey Redmond goal. I remember it well. It was a pass from outside our blue line up to Redmond outside their blue line. He just took it in and scored. I did all the work on that goal," Wing later said with a laugh. The rest of his career, which lasted from 1971 to 1977, was spent in the minor leagues. # 10 Ulf Sterner (SWE)
Centre. Born 11 February 1941 in Deje, Sweden. Sterner was assistant captain in the club and played 64 games for the Lions. He represented Sweden in the 1960 and 1964 Olympics, and participated in most of the World Championships from 1961 to 1973. In 1964-65 Sterner was the first European player in the NHL, playing 4 games for the New York Rangers. Before joining the Lions, Sterner played a couple of pre-season games with WHA-Chicago Cougars in 1972-73. Sterner returned to Sweden after the season with the Lions but never played in the top league nor the national team again. During the 80s and 90s he was coaching teams in the lower divisions, and he even played a couple of games in the early 1990s - his 5th decade in senior hockey, making him something of a Swedish equivalent of Gordie Howe. # 12 Mike Jakubo (CAN)
Left Wing. Born 7 July 1949 in Sudbury, Ontario. Jakubo played seven games for the Los Angeles Sharks in the WHA in 1972-73 and started the 1973-74 season with the Virginia Wings before joining the Lions in Austria in February 1974. Smooth-skating Jakubo was the one player the Wembley fans took to during the spring series. He made 22 points (13 goals, 9 assists) in his 24 games with the Lions and - most importantly for the British fans - spent only four minutes in the penalty box. On 19 April 2004, Mike Jakubo wrote me and said "it was the best time of my hockey career." He later worked for the City of Greater Sudbury in Ontario, Canada and passed away on 4 April 2019. # 14 Dennis Polonich (CAN)
Centre. Born 4 December 1953 in Foam Lake, Saskatchewan. Polonich played 67 games for the Lions and was the one London Lion who was to make an impact on the NHL, scoring 59 goals during his 390 games for the Detroit Red Wings 1974-83. He contacted me on 13 May 2004: "I was only 19 yrs. old when we traveled over there so it was quite a thrill as I said. Detroit had so many players under contract then and they sent mostly single or young couples over. I didn't care I just wanted to play but I did think I was getting further from the NHL not closer at the time. We started at Wembley for a month and half the a 3 month road trip to 11 different countries then back for a month and a half. Travel mostly by bus with a trailer in tow for equipment and luggage."
Polonich worked as General Manager and head coach for the Yorkton Terriers in the SJHL from 1986 to 1992 before joining the WHL as GM for the Medicine Hat Tigers (1992-96) and Prince George Cougars (1996-98). He later settled with his family in Calgary and worked as a NHLPA Certified Player agent. #17 Tom Mellor (USA)
Defenceman. Born 27 January 1950 in Cranston, Rhode Island. Tom Mellor was in the American National team from 1971 to 1973, including the 1972 Olympics. He played six games for the Lions in December-January and 26 NHL-games for Detroit Red Wings between 1973 and 1975. For the 1975-76 season Mellor joined Gothenburg-based team Västra Frölunda in the Swedish Elite League, making 16 points in 34 games. He wrote me on 3 May 2004: "I remember the wonderful ovations that Honken Holmqvist and Ulfie Sterner received when we toured with the Lions. Ulfie was so good with the puck, he used to bounce it off his stick a couple of times and would actually 'head' it a teammate...an old fotball skill!! Following my year with Vastra Frolunda in Goteborg, I joined my former Detroit Red Wing coach, Ted Garvin, with the Toledo Goaldiggers in the International Hockey League (IHL). Ted named me the assistant playing coach and we had a fun year advancing to the 7th game in the finals, but losing to Saginaw.".
Mellor later settled in Marlborough, Massachussets and opened his own firm, Windham Capital Group, in downtown Boston. # 20 Brian McCutcheon (CAN)
Right Wing. Born 3 August 1949 in Toronto, Ontario. He played 71 games for the Lions. In all, McCutcheon played 37 NHL-games for Detroit Red Wings 1974-77. He retired as player in 1978 but started to coach in 1987, first for the Cornell University and teams in AHL, IHL and ECHL before spending ten years (2001-2011) as assistant coach for the Buffalo Sabres in the NHL. His coaching career ended with two years in Italy (HC Bolzano 2011-13) and another two years in Germany (Kölner Haie 2014-15 and Füchse Duisburg 2015-16) # 22 Mike Korney (CAN)
Right Wing / Defenceman. Born 15 September 1953 in Dauphin, Manitoba. Korney played 31 games for the Lions during the first part of the season. In a three-year span he was shipped to 12 minor league teams and his pro career ended with Syracuse of the American Hockey League in 1980 after having played a total of 77 NHL-games for Detroit Red Wings and New York Rangers. In the 1990s Korney worked as a helicopter pilot. After piloting fire fighting choppers in Canada, he went to Qatar in 1992 where he was flying workers and equipment to offshore oil rigs in the Persian Gulf. He has changed his last name to Korey, which is closer to the spelling used by his grandfather, a Ukrainian immigrant. # 24 Rick Newell (CAN)
Defenceman. Born 18 February 1948 in Winnipeg, Manitoba. Newell played 17 games during October-November 1973 before going back to Virginia Wings in the AHL. During his career, Newell played 7 NHL-games for Detroit Red Wings (1972-74) and 25 WHA-games for Phoenix Roadrunners (1974-75). He wrote me on 5 November 2004:
"I was in London briefly after suffering a broken jaw in training camp in Detroit and as you probably know I went back to Virginia in the AHL after a couple of months in London. The next year I joined the Phoenix Roadrunners in the WHA and played against some of the earlier Swedes, Anders Hedberg, Kent Nilson etc. We have remained in Phoenix and still call it home. Business wise I have my own investment firm specializing in real estate land investments."
# 24 Tord Lundström (SWE)
Left Wing. Born 4 March 1945 in Kiruna, Sweden. He played for Sweden in most of the World Championships and Olympics between 1965-75 and in the first Canada Cup in 1976. During his career he also won 9 Swedish Championships. Detroit spotted Lundström already in 1966 when he toured North America with the Swedish national team, but he didn't sign until 1973 (after also being offered a contract by the ill-fated New York Golden Blades in the WHA). Lundström started the 1973-74 season playing 11 NHL-games for Detroit but after a shoulder injury he joined the Lions in December and played 45 games for the team during the latter part of the season. He retired as hockey player in 1980 and then worked as head coach for another ten years. After that he worked at the local real estate company in Gävle. And although we've never met, I'm related to Tord since his father Göte Lundström and my paternal grandfather Conrad Uhlin were first-cousins.
Doug Barkley
(CAN)
Coach and General Manager. Born 6 January 1937 in Lethbridge, Alberta.
Barkley played in the NHL for the Chicago Blackhawks from 1957. He was traded to the Detroit Red Wings in 1962-63 but his playing career was ended when an on-ice accident on 30 January 1966 left him without vision in his right eye. After his injury, Barkley joined the Detroit front office, working in public relations. He turned to coaching in 1968 and over the years he coached the Wings' farm teams in Fort Worth, Norfolk and London. He took over as the Red Wings' head coach for the final 40 games of the 1970-71 season and lasted through the first 11 games of the 1971-72 season before being fired. Barkley got a return engagement as the Wings' coach at the start of the 1975-76 season, lasting 26 games before being fired again. Barkley eventually settled in Calgary. Regarding the London Lions, Barkley has said: "Other than the years I played in Detroit, that trip was probably the best thing that ever happened to me in my life."
Al Coates
(CAN)
Trainer and assistant coach. Born 3 December 1945 in Listowel, Ontario. Coates played hockey at and graduated with a business administration degree from Ryerson Polytechnical Institute in Toronto. He then worked with Jim Bishop when the Oshawa Green Gaels won the 1969 Canadian Junior lacrosse championship. Coates went to Europe in the early 70s to play hockey in Austria but ended up in the Netherlands where he launched a hockey program in a new rink in Utrecht. Detroit then gave him the job of launching their franchise in Virginia as its business manager. After the experiences in Virginia and London, Coates spent the next five years as a part of the Red Wings front office staff. In 1980-81 he joined the Calgary Flames after the franchise moved from Atlanta. He was the general manager of the Flames from 1995-2000. After three years as General Manager of the NY Rangers affiliate Hartford Wolf Pack in the AHL, Coates served as general manager of the Anaheim Ducks 2004-2008. He returned to Europe as GM for Team Canada in Spengler Cup 2005 and after that he was Director of Player Personnel in the Toronto Maple Leafs 2008-09, GM for Team Canada U20 in 2011-12 and pro scout for the New Jersey Devils 2019-20.
|
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7313
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https://forums.operationsports.com/forums/blogs/cbumeter/15030-2011-12-st-louis-blues-depth-chart.html
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en
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12 St. Louis Blues Depth Chart
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<html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><link href="http://dynas
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https://www.imdb.com/title/tt0107943/plotsummary/
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en
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Was vom Tage übrig blieb (1993)
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Was vom Tage übrig blieb (1993) - Plot summary, synopsis, and more...
|
en
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IMDb
|
https://www.imdb.com/title/tt0107943/plotsummary/
|
Approximately a quarter century in the lives of James Stevens (Sir Anthony Hopkins) and Sarah Benn née Kenton (Dame Emma Thompson), called Sally in the most casual of circumstances, is presented. The bulk of their story takes place in the first few years after their meeting in the 1930s when Mr. Stevens, who has worked this entire period as the butler at Darlington Hall in Oxfordshire, hires Miss Kenton as the new housekeeper for Lord Darlington's (James Fox's) stable of servants. The story focuses on their relationship as co-worker servants, with Mr. Stevens' position as head of the manor servant staff. An epilogue of sorts is also presented in the 1950s after a twenty year separation and a seven year period of non-correspondence, where Mr. Stevens, still at Darlington Hall working as butler for its new owner, retired American Representative Jack Lewis (Christopher Reeve), goes to visit now separated Mrs. Benn where she now lives in Clevedon in the west country to ask her to return to service at Darlington Hall. Representative Lewis bought the manor following Lord Darlington's death, his life, which eventually was mired in scandal regarding his geopolitical work before, during, and after the war. That relationship between Mr. Stevens and Miss Kenton is dictated largely by Mr. Stevens' priority on what he sees as proper decorum in their work, which results in him largely hiding his emotions from everyone, while Miss Kenton, who still does her job as good as any housekeeper, wants Mr. Stevens to come out from that decorum which may make him an even better butler. As feelings start to develop between the two, that wall of decorum that Mr. Stevens has built may prevent anything from happening, especially fraternization between staff has largely been frowned upon by both of them as a disruption to the household.—Huggo
In 1950s England, Mr Stevens (Anthony Hopkins), the butler of Darlington Hall, receives a letter from Miss Kenton (Emma Thompson), who worked with him as housekeeper during the years prior to the Second World War. Twenty years later, Lord Darlington (James Fox) has died and his stately country manor has been sold to a retired American Congressman, Mr. Lewis (Christopher Reeve). Kenton reveals that her marriage has failed and that she is nostalgic for the days when she worked at the house. Stevens (now one of the few remaining servants from the Darlington era) goes to visit Miss Kenton, ostensibly to persuade her to return to service.
The film flashes back to Kenton's arrival as housekeeper. At the time, Darlington Hall was frequented by many politicians of the interwar period, men who decided important affairs of state while there. Stevens, loyal and perfectionistic, calm and efficient, had to manage the household so that the servants seemed almost invisible, and he took great pride in his skills and his profession. He clashed with Miss Kenton, his equal in the household hierarchy, but displayed only understated irritation with her and others. Indeed, his utter focus and emotional repression were most fully displayed when his own father, also an employee, was dying; Stevens continued his duties without pause.
Miss Kenton was equally efficient and strong-willed but warmer and less repressed. Relations between the two eventually warmed and Kenton even teased Stevens. It becomes clear that she had fallen in love with him, and perhaps he with her, though his feelings are left ambiguous. She tried to break through the wall, but Stevens' coldness was too formidable. Finally, she struck up a relationship with another man and married him, leaving the house just before the outbreak of World War II. Before her departure, she insulted Stevens, clearly out of distress that he had never expressed any emotional interest in her, but he still refused to be moved. When she cried in frustration, the only response he could muster was to call her attention to a domestic task.
Lord Darlington used his influence to broker the policy of appeasement towards Nazi Germany. He irritated Congressman Lewis, one of the dignitaries at a conference, who argued in favour of the foreign policy being conducted by "professionals" rather than by "gentlemen amateurs". After reading the work of Houston Stewart Chamberlain, Lord Darlington commanded that two German-Jewish maids should be dismissed, considering their employment inappropriate. Stevens carried out the order but Miss Kenton almost resigned in protest, fearing that the girls would have to return to Germany; her own need for employment caused her to avoid following through. Darlington later regretted his decision and asked Stevens to reinstate the maids, but they could not be located.
Darlington died a broken man, his reputation destroyed after he had been denounced a traitor in the Daily Mail. When asked about his former employer, Stevens at first denies having served or even met him but later admits to having served him. He recognises his former master's failings and indicates that he has regrets about his own life, as does Miss Kenton (now Mrs. Benn). However, Kenton declines Stevens' offer to return to Darlington Hall, announcing instead that she wants to remain with her husband, since their daughter is soon to present them with a grandchild. After the meeting, Stevens departs for Darlington Hall in a downpour of rain. Kenton cries, while Stevens, still unable to demonstrate any feeling, simply raises his hat.
The film's final scene shows Stevens making the final preparations to Darlington Hall in preparation for the arrival of Congressman Lewis' family. As the two men enter the banquet hall, where a table tennis table now lies, Congressman Lewis reflects on the banquet that he attended in this room in 1935 and admits embarrassment over his comments. He asks Stevens if he remembers the comments, to which Stevens replies that he was too busy serving. Symbolically, a pigeon then flies into the room through the fireplace and becomes trapped in the hall. The two men eventually coax it out a window and it flees to freedom, leaving Stevens and Darlington Hall behind.
In this movie appears Wolf Kahler who will later play Ludendorff, chemist and Fritz Shimon Haber's close friend in Haber (2008).
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https://www.brightwalldarkroom.com/2022/02/11/the-remains-of-the-day/
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en
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The Remains of the Day (1993): A Gentleman, Through and Through
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2022-02-11T00:00:00
|
The Remains of the Day is a prolonged and aching rumination on what could have been—what might have been—at another time, or at least in another Britain.
|
en
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Bright Wall/Dark Room
|
https://www.brightwalldarkroom.com/2022/02/11/the-remains-of-the-day/
|
We reach Darlington Hall, an immaculate estate in Oxfordshire, just in time for the auction. The voice of Miss Kenton (Emma Thompson) informs us that the Darlington family had planned on demolishing the manor following the demise of Lord Darlington (James Fox). She also notes a particular headline, “some rubbish in the Daily Mail which made my blood boil: ‘Traitor’s nest to be pulled down.’”
In a tent outside the dimly lit hall, rows of Elizabethan paintings are sold. One tableau—A Portly Gentleman—is auctioned off at 11,500 guineas to an American millionaire named Lewis, who will buy the entire mansion and rescue it from demolition. That Lewis is played by Christopher Reeve, whose smooth and chiseled, all-American looks spell nouveau riche, adds a certain jolt to the otherwise staid film: Superman has come to save Darlington Hall from itself. The 18th-century mansion, though in otherwise pristine condition (every inch dusted, the silver constantly polished), is now buckling under the weight of its former Lord’s notorious reputation. Through trickles of information, we learn that Darlington was a fascist sympathizer, or, as one shopkeeper recalls, a “Nazi [who] got us in the war.” Darlington Hall becomes shrouded in notoriety; its centuries of opulence and wretched excess have led to withered decay.
A showier film would have been more interested in Lord Darlington’s downfall after the war; instead, we learn off the cuff that he died quietly and unceremoniously of heartbreak. But Darlington is not the focus of this Merchant Ivory Production, an adaptation of the Booker Prize-winning 1989 novel by Kazuo Ishiguro. With quiet but steely determination and sangfroid, we observe the goings-on of Darlington Hall through the eyes of its head butler, Mr. Stevens (Anthony Hopkins). The entire story is in fact a flashback, as Stevens recalls those long-past days working alongside Miss Kenton at the cusp of World War II. It is a prolonged and aching rumination on what could have been—what might have been—at another time, or at least in another Britain.
It is, furthermore, a 134-minute study of what happens when “duty” and “service” blur into incuriosity, oblivion, and, ultimately, collaboration.
If you can name another film that personifies so astutely those feelings of regret and melancholy, guilt and repentance, I’ll eat my top hat.
“A great butler must be possessed of dignity…in keeping with his position.”
In a letter to Miss Kenton (now Mrs. Benn), Mr. Stevens entreats her to rejoin the ranks of Darlington Hall, now under the protection of former Congressman Lewis, who has retired from American political life: “I regret to say we are woefully understaffed for a house this size.” He continues, “Mrs. Benn, will you permit me once again to sing your praises? Let me state that when you left us to get married, no housekeeper ever managed to reach your high standard in any department.” He cannot simply come out with it outright and ask her to return to work alongside him in the austere corridors of Darlington, nor can he admit to her what he has long suppressed. He loves her, has perhaps loved her from that very first day she arrived at the estate. “That day,” he remembers, “is marked in my memory in another way as well: it was the last time His Lordship seemed happy to welcome his neighbors, as in the old days.” Here, the intimate inner life of Stevens—his blissful recall of days long gone—blends with the grander political theater of pre-war Britain. We realize that, for Stevens, the private and the professional are wholly intertwined; his depthless loyalty to an unworthy employer will inevitably cost him any happiness he is due.
But for now, we return to that fateful day, marked by an elaborate hunting ritual. Stevens reminds us that “it was never a sport His Lordship enjoyed or approved of.” And yet, here we go: a gaggle of men—wearing red and white hunting garb, perched atop immaculately groomed warmbloods, and surrounded by a cluster of barking beagles—gathers in front of the mansion. Servants and butlers come out carrying little trays of (literal gold) goblets. “Excuse me, sir,” says Stevens as he patiently extends his arm, offering one such goblet to a gentleman on horseback. His expression remains, as always, placid—stoic, even—as he blends in with the scenery. As we hear trumpets that beckon the galloping hunters, the men cheer poshly, “Go on!,” leaving Stevens and his underbutlers behind. We are left with the nauseating feeling that this—this system—cannot continue. This rule and order (always that rigid Order) should, and will, eventually topple.
Shortly after, Stevens—dressed impeccably in a black vest and tie, hair combed back, watch dangling on its chain—approaches Lord Darlington. He claims to have solved their staffing issues: he’s hired Miss Kenton, “a young woman with excellent references, very pleasing demeanor, [who] appears to be very able,” as well as “a man with considerable experience of butlering…now of a certain age, and happy to take on the post of underbutler.” Darlington—seated behind a fine desk; surrounded by ornaments, statuettes, shelves of leather-bound tomes, and fine, brocade curtains—asks only, “Name?” Stevens, without missing a beat, responds drily and humorlessly: “Stevens, sir,” before admitting that the new hire is his father (Peter Vaughan). This surprising response doesn’t arouse much interest in Darlington, who naturally trusts his faithful butler. Much is masked in this interaction; one can sense a whole unspoken history of hierarchy, filial duty, and heavily repressed emotion, but Hopkins’ Stevens and Vaughan’s Stevens Sr. speak merely in clipped and obsequious tones.
We will later learn that Stevens Sr. has “waited at table” every day for the past 54 years. In one of the few ‘downstairs’ scenes that feature the entire staff eating together, Stevens Sr. regales the crowd with tales of past honorable butlers. Surrounded by mounted antlers, dining off of crisp white tablecloths and blue porcelain, the wait staff themselves enjoy a certain conspicuous consumption.
Speaking slowly, deliberately, holding the other maids and underbutlers in rapt attention, he recounts the tale of an English butler in India. “One day,” he begins, “he goes in the dining room and what’s he see under the table? A tiger. Not turning a hair, he goes straight to the drawing room. ‘Hum, hum. Excuse me, my Lord,’ and whispering, so as not to upset the ladies: ‘I’m very sorry, my Lord. There appears to be a tiger in the dining room. Perhaps His Lordship will permit use of the 12-bores?’” After three gunshots, of which His Lordship and the ladies “think nothing…this being out in India where they’re used to anything,” the butler goes back to refresh the teapots, announcing, “cool as a cucumber: ‘Dinner will be served at the usual time, my Lord. And I am pleased to say there will be no discernible traces left of the recent occurrence by that time.’” As Stevens Sr. basks in his audience’s warm laughter, he repeats the ‘punchline’: “There will be no discernible traces left of the recent occurrence by that time!” Stevens looks at his father with pride and affection, recognizing in this anecdote the core principles of his trade: dignity—always dignity.
But soon after this scene, signs of slippage occur, starting with an abandoned dustbin on the perfectly polished hardwood floors. Stevens Sr., who is by now in his mid-70s and has only known a life of service, begins to lose his touch. Hauntingly, the film’s score highlights the menacing undertones of the underbutler’s senility: cracks in the seemingly perfect veneer begin to appear. They do not go unnoticed; Miss Kenton calls out his inability to perform the basic functions of his job. His gaffes include a dripping nose while ‘waiting at table’ and some misplaced chinoiserie (in itself an immediate indicator of Darlington’s vast aristocratic affluence and prowess). The system is breaking down, slowly but inevitably.
Stevens seems unwilling to heed Miss Kenton’s warning until, in a shocking slow-motion moment, his father trips over a piece of tile on the patio while carrying a tray of ornate silver tea service. Darlington and his fellow mustachioed aristocrats watch in barely veiled dismay (disgust?) as Stevens Sr. collapses, but the camera does not focus on the fallen underbutler; our attention settles on the broken china, the cracked dishes and teacups. The mistake will not be made again, as Darlington insists that Stevens Sr. “reconsider his duties.”
“I was too busy serving to listen to the speeches.”
Not long after, a game-changing conference occurs at Darlington Hall. For months, Stevens, Miss Kenton, and the droves of wait staff have been polishing each piece of silver, measuring the distance between plates, avoiding touching the stems of the wine glasses for fear of taint.
“Each one of you has his own particular duty,” Stevens informs the staff. “Polished brass, brilliant silver, mahogany shining like a mirror. That is the welcome we will show these foreign visitors—to let them know they are in England, where order and tradition still prevail.” The German and French ambassadors arrive, as does Congressman Lewis. The tension is palpable as Lewis attempts, as the voice of reason, to persuade France to turn against the growing fascist tide in Germany.
Right before the dinner—as if Stevens doesn’t have enough on his plate—Lord Darlington asks his butler to speak to his beloved godson, Reginald Cardinal (a dashing Hugh Grant) about the, ahem, facts of life. Darlington feels some responsibility for the young man, who is about to be married, but is too embarrassed to handle the conversation himself—even this, this most human interaction, is outsourced to the staff. In a hilariously awkward and bumbled scene outside in the garden, Stevens chokes out something about the “glories of nature” to the bemused Reginald; all of this, of course, takes place against the backdrop of impending war and death. Inside, the fate of Europe is being decided, but this seemingly inane moment represents a greater systemic rot: both Stevens and Darlington are so damn hollow, so inept, so deeply impoverished in every meaningful way.
But this night will be memorable for other reasons. At the grand, stately dinner, the Germans thank their hosts for their demonstrated “goodwill for Germany.” Stevens stands at steady attention in the background as a tightly coiled and coiffed frau declares that “Germany…desires only peace.” Congressman Lewis can barely restrain his grimace, before standing up and announcing to the tuxedoed crowd, “You are, all of you, amateurs. And international affairs should never be run by gentlemen amateurs…The days when you could just act out of your noble instincts are over.” As the dinner guests look on glumly, Lewis continues, “What you need is not gentlemen politicians, but real ones.” Stevens’ expression is impassive, inscrutable, as a younger underbutler rushes over to deliver bad news about his father.
Earlier in the day, Stevens Sr. had suffered a stroke, and we watched in quiet agony as the old man attempted a final goodbye: “I hope I’ve been a good father to you. I tried me best.” We can detect the faintest glimmer on Stevens’ face, but he is nonetheless eager to get back to banquet preparations, announcing curtly, “We’ll talk in the morning.” Except they won’t ever have that chance: as Congressman Lewis gives his impassioned speech, Stevens Sr. passes away quietly, uneventfully. Miss Kenton tearfully informs her colleague, who can barely muster any emotional response before returning to serve Darlington and his guests. It’s a shocking scene, but one that merely paves the way for the narrative upset that marks the halfway point of the film.
“I was there to serve him, not to agree or disagree.”
Darlington has recently hired two German-Jewish refugee girls, Elsa and Irma, as maids. At first, he seems keen to practice his poorly accented German, but later, as the girls sweep up ashes from his fireplace, we are privy to his voiceover as he reads a nauseatingly antisemitic text, every so often peering in their direction. What happens next should kindle any kind of fire dormant within Stevens; that it does not lays bare his deep and utter culpability.
“Stevens,” Darlington begins, “We have some refugee girls on the staff at the moment, I believe…you’ll have to let them go.” Steven simply repeats what His Lordship has demanded—hoping, perhaps, that he had misheard. Darlington continues in terrifying doublespeak: “It’s regrettable, Stevens, but we have no choice. You’ve got to see the whole thing in context. I have the well-being of my guests to consider.” For the first and only time, we hear a glimmer of dissent in Stevens’ voice, as he calmly responds, “My Lord, may I say…they work extremely well. They’re intelligent, polite, and very clean.” His insistence on their cleanliness—as if they, too, were items on display in the luxurious manor—does not dissuade Darlington, who finally comes out with it: “I’m sorry, Stevens, but I’ve looked into this matter very carefully. There are larger issues at stake.” When he spits out disdainfully, “They’re Jews,” Stevens sharply inhales. As Stevens, Hopkins seems to shrink into the space: tightly wound, ever so slightly hunched, as if to appear smaller, imperceptible. Here, though, we perceive a minute burst of emotion; he is disappointed in His Lordship—stunned, perhaps—but tragically can only mutter, “Yes, my Lord.”
When Miss Kenton is told that they must let the girls go (back to a horrible destiny, as both the film and history almost explicitly inform us), she cries out at Stevens that it’s “a sin!” In Thompson’s portrayal of the flawed but deeply sympathetic housekeeper, we have Stevens’ counterpoint: she is an excellent servant, as we’re often told, but she never once sacrifices her humanity. Having threatened to quit if the girls are forced out, she feels guilty when she recognizes that she is, in reality, unable to depart her job, her life at Darlington Hall: “I am a coward. I’m frightened of leaving and that’s the truth. All I see out in the world is loneliness, and it frightens me. That’s all my high principles are worth, Mr. Stevens. I’m ashamed of myself.”
We see the small flame of Stevens’ inner world flicker later in the film, when Miss Kenton walks in on him reading a book in the shadows. She assumes that it’s something “racy” and teases him, then taunts him, to reveal the cover. The camera lingers interminably as the music mounts until, finally, Miss Kenton physically pries Stevens’ fingers, one by one, from the book. The gesture of the frozen, buckled hands creates an eerie parallel to the stiff fingers of Stevens Sr. after his stroke earlier in the film, suggesting the younger Stevens’ utter emotional numbness.
His spiritual desert is disturbing on its own but downright maddening when taken in the context of his employer’s evil collaboration with Nazism. Furthermore, he cannot say that he was not warned: let’s remember Congressman Lewis and even Reginald’s impassioned pleas to convince Darlington to break loose from Germany’s grip. Not only will Reginald have been right all along, but he will have in fact prophesied his eventual death during the war, of which we are informed only offhandedly by Stevens in a conversation with Miss Kenton. Several decades have passed: Miss Kenton, now Mrs. Benn, laments the mistakes that she has made in her life. We have been waiting for this encounter between Stevens and his former housekeeper for more than two hours. Miss Kenton had left Darlington Hall not long after a disastrously doomed formal state dinner (featuring none other than German ambassador and Nuremberg detainee Joachim von Ribbentrop). She cried that final night, desperate to admit her affection—her unspoken love—for Stevens, but the repressed butler had only been able to administer a scolding: “I’ve been wanting to tell you…It’s the small alcove outside the breakfast room…I find it has not been dusted in some time.”
This, the film implies, is Stevens’ one true regret: not acquiescing to an unapologetic fascist, not sending those Jewish refugees back to certain death, but wasting his one opportunity to find love. His frequent excuse for why he never disagreed with his employer—his utter indifference, because “to listen to the gentlemen’s conversations would distract me from my work”—becomes a metonym for the fascist wave that sweeps over Europe.
And yet, one cannot stop wishing Stevens some measure of happiness, however undeserved. It is, alas, a futile desire, for as Mrs. Benn turns down his barely worded proposal to return to Darlington Hall, to live out the remains of her days in service to another master, Mr. Stevens must bid her farewell for the last time: “You must try to do all you can to make these years happy ones for yourself and for your husband.” Tearfully, she gets on the bus, leaving Stevens behind—back to Darlington, back to an eternal twilight.
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The History of the Academy Awards: Best Picture – 1993
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The 66th annual Academy Awards, for the film year 1993. The nominations were announced on February 9, 1994 and the awards were held on March 21, 1994. Best Picture: Schindler's List In the Name of the Father The Remains of the Day The Piano The Fugitive Most Surprising Omission: The Age of Innocence Best Eligible…
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News from the San Diego Becks
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https://nighthawknews.wordpress.com/2011/10/02/the-history-of-the-academy-awards-best-picture-1993/
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The 66th annual Academy Awards, for the film year 1993. The nominations were announced on February 9, 1994 and the awards were held on March 21, 1994.
Best Picture: Schindler’s List
In the Name of the Father
The Remains of the Day
The Piano
The Fugitive
Most Surprising Omission: The Age of Innocence
Best Eligible Film Not Nominated: The Age of Innocence
Rank (out of 83) Among Best Picture Years: #12
The Race: All of it was just a warm up. From the start of the year, everyone knew that Schindler’s List, Steven Spielberg’s long-await Holocaust film would be coming out and that Spielberg was likely headed for the Oscar that had long eluded him. The only question about was what films were going to be along for the ride.
While Spielberg himself ruled the summer with Jurassic Park, which was definitely headed for several technical Oscars, there were two other films that earned considerable critical success to go along with their gross. The first was In the Line of Fire, with Clint Eastwood starring as a Secret Service agent trying to prevent the assassination of the president. The other was The Fugitive, a new film version of the beloved sixties television show. In the Line of Fire had the better reviews but The Fugitive, with Harrison Ford in the lead, was the film that ruled the box office – spending twice as many weeks at #1 as Jurassic Park had.
The serious Oscar season began with the release of Martin Scorsese’s The Age of Innocence in September. Though set in a different era of New York than Scorsese was accustomed to (the 1870’s), the drama about forbidden romance and repressed emotions earned solid reviews. It seemed more like a Merchant / Ivory film – but they were back with their own film, again teaming Anthony Hopkins and Emma Thompson in an adaptation of the Booker Prize winning novel, The Remains of the Day. The reviews were great and it looked all involved were headed for consecutive Oscar nominations, and that this time they were taking Hopkins along for the ride.
But the most talked about movie of the fall, capitalizing on the opportunities before Spielberg’s release, was The Piano. Helmed by New Zealand director Jane Campion, it had tied for a win at Cannes and then wowed critics at the New York Film Festival. And, with the Academy having announced the “Year of the Woman” the year before in a year that turned out to be anemic for great female performances, here was Holly Hunter blowing everyone away and a chance for only the second female director to ever get nominated by the Academy.
But finally Schindler’s List opened and the critics were just as impressed as they were expecting to be. Spielberg had waited ten years to make the film – wanting to wait until he felt he was ready. He had chosen to use a mostly unknown cast and to film in black-and-white. All of his choices had paid off as the reviews were phenomenal all across the board.
Right from the start, Schindler’s List started winning every Best Picture award (in the end, it would sweep every award). It seemed that the critics were determined to spread the wealth around as well, though. So while the L.A. Critics, with the first awards out of the gate, gave Schindler Best Picture, The Piano took home Director and Screenplay (as well as Actress and Supporting Actress and tied Schindler for Cinematography). In the next few days, Schindler would also win Best Picture at the National Board of Review and the New York Film Critics, but Spielberg himself would lose to Scorsese at the former and Campion again at the latter.
The National Board of Review’s Top 10 films also highlighted some last minute releases that were confusing the mix a bit. First, there was Philadelphia, the Tom Hanks vehicle about AIDS that seemed made to get him an Oscar. But then there were two films guaranteed to throw a wrench in the Best Actor race – In The Name of the Father, re-uniting My Left Foot director Jim Sheridan with Daniel Day-Lewis, the star of Age of Innocence. Then there was Shadowlands, which had another Oscar-worthy performance, and indeed the first two critics groups had cited Hopkins for both performances. But it remained to be seen if any of these films could become the serious fifth Oscar contender to join Schindler’s List, The Piano, The Age of Innocence and The Remains of the Day.
The Golden Globe nominations didn’t quite sort things out. In the Name of the Father was the fifth Picture – Drama nominee, but The Fugitive was the fifth Director nominee and The Age of Innocence missed out on a Screenplay nomination in favor of Philadelphia and the new Robert Altman ensemble piece Short Cuts. Schindler’s List would go on to win all three awards while Mrs. Doubtfire, which no one could take seriously as a contender won in the Best Picture – Comedy category, so the awards themselves didn’t make the picture any clearer. And Spielberg himself finally won an award to go with another Best Picture win at the National Society of Film Critics.
The guilds didn’t quite sort it out either – The Fugitive made it as the fifth DGA nominee. But The Age of Innocence failed to get nominated at either the PGA or the WGA, with, instead, The Fugitive and In the Name of the Father making it into both races. So, now, instead of two films competing for the final spot, it was a three film race between The Age of Innocence, The Fugitive and In the Name of the Father to for the final two spots alongside Schindler’s List, The Piano and The Remains of the Day.
The Results: Scorsese was out – not just in the Director nominations, but out of the Best Picture race as well. Schindler’s List, as expected, had dominated the nominations (12) – followed by The Piano and The Remains of the Day, with 8 nominations each. And Campion had become the first female ever to have her film nominated for Best Picture and to earn a Best Director nomination as well. But In the Name of the Father (7 noms) had earned Picture and Director nominations, while The Fugitive had earned the final Best Picture nomination. Ousting Scorsese in the director race was Robert Altman, the first Director to earn back-to-back nominations without Picture nominations since Billy Wilder in the mid-50’s and the first Director to be the sole nominee for his film since Scorsese himself in 1988. Every nominated film had at least 7 nominations – tying a record set three times before, most recently in 1967.
But the suspense was now over. Schindler’s List would win the PGA, DGA and WGA (with The Piano winning the Original Screenplay) and would take home 7 Oscars. The Piano would take home 3 major Oscars – Actress, Supporting Actress and Original Screenplay, but they were all in categories that Schindler was not nominated in. The other three films would combine for only 1 Oscar – Best Supporting Actor for The Fugitive. Spielberg had finally won Academy approval.
Schindler’s List
Director: Steven Spielberg
Writer: Steven Zaillian (from the novel by Thomas Keneally)
Producer: Steven Spielberg / Gerald R. Molen / Branko Lustig
Studio: Universal
Stars: Liam Neeson, Ben Kingsley, Ralph Fiennes, Embeth Davidtz
Oscar Nominations: Picture, Director, Screenplay Based on Material Previously Produced or Published, Actor (Neeson), Supporting Actor (Fiennes), Editing, Cinematography, Original Score, Sound, Art Direction, Costume Design, Makeup
Oscar Points: 570
Length: 195 min
Genre: Drama (Historical)
MPAA Rating: R
Release Date: 15 December 1993
Box Office Gross: $96.06 mil (#9 – 1993)
Ebert Rating: ****
My Rating: ****
My Rank: #1 (year) / #18 (nominees) / #6 (winners)
Nighthawk Nominations: Picture, Director, Adapted Screenplay, Supporting Actor (Fiennes), Supporting Actress (Davidtz), Editing, Cinematography, Original Score, Sound, Art Direction, Sound Editing, Costume Design, Makeup
Nighthawk Points: 660
First Watched: Opening day at the Lloyd Cinemas
The Film: On December 23, 1992 I walked away from Brandeis University as a student. But I took time before leaving to walk across the campus, limping along with a contusion on my leg that looked like I had grown another kneecap, and I found the on-campus memorial to the Holocaust. And I left a stone. I don’t know where I had learned the Jewish custom, but I knew it and I left my stone. And almost a year to the day I sat in the theater and watched the end of Schindler’s List and saw the long line headed for the grave and I knew what they were there for. I was so overwhelmed with emotion that I didn’t know to react. And watching it again, on Rosh Hashanah of all days, I found myself again, overwhelmed by emotion.
That stone was not for the 6 million who died. It was for one. Here is what I wrote a year and a half ago: “It seems like every rock is Anne. She is the weight of history, the weight that bears me down until the next grave where another rock will stay to mark my presence. Because I am still here to leave the rock and she is not.” In that same review, I mentioned the query in Sophie’s Choice. “At Auschwitz, tell me, where was God?” The answer, of course, is: “Where was man?” It echoes the famous Edmund Burke quote: “All that is necessary for evil to triumph is for good men to do nothing.” At Auschwitz, all through the Holocaust, so many good men did nothing.
And then there was Oskar Schindler. Schindler could hardly have qualified as a good man. That is one of the great strengths of Spielberg’s film – that he does not attempt to hide this fact. Schindler was a complicated man, a man who would deal behind the lines, who would make friends with the most horrific of evil, who would take on the Jews in his factory because it was cheaper than paying the Poles. He only cares about making money – ironically, since the only time in his life he was ever truly successful was during the war – and he does what he has to keep things going. But slowly and surely, he begins to be influenced by Itzhak Stern, his accountant. Stern keeps finding ways to keep men alive, faking documents, coming up with excuses. Stern alone did so much. But he needed a man like Schindler – a man who had the connections, a man who had the audacity to kiss a Jewish girl in front of the Nazis, a man who could stroll through the gates of Auschwitz and take with him what people he could. Because of his audacity, because of his quick thinking (he complains about the children to Stern, but then, thinking quickly with the Nazis, explain how their hands are small enough to polish the inside of a shell), because of his belief in himself he did more than an entire country could, and now there are more descendants of the members of his famous list than there are Jews in Poland – formerly the country with the world’s largest Jewish population. He was the man and this film does a remarkable job of portraying his journey through this world and his change from a man desperate to make money to a man praying for salvation for not saving more.
“The list is life.” That is what Schindler is told early on and that is the counter to those who would criticize the film. Yes, as some critics put it, only Spielberg would have women go into the showers at Auschwitz and actually have water come out rather than gas. But they are missing the point. This film is not about the 6 million who died. It is about the 1100 who lived. The list is life and the film is about life. There are those who die carelessly and needlessly, and we are never spared the barbarity of the Holocaust in general and the frightening banality of Amon Goeth’s evil (played, in one of the greatest performances of all-time by Ralph Fiennes; a performance that instantly made him a force to be reckoned with as an actor). But the film is about those who lived.
This is all encompassed in the leading performance by Liam Neeson. Neeson is one of the very few actors alive who could convincingly play both sides of Schindler’s life – the careless recklessness, with money, women and even lives, but also the sincerity and determination to do everything he could to save “his” Jews. Nor is his the only remarkable performance in the film – with the other standouts being Ben Kingsley as Stern and Embeth Davidtz as Helen Hirsch, the maid whom Goeth lusts after. In fact, the relationship between Schindler and Goeth, and between Goeth and Hirsch leads to one of the most disturbing scenes in the film – that Goeth could believe himself capable of absolving someone of their sin – that he really held the power of life and death and even forgiveness within himself.
This is a truly remarkable film – amazing in all of its technical brilliance. Spielberg, normally so flashy as a director, does exactly what he needs to do here, stepping back and letting the story be told on its own. By using black and white and the actual locations, it feels like a documentary or a film close to one like The Battle of Algiers, but the presence of stars like Neeson and Kingsley allow us not to suffer the shock of watching real life horrors like in Night and Fog. John Williams’ score, one of his best, rightfully won him yet another Oscar and the piano is haunting throughout. The cinematography and editing are exactly what they need to be – close when we need it, far back when it spares us. Just look at the scene where the boy is shot, how he walks away, being fired upon, then the close-up on Stern with another shot, and he simply walks past the dead boy. We are spared the actual killing shot, but we know what we need to know.
Then there is the ending. Nothing could have prepared me for that. I watched them all, the actors and those still alive, the living monuments to Schindler’s achievement, walk forward and leave those stones on Schindler’s grave. And I thought once again of Anne. As I said then “I carry the weight of her history. I find it a better fit than faith.” And I watched the film and then I walked out and I could look around the world and watch the same thing happening again in the Balkans. And I wondered if we ever can learn. And that more than anything made me realize why I have no use for God. I’d rather believe in Anne.
In the Name of the Father
Director: Jim Sheridan
Writer: Jim Sheridan / Terry George (from the book Proved Innocent by Gerry Conlon)
Producer: Jim Sheridan
Studio: Universal
Stars: Daniel Day-Lewis, Pete Postlethwaite, Emma Thompson
Oscar Nominations: Picture, Director, Screenplay Based on Material Previously Produced or Published, Actor (Day-Lewis), Supporting Actor (Postlethwaite), Supporting Actress (Thompson), Editing
Oscar Points: 255
Length: 131 min
Genre: Drama (True Story)
MPAA Rating: R
Release Date: 31 December 1993
Box Office Gross: $25.09 mil (#61 – 1993)
Ebert Rating: ***
My Rating: ****
My Rank: #3 (year) / #112 (nominees)
Nighthawk Nominations: Picture, Director, Adapted Screenplay, Actor (Day-Lewis), Supporting Actor (Postlethwaite), Supporting Actress (Thompson), Editing, Original Song (“Thief of Your Heart”), Original Song (“In the Name of the Father”)
Nighthawk Points: 320
First Watched: Opening day at the Westgate with Deborah Quay
The Film: What a different film this is today than it was it January of 1994. Not that the film is any less well-made, not that Daniel Day-Lewis’ performance is any less intense, any less deserving of an Oscar. Not that the two songs written by Bono that bookmark the film – the intense, almost violent “In the Name of the Father” that begins the film with a (literal) bang or the quiet, haunting dirge “Thief of Your Heart”, which he wrote for Sinead O’Connor – are any less brilliant and any less worthy of the Oscar nominations that they somehow didn’t get (so that the Academy could nominate crap songs from Beethoven’s 2nd and Sleepless in Seattle). Not that Pete Postlethwaite, whose performance as Guiseppe Conlon finally made him break through as the great character actor he always was and would remain up until his final film, is any less driven and amazing. Not that Emma Thompson, whose performance in this film as the driven lawyer, combined with her amazing work in The Remains of the Day and Much Ado About Nothing mark this as one of the best years in any actor’s career, is any less perfect.
What makes this such a different film is not that the film has changed. It’s that the world has changed. Specifically, it is that our would has changed, those of us in the United States who watched this film then and who look back at it now. Gerry Conlon was a young man who was just in the wrong place. He was Irish, he was poor, he was in Guildford when the pub was bombed. In a world fraught with terrorism, the police felt they had to do something. Conlon was the type of person who was easy to pin this on – he fit their profile and they could batter him until he confessed and they could make it stick in a British court and the police and the public could walk away feeling good. Never mind that he didn’t do it, never mind that the police knew he didn’t do it. It was never about his guilt. And these things are so easy to see happening today – a terrorist act, arrests based on profiles, torture, convictions that have nothing to do with guilt. Suddenly, this world, which looked so much like a foreign nightmare back then, looks so possible right now and the film takes on a whole new meaning.
This film is not a documentary. The filmmakers move things around to fit the dramatic arc of their story and it works perfectly. It makes this more than just a case of the wrong man going to prison – it becomes the story of redemption – for a son who finally gets to understand his father, for a father to understand his son, and for a son to fight for the redemption, first for himself, then for his father. And it works, because of that connection between father and son, augmented by the screen chemistry between Day-Lewis and Postlethwaite. And it works because Thompson, rather than fighting it out in dramatic courtroom scenes, is hard at work in the evidence files, trying to find anything she can that will clear her client. The passionate intensity of the three main stars carries through in every minute on-screen.
But most of all this film works because of Daniel Day-Lewis, one of the most talented actors to ever make a film. He didn’t win another Oscar here, though he should have, as he makes the journey from careless, carefree young man, desperately afraid as he is told to pull down his pants (a nice detail – so fibers from the jeans won’t infect his bullet wound) to the serious man who is so determined to make everyone understand that he did not do these horrible things and he will not be held accountable for them. And Day-Lewis’ intensity and passion give it one of the most satisfying endings of any film. Not that the Guildford Four were released – that is satisfying enough. But the way the scene is put together so well, the way his case is dismissed and the music from O’Connor’s wonderful song comes in and Day-Lewis stands, walks across the aisles and says that wonderful line that works so well because it comes from the depth of his passion: “I’m a free man and I’m goin out the front door.”
The Remains of the Day
Director: James Ivory
Writer: Ruth Prawer Jhabvala (from the novel by Kazuo Ishiguro)
Producer: Mike Nichols / John Calley / Ismail Merchant
Studio: Columbia
Stars: Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve
Oscar Nominations: Picture, Director, Screenplay Based on Material Previously Produced or Published, Actor (Hopkins), Actress (Thompson), Original Score, Art Direction, Costume Design
Oscar Points: 265
Length: 134 min
Genre: Drama
MPAA Rating: PG
Release Date: 5 November 1993
Box Office Gross: $23.23 mil (#66 – 1993)
Ebert Rating: ***.5
My Rating: ****
My Rank: #6 (year) / #161 (nominees)
Nighthawk Nominations: Adapted Screenplay, Actor (Hopkins), Actress (Thompson), Cinematography, Art Direction, Costume Design
Nighthawk Points: 205
First Watched: Opening week at the Westgate Theater with Deborah Quay
The Film: Leave it up to a Japanese writer to have to find the core of English repression. This is perfect in two different ways. The first is that the English themselves find it hard to understand that core of reserve at the heart, that thing that will make a man look at the woman he clearly loves and let her walk away. The second is that Japan, with its own society of quiet reserve, is the perfect place to find someone who could empathize and sympathize with the cold repression that locks away the flames of emotion.
The year before Remains of the Day was released, the same team had made Howards End. That film was about the ways in which relationships can spring from the strangest moments, how sometimes emotions are put aside for practical reasons and how sometimes the emotions overwhelm you and you must act on them. The novel was graced with epigraph “only connect . . .”. You could make one for this film that says “only fail to connect.”
Look at the two stars. In Howards End, Anthony Hopkins played an arrogant well-off man of business. In Shadowlands, released just after Remains, he played a man who finds a woman and a young boy that deeply touch his heart and change his very outlook on life. Here he is the very height of British repression – a butler who tends perfectly to the large manor that he is employed in. He is indispensable to the running of the house – a man so in command that his employer even asks him to explain the facts of life to a nephew who clearly doesn’t need such instruction. And Emma Thompson in Howards End played a young woman who makes choices that are smart even as they reduce romance and love to practicality. In the same year as Remains, she plays the headstrong, witty Beatrice in Much Ado About Nothing and a fiercely determined lawyer in In the Name of the Father – both miles away from the housekeeper here who so desperately needs a little love and attention in her life, knows where she wants it from and nothing in the world can crack the facade that keeps it from her.
The Remains of the Day is about how these two people come so close to finding each other and then let it slip away. The best moment is when Thompson tries to find out what Hopkins is reading – he retreats and she pushes forward until they are standing in the corner, inches away from each other. Here is where lesser filmmakers would succumb to temptation and let them find each other’s arms and lips and passions. But that is not what this story is about.
For Hopkins is not just repressing his love for the housekeeper. He is repressing everything about his life. He stays at his post rather than attend to his father’s last moments. He ignores the course of disaster that his employer is taking – both as a leader in his country and as a man. He shies away from any attempt to pull forth any opinion or thought. He is there to serve and he will serve and everything else will fall away. And what we learn, and he learns, is that he is the perfect servant but he becomes somewhat less of a man. He thinks so poorly of the underbutler who runs away for love, but perhaps also wishes it was something that was in his character.
This is one of the best films from a core group that stayed together for decades – producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala. It is phenomenally acted, wonderfully directed, written with wit and style and made with perfect artistry. It is a perfect example of the class with which their films shone.
The Piano
Director: Jane Campion
Writer: Jane Campion
Producer: Jan Chapman
Studio: Miramax
Stars: Holly Hunter, Harvey Keitel, Anna Paquin, Sam Neill
Oscar Nominations: Picture, Director, Screenplay Written Directly for the Screen, Actress (Hunter), Supporting Actress (Paquin), Editing, Cinematography, Costume Design
Oscar Points: 350
Length: 121 min
Genre: Drama
MPAA Rating: R
Release Date: 12 November 1993
Box Office Gross: $40.15 mil (#38 – 1993)
Ebert Rating: ****
My Rating: ***.5
My Rank: #16 (year) / #249 (nominees)
Nighthawk Nominations: Actress (Hunter), Supporting Actress (Paquin), Cinematography
Nighthawk Points: 90
First Watched: Opening week at the KOIN Center
The Film: In spite of the way I tell the story, I was not actually with my best friend John when he saw this in the theater – he was in California and I was in Oregon. But we both watched and both pretty much had the same reaction, though he actually acted on his reaction – standing up in the middle of a packed theater and saying, quite loudly, “I don’t get it.” I still feel that way. Over the years, I have come to admire the craft of the film and have to come to rank it higher than I used to. But I don’t give its script the high accolades that so many others do and I still feel that I really don’t get it.
There is much to admire in the course of the film itself. The performances, for one. Though I don’t give Holly Hunter my Nighthawk (she finishes a close second), she did pretty much take every award for her remarkable performance as a mute woman – one who chooses not to speak rather than from a physical defect. Her force of will is amazingly strong – even when he finger is chopped from her hand, she does not cry out – rather giving us the full range of expressions in her eyes alone. There is also the performance from Anna Paquin – also an Oscar winner and also a close runner-up in my own awards and certainly one of the best pre-teen performances in the history of film. That these two women give such amazing performances make those from Sam Neill and Harvey Keitel flitter into the background but they are both good as well.
Then there is the technical skill that is obvious in every shot. There is the amazing cinematography – deservedly Oscar-nominated. There is the magnificent score by Michael Nyman (surprisingly not Oscar nominated). There are the costumes and the sets, away in the dense New Zealand forests. And there is the direction by Campion herself – her skill behind the camera has never been in question.
But there is Campion’s script and it always bothers me. There is the little girl who lies so awfully and then betrays her mother – a betrayal that seems to be glossed over by the script and by the betrayed herself. There is the story arc of the film – understandable in that a woman discovers herself, and that, surprisingly, as she points out, she chooses life. But it leaves you wondering what the hell it was all about. What did she gain from her relationships – with her husband, with her lover, with her daughter? It always reminded me of another film from 1993 whose high opinion I did not share in – Farewell My Concubine.
Note: I must admit, it was odd watching this film again. Here’s why.
The Fugitive
Director: Andrew Davis
Writer: Jeb Stuart / David Twohy (from characters created by Roy Huggins)
Producer: Arnold Kopelson
Studio: Warner Bros.
Stars: Harrison Ford, Tommy Lee Jones, Joe Pantoliano
Oscar Nominations: Picture, Supporting Actor (Jones), Editing, Cinematography, Original Score, Sound, Sound Effects Editing
Oscar Points: 225
Length: 130 min
Genre: Suspense
MPAA Rating: PG-13
Release Date: 6 August 1993
Box Office Gross: $183.87 mil (#3 – 1993)
Ebert Rating: ****
My Rating: ***.5
My Rank: #19 (year) / #252 (nominees)
Nighthawk Nominations: Sound, Visual Effects, Sound Editing
Nighthawk Points: 60
First Watched: Opening day at the Evergreen Parkway Regal
The Film: There was never going to be any question that this film was going to be a huge success. It had one of the most bankable stars in the world. It appealed to younger viewers through the casting of Harrison Ford and older viewers through the revival of what had been one of the biggest television shows of the sixties (they even re-aired the third episode, where you find out why Kimble was on the run and the final two episodes just before the movie premiered). What was surprising was how good it was and it caught people so off-guard that it ended up sweeping its way in for an Oscar nomination over better films.
To be fair, this is a first-rate thriller. The casting of both Ford, the perfect everyman trying to find out who murdered his wife, and Jones, a great character actor who is so perfectly in character here, was brilliant. It is expertly directed, extremely well-made and has a couple of really great special effects shots (the train crash just after the opening credits and the leap from the waterfall). It never lags and it keeps the suspense moving at all times.
But most of all what it does is that it moves so quickly, so smoothly, that you never realize how ridiculous a lot of it is. Characters find out exactly what they need to know – hints come together perfectly. Just look at one major detail – Kimble hides in the hospital and cuts off his beard – but he’s recognized almost instantly even without it.
But it’s the craft of the film that keeps it working. Look at how Ford is picked up by a woman and the next scene is the marshalls talking about the fugitive with a woman and they’ve tracked him to a house. What we don’t know is that this is the other fugitive who escaped, and the film does a great job keeping us in suspense. Even at the beginning, where we see all the shots from the murder, we never know for certain that the one-armed man is there – the film keeps the key items out of frame. Or look at the performance of Ford in the early shot when he is being questioned by police, when he slowly realizes that that they think he murdered his wife, and the slow burn of righteous anger that comes into his face. This was kind of a swan song for Ford – he’s never been in a really good film since. So we should appreciate this one, even if it doesn’t really belong on this list – especially since one of the films better than it in 1993 was In the Line of Fire, another great suspense film with an aging actor from that summer.
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https://medium.com/%40larre.bildeston/asexual-representation-in-the-remains-of-the-day-by-kazuo-ishiguro-770710fe4811
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Asexual Representation in The Remains of the Day by Kazuo Ishiguro
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The Remains of the Day is a 1989 Booker Prize winning novel by Nagasaki born English novelist Kazuo Ishiguro. In 1993 the film adaptation was released, starring Anthony Hopkins as the butler —…
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Some critics don’t like the ideology behind The Remains of the Day, partly because it seems a classic example of “Merchant-Ivory” fiction, glorifying the lives of an aristocratic class who became rich via exploitation. Others see this story as a subversion of “Merchant-Ivory” fiction, and that’s how I see it, too. At a global level of the story, here’s nothing glorious to see here. Only unearned power, waste and frivolity.
It is also easy to see Mr Stevens as insufficiently rounded, thereby denying the full humanity of the servant class. As the prototypical example of an early 20th century (robotic) English butler, some audiences may think he stands in for an entire class of people. In reality, the servant class were self-actualised in their own way, so some critics believe he is bad representation.
However, I push back on this view. Via an aroace reading, I am able to see full humanity in the character of Mr Stevens.
THE CHARACTERISATION OF STEVENS
Born into the servant class, Stevens seems recognisably Autistic, which — adding asexual and aromantic — is a common triad of attributes. Asexuality, though fairly rare across the broader population, more commonly occurs in Autistics. (Note: Most asexual people are not Autistic; most Autistics are not asexual.)
Actor Anthony Hopkins received a late-in-life autism diagnosis in his 70s. Not entirely by coincidence, I feel, Sir Anthony Hopkins was offered the part of Mr Stevens and played it very well. Some might argue that my reading of Mr Stevens (fictional) is influenced by Anthony Hopkins (real, diagnosed man) but in fact I already read Mr Stevens as highly relatable to myself, an Autistic viewer, before I had the faintest idea about Anthony Hopkins’ neurotype (or my own).
Below is an example of a critic who believes Mr Stevens is an unfortunate stereotype of butlers:
Ishiguro’s hero is an English butler named Stevens, a creature of native loyalty and limited intelligence who is so corrupted in mind and spirit by working for a pro-Nazi aristocrat in the thirties that he thinks his household duties more important than attending the deathbed of his own father. He meekly accepts the unjust dismissal of two housemaids who happen to be Jewish, and he ignores the love of a good woman. To be a servant is to be servile through and through, one is meant to suppose; and servility can become a habit of mind that destroys the soul.
— “The Silence of Servants” by George Watson. The Sewanee Review, Vol. 103, №3 (Summer, 1995), pp. 480–486
George Watson’s essay exemplifies the view that The Remains of the Day does a disservice (ha) to people working in service — partly because Ishiguro’s butler, Stevens, is ‘of limited intelligence’.
But there’s nothing to suggest that Stevens is of limited intelligence. Intelligence comes in many forms. For instance, there’s a huge difference between fluid and crystallized intelligence. Stevens does not know much about the world — no doubt about that. This is partly deliberate on his part — to educate himself on world news would not make his own life more pleasant, and would probably make it much, much worse. Nor has he had much opportunity to develop his fluid intelligence. But! Throw divergent neurotypes into the mix and you might as well throw the entire concept of ‘intelligence’ into the sea. The fact is, we are never afforded access to the innermost chamber of Stevens’ brain. Written in the first person, a limited mode of narration is inevitable. This is not the sort of man who reveals everything to all and sundry. So I’m reluctant to make any claim at all about his so-called ‘intelligence’.
This leaves plenty of room for extrapolation, and is precisely why I can speculate so confidently about the character’s neurotype and sexual orientation.
Adam O’Fallon Price described once on Twitter how writers must have a parallactic view of character when writing good fiction, seeing through:
the eyes of character
seeing what even their character can’t see
Moreover:
There is, or should probably be, a gap between what the protagonist or narrator knows, and what the book knows. The author manipulates the size and specific nature of this gap to produce narrative effect.
Generally speaking, this effect is one of irony.
Adam O’Fallon Price
What the ‘book’ doesn’t know: That men like Mr Stevens found their place in large households as butlers because the work suited their neurotype and sexuality.
Some ironies only exist in the mind of the audience. Others occur in the mind of the fictional character. Irony can occur on many different levels. For me, one great irony of The Remains of the Day is that Stevens managed to live a comfortable life even while dedicating the entirety of his life to a bad man, followed by a ‘try-hard’ man.
The role of a butler is the perfect fit, in many ways, for an Autistic asexual man living through the 20th century:
A set routine;
Access to an excellent library, and plenty of mundane tasks to allow great freedom of mind and imagination;
Very clear rules and procedures, many of them written down;
The social hierarchy is clear — there’s no guessing who is above who in rank. This eliminates the need for ‘hierarchical jostling’, which Autistic people are not typically interested in and also not typically good at.
As a white man, Mr Stevens could work his way up to a position of authority among people of his own class, affording him all the masculine respect he might crave:
It is important to recognize that it is the job of [Stevens'] choosing, not one that has been forced upon him. It is tempting to write the job off as no more than servant of the wealthy, but it is actually the equivalent of presidency of a small company.
from an IMDb featured review
Any expectation that Stevens marry/have sex with a woman is not officially expected in this environment, to the point where an Autistic asexual man may not even realise anyone expected him to have his own sex life at all.
For these reasons and more, throughout history, many Autistic working class people would have found a good vocational fit by working in service. I’m sure many asexuals found themselves happily and genuinely single in their lives behind the green doors. If they were lucky, employers treated them well.
DID STEVENS LOVE MISS KENTON?
Note that ‘aromantic’ does not mean ‘without capacity for love’.
I believe Stevens loved Miss Kenton (later Mrs Benn) very much. Sir Anthony Hopkins certainly played him that way.
And he is still in love with her decades later. Here is Mr Stevens realising that Mrs Benn won’t be returning to Darlington Hall and that he will never see her again after this evening.
Before realising:
After:
Mr Stevens is clearly wanting to say more, but stops himself with a finger across his mouth.
When they say goodbye, Stevens and Mrs Benn very briefly share an umbrella. Western audiences may not recognise the significance of a shared umbrella. In Japanese love stories, this trope is called aiaigasa (相合い傘).
As TV Tropes puts it: ‘Back in the day, it was not seen as kosher for a young woman to be seen in public with a man who was not a family member. One exception was during a rainy day when a man could offer to share his umbrella with a young maiden in the street if she hadn’t one herself.”
Mr Stevens and Mrs Benn touch each other for the final (and almost the first) time. The camera lingers for just a moment on Stevens’ hand after Mrs Benn has withdrawn hers. Mrs Benn has moved on, emotionally. Her heart is with her daughter and grandchild. But Mr Stevens has loved Miss Kenton his whole life.
The loss here is that Mr Stevens can never be afforded the luxury of platonic love in a society which prioritises romantic love above all others, in pursuit of the heteronormative ideal.
THE DOMINANT, AMATONORMATIVE RESPONSE TO THE REMAINS OF THE DAY
The following is just one comment, from Tumblr, but for allonormative audiences, I believe this comically hyperbolic rant nonetheless illuminates the common (and intended) response:
Just finished Remains of the Day for the first time and why the actual fuck am I so sad??
FUCK YOU STUPID FUCKING MR STEVENS WHY COULDN’T YOU JUST TELL HER UGHHH
I’m literally gonna fucking kill him I’m so ANGRY SHE’S CLEARLY IN LOVE WITH YOU AND YOU’RE IN LOVE WITH HER JUST KISS HER OR SOMETHING I’M BEGGING
WHEN THEIR HANDS SLIPPED APART IT WAS LIKE REVERSE CLANNIBAL AND IT RIPPED MY SOUL OUT COMPLETELY??
— raspberryfingers on Tumblr
(I believe “reverse Clannibal” refers to Silence of the Lambs fanfic, but that’s as far as I’m delving into that.)
The fact is, allo-allo (allosexual, alloromantic) viewers can feel secondary sexual frustration by watching any potential fictional romance fizzle. As an aroace, I have almost the inverse response. I feel sad for Mr Stevens that Mrs Benn (formerly Miss Kenton) cannot return to Darlington Hall, but if she were to return, I’d only accept the storyline if Mr Stevens and Mrs Benn were to resume the relationship they enjoyed before, with a deeper understanding of (non-)expectations.
Although the ranty Tumblr post above was clearly made partly in jest, I’m reminded of this:
Artists, writers, and creators of any kind do not owe their audience enjoyment. What they do is offer an experience. Whatever you do with that is up to you. If someone makes art that pisses you off, they haven’t failed at anything — they have successfully provided you the experience of being pissed off by art.
— homunculus-argument on Tumblr
Because many allo-allo members of an audience expect sexual and romantic gratification as part of a plot, they can sometimes respond as if there has been some abomination of nature. Some people do get genuinely peeved if they don’t get what they want in this particular regard.
The knock-on effect? The world is full of a certain kind of story, and almost bereft of another kind of story, in which aroace characters find peace — and even happiness — even after rejecting the sexual and romantic offers which inevitably come our way.
Readers and viewers can see that in many ways Mr Stevens and Miss Kenton are very well suited:
They are both very devoted to their jobs. Fusspots, with extreme attention to detail.
They respect this trait in each other.
They’re both very conservative, with a keen attention to rank, though at times they disagree on what maintaining rank looks like in practice.
Miss Kenton tells Mr Stevens she looks back on her time at Darlington Hall as the happiest years of her life.
Stevens tells Miss Kenton she is very important to ‘the house’, deflecting professionally from saying she is very important to himself.
We see Miss Kenton try her best to get close to Mr Stevens. She offers him a number of opportunities to reveal his love for her and he refuses every one.
The happy-but-poor, idealistic young couple who throw in a career of service to go and get married serve as counterpoint to the older, more conservative Mr Stevens and Miss Kenton:
RELATABLE ASEXUAL SUBPLOT: AN OPPOSITIONAL INTERPRETATION OF REMAINS OF THE DAY
Asexual viewers will readily recognise the compulsory sexuality evinced by Miss Kenton when she teases Mr Stevens about possibly finding a young, pretty maid attractive. “Is it possible Mr Stevens fears distraction?”
As they walk from the conservatory across the gardens, she suggests that if Stevens were to find the young woman attractive, that would suggest he is human. The flip side of this is acephobic: That anyone who is not inherently interested in romance and sex is not human.
This scene is the perfect representation of microaggressions which sexual people do not perceive to be microaggressions at all.
Miss Kenton teases Stevens again when she demands to know what book he is reading. Her disappointment is palpable when she wrests the book from his hand and finds that he isn’t reading erotica after all, but “a sentimental old love story”.
Stevens as played by Anthony Hopkins is visibly uncomfortable at the physical contact. From an aroace perspective, there’s more going on here than repression of romantic love. Stevens would understand full well that he has let Miss Kenton down, and that he would always let her down. To him it is a kindness to avoid expressing his platonic love for her, for if he were to tell her he loved her, but did not want to marry or have sex with her, she would no doubt find this even harder to deal with, and accuse him of leading her on.
Even Lord Darlington has assumed that Mr. Stevens is a sexually experienced person, which speaks to a culture of compulsory sexuality.
Mr Stevens does not feel comfortable telling his employer that he is hardly in a position to explain the birds and the bees to his nephew. Instead, he tries his best, fails miserably and his character becomes an object of fun for the audience, but a very relatable character for many aspecs.
Later in Stevens’ life (though earlier in the film), Farraday will have the same fun with Stevens, assuming Stevens’ interest in Miss Kenton is romantic in nature, and that he is simply too shy and reserved to admit his feelings, which are of course assumed to be inevitable, in a culture of compulsory sexuality.
Of course, Mr Stevens does not have the language to describe his orientation, because asexuality remained a conceptual hole until the 21st century. Every asexual person had to find their own way of conceptualising their sexuality, and for Mr Stevens, he did conceptualise it, but explained away his lack of desire as a striving for ‘greatness’. This comes across as laughably pretentious, of course.
I don’t for a moment believe Kazuo Ishiguro deliberately wrote Stevens as aroace. However, I do believe he is writing a recognisable human being, and that this archetype, which existed in real life, was as frequently asexual as truly repressed. (Funny how the same repressive culture seems to repress some people yet spurs others on, don’t you think? This can only be explained by human variation.)
A reading in which Mr Stevens is asexual and aromantic makes sense. The hegemonic-dominant interpretation has it that Mr Stevens is simply repressed, as per the dictates of his profession. But this does not explain why his own father, who grew up in the same repressive system, did have sex with a woman at some point (despite not loving her — providing an interesting counterpoint as to any assumed correlation between sex and love). Mr Stevens elder was (probably) allosexual. He was a sexual man. The son is not. Yet father and son have very similar, potentially repressive backgrounds.
As a servant, Stevens’ public life of ‘celibacy’ need not be constantly explained away. Instead, the microaggressions which come his way are infrequent, as we see with Miss Kenton’s teasing. For the most part he can live his life quietly, unobtrusively and find a family, of sorts, in his fellow workmates.
The only trouble is, the workmates he grows to (privately) love do eventually move on. This would be vexing for him, and exert a much greater emotional toll than he is prepared to admit to himself. Instead he says, when interviewing Miss Kenton for the position of housekeeper, that when servants pair up, this causes problems for ‘the house’.
He really means for himself, of course. It is of very little consequence that servants move on, because servants are easily replaceable. (Service was the biggest employer of women during this era — there was no shortage of skilled women seeking work in post war England.)
Going with the Stevens-as-aroace interpretation, the great sadness of Stevens’ love life is not that he failed to propose marriage or romantic love to Miss Kenton, but that he is living in a subculture where the only path to avoiding isolation and loneliness involves building a nuclear family. We have always suffered a crisis of care. There’s never enough care to go around, and the bulk of care work falls to women. Without a woman, he has no one.
As an asexual, aromantic man whose terms of employment proved to be a rug pulled from under him, Mr Stevens is in for a big dose of loneliness in his old age. I suspect that, for Mr Stevens, loneliness is his default state, and he would fail to interpret loneliness as any such thing.
Miss Kenton is the contrast character who knows exactly when she is lonely, but because she is able to recognise the feeling, she is able to do something about it. (E.g. leave her husband and focus on her daughter’s family.)
If Stevens were a contemporary 20-year-old on Tumblr he could have said any of these things (from the Aro Culture Is archive.) Stevens’ queerplatonic relationship with Miss Kenton isn’t so clear in the film as it is in the book, but this pair spend evenings together for years. I have no doubt this suited Stevens perfectly. Of course, it never suited Miss Kenton, who is allosexual.
AND WHAT HAVE REVIEWERS AND SCHOLARS MADE OF MR STEVENS AND HIS SEXUALITY?
THAT MR STEVENS DOES NOT KNOW HIMSELF
Remains of the Day was endearing, heart breaking, subtle and just BEAUTIFUL. For such a short book, it packed a punch. The simplicity of Steven’s thoughts, the way everything unfurled in which the reader understood him more than he understood himself, that entire bit where he wanted to practice bantering, and when he tries to sideline crying on his mother’s death….is lovely and heart breaking.
Unreliable narrators: Pale View of the hills & Remains of the Day, sunsedge
MR STEVENS AND NORMATIVITY
There is increasing acknowledgement that we are all shaped by a society with strong normative expectations. In the 1980s when Ishiguro wrote this novel, everyone was still expected to be allosexual (i.e. not asexual), cisgender, romantically oriented, heterosexual. Family is still king. Even with wider acceptance of gay and lesbian partnerships, the idea that someone like Mr Stevens might be happy as a single man is not an idea celebrated by literature.
The Remains of the Day will be read as a tragedy, then, by an audience who feels that a single and mostly solitary life is a sad thing. But is Mr Stevens’ life really all that sad? In some ways, absolutely. I find it a tragedy that Mr Stevens dedicated himself to a man who acted badly during the war, and felt unable to stand up for what was right when his employer dismissed two Jewish young women.
But is it equally sad that Mr Stevens remains single and without a sex life of his own?
Well, not if he’s asexual and aromantic. In that case, he has done well to find a station in life which allows him those freedoms, if not others. The life of Mr Stevens is not an all-round tragedy.
Now, two takes from scholars.
MEERA TAMAYA (1992)
Meera Tamaya describes Stevens as “divested of sexuality”, because “an English butler with a sex life is unimaginable”. By this reading, Stevens is “hardly a human being. He tends rapidly toward becoming an object”. This describes “the colonized”. Tamaya sees Stevens’ characterisation as an evolution on what Shakespeare did with acting and clothing and playing roles (masking). In short, Tamaya (writing in 1992) does not see Mr Stevens’ absence of sexuality as part of himself. He has simply learned to be the perfect servant, and Mr Stevens has done this so very well that it affects his entire private life.
Tamaya describes how Mr Stevens’ was born into his station: “In Stevens’ case, he is not only the son of a butler, but he also consciously strives to live up to the ideal of service achieved by his father.”
This fails to capture why Mr Stevens elder had a romantic and sexual life while the younger Mr Stevens did not. The son clearly respects his own father, but has for some other reason (aside from having been born into the servant class) chosen not to follow in his father’s footsteps when it comes to seeking a relationship with a woman. Could it simply be that Mr Stevens is a little too good at his job?
He repudiates all relationships, including the tentative gestures of tenderness by Miss Kenton, and eschews all personal comforts and pleasures, choosing to live in a small, damp, dark, austere room like a monk, because he finds fulfillment, or so he claims, in devotedly serving Lord Darlington the way a novice would serve a god.
— Ishiguro’s Remains of the Day: The Empire Strikes Back. Modern Language Studies, Vol. 22, №2 (Spring, 1992), pp. 45–56).
By Tamaya’s reading, no one in this vast mansion “has any kind of sex life”, hence the comparison to a monastery. Tamaya calls the residents “inmates”, and includes Lord Darlington in that.
Though I was searching academic papers which used the term “asexual”, Tamaya uses the word “asexual” to describe Lord Darlington, not Mr Stevens as it happens, because the man is “wholly consumed by international politics, doesn’t have any intimate relationship, either with a woman or a man”.
Tamaya includes Mr Stevens in the “asexual” category because he disapproves of romance between domestics.
But this is a pre-21st century usage of the word ‘asexual’ and appears to mean ‘doesn’t have sex’. As is typical of 20th century thinking, ‘not having sex’ is tied to religion and celibacy. Tamaya synonymously uses the word ‘celibate’ in this paper.
Tamaya’s interpretation of Lord Darlington is very interesting because I’d not considered Mr Darlington himself might also be asexual. If anything, I’d witnessed his enjoyment of male peers and considered he might be gay. If Lord Darlington is gay, it makes sense that he seeks to avoid talking to his godson about ‘the birds and the bees’ — the godson is manifestly straight. It is also laughable (as Tamaya points out) that the older men assume a younger man in his early 20s is ignorant when it comes to sexual matters, but makes more sense from an older gay man, since gay men (in those days, at least) often had their first sexual experiences later than straight men did. First sexual experience after the age of 23 is, for a 20th century gay man, I am guessing, not unusual.
Repressing his own (homo)sexuality in a homophobic milieu, Lord Darlington may appear asexual to Stevens, who is so ‘emotionally wedded’ to his master that he, too, feels it necessary to repress any sexuality of his own. Let’s put that out there as a possibility.
Tamaya also points out that, throughout the novel, Stevens has “expounded at…tedious length on the importance of always maintaining one’s dignity, [and] of never revealing one’s emotions in public.” We might easily extrapolate from this that Mr Stevens would never open himself up to the possibility of partnered sex because sex acts might puncture his view of himself as a ‘dignified’ man. Partnered sex might crack the seal on his controlled emotions and carnality.
Whereas I interpret Mr Stevens as Autistic, I wondered what a scholar writing in 1992 might make of his attempts to learn the art of banter as he decides at the end of the story. It seems to me that Mr Stevens has decided to learn a new social script in a very conscious way, revealing that he has been relying on the much narrower script of ‘being a butler’ for his entire life until now, too socially anxious and ill-equipped to try anything spontaneous for fear of social rejection.
Tamaya (not surprisingly) does not go where I went with it — Stevens as minority neurotype — but recognises that this is Mr Stevens’ new attempt at “experiencing human warmth” with his new, more modern master. This is simply a new “trick” he has decided to learn in the hopes of pleasing his American master, Farraday.
SUSIE O’BRIEN (1996)
Scholars repeat the words self-effacement, suppression, repression, and here, self-abnegation, when talking about the characterisation of Mr Stevens.
Susie O’Brien, another scholar, points out yet another way we can interpret Mr Stevens as sexually repressed. Pretty much every scene in the book can serve as evidence of repression:
Stevens’s refusal to acknowledge his “natural” feelings for Miss Kenton is at least partly attributable to his code of dignity, which cannot countenance the possibility of sex, as his earlier, disastrous attempt to explain the “facts of life” to a young guest reveals. Even the suggestion of leisure as implied by the very idea of a holiday is inimical to the principle of self-abnegation to which Stevens has thus far unwaveringly adhered; thus he embarks on the journey with what he describes as “a slight sense of alarm — a sense aggravated by the feeling that [he] was perhaps not on the correct road at all, but speeding off in totally the wrong direction into the wilderness”. Stevens’s sense of an approaching wilderness signals his fear not only of the consequences of unleashing long suppressed sexual feelings but also of a change that constitutes a more devastating threat to his identity.
—O’Brien, Susie. “SERVING A NEW WORLD ORDER: POSTCOLONIAL POLITICS IN KAZUO ISHIGURO’S ‘THE REMAINS OF THE DAY.’” Modern Fiction Studies, vol. 42, no. 4, 1996, pp. 787–806.
The following is very interesting from an asexual point of view:
It is possible to argue that, to a certain extent, the progress of love is predicated on the progress of history. During the tenure of Lord Darlington, romance is all but forbidden to the loyal employee since, as Stevens explains, “such liaisons [constitute] a serious threat to the order of the house. Farraday’s liberality, by contrast, is a microcosmic reflection of the global democracy hailed by Harry Smith [the doctor who correctly guesses that Stevens is a butler], which permits, and even encourages, the pursuit of individual desire.
— O’Brien, Susie. “SERVING A NEW WORLD ORDER: POSTCOLONIAL POLITICS IN KAZUO ISHIGURO’S ‘THE REMAINS OF THE DAY.’” Modern Fiction Studies, vol. 42, no. 4, 1996, pp. 787–806.
The asexual community came into existence when it did for a reason, at the turn of the millennium. We can thank the Internet for AVEN, but there’s more to timing than that. The entire second half of the 20th century led towards today’s culture of compulsory sexuality. Until the 1960s, people were heavily sexually repressed. Then the pendulum swung the other way. In my opinion, it is still stuck there — sexuality was once forbidden; now it is required, with too little room for ‘take it or leave it’ — you’re fine as you are.
Farraday’s 1980s interaction with Mr Stevens illuminates Western society’s increasingly liberal view towards sex, and when applied to an extreme, is almost comical. The extreme: An English butler.
For me, though, the butt of the joke is not Stevens — who seems to know he is being laughed at, not with — but the Free Love movement which gave the culture such a strong kick in the pants that, ironically, thrust ‘sexually liberated’ people a bit too far. There’s no more ‘liberation’ in repression than in compulsion.
I do appreciate Susie O’Brien’s take: That this new political order as represented by American Farraday is “potentially coercive”. I would say, definitely coercive, in more ways than one:
The potentially coercive terms of this new political order are finally subordinated to and concealed within the universalist logic of a love story, resistance to which can only be construed as unworldly and finally unnatural. Thus, in the context of Stevens’s lost romantic opportunities, it seems more than a little churlish to point out that, while his employer ha changed, he remains a butler, bound to serve the interests of a new global power.
— O’Brien, Susie. “SERVING A NEW WORLD ORDER: POSTCOLONIAL POLITICS IN KAZUO ISHIGURO’S ‘THE REMAINS OF THE DAY.’” Modern Fiction Studies, vol. 42, no. 4, 1996, pp. 787–806.
Because as well as the dominant readings of The Remains of the Day, this film can also be read as a critique of the beginnings of compulsory sexuality, as described very well by Sherronda J. Brown in Resisting Compulsory Sexuality. (A highly recommended read.)
THE COMMODIFICATION OF HUMANITY
Compulsory sexuality is a ‘commodification’ of sorts. In The Remains of the Day, Farraday has quite literally ‘purchased’ Stevens along with the house. Stevens is the ultimate human commodity — who resists commodification of his sexual self. That is his one privacy.
It’s interesting to take a close look at how we tend to talk about sexual bodies, especially men’s sexualised bodies. Very often we use the language of machines: “clear out the pipes”, “pump” etc. (I’m sure you can think of many more.)
There’s also this, for those interested in etymology:
“Organized,” “organic,” and “organism” derive from the Greek word for “instrument,” organon. So, when we refer to “organisms,” we implicitly connect ourselves to the tradition of living beings as mechanisms or machines.
— Greg Priest, sharing interesting new piece on the history of the idea of living beings as “organized,” from Galen through “closure of constraints.”
Whenever we have sex we don’t want (or, indeed, whenever we do anything we don’t want), commodification is at play. All too often, we do things for someone else’s pleasure.
The themes of The Remains of the Day are evergreen because, living as we are in an era of compulsory sexuality, people are arguably, as commodified as we ever were.
France has lately been having a conversation about this issue. French nationals use the phrase “ne rien faire”, which means “to do nothing”. Doing nothing is held sacred. The left consider it a human right. In 2023 French politics, Jean-Luc Mélenchon (the far left leader) talked about “le droit de marquer la pause dans l’existence” (“the right to a quiet life”.)
Mélenchon said: “You might want to fill the time with poetry, painting, singing or just doing whatever you, as an individual, want to do, rather than what others want you to do. In any case, relentless devotion to productivity is destroying the planet.”
Most of that also applies to one’s sex life. Doing nothing is a perfectly fine option.
IS THE REMAINS OF THE DAY REALLY THE STORY OF LIFE WASTED?
Why should we expect Stevens to change? He is who he is. He’s not just a ‘butler’ — he is an asexual, Autistic butler (by my reading).
Ideally, if he’d been born 100 years later, he’d be afforded his full humanity. He’d have words to describe who he is.
Let’s face it, if 20th century society had acknowledged the existence of aromantic asexuals, Mr Stevens would have been an entirely different person.
To take an example from transgender discourse, Chelsea Bridge had this to say about coming into one’s gender identity: “What we often discover on the other side of transition is that pretransition memories affect us differently than they did before. We might have dissociated through them, recontextualization changes our interpretation, dysphoria alters perception, etc. the past is pseudomutable.”
The same holds true for aces discovering we’re ace. To come out as queer (even to ourselves) is to see the entire world cast in a different light. Memories literally change with the benefit of new information.
Mr Stevens never gets his coming out arc, and so he suppresses and represses other aspects of his life, too, including any thought which might well have affored him the courage to act with moral integrity when faced with the task of firing the Jewish maids, sending them to their likely deaths.
Whereas the allo-allistic, hegemonic-dominant reading of theme in The Remains of the Day uniformly interprets the two plot threads (loyalty to Darlington and rejected romance) as working simultaneously to paint a picture of an entire life wasted on every front, I cannot see Mr Stevens’ life as a single Autistic man as a life wasted at all. A single life is not, in itself, a tragedy.
I think Stevens was fortunate to have found his niche. The fact is, Stevens probably made the best choice for his aroace, Autistic self, in an era when marriage, sex and children was compulsory outside religious and service vocations.
As the story clearly shows, if Mr Stevens had wanted a romantic or sexual relationship, he would have found one. The fact that he didn’t, not once, seek it out is evidence enough of his orientation.
What would have happened had he accepted Miss Kenton’s advances, against his every instinct? Then the story would have been a love tragedy for sure. On top of the unhappiness that compulsory sexuality would inevitably have brought on Mr Stevens himself, Miss Kenton would have also wasted her life. As the story ends, Miss Kenton (now Mrs Benn) is about to start the final phase of her life, which may well prove to be the most rewarding and enjoyable one yet: She is about to become a grandmother. Had Mr Stevens caved to the pressures of allonormative culture and asked for her hand in marriage, I’m confident that she would be feeling even more alone now than she ever was back in the 1930s, sexually and romantically unsatisfied by a man who is solitary by orientation.
What does it mean to be ‘happy’?
MR STEVENS, ENGELS AND FALSE CONSCIOUSNESS
Philosophers Karl Marx and Friedrich Engels talked about an idea called ‘false consciousness’ in regards to workers.
Friedrich Engels (1820–1895) used the term “false consciousness” in an 1893 letter to Franz Mehring to address the scenario where a subordinate class wilfully embodies the ideology of the ruling class. Engels dubs this consciousness “false” because the class is asserting itself towards goals that do not benefit it.
Wikipedia
Basically, workers are engaged in an illusory mind-game in which they believe their lives are meaningful, when all along they’re doing the work for the upper classes, helping them to become more and more prestigious and wealthy. Mr Stevens is simply an extreme example of today’s corporate employee.
For more on false consciousness, see Chapter Five of Sara Ahmed’s book The Promise of Happiness. Ahmed’s main point is that, by adopting norms such as the false consciousness that we are happy when all along we’re working for someone else, we are doing nothing at all to ensure that happiness, as a broad concept, includes everyone.
We can ‘live happily’ (a complicated concept) only when we become revolutionaries, drawing attention to inequality.
By this standard, how many characters are truly ‘happy’ at the end of a story?
The tragedy for Mr Stevens is not that he remains single and sexless (a.k.a. sex free). The tragedy is that he never moves beyond false consciousness. Stevens does eventually realise that his employer was a problematic person, but he sticks to the narrative that no one’s perfect anyway.
The tragedy is not that he ‘failed’ to secure romantic love, but that he failed to secure his own found family to be around him in his final years. Instead, he is left with people who barely know him, and who will likely misunderstand him.
Whenever stories include an aspec character — whether that aspec representation is on the page, off the page or allegorical — hegemonic-dominant audiences tend to view that character’s ‘failure’ to find romance and sex as a failure to self-actualise. This positions aspec lives as tragic.
In contrast, aspec audiences may view “tragic” lives in those very same narratives as quiet triumphs. We take what we can get. Mr Stevens unwittingly played side character to a dangerously powerful man. But he also managed to find comfort and shelter in a world which was never made for the likes of him.
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The Remains of the Day is a 1993 British-American drama film adapted from the Booker Prize-winning 1989 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony...
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https://soundeffects.fandom.com/wiki/The_Remains_of_the_Day_(1993)
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The Remains of the Day is a 1993 British-American drama film adapted from the Booker Prize-winning 1989 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, Hugh Grant, and Ben Chaplin in supporting roles.
The film was nominated for eight Academy Awards, including Best Picture, Best Actor (Hopkins), Best Actress (Thompson) and Best Adapted Screenplay (Jhabvala). In 1999, the British Film Institute ranked The Remains of the Day the 64th-greatest British film of the 20th century.
Storyline[]
Sound Effects Used[]
Image Gallery[]
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Novel by Kazuo Ishiguro
This article is about the novel. For other uses, see The Remains of the Day (disambiguation).
The Remains of the Day is a 1989 novel by the Nobel Prize-winning British author Kazuo Ishiguro. The protagonist, Stevens, is a butler with a long record of service at Darlington Hall, a fictitious stately home near Oxford, England. In 1956, he takes a road trip to visit a former colleague, and reminisces about events at Darlington Hall in the 1920s and 1930s.[1]
The work received the Booker Prize for Fiction in 1989. A film adaptation of the novel, made in 1993 and starring Anthony Hopkins and Emma Thompson, was nominated for eight Academy Awards. In 2022, it was included on the "Big Jubilee Read" list of 70 books by Commonwealth authors, selected to celebrate the Platinum Jubilee of Elizabeth II.[2]
Plot summary
[edit]
The novel tells, in first-person narration, the story of Stevens, an English butler who has dedicated his life to the loyal service of Lord Darlington (who is recently deceased, and whom Stevens describes in increasing detail in flashbacks). As the work progresses, two central themes are revealed: Lord Darlington was a Nazi sympathizer; and Stevens is in love with Miss Kenton, the housekeeper at Darlington Hall, Lord Darlington's estate.
The novel begins in 1956, with Stevens receiving a letter from a former colleague, the housekeeper Miss Kenton, describing her married life, which Stevens believes hints at an unhappy marriage. Furthermore, Darlington Hall is short-staffed and could greatly use a skilled housekeeper like Miss Kenton. Stevens starts to consider paying Miss Kenton a visit. His new employer, a wealthy American named Mr. Farraday, encourages Stevens to borrow his car to take a well-earned vacation—a "motoring trip". Stevens accepts, and sets out for Little Compton, Cornwall, where Miss Kenton (now Mrs. Benn) lives.
During his journey, Stevens reflects on his unshakable loyalty to Lord Darlington, who had hosted lavish meetings between German sympathizers and English aristocrats in an effort to influence international affairs in the years leading up to the Second World War; on the meaning of the term "dignity" and what constitutes a great butler; and on his relationship with his late father, another "no-nonsense" man who dedicated his life to service. Ultimately, Stevens is forced to ponder Lord Darlington's character and reputation, as well as the true nature of his relationship with Miss Kenton. As the book progresses, evidence mounts of Miss Kenton's and Stevens' past mutual attraction and affection.
While they worked together during the 1930s, Stevens and Miss Kenton failed to admit their true feelings toward each other. Their conversations as recollected by Stevens show a professional friendship which at times came close to blossoming into romance, but this was evidently a line that neither dared cross. Stevens in particular never yielded, even when Miss Kenton tried to draw closer to him.
When they finally meet again, Mrs. Benn, having been married now for more than twenty years, admits to wondering if she made a mistake in marrying, but says she has come to love her husband and is looking forward to the birth of their first grandchild. Stevens later muses over lost opportunities, both with Miss Kenton and regarding his decades of selfless service to Lord Darlington, who may not have been worthy of his unquestioning fealty. Stevens even expresses some of these sentiments in casual conversation with a friendly stranger of a similar age and background whom he happens upon near the end of his travels.
This man suggests that it is better to enjoy the present time in one's life than to dwell on the past, as "the evening" is, after all, the best part of the day. At the end of the novel, Stevens appears to have taken this to heart as he focuses on the titular "remains of the day", referring to his future service with Mr. Farraday and what is left of his own life.
Characters
[edit]
Mr. Stevens, the narrator, an English butler who serves at Darlington Hall. A man devoted to performing his job to the highest standards, and who is particularly concerned with dignity (exemplified by the fact that the reader never learns his first name).
Miss Kenton, the housekeeper at Darlington Hall, later married as Mrs Benn. A capable and opinionated woman who works closely with Mr Stevens as the two most senior serving staff. Her relationship with Mr Stevens is unstable; they frequently argue, yet it is evident to the reader (but not to Stevens) that she is in love with him.
Lord Darlington, the owner of Darlington Hall, characterised as well-meaning but naïve. His support for appeasement with Nazi Germany results in public disgrace after WWII.
William Stevens (Mr. Stevens senior), the 75-year-old father of Mr Stevens, serving as under-butler; Stevens senior suffers a severe stroke during the conference at Darlington Hall. His relationship with his son is portrayed as strained.
Senator Lewis, an American senator who criticises Lord Darlington as being an "amateur" in politics. He symbolises the declining power and relevance of the European aristocracy in the face of America's ascendance as a global superpower, and the increasing role of non-aristocratic "experts" in politics.
Young Mr Cardinal, the son of one of Lord Darlington's closest friends and a journalist; he is killed in Belgium during the Second World War.
M. Dupont, a high-ranking French politician who attends Lord Darlington's conference.
On his motoring trip, Stevens briefly comes into contact with several other characters, most of them working class. They serve to challenge Stevens' ideals and values, particularly in the changing post-war social context, and contribute towards his epiphany at the end of the novel. For example, Harry Smith, an outspoken left-wing man he meets in a pub, argues that dignity is actually about democracy and standing up for one's beliefs, in contrast to Stevens' conception of it as being about suppressing one's own feelings in pursuit of professionalism.
Release and publication history
[edit]
Remains was first published in the United Kingdom by Faber and Faber in May 1989,[4] and in the United States by Alfred A. Knopf on 4 October 1989.[5]
Influence from Tom Waits
[edit]
Kazuo Ishiguro recalled how Tom Waits influenced The Remains of the Day:
I thought I’d finished Remains, but then one evening heard Tom Waits singing his song "Ruby’s Arms". It’s a ballad about a soldier leaving his lover sleeping in the early hours to go away on a train. Nothing unusual in that. But the song is sung in the voice of a rough American hobo type utterly unaccustomed to wearing his emotions on his sleeve. And there comes a moment, when the singer declares his heart is breaking, that’s almost unbearably moving because of the tension between the sentiment itself and the huge resistance that’s obviously been overcome to utter it. Waits sings the line with cathartic magnificence, and you feel a lifetime of tough-guy stoicism crumbling in the face of overwhelming sadness. I heard this and reversed a decision I’d made, that Stevens would remain emotionally buttoned up right to the bitter end. I decided that at just one point – which I’d have to choose very carefully – his rigid defence would crack, and a hitherto concealed tragic romanticism would be glimpsed.[6]
Reception
[edit]
The Remains of the Day is one of the most highly regarded post-war British novels. In 1989, the novel won the Booker Prize.[7] It ranks 146th in a composite list, compiled by Brian Kunde of Stanford University, of the best 20th-century English-language fiction.[8]
In 2006, The Observer asked 150 literary writers and critics to vote for the best British, Irish or Commonwealth novel from 1980 to 2005; The Remains of the Day placed joint-eighth.[9] In 2007, The Remains of the Day was included in a Guardian list of "Books you can't live without"[10] and also in a 2009 "1000 novels everyone must read" list.[11] The Economist has described the novel as Ishiguro's "most famous book".[12] On 5 November 2019, the BBC News listed The Remains of the Day on its list of the 100 most influential novels.[13]
In a retrospective review published in The Guardian in 2012, Salman Rushdie argues that "the real story … is that of a man destroyed by the ideas upon which he has built his life".[14] In Rushdie's view, Stevens's obsession with dignified restraint has cost him loving relationships with his father and with Miss Kenton.[14]
Kathleen Wall argues that The Remains of the Day "may be seen to be about Stevens's attempts to grapple with his unreliable memories and interpretations and the havoc that his dishonesty has played on his life" (emphasis in original). In particular, she suggests that The Remains of the Day challenges scholarly accounts of the unreliable narrator. Wall notes that the ironic effect of Mr Stevens's narration depends on the reader's assuming that he describes events reliably, while interpreting those events in self-serving or peculiar ways.
According to Steven Connor, The Remains of the Day thematises the idea of English national identity. In Mr Stevens's view, the qualities of the best butlers, which involve restraining personal emotions in favour of keeping up appearances, are "identified as essentially English". Connor argues that early critics of The Remains of the Day, who saw it as a novel about Japanese national identity, were mistaken: "there seems to be no doubt that it is Englishness that is at stake or under analysis in this novel".
Adaptations
[edit]
The novel was adapted into a film of the same name in 1993. Directed by James Ivory and produced by Ismail Merchant, Mike Nichols and John Calley (i.e., Merchant Ivory Productions), the film starred Anthony Hopkins as Stevens, Emma Thompson as Miss Kenton. The supporting cast included Christopher Reeve as Congressman Lewis, James Fox as Lord Darlington, Hugh Grant as Reginald Cardinal and Peter Vaughan as Mr Stevens, Sr. The film adaptation was nominated for eight Academy Awards. In the film, the man who has bought Darlington Hall is the by then retired from politics Congressman Lewis.
A radio play adaptation in two-hour-long episodes starring Ian McDiarmid was first broadcast on BBC Radio 4 on 8 and 15 August 2003.[19]
A musical adaptation of the novel by Alex Loveless[20] was staged in 2010 in London's Union Theatre,[21][22] and received positive reviews.[23][24][25]
References
[edit]
Sources
[edit]
Connor, Steven (1996). The English Novel in History, 1950–1995. Routledge. ISBN 978-0-203-15813-5. OCLC 179111717.
Wall, Kathleen (1994). "The Remains of the Day and Its Challenges to Theories of Unreliable Narration". The Journal of Narrative Technique. 24 (1): 18–42. ISSN 0022-2925. JSTOR 30225397. ProQuest 1291917995.
Further reading
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[
"The Booker Prizes"
] |
2024-03-02T07:00:32+00:00
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This month we revisit the 1989 Booker Prize winner, now a contemporary classic. Explore our reading guide, read an extract, listen to our latest podcast episode, win a copy of the novel, and more
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https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F2503081f-fb4b-4765-82a6-256d2d399acd%2Ffavicon.ico
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https://thebookerprizes.substack.com/p/discover-our-monthly-spotlight-the
|
Throughout March, we’re celebrating our latest Monthly Spotlight book – The Remains of the Day by Kazuo Ishiguro – a moving and bittersweet portrait of an ageing butler in post-war England; a man driven by unswerving loyalty and unable to express his deeply-suppressed emotions.
The novel won the Booker Prize in 1989 and went on to sell over two million copies. Four years later, it was adapted for film in an acclaimed production directed by James Ivory, with a screenplay by Ruth Prawer Jhabvala – herself a Booker Prize winner, in 1975, for her novel Heat and Dust.
Ishiguro is one of few authors who have been nominated for the Booker Prize five times, and in 2017 was awarded the Nobel Prize in Literature. The Nobel academy declared his writing to be of ‘great emotional force,’ adding that as a novelist he ‘uncovered the abyss beneath our illusory sense of connection with the world’.
This month, why not join us in reading – or re-reading – this work, which is now one of the most highly regarded 20th-century British novels. You can read an extract from The Remains of the Day here. We have also compiled a detailed guide to aid your reading of the novel, alone or as part of a book club, and you can dive into an essay by writer Max Liu, detailing how the book changed the way he thinks about England. For readers new to Ishiguro, our beginner’s guide to his entire body of work will point you in the right direction, and don’t forget to enter our competition to win a copy of the novel and a Booker Prize tote bag.
Good luck, and happy reading!
How Kazuo Ishiguro wrote The Remains of the Day in a month
In this illuminating first-person article, Kazuo Ishiguro describes the drastic four-week writing period behind his 1989 Booker Prize winner. Ishiguro cleared his diary, avoided mail and the phone, and wrote from 9am to 10.30pm six days a week. ‘I wrote free-hand, not caring about the style,’ he says, adding that there were ‘awful sentences, hideous dialogue, scenes that went nowhere’. By the end, he admits, ‘my fictional world was more real to me than the actual one’. Read more about his intense, month-long writing experience here.
Read the full article here
Discover our reading guide to The Remains of the Day
Whether you’re new to The Remains of the Day or have read it and would like to explore it more deeply, discover more in our comprehensive guide, which includes a synopsis, character summaries, critics’ comments and a range of discussion points.
Discover the reading guide
Where to start with Kazuo Ishiguro: a guide to his best books
If you haven’t read Ishiguro’s novels before, or only his best-known books, you might wonder where to go next. From unreliable narrators and heartbreaking revelations to ‘the perfect novel’, here is John Self’s detailed guide to the 1989 Booker Prize winner’s finest fiction.
Read the list here
The Booker Prize Podcast, Episode 35: The Remains of the Day, on screen and in print
In the final installment of our mini-series where we revisit Booker Prize novels whose adaptations were nominated for an Oscar, we take a closer look at The Remains of the Day. Tune in to hear our hosts compare the novel to its big-screen counterpart, discuss the narrative devices Ishiguro uses throughout the book and explore the character of Stevens and the ‘dignity’ that shaped his life.
Listen to the podcast
Win a copy of The Remains of the Day and a Booker Prize tote bag
To celebrate our Monthly Spotlight, we are giving you the chance to win one of five bundles including a copy of the latest UK edition of The Remains of the Day, plus a limited-edition Booker Prize tote bag, which is not available to buy anywhere. This competition is open to readers across the world.
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https://issuu.com/siffnews/docs/sif07_catalog_lr
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33rd Seattle International Film Festival (2007)
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[
"SIFF Follow this publisher"
] |
2024-03-24T00:00:00+00:00
|
Read 33rd Seattle International Film Festival (2007) by SIFF on Issuu and browse thousands of other publications on our platform. Start here!
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en
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/favicon.ico
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Issuu
|
https://issuu.com/siffnews/docs/sif07_catalog_lr
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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https://headbutler.com/reviews/kazuo-ishiguro-the-remains-of-the-day/
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Kazuo Ishiguro: The Remains of the Day
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[
"Jesse Kornbluth"
] |
2023-12-11T10:08:18-05:00
|
“The Remains of the Day” won the Booker Prize. The film adaptation was nominated for eight Academy Awards. In 2017 Ishiguro won the Nobel Prize. In his acceptance speech, he talks about this book: The story is about an English butler who realizes, too late in his life, that he has lived his life by
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en
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HeadButler
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https://headbutler.com/reviews/kazuo-ishiguro-the-remains-of-the-day/
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Books
Go to the archives
Kazuo Ishiguro: The Remains of the Day
By Jesse Kornbluth
Published: Dec 11, 2023
Category: Fiction
“The Remains of the Day” won the Booker Prize. The film adaptation was nominated for eight Academy Awards. In 2017 Ishiguro won the Nobel Prize. In his acceptance speech, he talks about this book:
The story is about an English butler who realizes, too late in his life, that he has lived his life by the wrong values; and that he’s given his best years to serving a Nazi sympathizer; that by failing to take moral and political responsibility for his life, he has in some profound sense wasted that life. And more: that in his bid to become the perfect servant, he has forbidden himself to love, or be loved by, the one woman he cares for.
That double plot — politics and romance — has been written before, and often. The trick here is that the narrator is an English butler who has given impeccable service at Darlington Hall for three decades. But now it’s 1956, and the castle life is shrinking daily. Lord Darlington has died. The new owner, an American who was once a Congressman, likes to banter. And Stevens is about to borrow a car and take a rare holiday. Or as he puts it in the book’s first sentence: “It seems increasingly likely that I really will undertake the expedition that has been preoccupying my imagination now for some days.”
More correctly, he’s going on a mission. There’s a vacancy at Darlington Hall. Miss Kenton has written him to say she has separated from her husband. She once worked as housekeeper at Darlington Hall. Perhaps she’d like to return. And perhaps… [To buy the paperback from Amazon, click here. For the Kindle edition, click here. To rent the stream of the movie, click here.]
A change of scene produces reflection. The first level isn’t deep. The English landscape is the most deeply satisfying in the world, Stevens muses, because of “the very lack of obvious drama or spectacle… The sorts of sights offered in such places as Africa and America, though undoubtedly very exciting, would, I am sure, strike the objective viewer as inferior on account of their unseemly demonstrativeness.”
By American standards, Stevens is in desperate need of a proctologist: “What is the point of worrying oneself too much about what one could or could not have done to control the course one’s life took?” Better to think about what makes a great butler, a topic that has provoked “much debate in thought” and continues to obsess him throughout his narrative. The key is dignity, which means the ability “to inhabit their professional role and inhabit it to the utmost; they will not be shaken out by external events, however surprising, alarming or vexing. They wear their professionalism as a decent gentleman will wear his suit: he will not let ruffians or circumstance tear it off him in the public gaze; he will discard it when, and only when, he wills to do so, and this will invariably be when he is entirely alone. It is, as I say, a matter of dignity.”
More memories surface. Because Lord Darlington wanted to advance the common good of humanity, he lobbied English and European statesmen after World War I to amend the Treaty of Versailles; it was, he said, too harsh on the Germans. In the 1930s, in the hope of an alliance with Germany, he dismissed — that is, he had Stevens dismiss — two Jewish housemaids. His guests included Joachim von Ribbentrop, the German Foreign Minister and Ambassador to Britain.
Darlington took the wrong path. As was his duty, Stevens followed. At last that stings: “All those years I served him, I trusted that I was doing something worthwhile. I can’t even say I made my own mistakes. Really — one has to ask oneself — what dignity is there in that?”
He was also too dignified to tell Miss Kenton of his feelings for her. Now he has another chance. Will he take it. Can he?
“What I’m interested in is not the actual fact that my characters have done things they later regret,” Ishiguro has said. “I’m interested in how they come to terms with it. On the one hand there is a need for honesty, on the other hand a need to deceive themselves — to preserve a sense of dignity, some sort of self-respect. What I want to suggest is that some sort of dignity and self-respect does come from that sort of honesty.”
Dignity and self-respect come from honesty? Always hard to see that as a popular truth. For spiritual refreshment as well as a few hours of pleasure, reading this short novel is an important reading experience. Oh, that’s too English. Strike “important.” This novel is unforgettable.
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The Remains of the Day by Kazuo Ishiguro
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2014-10-04T00:00:00
|
The Remains of the Day tells the story of Stevens, an elderly butler who worked for many years in the service of Lord Darlington of Darlington Hall. After his master’s death, Stevens has continued to serve the house’s new American owner, Mr Farraday. Given a week’s holiday – and the use of Mr Farraday’s car…
|
en
|
https://secure.gravatar.com/blavatar/6d85d56c76f143cd980d1771e199c73e5cbb24604dbf9c6754888df16e067fb4?s=32
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She Reads Novels
|
https://shereadsnovels.com/2014/10/04/the-remains-of-the-day-by-kazuo-ishiguro/
|
The Remains of the Day tells the story of Stevens, an elderly butler who worked for many years in the service of Lord Darlington of Darlington Hall. After his master’s death, Stevens has continued to serve the house’s new American owner, Mr Farraday. Given a week’s holiday – and the use of Mr Farraday’s car – Stevens decides to take a drive through the English countryside to visit Miss Kenton, Darlington Hall’s former housekeeper. During the journey, he reminisces about the past, about his relationship with Miss Kenton, and about what makes a butler ‘great’.
I loved this book; it’s definitely one of my favourites of the year. It’s a gentle, slow-paced novel but completely compelling and, despite the lack of drama, I found it difficult to put down. I’m aware that my description above probably doesn’t make the story sound very interesting but I can promise you that it really is! Stevens’ trip through the South West of England (which takes place in 1956) and his memories of the past (the 1920s and 1930s) give the author a chance to explore lots of different topics from the daily duties of a butler and the running of an English country house to the political situation in Europe between the two world wars. Most of all, though, this is a story about loss and regret, misplaced loyalties and missed opportunities.
One of the things I found most impressive about this book was the authenticity of Stevens’ narrative voice. Ishiguro gets it completely right; the language is formal, emotionally restrained and perfectly suited to what we learn of Stevens’ personality. I could almost have believed that I really was reading the memoirs of an elderly British butler! The edition that I read (a library book) was from Faber and Faber’s ‘Secrets and Lies’ series of modern classics, which immediately made me wonder what secrets Stevens was keeping from us and what lies were being told. However, it’s not as simple as that. Unlike some unreliable narrators, Stevens is not intentionally trying to mislead the reader; he is actually lying to himself. He knows, for example, that Lord Darlington’s views are not always entirely right, but he wouldn’t dream of questioning them and manages to convince himself that there’s nothing to worry about.
Stevens spends a lot of time thinking about the qualities that make a great butler and he decides that the most important of these qualities is ‘dignity’. Sadly, Stevens has devoted so much of his life to maintaining his dignity that he has missed out on things like love and friendship and has denied himself the right to form opinions of his own. He never allows himself to experience pleasure or enjoyment and never displays any emotion, even when faced with personal tragedy. His story is such a sad one, though not without any humour – the book is quite funny in places, especially when Stevens describes his unsuccessful attempts at ‘bantering’. The ending is perfect too; the book’s final chapter is poignant and moving but does leave both the reader and Stevens with some hope and optimism.
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Why read The Remains of the Day?
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Discover why The Remains of the Day by Kazuo Ishiguro is such a great book to read.
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en
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https://res.cloudinary.com/hzpwrwfdi/raw/upload/static/favicon.2f7362c780c6.ico
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Shepherd
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https://shepherd.com/book/the-remains-of-the-day
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I loved this book and the movie. The attention to detail was wonderful, and the butler’s relationship with the housekeeper was spot-on for the period. I could really relate to the butler, being one myself, and to his loyalty to his employer. The only quibble I had was that the butler didn’t say anything when he was asked for his opinion. I understood why he didn’t, but you are rarely asked, so you have to speak up when given the opportunity. It's just a great book!
This novel about an English butler’s lifetime of service and his friendship with the housekeeper, Miss Kenton, is an absolute stunner.
Near the end of the book, when the butler and the housekeeper run into each other again, years after their service to Lord Darlington, the scene is expertly understated.
This book doesn’t give in to trite sentimentality, but rather, it moves you by its keen understanding of human nature.
‘The evening is the best part of the day.’ This is the ultimate realisation of Mr. Stevens, the narrator of Kazuo Ishiguro’s most famous novel. It is a delightful first-person narrative, during which Stevens, an ageing butler, looks back on his life of service while embarking on a drive through the West Country.
Ultimately, it is a love story, the most moving of love stories, the unrequited love story. It is also an atmospheric portrait of a bygone age, of a life in service before the war, in the dying moments of the aristocracy’s country estate era.
I loved the…
I love this book so much, I don’t know where to start. I’ve pressed it into multiple people’s hands, and I know not everyone feels the same way. But, for me, this novel is perfect. Genuinely perfect.
I find the understated unfolding of gradual self-awareness completely devastating. Here is someone – a butler known as Stevens – who has lived with steadfast adherence to his particular vision of how to make a meaningful contribution to the world.
And slowly, in the space of a few days spent reflecting on his career and life choices, his certainty quietly unravels. The ache…
I read The Remains of the Day after watching the movie, so I have a hard time separating the two in my mind.
The most attractive part of the book (and the film) for me is the unrequited, unspoken love between Steves and Miss Kenton, the butler and the housekeeper of Darlington Hall. There have been many works that depict the pain of a love that never was, but none can hold a candle to this one. The tension is almost unbearable.
This engaging novel centers on Stevens, a most committed and loyal butler, whose life and career are unequivocally dedicated to his employer, Lord Darlington.
Set predominately in 1930s England, The Remains of the Day is very much a character study, focusing on Stevens’ utter commitment to his work, a trade also shared by his aging father, while keeping his personal longings at bay.
However, these feelings become tested by the arrival of Ms. Kenton, an outgoing housekeeper, who, unlike Stevens, very much needs to express herself, but restrains on the basis of Stevens’ façade, which serves to impede their mutual…
The perfect Anthony Hopkins and Emma Thompson film Remains of the Day is faithfully based on the brilliant Booker Prize winning novel of the same name by a Japanese-British Nobel Prize winner.
Set in the English mansion of a rich American expatriate, narrated by his deluded and repressed British butler, the book tells the story of German and British influencers who gather in the late 1930s in an effort to help avert war, genuine in the case of the wishfully thinking British, pretended in the case of the calculating Germans.
Its captivating prose kept me glued to the page, its…
Take everything you know about British Empire—its royal traditions, its stiff-upper-lip haughtiness, its unflappable sense of superiority—and cram it into the character of a nearly-irrelevant, self-deluded yet heartbreakingly sympatheticbutler named Stevens, whose comical misadventures lead us from an outdated British manor house across the spectacular countryside of England in his search to recapture a romance that (spoiler) may never have actually been. Kazuo Ishiguro employs the ultimate “unreliable narrator” to poke fun at the British class system; in the process he creates an opera buffo that plays against the haunting rural beauty of that sceptered isle. For my money,…
Unlike Briony, English butler Mr. Stephens seems to have no idea that the story he tells the reader is full of profound, tragic, life-altering holes. He is so insistent upon his version of things that, even in moments where the reader thinks Stephens is finally about to achieve some clarity, he backs away from the truth because it is simply too painful to utter. Like all the other characters on this list, Mr. Stephens’ inability to get his story straight is a matter of self-preservation. This is one of the saddest books ever written.
This novel devastated me upon first reading as I recognized the dangers of political naivete as a fatal flaw, and the extent of such naivete in Britain until Churchill came to power. The novel is set in the era of prewar “appeasement.” Stevens is butler to Lord Darlington, to whom he is unquestioningly loyal. Only in retrospect does Stevens realize that his employer was a Nazi sympathizer, and that he has wasted his life in service to such a man, to the extent that he fails to marry the woman he loves, and is absent from his father’s bedside as…
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https://www.theguardian.com/books/2014/dec/06/kazuo-ishiguro-the-remains-of-the-day-guardian-book-club
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en
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Kazuo Ishiguro: how I wrote The Remains of the Day in four weeks
|
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2014-12-06T00:00:00
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The author reveals how the Tom Waits song Ruby’s Arms served as inspiration for his Booker prize-winning classic novel
|
en
|
the Guardian
|
https://www.theguardian.com/books/2014/dec/06/kazuo-ishiguro-the-remains-of-the-day-guardian-book-club
|
Many people have to work long hours. When it comes to the writing of novels, however, the consensus seems to be that after four hours or so of continuous writing, diminishing returns set in. I’d always more or less gone along with this view, but as the summer of 1987 approached I became convinced a drastic approach was needed. Lorna, my wife, agreed.
Until that point, since giving up the day job five years earlier, I’d managed reasonably well to maintain a steady rhythm of work and productivity. But my first flurry of public success following my second novel had brought with it many distractions. Potentially career-enhancing proposals, dinner and party invitations, alluring foreign trips and mountains of mail had all but put an end to my “proper” work. I’d written an opening chapter to a new novel the previous summer, but now, almost a year later, I was no further forward.
So Lorna and I came up with a plan. I would, for a four-week period, ruthlessly clear my diary and go on what we somewhat mysteriously called a “Crash”. During the Crash, I would do nothing but write from 9am to 10.30pm, Monday through Saturday. I’d get one hour off for lunch and two for dinner. I’d not see, let alone answer, any mail, and would not go near the phone. No one would come to the house. Lorna, despite her own busy schedule, would for this period do my share of the cooking and housework. In this way, so we hoped, I’d not only complete more work quantitively, but reach a mental state in which my fictional world was more real to me than the actual one.
I was then 32 years old, and we’d recently moved into a house in Sydenham, south London, where for the first time in my life I had a dedicated study. (I’d written my first two novels at the dining table.) It was actually a kind of large cupboard on the half-landing and lacked a door, but I was thrilled to have a space where I could spread my papers around as I wished and not have to clear them away at the end of each day. I stuck up charts and notes all over the peeling walls and got down to writing.
This, fundamentally, was how The Remains of the Day was written. Throughout the Crash, I wrote free-hand, not caring about the style or if something I wrote in the afternoon contradicted something I’d established in the story that morning. The priority was simply to get the ideas surfacing and growing. Awful sentences, hideous dialogue, scenes that went nowhere – I let them remain and ploughed on.
By the third day, Lorna observed during my evening break that I was behaving oddly. On my first Sunday off I ventured outdoors, on to Sydenham high street, and persistently giggled – so Lorna told me – at the fact that the street was built on a slope, so that people coming down it were stumbling over themselves, while those going up were panting and staggering effortfully. Lorna was concerned I had another three weeks of this to go, but I explained I was very well, and that the first week had been a success.
I kept it up for the four weeks, and at the end of it I had more or less the entire novel down: though of course a lot more time would be required to write it all up properly, the vital imaginative breakthroughs had all come during the Crash.
I should say that by the time I embarked on the Crash, I’d consumed a substantial amount of “research”: books by and about British servants, about politics and foreign policy between the wars, many pamphlets and essays from the time, including one by Harold Laski on “The Dangers of Being a Gentleman”. I’d raided the second-hand shelves of the local bookshop (Kirkdale Books, still a thriving independent) for guides to the English countryside from the 1930s and 50s. The decision when to start the actual writing of a novel – to begin composing the story itself – always seems to me a crucial one. How much should one know before starting on the prose? It’s damaging to start too early, equally so to start too late. I think with Remains I got lucky: the Crash came just at the right point, when I knew just enough.
Looking back, I see all kinds of influences and sources of inspiration. Here are two of the less obvious ones:
1) In the mid-70s, as a teenager, I’d seen a film called The Conversation, a thriller directed by Francis Ford Coppola. In it Gene Hackman plays a freelance surveillance expert, the go-to man for people who want other people’s conversations secretly taped. Hackman fanatically wants to be the finest in his field – “the greatest bugger in America” – but becomes steadily haunted by the idea that the tapes he gives to his powerful clients may lead to dark consequences, including murder. I believe the Hackman character was an early model for Stevens the butler.
2) I thought I’d finished Remains, but then one evening heard Tom Waits singing his song “Ruby’s Arms”. It’s a ballad about a soldier leaving his lover sleeping in the early hours to go away on a train. Nothing unusual in that. But the song is sung in the voice of a rough American hobo type utterly unaccustomed to wearing his emotions on his sleeve. And there comes a moment, when the singer declares his heart is breaking, that’s almost unbearably moving because of the tension between the sentiment itself and the huge resistance that’s obviously been overcome to utter it. Waits sings the line with cathartic magnificence, and you feel a lifetime of tough-guy stoicism crumbling in the face of overwhelming sadness. I heard this and reversed a decision I’d made, that Stevens would remain emotionally buttoned up right to the bitter end. I decided that at just one point – which I’d have to choose very carefully – his rigid defence would crack, and a hitherto concealed tragic romanticism would be glimpsed.
Kazuo Ishiguro’s new novel, The Buried Giant, is out from Faber in March.
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https://thebundle.art/the-remains-of-the-day/
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The Remains of the Day | Movie Review
|
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2024-05-23T13:22:49+00:00
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The Remains of the Day is a film where action takes place in the shadows. Anthony Hopkins and Emma Thompson are outstanding in their roles.
|
en
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The Bundle Art
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https://thebundle.art/the-remains-of-the-day/
|
The Remains of the Day is James Ivory’s 1993 film adaptation of Kazuo Ishiguro’s novel with the same title. It narrates the story of Mr. Stevens, a butler who takes a trip to the coast in 1958 in order to find a housekeeper they used to work together before the Second World War. During his trip, he recalls scenes from the Darlington Hall, the mansion where he was the butler. From his collaboration with other members of the crew, the co-existence at work with his father and the relationships between him and miss Kenton.
The Remains of the Day is a film where action takes place in the shadows. Anthony Hopkins and Emma Thompson are outstanding in their roles. Especially, Anthony Hopkins will not reveal his emotions to anyone. He is always distant and does not have close relationships with anyone, including his father. Actually, Mr. Stevens behaves exactly as his father, an old man who believes in tradition and manners. A man who stayed at work till his death. And his son does not abandon his post to go after his father. While on an important dinner, he stays at the dinner room, although they have informed him that his father is dying.
Contrary to Anthony Hopkins, Emma Thompson is Miss Kenton, a housekeeper who provides excellent services but also seeks for interpersonal relationships. She wants to learn the books Mr. Stevens reads and can’t hide her surprise when she finds out he reads romantic novels. She wants to help the younger members of the crew and opposes Mr. Stevens who does not help them. And finally, she leaves Darlington Hall when things become bleak, not only between her and Mr. Stevens, but also with the decisions that Lord Darlington takes.
Kazuo Ishiguro’s novel was not easy for adaptation. It takes mostly part into Mr. Stevens’ thoughts. However, the writer Ruth Prawer Jhabvala manages to bring into script Mr. Stevens’ inner world. The temptation for a whole different movie were there. Lord Darlington is an important figure in English politics. He tries to create a peace agreement between Britain and Nazi Germany. Many writers would emphasize on this plot. However, Jhabvala remains faithful to Ishiguro’s novel, turning Darlington’s story into a subplot. The main story is Mr. Stevens, his thoughts and (lack of) actions. Mr. Stevens watches all the important matters that take place in Darlington Hall, but does not express his opinions. Even when they explicitly ask him to say what he thinks. His role as a butler is to serve. While serving others, he forgot to serve himself the joy of life.
The Remains of the Day is a slowburn film. Many have accused this film as boring and without action. But this is the magic of this film. The evolution of the characters, their growth, their vision, their thoughts. While the world turns around them, they have their inner problems. Maybe small to some, but great for all of us who can understand them.
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https://archive.org/stream/Sight_and_Sound_1993_12_BFI_GB/Sight%2520and%2520Sound%2520%25281993-12%2529%2528BFI%2529%2528GB%2529_djvu.txt
|
en
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12)(BFI)(GB) : BFI : Free Download, Borrow, and Streaming : Internet Archive
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https://archive.org/services/img/Sight_and_Sound_1993_12_BFI_GB
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Internet Archive
|
https://archive.org/details/Sight_and_Sound_1993_12_BFI_GB
|
Search the history of over 866 billion web pages on the Internet.
Search the Wayback Machine
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https://discoverypolyphony.com/2021/07/16/the-remains-of-the-day-when-a-person-strived-to-find-his-own-past/
|
en
|
The Remains of the Day – When A Person Strived To Find His Own Past
|
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2021-07-16T00:00:00
|
The Remains of the Day, by British novelist Kazuo Ishiguro, is an astonishing novel that tells the story of Stevens, an aging butler, and his journey through the English countryside not only to visit an old work colleague, but also back to his past and examine the person he has become.
|
en
|
The Polyphony
|
https://discoverypolyphony.com/2021/07/16/the-remains-of-the-day-when-a-person-strived-to-find-his-own-past/
|
Written By Nguyen Manh Quoc Trung
The Remains of the Day, by British novelist Kazuo Ishiguro, is a book that has left a lasting impression on me, exactly because most of the topics written in it are those I am not familiar with. Indeed, the topic of memory always captured my interest, but this is the third novel of Kazuo Ishiguro that I have read, and reading his works sometimes feels like watching a film, each event and each character keeps unfolding and moving one after another smoothly using only literary words. Reading Ishiguro’s novels is the same as imagining a moving picture inside your head, where even the most lifeless and inanimate subjects like a cassette tape or the countryside scenery have their own unique characters and roles in the story, becoming “individuals” that can make the readers think no less than flesh-and-blood characters.
The Remains of the Day tells the story of Stevens, an aging butler, and his journey through the English countryside to visit an old work colleague, the whole trip being a backdrop for his reminiscence of events that happened in Darlington Hall, where he had worked as head butler for the past thirty years. Each sentence in the novel is written in a voice filled with politeness and courtesy, revealing such a gentlemanly essence that only a butler trained in a manner of utmost nobility and had become a truly dignified individual can have. At the same time, however, Stevens’ manner of storytelling also lingers on a very personal sense of humor, with smart and occasionally witty little jokes that, when uttered, can make the opposite person smile while still upholding the respectful and courteous demeanor of a loyal servant.
Truly so, in the novel there is a whole chapter discussing Steven’ own opinions about what it means to be a “proper” butler, and what traits, values, and personal qualities are necessary for an individual in the service industry to be seen as having an outstanding level of integrity and self-respect. At this point, I have to mention Ishiguro’s Never Let Me Go, a novel in which its science-fiction setting gives ample opportunities to discuss the humanity and human behavior of characters who are people but not yet human. If in Never Let Me Go, Kazuo Ishiguro writes very candidly about adolescence and childhood nostalgia through the eyes of both a child and an adult, then The Remains of The Day, a book that was published for the first time in 1989, features an excellent and in-depth depiction of a man with both a behavior of great decency and a rather philosophical way of making sense of the world and what happens around him.
Despite his age, the way Steven talks and acts, although might strike others around him as somewhat cold and cautious, has a very unique charm, making the novel a page-turner and the readers eager to find out how he will react to the unfolding events. Most characters in Kazuo Ishiguro’s novels are rather distinctive in such ways; not only can they stand on their own feet to create their own idiosyncratic features, they also act as a mirror for others to look at and reflect on. As a person who strongly dislikes the way some authors use their characters in the story only as a tool to express their own personal views on things, it is of my humble opinion that the characters in The Remains of the Day and Never Let Me Go are some of the most “human” characters in all of the novels I have read until now. The human-to-human interaction in The Remains of the Day feels very natural and completely unrestrained, with the use of first-person narrative sounding so intimate that sometimes I feel that it is Steven himself that had written the novel, instead of an author with almost zero background in the service industry, as Ishiguro himself had confessed. Because of its distinctive writing style, reading The Remains of the Day will require a great deal of knowledge of the English language from readers, especially formal English, and I am very curious as to whether the novel’s translation into other languages can really capture the exact essence of the original.
On the way to visit his old colleague, Stevens was reminded of many episodes in his life, with topics ranging from the nature of dignity, loyalty, and decency, to politics, class, love, and relationships. But the most important and most noticeable theme of The Remains of the Day, and one that is featured in many other novels of Ishiguro, is still memory, and in particular how to approach memory and how memories of the past can change the person of the present. The whole structure of the novel is built on Stevens’ recollection of his many years working as a butler in a single mansion, and although the readers get access to his memories through his own words, those are the memories that are very fragmented and subjective in nature, creating a past so patched-up that even Stevens himself wondered if he could be considered a reliable narrator. The readers therefore get to experience not only the stories on his work as a butler, but also his life firsthand, and the man he has now become.
Stevens drove his car up the English countryside but at the same time underwent a trip back to the past, to the source of his personal virtues, to the memories and the people that have profoundly influenced his life. Stevens, who has been raised as and has always worked as a butler, always prioritized dignity, with devotion and loyalty to his master invariably placed at the forefront, to the point that all personal feelings, if not helpful to the job at hand, were all removed. It was only after he had stepped inside his master’s car, gripped tightly the steering wheel, and slowly moved through the quiet English countryside, alone with the endless greeneries, that the mask of a famously loyal and dedicated butler cracked, allowing the incessant stream of recollections to flood the mind. It would be of no exaggeration to say that the first roadtrip that Stevens had undertaken in his life, one that he had to take forever to consider back and forth before finally deciding to depart, was actually a journey both to find and to rediscover his sense of self through the endless nooks and crannies of memory, hidden inside the vast but now empty rooms of Darlington Hall. “What is the point of worrying oneself too much about what one could or could not have done to control the course one’s life took?” Stevens wondered, when looking back at his whole life dedicated to services of the highest standard. “Surely it is enough that the likes of you and I at least try to make our small contribution count for something true and worthy. And if some of us are prepared to sacrifice much in life in order to pursue such aspirations, surely that in itself, whatever the outcome, cause for pride and contentment.” (*)
Kazuo Ishiguro himself has said that both the character of Stevens and the mansion he worked at are a metaphor of a bygone world, a world filled with symbolism and nostalgia that those who have never known or visited England often imagine what it would be like to live in an old English mansion in the English countryside, or how an old English butler would talk and act. “The Remains of the Day is primarily a book about two things: it’s about the fear of emotion, and it’s also about politically being a butler,” he shaired in an interview (**). “Because I think, in a way, most of us politically are butlers. We do our jobs, we serve some corporation, or a cause, or maybe a country. But most of us, we just do our individual jobs, we offer up our little contributions to somebody upstairs and we hope it’s going to be used well, and we take our pride from doing our little jobs to the best of our ability.” And this I wholeheartedly agree. Perhaps the reason why Stevens, an aging butler, a symbol of the noble life that is reserved for only the likes of Lords and Ladies, can be so relatable, is perhaps because each and everyone of us is also a butler, and is also in service for someone else. Perhaps we are all trapped in our own Darlington Hall somewhere, with rooms so large they are suffocating, trying to hide our true feelings on the way to find the past.
(*) Ishiguro, K. (1990). The Remains of The Day. Vintage Books. Page 177
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5020
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dbpedia
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0
| 8
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https://www.bibleinmylanguage.com/the-remains-of-the-day-dvd-1993-aterstoden-av-dagen-directed-by-james-ivory-starring-anthony-hopkins-emma-thompson-james-fox-christopher-reeve-45-minute-bonus-material/
|
en
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The Remains of the day DVD 1993 Aterstoden av Dagen / Directed by James Ivory / Starring: Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve / 45 minute bonus material
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Whether you're a Bible collector, music lover, or treasure hunter, BIML has something for you. Shop their vast collection of rare items now!
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en
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https://cdn11.bigcommerce.com/r-239a5d21ec32f6c10e6f246fa8ff64ab19b32cf5/img/bc_favicon.ico
|
Bible in My Language
|
https://www.bibleinmylanguage.com/the-remains-of-the-day-dvd-1993-aterstoden-av-dagen-directed-by-james-ivory-starring-anthony-hopkins-emma-thompson-james-fox-christopher-reeve-45-minute-bonus-material/
|
UPC 5051162117513
REGION 2 PAL DVD
MADE IN EU
AUDIO: English 5.1, French 2.1, Turkish 2.1, Italian 2.1, Spanish 2.1
SUBTITLES: English, French, German, Polish, Czech, Hungarian, Hindi, Turkish, Danish, Arabic, Bulgarian, Swedish, Finnish, Icelandic, Dutch, Norwegian, Portuguese, Greek, Hebrew, Spanish, Italian
Total Runtime: 129 minutes
English Summary:
The Remains of the Day is a 1993 British-American drama film and adapted from the Booker Prize-winning 1989 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, and Hugh Grant in supporting roles.
In 1958 post-war Britain, Stevens, the butler of Darlington Hall, receives a letter from Miss Kenton, a former colleague employed as the housekeeper some twenty years earlier, now separated from her husband. Their former employer, The Earl of Darlington, has died a broken man, his reputation destroyed after he was exposed as a Nazi sympathizer, and his stately country manor has been sold to a retired United States Congressman, Mr. Jack Lewis. Stevens is granted permission to borrow Lewis' Daimler, and he sets off to the West Country to see Miss Kenton, in the hope that she will return as housekeeper.
The film flashes back to Kenton's arrival as housekeeper in the 1930s. The ever-efficient Stevens manages the household well, taking great pride in and deriving his entire identity from his profession. Miss Kenton, too, proves to be a valuable servant, and she is equally efficient and strong-willed, but also warmer and less repressed. Stevens and Kenton occasionally butt heads, particularly when she observes that Stevens' father (also a former butler) is in failing health and no longer able to perform his duties, which Stevens stubbornly refuses to acknowledge. Stevens' professional dedication is fully displayed when, while his father lies dying, he steadfastly continues his butler duties.
Swedish Summary:
England på 1930- och 1950-talen. Butlern Stevens tjänstgör på lord Darlingtons slott, där lorden tar emot politiker från hela Europa. Lorden är övertygad om att Tyskland vill ha fred och gör sitt bästa för att få alla att inse det. Stevens har ett särskilt förhållande till miss Kenton.
Cast / Rollista i urval
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5020
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dbpedia
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https://www.imdb.com/title/tt0107943/
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Was vom Tage übrig blieb (1993)
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1994-03-10T00:00:00
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Was vom Tage übrig blieb: Directed by James Ivory. With John Haycraft, Christopher Reeve, Anthony Hopkins, Emma Thompson. A butler who sacrificed body and soul to service in the years leading up to World War II realizes too late how misguided his loyalty was to his lordly employer.
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https://www.imdb.com/title/tt0107943/
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I can only repeat what most previous commentators have said. This is a beautiful film in every way.
Anthony Hopkins performance is awe-inspiring and difficult to describe. Stevens the butler never shows any emotion so his face is always suitably deadpan. The dialogue is spare. Then just how is it that we are able to follow the emotional undercurrents? Emma Thompson is also brilliant as the energetic housekeeper who does display and express her feelings without ever stating them directly. But all the actors are excellent, even in the most minor parts. Hugh Grant has a small part and plays it perfectly. Sadly his talent is too often misused and misapplied. James Fox was a revelation as prior to this I had only seen him in very light roles. Here he played an essentially decent man who is not too bright but has been born into wealth and influence. His sentiments and suggestibility lead him to misguided positions and tragedy.
Among the many great scenes there is a hilarious laugh-out-loud sequence with Hopkins and Grant.
I have seen "A Room With a View", another effort from the Merchant-Ivory-Jhabwala team. It is adapted from a lovely book but I disliked the film. I thought it failed to set the mood and put across the emotions. But in "The Remains of the Day" everything works. It is sad, actually heart-rending, but not gloomy. The period details are wonderfully executed and you are impressed by the order and efficiency in the running of the stately home. Everything in the film looks good- clean, bright and sharp. You are swept in at the beginning and stay rapt till the end. And the magic does not decrease with repeated viewing. I have seen it a number of times, it remains absorbing and fresh.
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Theology at the Movies
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2012-08-14T18:34:45+00:00
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by John M. Frame Table of Contents Preface, 2005 Introduction Chapter 1: Should Christians Go to Movies? Chapter 2: Film and Culture Chapter 3: Questions to Ask of Films Reviews A Perfect World A R…
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by John M. Frame
Preface, 2005
Introduction
Chapter 1: Should Christians Go to Movies?
Chapter 2: Film and Culture
Chapter 3: Questions to Ask of Films
Reviews
A Perfect World
A River Runs Through It
Addams Family Values
Celebrity
Dazed and Confused
Demolition Man
Diary of a Mad Black Woman
Enchanted April
Ethan From
Geronimo and Some Other Films About Indians
Gettysburg
Greedy
Guarding Tess
Heaven and Earth
In the Name of the Father
Intersection
Into the West
Lost in Yonkers
Malcolm X
Menace II Society
Mr. Jones
Much Ado About Nothing
My Life
Philadelphia
Posse
Schindler’s List
Shadowlands
Short Cuts
Signs
Some Short Notes
Sugar Hill
The Age of Innocence
The Apostle
The Joy Luck Club
The Nightmare Before Christmas
The Paper
The Piano
The Remains of the Day
The Wedding Banquet
Undercover Blues
Unforgiven
Readers familiar only with my theological writings may be surprised to hear that for a brief time I considered an avocational career as a movie reviewer. I’ve always enjoyed movies, and I thought that some of my observations on films might be useful, at least to my students who took courses from me in modern culture. I had before me, also, the example of my colleague Harvie Conn, who reviewed movies for Christianity Today until the editors told him, “CT readers don’t go to movies.” (Evidently that has changed in the years since.)
So around 1992-93, I wrote up a number of reviews, with some introductory reflections on the medium. My main purpose was to use them in courses, but I also sent them around to publishers and to periodicals, in hope that I could perhaps moonlight somewhere as a reviewer, following Harvie. The responses were wholly negative. Publishers did not want to publish movie books, because they got out-of-date so fast. Periodical editors thought, well, that I should not give up my day job.
Hence the unmaking of a reviewer. But I have used these reviews and analytical pieces in other contexts, and the responses have not been totally negative. So I make them available now on the web. The reviews are still dated. Most are from around 1993, though I have added one or two in the years since. But with the increasing popularity of tape and DVD, there may still be interest in these particular films. More important, these reviews may be helpful to readers as they seek to evaluate more contemporary films.
I should warn you that the reviews contain “spoilers.” That is, I have reviewed the films as one reviews classic literature, with freedom to describe the ending and relate that ending to the overall interpretation. If anyone cannot bear to know the endings in advance, I urge you to see the film before reading the review.
After I go to a movie, I usually “debrief” myself, asking what the film was about, what I enjoyed, what I didn’t, etc. Sometimes my debriefing occurs in conversation with others, but often I simply sit down at the computer and type up my own review of the film, seeking to put into words my response to the experience.
I have gathered some of my reviews together, with some introductory essays, to present to my students at Westminster Theological Seminary for our course called “The Modern Mind,” a critical survey of modern thought and culture. In order to teach such a course, one must have some source of regular first-hand exposure to cultural trends, and I have found that for myself films are the best means of gaining that exposure. Although I love music, I confess I find modern avant-garde music, both popular and “serious,” very hard to listen to. I have little taste for, or understanding of, modern art. Novels take too long to read; plays are too expensive. I used to watch a lot of TV but, well, we now have young children in the house, and I don’t want them to become “addicted.” I do read modern philosophy and theology, but I also need exposure to something more universally popular, to see how academic philosophical and religious ideas are reflected and anticipated in the general culture. For that purpose, film has become my medium of choice.
Movie reviews are a dime a dozen; why do I add mine to the pile? Well, reviewers differ greatly in their emphasis. Most are concerned with aesthetic or technical matters, or with judgments of entertainment value. Christian reviewers tend to focus also on the moral tone of films, some actually counting the instances of sex, violence or foul language. A few reviewers offer unique perspectives. Jim Jordan, for example, brings to his reviews a rich background in literary symbolism, and he suggests patterns of symbolism in film that have subtle but profound bearing on the content of the film. All these approaches have their usefulness.
I do not have Jordan’s sensitivity to symbolism. I do have thoughts about aesthetic, technical and entertainment values, which I will express from time to time in the reviews. I am obviously interested also in the moral aspects of film, though I have neither the head nor the heart for counting up dirty words.
Though I have no degree in film or drama, I do have some knowledge of the history of film, having enjoyed movies and discussions of movies from childhood. I believe that my musical experience also gives me some appreciation for dramatic structure: ebb, flow and climax. But others certainly have stronger qualifications than mine for expressing opinions on these matters.
What I do bring to the reviews is, in a word, theology. For theology is my main life work. It is Jordan’s too, and Harvie Conn’s. But perhaps because I am less knowledgeable than they about matters of cinematic detail, I tend to focus more than they on the larger picture. I see the “messages” of the films less in the context of film as such than in the context of the general culture and of those great cultural debates which are at bottom theological. My approach is to stand back from each film and ask, what is it trying to tell me? What is its world-view, its law, its gospel?
The world-view is the most important issue in film. That is the element that is most culturally influential (often in a destructive way), and it is often most central to the filmmaker’s purpose.
One of the old film moguls (Sam Goldwyn’s name comes to mind, but it may have been someone else) is often quoted as saying “If you want to send a message, call Western Union.” Many filmmakers have made this sort of claim, that their work has nothing to do with messages, with theology or philosophy, that it is nothing other than “art for art’s sake,” or, at least, “entertainment for entertainment’s sake.”
I would not want to claim that art can be reduced to theology or philosophy. Art tends to be particular and concrete, while philosophy, and theology to a lesser extent, tend to be general and abstract. Art strives to entertain; theology and philosophy generally do not, although the difference here too is a matter of degree. (Plato, Nietzsche, and Kierkegaard are entertaining in a way that Aristotle, Kant and Tillich are not. That fact is not irrelevant to the proper evaluation of their work.) Art does have dimensions that delight or disturb us, quite apart from any ideological content. Much of what art communicates is the ingeniousness of its own design: its colors, its musical harmonies, the juxtapositions of its scenes. In film, much of the product’s quality comes from the sheer interest of the camera angles, the harsh or soft focus, the direction of the light, the short pauses in the actors’ speech, the vast range of artistically formed detail.
Having said all of that, I must add that it is simply false to claim that art has nothing to do with “messages.” Indeed, we are living in a time in which the messages of art are becoming more and more explicit. Oliver Stone, for example, is quite explicit about the political content of his films. He is not at all embarrassed by claims that he has an axe to grind. So much the better. In the film community, directors and actors are praised on all sides for participating in films (even, often, mediocre films) that take “controversial” positions on moral/political issues. That is, they are praised when those controversial positions are the ones that are popular in the film community and in the national media.
The “art for art’s sake” rhetoric tends to appear when these controversial projects receive criticism from conservative or Christian viewers. To such criticism, the standard reply is, “Art is not philosophy and should not be judged as such. Art is above politics and religion. Art communicates only itself, not ideology.” But that reply is disingenuous. Everyone knows that it simply isn’t true.
Even such concepts as beauty and form are not religiously neutral. What is beautiful to a non-Christian may very well be ugly to a Christian: homosexual romance, for instance, or the demonic simulations in Disney’s “Fantasia.” Some techniques, of course, like the use of hand-held cameras, can be used by Christians or non-Christians. A dim level of lighting in a scene does not necessarily distinguish Christian from non-Christian filmmaking. On the other hand, such dim lighting can be used to make a value judgment. A director’s choice to use dim lighting in a room for the scene of a meeting might in some contexts convey that director’s view that the characters at that meeting are fairly unsavory. That doesn’t mean that dim lighting always indicates the presence of evil; but granted other elements of the drama, it may indicate that. And of course Christians and non-Christians tend to disagree as to where evil is to be found.
Message, then, is not all there is to art, but it is an important element of it, one that is especially important to Christians who are concerned about the impact of films on their families and upon society. From one “perspective,” it is the whole: for when we ask about “message,” we are simply asking what the art as a whole is communicating to us. The message may not always be easily expressed in words, or in the terms of philosophy or theology. But attempting to express it in words is a worthy goal for a reviewer. Nor is the message of a film to be obtained in the same way we obtain the message of a philosophical treatise. Films, even Oliver Stone’s, do not simply teach or preach. But no one should have any objection to analysis of a director’s artistic decisions to see what they reveal about his vision of life.
It is usually not hard to answer the question, “What does the director want us to think (about the characters, the events, the setting, the atmosphere)?” It is usually pretty clear who are the basically sympathetic characters, who are the villains. In films as in real life there is, of course, moral ambiguity. There is good in the worst, bad in the best. But even to make such comments we must be able to use moral terms; we must be able to distinguish good from bad. The chief approach of my theological analysis of the films will be simply to ask “What does the film consider good, and what bad?”
So my reviews will basically try to sum up the “message” of each film: its ideology, its values, its world-view, its philosophy, its theology. I will comment on other elements of the film as they seem especially relevant to formulating that message. In the process I will try to observe proper distinctions between art and philosophy, especially to recognize the particularism of a film’s focus. But particularism is of no interest unless it is in some measure universal, unless it reminds its viewers of what they, too, have observed.
Such is the program underlying these reviews. I hope that readers and viewers will find them in some measure edifying. May God use them in some small or large way to strengthen the Christian presence in the contemporary world.
One word of warning: since these reviews attempt to be serious analysis rather than “viewing guides,” I will not avoid discussions of endings. Obviously, one could not meaningfully discuss “Hamlet” or “Death of a Salesman” without saying something about the endings of these dramas. The same is true about significant films. Those who can’t bear to know the ending of a film before seeing it should proceed with appropriate caution.
My thanks and appreciation go to those Christian authors who have entered this arena before me, who have endured the scorn of the world by developing a Christian interpretation of film and who have often endured the scorn of Christians because they have chosen to go to movies. Especially, I have learned from the contributions of Donald Drew, Harvie Conn, Jim Jordan, and Keith Billingsley. Much should be said also for the work of an observant Jew, Michael Medved, who has exposed the moral antagonism between Hollywood and “traditional American values.” Whether he recognizes it or not, those values he cherishes are, by and large, the values taught and advanced by the Christian gospel.
Some Christians may wonder how a fellow believer can give any support to the film industry, notorious as it is for anti-Christian bias and moral relativism. I would note that there is also a view on the opposite extreme: some Christian critics of culture insist that all Christians have a responsibility to become culturally aware, to become knowledgeable about cultural trends in art, music, literature, film, drama and so on.
I reject both of these extremes. A more balanced position, I think, is to recognize that Scripture tells us to be “in” the world, but not “of” the world. That means that we not only may, but should, be willing to live amid secular (=anti-Christian) influence without ourselves compromising the faith. In this respect, it doesn’t matter whether that secular influence comes from film, or from involvement in business, labor, neighborhood, politics, or whatever. Nor, within the general realm of media entertainment, does it matter whether we are talking about Beethoven or modern rock, Jane Austen or William Faulkner, Ernest Hemingway or Jackie Collins, news or business magazines, TV or film, Disney films or films by Martin Scorsese. To avoid non-Christian influence altogether, we would have to live as hermits (assuming that we could even find some place in the world beyond the reach of modern communications and government). In all modern experience there is a heavy component of anti-Biblical teaching and influence. But complete isolation is not a live option for biblical Christians. Even the Christian hermits of the ancient and medieval periods justified their existence as a life of prayer, and thus a life which was, after all, in and for the world. How can we pray for a world we know nothing about? We must not seek to isolate ourselves from the world, but rather to be “salt” and “light” in our fallen culture, to carry out our Lord’s Great Commission.
That balance, of being “in” but not “of” the world, is sometimes difficult to maintain. One’s choices in this area should be based in part upon his or her own moral and spiritual maturity. Some people, especially children, or those young in the faith, or those with special problems like alcohol addiction or unusual susceptibility to sexual temptation, should limit their exposure to secular culture in appropriate ways. But at the same time they should be trained in Christian maturity, so that eventually they can enter more fully the secular arena, not fearing that they will be compromised by the culture, but expecting to influence the culture positively for Christ.
I do not believe, with the Christian “culturalists,” that every Christian, or even every mature Christian, has an obligation to attend art exhibits, concerts, films, etc. Christians should seek to influence the world for Christ in some way: that is the Great Commission. But the precise way in which they reach out to the world may differ greatly from one believer to another. My brother-in-law is pastor of a church in the inner city of Philadelphia. He does not normally go to films, dramas, or art exhibits. But he is definitely “in” the world, the real world, and he ministers to it with all the strength God provides him. A knowledge of entertainment media would be of little use to him in his ministry, and I would be the last person to urge him to become “culturally aware.”
Yet there are others (such as myself, I believe) who are called of God to devote some of their energy to Christian culture-criticism. Many pastors, as well as youth workers, scholars, teachers, writers, parents and others are in this category. For them it is not wrong, I believe, within sensible limits, to expose themselves to modern film or other media. The apostle Paul said that he was not ignorant of Satan’s devices (2 Cor. 2:11). For that purpose, if for no other, we may be called to learn what filmmakers have to say to us.
Some arguments used by Christians opposed to moderate attendance at films are as follows:
(1) “Graphic acts of violence debase those who watch them, making the viewers more prone to violence.” On this proposition there is mixed statistical evidence. Some people, especially children, do seem to resort more quickly to violence, or imitation-violent play, as the result of viewing simulated violence on TV or film. I do advocate that parents limit and monitor the use of these media by their children. But I find it hard to believe that everyone should for this reason drastically curtail their film attendance. I have never myself (even in childhood, as best I can recall) felt the least bit inclined toward violence as the result of watching it on film. For the most part, viewing such violence increases my resolve toward finding non-violent solutions to problems. I think that many other people are similar to me in this respect.
Further, if we maintain a proper critical distance from the films we watch (a distance which is necessary for many other reasons), we can see that film violence is essentially choreography. No one really gets hurt. And for the most part in films, even today, unjustly violent people are not rewarded or glorified.
It is important to maintain perspective: lack of perspective is one of the most prevalent defects in Christian thought today, in my view. And the larger perspective is that violence is all around us, unavoidable. To avoid it entirely is to depart from the world. Indeed, Scripture itself contains descriptions of terrifying, even gory violence; just read the Book of Judges. Since Scripture includes such descriptions, we must assume that there are good reasons for it– reasons conducive to edification (2 Tim. 3:16, 17). It is not hard to imagine what those reasons might be. The violence of the wicked shows us what the Fall has done to us; and the violence of divine judgment summons us to repentance. On this basis we cannot deny that some exposure to depictions of violence can be edifying.
(2) “Sexual scenes in movies excite impure lusts.” Again, I think this is true of some viewers, but not others. If sex scenes in films have that effect on you, then don’t go to films until God gives you a greater mastery over temptation. But I don’t think this is a problem for every Christian.
But some might go further and insist that, even for those who are not tempted toward sin by screen sex, it is wrong to view actors in the process of doing things which are sinful in themselves. (The same point has been made with regard to the use of unwholesome or blasphemous language in movie scripts.) I grant that some love scenes in the movies cross over that line of being “sinful in themselves.” True, screen sex is usually, for the actors and actresses involved, not very “sexy.” The filming of such scenes is done bit by bit, with all sorts of technical intrusions, and usually without actual genital contact. Still, if I were married to an actress who chose to engage publicly in deep kissing and simulated intercourse with a third party, I would consider myself to have been violated. In my view that is a scriptural view of the matter.
So some movie sex is certainly sinful in itself. And one cannot, certainly, justify watching sin for its own sake. I would not go to a film for the purpose of watching an actor and actress in a nude sex scene (thus I avoid “XXX” flicks), any more than I would take a walk in the park to spy on kids making love behind the bushes. On the other hand, I would not stay away from the park out of fear that I might happen to observe some illicit sex. Similarly, if film actors wish to commit sin before the camera, that is their responsibility. I don’t believe I commit sin when I, in the normal course of my cultural pursuits, observe what they, without consulting me, have chosen to do in public.
(3) “Modern films promote, very effectively, a non-Christian philosophy of life.” This is true, and it is the most profound of all arguments against Christian attendance at films. Sex, foul language, and violence are incidental elements in film, but the non-Christian world- and life-view is often at its core. That world-view does more damage in society than any cinematic portrayals of sex, violence, and ungodly speech. Indeed, that world-view is what makes the sex, violence, and language in movies unwholesome, in contrast with biblical depictions of such things.
But again, perspective is in order. Non-Christian philosophy has dominated the arts and general culture for the last three centuries. To avoid exposure to non-Christian world-views and values, we would have to avoid exposure to Mozart and Beethoven, Emerson and Thoreau, Hume and Kant, Paine and Jefferson, D. W. Griffith and Charlie Chaplin, and so on, not to mention Plato, Aristotle, Sophocles, Euripides, Cicero, and other ancients. We tend to discount older exponents of non-Christian values, viewing them with the halo that comes with long cultural acceptance. For that reason, these older thinkers are often more dangerous than those which are more contemporary and more obviously anti-Christian. Indeed, for similar reasons, we must beware of G-rated films as much as of R- and X-rated films. Yes, let us limit our exposure to all of these influences; but not to the extent of leaving the world, or to the extent of becoming ignorant of Satan’s devices.
(4) “We should not give our money to an industry that encourages immorality and unbelief.” Scripture does not require believers to support only industries and institutions that are morally and religiously pure. Jesus taught his disciples to pay taxes to Caesar, taxes which supported the emperor cult, among other things. Paul taught the Corinthians to buy food in the market place without asking whether or not it had been offered to idols. Scripture is realistic enough to know that if we had to inquire about the religion or morals of every merchant before doing business with him, we could not buy at all.
I do not think it is wrong for Christians to boycott industries which they believe are doing social and/or religious harm in the world. They are certainly free to withhold their economic support from those industries. On the other hand, I do not believe that Scripture @UN(requires) us to boycott such organizations. We really could not do that in every case without completely isolating ourselves from the world.
I would conclude, therefore, that a moderate amount of movie-going is legitimate for most Christians. I don’t think we should be ashamed of that or even ashamed of enjoying it. Moderation, of course, requires careful thought about priorities. Even activities which are good in themselves can become wrong if they crowd out of our lives things which are more important. Each of us needs to do some self-examination in this area. Choices about exposure to entertainment and culture are not religiously neutral. But those who are conscientious about pleasing God and keeping his commandments need not feel guilty about moderate movie attendance.
Harvie Conn has described film as a “cultural mirror,” a valuable reflection of contemporary attitudes, philosophies, values, lifestyles. Others, such as Michael Medved, have placed more emphasis on the idea of film as a former of culture.
As I see it, both emphases are true. The relation between film and culture is a chicken-and-egg relationship. Film is of course a product of culture, for the makers of films are people of their own time. On the other hand, within their own culture, filmmakers are often atypical. They tend to be more liberal politically, less inclined to practice religion, more open to radical social attitudes and movements, than the general population. Thus their films tend more often than not to support radicalism and to subvert traditional, especially Christian, values. When those filmmakers answer criticisms of the content of their films by saying “we are only reflecting the broader culture,” they are either being naive or dishonest. In the broader culture, there is far more interest in religion, far more family integrity, far more clean language and honest work than one would ever guess from films.
In any case, it is important when we go to the movies to take with us some understanding of what is happening in the general culture: both what is considered “traditional” and what is considered “avant-garde.”
One cannot adequately summarize the current cultural situation in a brief essay, but I will offer a summary here simply to show the reader where I am coming from in my reviews. As I see it, western culture has moved in the last three hundred years from a time of Christian dominance to a time of anti-Christian secular dominance. Even today, however, there is in western culture quite a bit of “borrowed Christian capital,” and, every now and then, Christian teaching is heard with respect.
It is possible to overestimate the role of secular liberalism in contemporary society. From the portrayals of the 1960s in popular media, especially film, one would get the impression that everybody in the United States was “dropping out,” taking drugs, protesting the war, supporting radical leftist causes. Perhaps that is what most filmmakers and their friends were doing. But most Americans were fed up with all the protests, drugs, and pompous young moralizers. They elected Richard Nixon president in 1968, and they overwhelmingly re-elected him in 1972, against George McGovern, who was the voice of the radical left. Arguably, the populace continued to move rightward through the 1970s, resulting in the election of Ronald Reagan in 1980 and 1984. During the last thirty years, the only Democrats elected president were men who persuaded the electorate of their moderation. Overt liberals, McGovern, Mondale, and Dukakis were soundly defeated.
Liberal ideas, therefore, are not nearly as pervasive within the general culture as they are in the press, educational and entertainment media. Still, they do leave their mark in important ways, largely because these media– together with the influence of government– have so much power.
Today the focus of the liberal movement can be summarized by the term equality. That movement especially emphasizes, in a quasi-Marxist way, equality between men and women, between races, cultures, religions, between rich and poor.
Christianity also endorses equality of all persons before divine and human law. God is no respecter of persons, and human law must not give preference to people based on wealth, gender or race. But the liberal consensus endorses unbiblical forms of equality: identical roles for men and women, abolishment of any “gaps” between rich and poor, elimination of any moral sanction against homosexuality. Ultimately, liberal equality amounts to moral relativism. But it is a moral relativism that becomes very dogmatic, very non-relativist, in asserting its own egalitarianism. Anyone who disagrees, who is not “politically correct,” must be smeared and ostracized from polite society.
The God of the Bible treats people equally in some respects, but, in other ways, he is the great divider. He separates the righteous from the wicked in his terrible judgments. He sets the non-relative moral boundaries for creatures by revealing forth his law. He has no interest in abolishing economic differences between people in this world. He establishes institutions of family, state and church, and gives different people different roles within these institutions: husband/wife/child, magistrate/citizen, elder/member.
The biblical God is able to make choices among people, because he is a person. One distinctive of personhood is rational choice. The problem with secular liberalism is that it has abandoned belief in the personal God of the Bible. In the secular view, the most ultimate features of the universe are impersonal, not personal. But an impersonal force cannot make choices. It must act on all other realities equally. An electrical current will shock anyone or anything that comes up against it. But a person can choose how he will respond to other persons and objects in its environment.
Rejection of the personal God of scripture inevitably brings universalism: either all are saved or all are lost. And it brings egalitarianism.
The moral relativist side of secular liberalism stems from the fact that, as Dostoyevsky noted, if God doesn’t exist, anything is permitted. But such universal permissiveness is a recipe for chaos, one which even secularists cannot easily accept. Thus they seek to replace God with another supposed absolute. (Scripture calls this process “idolatry.”) That absolute is, in most cases, their own autonomous moral judgment. Hence the “dogmatic” side of secularism. But when that dogmatism fails, when the secularists’ own judgment proves untrustworthy, then they revert to relativism: “Oh, well; nobody really knows.” Relativism and dogmatism: these are the Scylla and Charybdis of secular liberalism. Strictly these are inconsistent with one another. But they supplement and need one another. The secularist bounces back and forth from one to the other as on a pendulum.
Cornelius Van Til calls relativism and dogmatism by the terms “irrationalism” and “rationalism” respectively, thereby relating these themes to the traditional concerns of philosophical epistemology, theory of knowledge. Os Guinness in The Dust of Death describes them as “pessimism” and “optimism,” thus relating these motifs to practical attitudes. It is important, especially in the context of film, that we do not see these themes only as elements of a theoretical world-view or ethical system, but that we see them as attitudes which affect all areas of human life. For if someone has adopted a relativist ethic, that person will likely be in despair, “pessimism,” when it comes to making choices in any area of life. He has rejected God, the source of all meaning. What ground can he possibly have for optimism? On the other hand, he can become a dogmatic secularist instead of a relativist, even though these are two sides of the same coin. Then he may well be optimistic; but it will be a false hope.
In films, then, we must reckon with the presence both of moral relativism and of secular dogmatism. But we may also find in films traces, sometimes more than traces, of Christian ideas which, in spite of the present resistance both of the general culture and of the film industry, have managed to assert themselves. One will find large elements of Christian teaching and values in older stories set to modern films: Shakespeare plays, medieval legends, etc. And one will also find films of recent conception where Christian values are prominent. “Chariots of Fire,” “Tender Mercies,” and “A Trip to Bountiful” are recent films which, if not distinctively Christian in every way, nevertheless present distinctively Christian ideas in a favorable light. Sometimes, one finds Christian themes and symbolism in films, even films which are not in themselves supportive of Christian values. Christians should be ready to be surprised when they attend films, and not only negatively.
Sometimes it is easy to explain these authentically Christian elements of films, by the Christian convictions of a writer, director, or other member(s) of the filmmaking team. Other times it is not easy to explain. Sometimes it just seems as though the non-Christian filmmakers were unable to overcome the dramatic, intellectual, and moral force of the Christian revelation, and so, for once, they let it have its way.
In my reviews, as I try to bring out the “messages” of the filmmakers, I will be focusing on the themes of equality, relativism, and dogmatic idolatry. And I shall also bring out those elements in which I think God’s word has overcome cultural resistance to speak its cinematic piece.
In my discussion of film and culture, I identified the general thrust of modern secular liberalism and its antithesis with Christianity. My reviews will deal with those themes in general. Here I wish to be a bit more specific. What follows are certain questions that are always in my mind when I go to films. I would recommend that other Christian viewers ask the same questions. I will not go through this whole list in each review; I will only discuss the ones I think most important to the particular film.
1. Who wrote the film? Who produced it? Who directed it? Do we know through the writings and previous work of these people anything about their philosophy of life? The previous works of actors are also important. Actors contribute much to the quality of a film, little to its fundamental conception. But actors do tend to sign on to projects with which they have some ideological affinity (assuming financial rewards are not otherwise determinative). Mel Gibson almost never takes on films with a heavy sexual element; Mickey Rourke almost always does. The presence of certain actors, granting that they sometimes go “against type,” can tell you something about the message of a film.
2. Is it well-made, aesthetically? Are the production and acting values of high quality? These factors may have little to do with the “message.” But they do tend to determine the extent of the film’s cultural impact, and that is important for our purposes. If a film is well-made, it can have a large impact upon the culture for good or ill. (Of course some bad films also have a major impact!)
3. Is it honest, true to its own position? This is another mark of “quality.” Generally speaking, an honest film, regardless of its point of view, will have a larger cultural impact than one which blunts its points.
4. What kind of film is it? Fantasy? Biography? Realistic drama? Comedy? Obviously each film must be judged according to its purpose and genre. We don’t demand of a fantasy the kind of historical accuracy we demand of a supposedly literal biography.
5. What is the world view of the film? Is it theistic or atheistic? Christian or non-Christian? If non-Christian, is its main thrust relativistic or dogmatic? How does it employ the theme of “equality?” Is there any role for providence, for God? Is the film pessimistic or optimistic? Does the action move in deterministic fashion, or is there a significant role for human choice?
6. What is the plot? What problems do the characters face? Can these problems be correlated in some way with the Fall of mankind in Adam? Does the film in effect deny the Fall, or does it affirm it in some way?
7. Are the problems soluble? If so, how? What methods are available to the characters so that they can find the answers they need?
8. What is the moral stance of the film? Is the film relativistic, dogmatic, or both in some combination? What are its attitudes toward sex, family, human life, property, truth, heart-attitudes? What is the source of moral norms, if any? Does justice prevail?
9. In comedy, what is it that is funny? What are the typical incongruities? Who is the butt of the jokes? (Christians? traditional values? the wicked? the righteous? God? Satan?) Is the humor anarchic? Is it rationality gone awry? Is it bitter or gentle? Does it rely on caricatures? If so, of whom?
10. Are there allusions to historical events, literary works, other films, famous people, Scripture, etc. that would give us some idea where the filmmakers are coming from? We should remember, of course, that allusions may be negative, positive, ironic, or merely decorative. A biblical allusion does not necessarily indicate acceptance of biblical values.
11. What are the chief images of the film? Is there anything interesting about the lighting, the camera angles, the sound, the timing which would reinforce a particular theme? Are there significant symbols?
12. Are there any explicit religious themes? Christ-figures?1 Does the film express significant attitudes toward Christ, the clergy, or the church? Does it distort Christianity or present it at its worst? Or does it present it with some insight and/or sympathy? Does it recognize the element of personal piety in people’s lives?2 There are exceptions. If so, does it approve or disapprove of it? What about Satan, the demons, the occult? Does the film recognize their activity in some way? Is the devil taken seriously? If so, how is he dealt with? _
1 Steven Spielberg’s “E. T.” is, I think, a genuine Christ figure: recall the themes of pre-existence, growth, teaching, miracle, healing, death, resurrection, ascension. Spielberg denied this parallel, but in my view it is objectively there, even if Spielberg was unconscious of it. The reason is that the human mind has a need for a gospel like that of the New Testament. Those who don’t accept that gospel often instinctively give to their idolatrous inventions powers parallel to those of Christ.
2 The character of Frank Burns in the original M*A*S*H was a pious fellow who kneeled to pray at his bedside, to the scorn of his fellow soldiers. Eventually, it turned out that he was an adulterer and hypocrite. That is fairly typical of the way Hollywood portrays Christian piety.
Red Garnett ………. Clint Eastwood
Butch Haynes ……… Kevin Costner
Sally Gerber ……… Laura Dern
Phillip Perry …….. T.J. Lowther
Terry Pugh ……….. Keith Szarabajka
Tom Adler ………… Leo Burmester
Bobby Lee ………… Bradley Whiteford
Warner Bros. presents a film directed by Clint Eastwood. Produced by Mark Johnson and David Valdes. Written by John Lee Hancock. Photographed by Jack N. Green. Edited by Joel Cox. Music by Lennie Niehaus. Running time: 136 minutes. Classified: PG-13 (on appeal for violence, sexual content and language).
Some critics have raved over this film, Clint Eastwood’s first directorial project since “Unforgiven.” Like the previous film, this one emphasizes moral ambiguity: the good in the worst of us and the bad in the best. I was not nearly as impressed with this effort, however.
Butch Haynes, played by Kevin Costner, is a fellow who has had a rotten childhood and has spent most of his recent years in jail. He breaks out of prison with a fellow inmate and (mainly because of his colleague’s wildness) winds up with an eight-year-old hostage. The boy’s mother is a Jehovah’s Witness, who has never permitted him to go trick or treating at Halloween time, or to celebrate Christmas, or to go to carnivals or fairs. He has never eaten cotton candy. He has understandably developed as a shy young man, not much at ease in public. His real father left the family years before.
When Costner’s fellow escapee tries to molest the boy, Costner kills him and leaves his body in a cornfield. Then he and the boy drive away together, pursued by Texas Rangers headed by Clint Eastwood’s character, Red Garnett. Haynes becomes a surrogate father to “Buzz,” as he calls the boy. He teaches him by experience all the things from which his mother shielded him: guns, cars, sex, trick or treating.
Eastwood’s Garnett feels the guilt of having sent young Butch to a juvenile prison years ago, though he was quite warranted in doing that. Butch learned there how to be a criminal, and he was never able to be anything else.
The story climaxes as Haynes and Buzz receive hospitality at the home of a black farmer. The farmer slaps his own little boy around, and Haynes becomes so angry he nearly kills him. To stop him from doing this, Buzz shoots Haynes and runs away; but eventually the boy comes to recognize how much he loves his kidnapper. In time, Butch is killed by a dumb-but-imperious police sharpshooter who wrongly thinks Butch is armed. Buzz goes back to his Mom but, we imagine, will never be the same again.
There are routine plot elements here: jail break, abduction, car chases, detective work, growing friendship between kidnapper and victim. But the film plays down these elements in favor of the personal relationships. It is essentially about fathers (biological and surrogate) and sons: Haynes and his rotten father, Buzz and his, Haynes and Buzz, Garnett and Haynes, the black sharecropper and his boy. Cruelty to children is the one thing Haynes cannot abide. That is, we are told in effect, what provokes him to his most violent acts. But as a surrogate father to Buzz, he gains a certain nobility, according to the film.
As a Christian, however, I resisted the movie’s values. I will not comment on the theological differences between the Jehovah’s Witness cult and Christian orthodoxy, though there are many. Nor will I expound on the difference between the evident legalism of Buzz’s mother and the ethics of Scripture, though much could be said about that as well. Hollywood knows nothing of such distinctions. To this film, the Jehovah’s Witnesses are bad, not because they are heretical or legalistic, but because they stand for “straight” values, against the values of Hollywood and modern culture. On this score, I will have to side with the Witnesses. Buzz’s mother is trying hard to stand against the tide of decadence. For all her heresy and legalism, she is trying to shield her boy from the world. Haynes is trying, essentially, to undo that. The film sides with Haynes; I do not.
Thus for all the film’s attempts at moral profoundity (i.e. recognizing moral ambiguity), it mostly left me cold. Butch Haynes is a murderer and a thief. Is he to be excused because of his bad upbringing? Does he redeem himself by arousing Buzz’s selfish instincts? Not in my book. Of course it is hard not to sympathize with any character played by Kevin Costner. All his movements (in all of his films) proclaim that he is a nice guy. But the choice of Costner for this role is part of the film’s propaganda. It virtually commands us to sympathize with Haynes. Can we resist that command? Another reason not to leave your critical faculties at home when you go to the movies.
This is a Horton Foote script from a novel about a Presbyterian minister and his two sons living in Montana in the early twentieth century. Foote also wrote “Tender Mercies” and “A Trip to Bountiful,” two films praised in Christian circles for their sympathetic treatment of Christian convictions (a rare commodity in recent movies). Here, too, the religious family is viewed with sympathy. But in this film the father is a rather liberal pastor, or so his sermons would indicate. Although the pastor spoke with some eloquence about human life, I heard nothing in his preaching or elsewhere that reminded me of the biblical gospel. We should remember the argument of J. Gresham Machen that liberalism and Christianity are two different and antithetical religions.
At any rate, the pastor is also an expert fly fisherman, and, we are told in the introduction, in their family it was hard to draw the line between theology and fishing. He was a home schooler too. We see him telling his boys the nuances of writing. (“Now try it again, but make it half as long.”) And he taught them to fish.
The older son went to college and eventually became a professor of English. The younger stayed at home and become a newspaper reporter. As the current birth-order literature would lead you to believe, the younger son is somewhat less “responsible” than the older one. (I write as a first sibling.) He gets drunk a lot, gambles, goes out with a woman of the wrong race, eventually gets himself killed.
But shortly before his death, he goes fishing again, with his Dad and his older brother. As the older ones look on, in astonishment, he plays a fish with a skill that elicits from the script the language of divine inspiration. For the three, it is a moment of inexplicable beauty and wonder.
The mysticism of the moment stays with the older son, and at the end of the film, after many years have passed, he stands by the river and looks back on those times. He sees all the people, all the times and places coming together in a single flow, “and a river runs through it.”
The theology of the film, therefore, reveals itself as monistic: all is one. The brother is dead, but he is alive in memory. In his moment of glory, he ascended to a higher level of being, and in time all of us will be part of him and he part of us. The boy’s dissipation and death, in the final analysis, are of no consequence.
Well, that’s what many people would like to believe today. It is very far from Christianity; in fact it is the very nemesis of Christianity, which maintains distinctions between God and man, between one human being and another, between good and evil, between fishing and theology, between death and life. Do we really want to believe that a life of dissipation can be atoned for by a skillful fishing performance? I realize that question rather trivializes the film which is in many ways beautiful and thoughtful. But let us not simply accept the mesmerizing effect which this film seeks to work on us. Let us ask what it is that we are being taught, and hear it, not as part of the “flow,” but with a Christian thoughtfulness which is not afraid to question such a seductive drama as this.
Morticia ………. Anjelica Huston
Gomez …………. Raul Julia
Fester ………… Christopher Lloyd
Granny ………… Carol Kane
Wednesday ……… Christina Ricci
Pugsley ……….. Jimmy Workman
Debbie Jelinsky … Joan Cusack
Lurch …………. Carel Struycken
Paramount presents a film directed by Barry Sonnenfeld. Produced by Scott Rudin. Written by Paul Rudnick. Based on characters created by Charles Addams. Photographed by Donald Peterman. Edited by Arthur Schmidt. Music by Mark Shaiman. Running time: 88 minutes. Classified: PG-13 (for macabre humor).
This is a movie about murder and the occult, played not for horror, but for laughs. As a comedy, this is a corker. The script and sight gags are enormously funny. It moves fast, not making the mistake of many comedies which take forever to set up a gag only to have it fall flat. In this film, the punch lines are rapid in coming, often in only one word. Girl at summer camp to Wednesday Addams: “Why are you dressed like someone died?” Wednesday: “Wait.” Watch the scenes carefully for details, like the boiling, smoking witches’ brew in the drinks at the cocktail party.
The performances are great: Raul Julia as the new Fernando Lamas/ Ricardo Montalban/ Cesar Romero, the stereotypical Latin lover. Anjelica Huston as Morticia, communicating volumes with her eyebrows. The chemistry between them, especially their incredible dance number, transcended the genre. I especially enjoyed Christina Ricci, the young actress who played daughter Wednesday. She played the part so straight, so somber, that whenever she broke a smile it was hilarious.
The plot develops in three directions: (1) the Addams’ new baby and the comic-murderous sibling rivalry of his sister and brother, (2) the older kids’ experience at summer camp which leads to a flaming Armageddon, (3) uncle Fester (an unrecognizable Christopher Lloyd) marrying a “black widow,” a supposed governess who marries wealthy men and then disposes of them on her honeymoon. (Her disgruntlement over her failure to murder Fester is wonderful to behold.)
Christians may well wonder whether it is legitimate for them to laugh at this sort of thing. After all, we take very seriously such things as mass murder and witchcraft.
Some, too, have quoted Proverbs 14:9 in the translation “Fools make a mock at sin” to indicate that Christians should never laugh at anything evil. However, the NIV translation, “Fools mock at making amends for sin, but good will is found among the upright” is a legitimate possibility and seems to fit the context better. And can we forget entirely the jokes that Jesus tells about rich fools, those who strain at gnats, and the like?
Now at one level, laughter about such things is not hard to justify. God laughs at the wicked (Psm. 2:7), and one “perspective” on Scripture is that God’s redemptive plan is a great joke upon the wicked. God’s wisdom, foolish to the world, makes the world look foolish (I Cor. 1, 2). But in this particular movie, the wicked win out. Indeed, the Addams monsters, murderers and ghouls attract most all of the audience’s sympathy. (The “straight” people in the film are hideously unattractive.) Should we be embarrassed about laughing, to say nothing of cheering them on?
The laughter here is based on the old premise, common to many New Yorker cartoonists, not only the late Charles Addams, that famous and infamous people must have some kind of ordinary home life: Napoleon taking out the garbage, etc. I remember one New Yorker cartoon in which a king in full regalia walks into a living room, throws his beautifully jeweled crown on a hat rack and says “honey, I’m home.” The ironic juxtaposition between his political dignity and his “typical” home life evokes laughter. The Addamses are like that: monsters, to be sure, but with “family values” that are in some ways “just like you and me.”
But Christians know better than most people that wickedness destroys “typical family life.” Most mass murderers are “loners,” as we are told over and over again in the press. Witches and ghouls are not usually “family” people. Going against God’s order in one area of life tends to produce dislocations in other areas, and the family is usually the first to undergo distortion. The family is a delicate institution. Its preservation requires close attention to God’s laws.
So the idea of murderers and witches having a typical American family life is all the more absurd to those who know Christ. We know it just can’t be so. Thus we can be amused at the fantasy. It is like a pig dancing the tango. It is funny, because it just doesn’t happen. When the older Addams kids try several times to kill their baby brother, we know perfectly well that no real family could survive the crisis. (It enhances my amusement to note that had the events of the film taken place in California, Child Protective Services would have torn the Addams Family apart ten minutes into the first reel.) That the family remains together and resolves the whole thing with some bizarre rationality and good feeling satirizes neatly not only the wicked, but also the psychiatric establishment, which mandates “acceptance” as therapy. When the Addams kids burn down their summer camp, evidently destroying the majority of kids and counselors in the process, we know that in the real world they would be sent to a juvenile detention facility. But there they are in the next scene, back at home again, having a great time.
Humor is often based on discrepancy, and good humor reveals important discrepancies in the world. The largest discrepancy is between God’s created order (the family) and human sin (the Addams’ lifestyle). Humor which underscores that discrepancy says much that needs to be said in our time. “Addams Family Values,” though not informed by Scripture, recognizes the absurdity of family coexisting with monstrosity; therefore, in one sense, it is an edifying movie. I believe that God is pleased to see us laughing at it.
But not to see us cheering them on. Unfortunately, the great comedy in this movie is a kind of lure. It offers us scripturally proper laughter to guide us into scripturally improper attitudes. While a Christian would (or should) find the situation entirely ridiculous, the filmmakers actually seem to be taking it seriously, at a certain level. To them, the “ordinary home life” of the murderers, ghouls, and vampires is not just an ironic bit of nonsense. Rather, the Addamses seem to be a kind of symbol of all those groups in society which are misunderstood and oppressed. This is especially evident in the summer camp adventure. The camp establishment is a political liberal’s nightmare: rich WASP bigots who demand of everyone else happy, Disneyesque, smiling faces. Wednesday and Pugsley Addams, however, befriend Jews, blacks, and handicapped, and they come on with an “attitude.” Of course, according to the film, they are the only ones in camp with any brains at all. When the camp director puts on a maudlin Thanksgiving pageant, the Addams and their friends, forced to participate in Indian costume, turn it into a demonstration for Native American rights, and hence a massacre. The film seems to be saying that all the WASP campers deserve to die because they are not politically correct.
There is also at least a hint of support to animal rights. At the pageant, Pugsley comes on dressed as a turkey, singing “eat me,” “eat me.” Unlike Wednesday’s Indians, Pugsley is following the script of the WASP camp director, who hates all minorities and who, by writing this song, we gather, also oppresses the turkey population.
So, by analogy, the Addams are just another victim group. They are just like you and me, except that society has misunderstood them. Sure, the kids try several times to murder their baby brother; but underneath it all, their hearts are pure, because they defend Native American claims to the continent. Indeed: who do the “straights” think they are, telling other people what a “family” should be? Doesn’t any group which lives together in love, after a fashion, constitute a family? (Where have we heard that before?) Don’t the Addamses, after all, have “family values” in the best sense?
I suppose the filmmakers could chide us at this point for taking it all too seriously. Perhaps they could even make a case that the movie is a satire on political correctness. Maybe so, to some extent. Indeed, I prefer to take it that way, for as such it makes better comedy. But there is no doubt that this film is on the side of the witches. In the best comedies, the major comic characters are never scum, never mere fools, though some of the supporting characters may be. In some way, the lead figures evoke the sympathy of the audience. Think of Chaplin, or Peter Sellers’ Inspector Clouseau, or Mickey Mouse. (There are exceptions, like Leslie Nielsen’s Frank Drebin in the “Naked Gun” series. But while that series is quite funny, most of us would not list it among the “great” comedies.) The filmmakers want us not only to laugh at the Addamses, indeed not only to love them, but also to admire them in some respects. But these are not, on the whole, candidates for Christian admiration. I admit that they do stand by their convictions and support their constituency, which they consider to be oppressed; but, after all, so did Hitler. So be careful. Do laugh, but don’t leave your critical faculties at the door.
Written and Directed by Woody Allen
I saw Woody Allen’s Celebrity, a fairly dreary film at one level. It presented the usual Allen line about how all intellectual thought, social relationships, etc. is merely a quest by everybody to get the most fame, money, thrills, and sex. Kenneth Branagh plays Woody Allen (evidently Woody, the director, didn’t like Branagh’s attempt to mimic his director; but who other than a Woody-type could say the lines written by Woody, the writer?) and drifts from woman to woman, betraying and being betrayed, absurdly transparent in his motivations and silly in his flatteries and rationalizations.
But there is also the wife of the Branagh character, who he casts off at the beginning of the film and who goes searching for help of various kinds. There is the Roman Catholic Church, but the priests are as banal as the New York society, in their own way. She also goes to a famous makeover expert and eventually does get made over. One expects her to end in the same kind of despair as the Branagh character. But she fares better. The difference is grace.
A man, played by Joe Mantegna, pops in on her makeover doctor’s office while she is making plans for the physical transformation. But Mantegna says she is fine as she is. In context, it seems like a boldface lie. She is not attractive at all. But as she gets involved with this man, we notice changes, and not only from the makeover.
She hesitates about marriage, at one point leaving Mantegna at the altar. For she is “waiting for the other shoe to drop.” This man seems all too perfect. He must be an axe murderer or something. But she talks to a fortune teller (!) who tells her simply to trust. She does, marries, and finds happiness. The Mantegna character seems in retrospect to be a Christ-surrogate. He demands nothing of her, changes her life by giving her undeserved respect and love.
Jesus does take us as we are, but he does not tell us we are perfectly ok, as we are. Rather, he shows us our sins and takes us through the path of repentance. There is no repentance in this film, but there is something like grace. But how can grace function without standards? That is an important theological question, and it is also a question in our interpersonal relationships.
But at least the film admits that we need help, and that help must be quite out of the ordinary if it is to meet our need. The movie begins and ends with a skywriter writing “HELP.” At the end, the Branagh character watches the writing (as part of a film) and sits dazed. Only his ex-wife has found the help for which the film cries to heaven.
Pink ………….. Jason London
Simone ………… Joey Lauren Adams
Michelle ………. Milla Jovovich
Pickford ………. Shawn Andrews
Slater ………… Rory Cochrane
Mike ………….. Adam Goldberg
Gramercy presents a film written and directed by Richard Linklater. Produced by James Jacks, Sean Daniel and Richard Linklater. Photographed by Lee Daniel. Edited by Sandra Adair. Running time: 97 minutes. Classified: R (for pervasive, continuous teen drug and alcohol use and very strong language).
This film is a somewhat darker version of “American Graffiti,” set about ten years after that film, in 1975. Again, it is the last day of high school, and the kids are living it up before going on into the world or into the next year of school. As with “Graffiti,” there is a lot of cruising, drinking, sex. I don’t remember if the kids in “Graffiti” smoked pot, but these kids do. Also, as with “Graffiti,” there are many subplots that weave in and out of one another.
Perhaps the most dominant one (among equals) is the story of the quarterback on next year’s (potentially powerhouse) football team. His coach, presented as fifty years behind the times, wants the whole team to sign a pledge that they won’t drink, smoke or use drugs all summer, for the sake of the team. The big moment, supposedly, is when the kid throws the pledge back in the coach’s face unsigned and tells him that although he’d like to play football, he will never sign such a document. The film sees this as his great rite of passage, the quarterback’s affirmation of autonomy.
The school has a tradition in which the seniors beat up on the incoming freshmen (girls on girls, boys on boys). There is a lot of supposed fun with the seniors chasing the frosh and the frosh getting even. As one who used to get beaten up by bigger kids when returning home from school, I didn’t find that whole theme very funny, but others might look at it differently. The “initiation” process, however, is for these kids another rite of passage. After the senior boys paddle the freshman boys within an inch of their lives, they introduce them to their world of booze, girls, pot, vandalism, cussing, etc.
The movie seems to be saying that this is the right world to be a part of. The adults who try to restrict access to it, especially the coach, are presented as demons and impossible reactionaries. The kids who join that society are simply doing what they must do, and nobody has a right to tell them otherwise. Indeed, the heroic thing is to defy or deceive the straight adults as much as possible.
There are no tragedies in this film. Nobody dies of an overdose or an auto crash. Indeed, there is very little plot. It’s just a slice of life, well-directed and convincing in its portrayals.
But the message of the film is appalling. Apparently it never occurs once to the filmmakers that the values of autonomy and peer-acceptance which they romanticize here are the values that have put our very civilization in jeopardy. Nor do they see anything wrong with the teen society which rationalizes drugs, drunkenness, fights, free sex, and hatred of the “straight” world. Many movies today have progressed beyond this moral viewpoint, though it was certainly the dominant one in the 1960s and ’70s. For it is now painfully evident that there is a huge downside to this kind of teen-age fun. But this film is quite complacent about its ’60s sensibility concerning the ’70s. Someone should tell the makers of this film that they are the ones who are reactionary. The only ones whose message will not fade with time are those who get their values from God’s Word.
This movie, starring Sylvester Stallone, is something more than its title (and the previews) suggest. It is certainly a very violent film, with Stallone and Wesley Snipes spilling blood and bodies all over the place. But it is also a rather tongue-in-cheek look at the possible outcomes of present-day trends.
The premise is that in the mid-90s, the level of violence in Los Angeles exceeds even the tolerance of laid-back Californians, and they succumb to the plans of a would-be Messiah named Cocteau. By the 2030s, he has set up a society where everybody’s whereabouts are known (by an electronic device surgically implanted in their hands) and where behavior is carefully monitored. There is no cholesterol, fat, meat, toxics, air pollution, noise pollution, smoking, guns. Because of AIDS and other diseases, there is no sex, at least no “exchange of bodily fluids.” I leave it to you to find out what Stallone and his pretty policewoman friend do on their first date.
Anything “bad for you” is illegal. Bad language is forbidden: when someone utters profanity, a ticket comes out of a nearby machine removing a “credit.” There is, of course, no money; only electronic transactions of “credits” monitored by the government. Criminals are frozen and programmed (while frozen, I gather, though I find that hard to believe) via electrodes attached to the head, to learn new skills and habits. Everybody walks around with Polyannish dispositions, at least on the outside. This is the ultimate Nanny State.
Its cultural barrenness is symbolized by its popular music, which consists of 1950s and 60s commercial jingles, believe it or not. And because of the “franchise wars,” all restaurants in the area are Taco Bells!
Understandably, when Simon Phoenix, the Snipes character, escapes from his ice prison and runs around killing people, the police are quite incapable of dealing with him. They have never seen real violence, and they have no idea how to deal with anyone so barbaric. Thus they release the Stallone character, John Spartan, who apprehended Phoenix in the 1990s. Sly shows the wimpish police how to fight.
It turns out that Phoenix’s escape was actually arranged by Cocteau, who wants him to go underground and kill the leader of what he considers a rebellious group. Actually, the rebels are just plain folks, who treasure their freedoms and don’t want to live in Cocteau’s New Order. They like their guns and their junk food; they like to cuss. Unfortunately, they have a hard time getting food; most of the time they “have to” steal it from the world above. So they stage raids on the New Order from time to time. This irritates Cocteau no end, who sends Phoenix to dispose of them. Unfortunately for the plan, Phoenix kills Cocteau (among many others) and puts himself in control of things, briefly, until Stallone gets to him. How could Cocteau have been so stupid as to believe that he could control that mad dog Phoenix? Especially after he programmed Phoenix in his ice cube to be even badder than he was in 1995? But in this sort of movie, logic is a luxury.
While we’re on the subject of logic, whatever happened to the daughter that Spartan just had to find? After the beginning of the movie, we never hear of her again. Perhaps they decided to save her for Demolition Man II.
The chases and violence are rather long and tiresome. I don’t take them very seriously, for it is mostly choreography, but I suspect some people might be nauseated by it.
What is interesting, of course, and often very funny, is the social satire. The movie takes as its targets, as few have, many liberal notions: “political correctness” and its attempts at thought control, extreme environmentalism, government activism, the tendency of liberal governments to “protect us from ourselves.” The film sides against all of this and in favor of the plain folks who love freedom.
But to my mind, the plain folks, though presented as much more attractive people, are not much better than the New Order gang. Their goal is autonomy. They don’t want to take orders from anybody, and the freedom they want is to shoot guns, cuss, smoke, listen to rock music, and steal. I think if I lived among them, I’d find the New Order rather attractive.
So the film presents two alternatives: extreme liberalism and secular libertarianism. More or less. The extreme “liberals” also prohibit abortion; but didn’t the filmmakers know that there is a vast difference between the anti-abortion mentality and the mindset that says “what’s bad for you is illegal?”
At the end, with Cocteau and Phoenix out of the picture, Stallone brings together representatives of the two groups and tells them to find a happy medium somewhere. But is that the answer for society? A happy medium between totalitarianism and anarchy? Those seem to be the alternatives apart from Christian standards. The film’s value is to make that plain.
Apart from biblical revelation, how can anyone determine where the prerogatives of government end and the rights of the individual begin? The difficulty of this question pressures secular political theorists toward the extremes of totalitarianism and anarchy. Scripture, however, places both government and the individual under God and establishes the limits for both. Without it, Stallone’s happy medium society seems destined to fall again into chaos or tyranny. And that will doubtless set the stage for the sequel.
I went to see Diary of a Mad Black Woman which was a deeply Christian film. I wouldn’t have gotten that impression from any of the critics. It wasn’t real smoothly done, and I cringed at some things that the film seems to approve of. But on the whole, it was a memorable taste of African-American Christianity.
The heroine, played by Kimberly Elise, is treated very badly by her lawyer husband, kicked out of the house with nothing, watching her rival displace her. She is of course mad at the world, finds it difficult to trust anybody, especially men. But a man enters her life, a man who is so absolutely perfect that I cringed; but perhaps, on reflection, he is a Christ figure. He woos her with complete gentleness and understanding, and when they begin kissing and lying down together, there is no sex, only “intimacy.” At this point, she renounces her old life, allows her husband to take everything in the divorce settlement.
But then the husband is paralyzed by one of his clients, and the heroine goes back to him, torments him a bit (after his girlfriend has left him), but eventually nurtures him back to health. There’s a remarkable scene at a church service at which the husband puts his crutches down and another subplot is resolved. Everybody sings praise to Jesus, then goes to Grandma’s for dinner. (Grandma is a comic character, played by director Tyler Perry in drag.) Then the heroine presents divorce papers to her husband and runs to rejoin the Christ-figure suitor.
To a Christian, there should be problems with the film’s attitude toward divorce, and to some of the language. But the Lord’s name is used very often, not in vain. Everyone in the film (except the profane Grandma and her brother) profess to be Christians, and eventually everybody is reconciled as much as one can imagine.
This is a wonderful English film. The English often have a great facility for presenting accounts of the utterly unexpected, with total credibility. “Enchanted April” is a case in point.
Two women from dysfunctional marriages decide to go for a vacation together at an Italian villa. There they meet two more women: one gorgeous model, fleeing from her celebrity, and one cantankerous older woman who recalls her younger days among people of culture.
Eventually, the husbands of the first two women arrive, and we are prepared for the usual movie stuff: angry fighting between spouses and sexual games. Indeed, the film sets up the audience with all the premises of the sex farce: both men are attracted to the glamorous model, and there is much discussion about who will sleep where. We expect that there will be much farcical bumping around in the night, as the men go after the pretty woman.
What happens, however, is entirely different, and shockingly wonderful. Both marriages are repaired, and the single women are reborn, so to speak. Through his wife’s assistance, one of the men makes a valuable business contact, in such a way that he comes to appreciate anew what his wife means to him. In the end, everyone is happy; all have learned to look at life differently. Nor does it happen in ways obviously “concocted” by maudlin filmmakers. Rather, the development is entirely credible in both script and performance.
It is not a Christian movie, particularly. But it honors a lot of things important to Christians: marriage, the beauties of creation, reconciliation, love, inter-generational compassion. It twists, perhaps even satirizes, the conventions of the Hollywood sex farce. One expects in movies to see the libertines laughing at the “straights.” Here it is the straights that get the last laugh.
Starring Liam Neeson
Based on the novel by Edith Wharton. Ethan is a sturdy, promising young New Englander, whose ambitions are thwarted by his mother’s sickness and death. After his mother dies, he marries a distant cousin who has been tending to his mother’s needs. She then becomes sickly herself and calls on another distant cousin to come and care for her. The second woman herself seems sickly at first, but eventually recovers and becomes strong and vivacious, enough to seduce Ethan while his wife is visiting a doctor in a distant town. Whether or not the wife knows of this, she sends the caretaker away on the basis of petty criticisms, intending to hire another caretaker. Ethan, very much in love, takes her to the train, trying to persuade her to leave with him for Florida, which stands for heaven in the movie’s symbolism. In the course of the afternoon, Ethan asks her to tell him her heart’s desire: it is to go sledriding down the tall mountain near the town. Ethan procures a sled, and they have a good time together until a terrible accident leaves Ethan with a lame leg and the girl– well, sickly. We see the old Ethan, now a recluse, doing manual labor to support the two sickly women who now live with him at home.
It’s all told very deadpan, but the ironies are great: a man frustrated by three sickly women. God conspires against him, or so it seems.
Lt. Charles Gatewood ……. Jason Patric
Brig. Gen. George Crook …. Gene Hackman
Al Sieber ……………… Robert Duvall
Geronimo ………………. Wes Studi
Lt. Britton Davis ………. Matt Damon
Mangas ………………… Rodney A. Grant
Brig. Gen. Nelson Miles …. Kevin Tighe
Columbia presents a film directed by Walter Hill. Produced by Hill and Neil Canton. Written by John Milius and Larry Gross. Based on a story by Milius. Photographed by Lloyd Ahern. Edited by Freeman Davies, Carmel Davies and Donn Aron. Music by Ry Cooder. Running Time: 115 minutes. Classified: PG-13 (for frontier violence).
“Geronimo” presents again the revisionist view of Native Americans seen earlier in such films as “Dances With Wolves,” “Last of the Mohicans.” All three of these films are beautifully directed and photographed, with sympathetic portrayals of the Indian point of view. Generally speaking I tend to be critical of “political correctness,” but I liked these films very much, and their presentation of the Indians’ case is really compelling, a needed balance to the “murderin’ redskins” stereotype.
“Dances” did demonize whites, except for the lead character, played by Kevin Costner. (How did he get to be so wonderfully broad-minded after growing up in such a depraved culture?) It also demonized the Pawnee, because they helped the whites. But its portrayal of the Indians’ lives was superb. It was all done in the Sioux language, with subtitles, and that made it all the more effective. Graham Greene gave a marvelous performance as the main Indian character.
“Mohicans” was actually somewhat biased toward the whites. Magua, the voice of Indian grievances, was presented (of course as James Fenimore Cooper did in the original volume) as somewhat unreasonable in his hatreds. But he did get to make his case, and allowing for exaggerations, it was cogent.
“Geronimo” is also a most impressive film, with an excellent performance by Wes Studi as the title character. (He also played Magua in “Mohicans.”) The action takes place mostly among Monument-Valley-type buttes (like hundreds of other westerns, it seems), but in this picture, the buttes are often dwarfed by snow-capped Rockies. I thought at first that was a bit much, but the film seems to focus on the greatness of the land and the importance of a just distribution of it. Why, says Geronimo, do the whites have to haveall of it? Good question.
His argument essentially is that he is not a murderer, but a warrior. And that is simply true. There was a war between the whites and the Indians and, as it turned out, the whites won. We may think what we want about that, but we should set it in perspective. For thousands of years, nations have been conquering nations. It is not a pleasant experience, especially for the conquered, and we would often like to believe that we would never permit that sort of thing to happen today. But it is still happening in our own day, even in supposedly civilized Europe. The Indians may have a grievance, but no more than any other conquered people. And, to be fair, most all nations, including whites and Indians, have been both conquerors and conquered at some time in their history.
The history is, of course, more complicated than any of these films present. One gets the impression from them that the Indians held some legal title to all the land in North America, and the whites came in entirely against the will of the landowners. Actually, “land ownership” was not a big thing with Indians; on that account they are often praised. (One cannot, by the way, simultaneously praise the Indians for their lack of concern about land ownership and then turn around and say that their owners’ rights were violated.) And the coming of the whites was welcomed by some of the Indians. They were happy to enter into fur trades and the like, which supplied them with additional resources, not to mention the new technology of guns and horses. Indeed, the expansion of trade improved some Indians’ living standard considerably.
Of course, some Indians resisted the whites from the start. But the continent was certainly big enough for both the immigrants and the earlier inhabitants (they were immigrants too) to live together in peace. Ultimately, however, that proved impossible. What should have happened? As a believer in relatively free immigration, I don’t believe the whites should simply have stayed out, or that the Indians should have kept them out. The best thing that could have happened (I say with hindsight) was a legal division of the continent some time early in the process, wherein one part of the continent would be developed as a part of western civilization, with Indians welcomed to be a part of that if they chose. The other part, perhaps the greater part of it, would be left to the Indians to observe their traditional way of life. The two nations would freely trade with one another. (I still wonder if it might be possible to give to the Indians some of the huge tracts of federal lands in the west– not as reservations, which are an atrocity, but as the Indians’ own sovereign territory.) Of course, that didn’t happen, and it couldn’t have, granted the events and the mentalities of the people involved.
“Geronimo” is somewhat more balanced in its perspective than either of the other films I have mentioned. The warriors on both sides are simply that: men at war. They are neither glorified nor demonized, and the film makes it clear that neither side is monolithic in its attitudes. There are “hawks” and “doves” in both armies, some who are cruel, some who seek justice. There is little moralizing here, but the film ultimately sides with the Indians, I would say. The American soldiers aren’t bad people, except, perhaps, for General Miles who takes over the army late in the film. But the political situation takes on a life of its own, and it becomes impossible for the Indians even to save face, let alone to obtain justice.
There are some rather subtle religious themes in the picture. The exquisitely beautiful musical score, by Ry Cooder, is based on the “shape note” hymns of the nineteenth century, found in such volumes as “Sacred Harp” and “Southern Harmony.” You may recognize “Come, Ye Sinners, Poor and Wretched” and “Poor, Wayfaring Stranger.” This literature was largely Biblical, but with a tendency toward religious escapism: longing for heaven without much sense of anything to do on earth. It’s a bit hard to see why the film makes so much use of this music, except for period atmosphere. Certainly at least it conveys something of the harshness of life on both sides, the impossibility of any happiness this side of the grave. Perhaps there is also some subtle mockery of the irrelevance of the white men’s religion to the achievement of concrete justice.
Both Geronimo and Gatewood (the most sympathetic white soldier) believe in gods of love, they say. But for Geronimo, love for his people requires him to kill whites. Geronimo gives Gatewood a turquoise piece valuable (perhaps religiously?) to the Apache. Later, Gatewood gives Geronimo a cross, which he says has brought him good fortune. The cross doesn’t do much for Geronimo and his people. Perhaps the most significant religious event is that before three Indians are hanged, one of them tells onlookers in the Apache language not to believe anything that the white clergy say to them.
The film doesn’t show it, but I understand that late in life Geronimo became a Christian and reconciled himself to the US government, even riding in Theodore Roosevelt’s inaugural parade. It would have been interesting to see how all of that came about. Of course, focus on those events would probably have been inconsistent with the purposes of these filmmakers. They are not, of course, required to tell everything. But we should demur a bit from the viewpoint of a film in which the actual facts, even very interesting facts, are omitted because inconvenient to the film’s “message.”
Confederate Cast:
Longstreet …………….. Tom Berenger
Robert E. Lee ………….. Martin Sheen
George E. Pickett ………. Stephen Lang
Armistead ……………… Richard Jordan
Federal Cast:
Col. Chamberlain ……….. Jeff Daniels
Buford ………………… Sam Elliott
Tom Chamberlain ………… C. Thomas Howell
Kilrain ……………….. Kevin Conway
New Line presents a film written and directed by Ronald F. Maxwell. Produced by Robert Katz and Moctesuma Esparza. Based on the novel by Michael Shaara. Photographed by Kees Van Oostrum. Edited by Corky Ehlers. Music by Randy Edelman. Running time: 4 hours and 18 minutes, including 20-minute intermission. Classified: PG.
This is a very informative film about the pivotal battle in the Civil War. It is a drama, but it also has all the elements of a good documentary. It is as if we were looking over the shoulders of those planning and executing the strategy. I grew up in Pennsylvania and have visited the battlefield several times, but I never before knew what actually went on. Now I feel that I do have a general idea of that, and it is quite a story. It is a fit subject for documentary, and for drama too.
The pivotal dramatic point was the overconfidence of General Lee and its genesis: bad intelligence, then desperation, then a mystical faith. Lee had come to Pennsylvania fresh from some major victories, hoping to wrap up the war in a few days. Ironically, July 4 was approaching. Lee sensed the irony: maybe he could achieve southern independence that very day. He hoped to destroy the Army of the Potomac, headed by the ineffectual General Meade, and then march triumphant into Washington, offering peace to President Lincoln.
But various problems developed. General J. E. B. Stuart, charged with tracking the union armies with his cavalry, somehow got lost for some days and didn’t accomplish his task. (If the movie told me why, I missed it.) The south had to fight, therefore, without their usual knowledge of the enemy’s positions and strength. Then another general failed to obey orders given him to take a small hill which would have given Lee the advantage of position. Eventually the union army took over that hill and defeated the southern soldiers who tried to take it from them. After this, ammunition and supplies were very low. Lee’s troops had to either fight or retreat. Lee saw a retreat as a betrayal of the brave men who had given their lives to get this far, and his past victories gave him the confidence that his men could win another battle, even against substantial odds. With the aforementioned mystical faith, Lee sent his troops on a suicidal march for a mile across an open field in the face of union guns. The defeat was devastating, and Lee was humiliated, but hoped to fight another day.
This is not a preachy film. However, it does take some dramatic license, speculating about attitudes and conversations among characters. As such, it certainly does more than simply narrate the facts; it has a point of view. There are a lot of conversations about the Meaning of Life and Death.
The southerners, the philosophical ones, anyway, seem to be Bible-believing Christians for the most part. We get the impression that some of their problems are caused by an inordinate faith in God, or at least a proud confidence that God was on their side. The northerners are also Christians, but they seem more modern somehow. The Chamberlain character, played by Jeff Daniels, is a Professor of Rhetoric and Theology at Bowdoin College. He is the real hero of the movie, incredibly courageous, resourceful, eloquent, wise, compassionate. The theology of the northern soldiers is mainly a theology of racial equality, presented in such terms as to suggest the “political correctness” movement of the 1990s. Indeed, Chamberlain is a real sensitive 1990s male who can nevertheless fight with the best of them when he must.
In the end, Lee (in his disappointment, to be sure) sounds less like a Christian than like a nihilist: he observes that it really doesn’t matter who wins or loses, that we all play out our roles in life, but without hope that it will make much difference. I doubt if the historical Lee was that close in his philosophy to modern existentialism.
So there are hints of modern ideologies, both equality and nihilism, without much reflection on the consistency between these two ideas.
In general, however, the movie is a learning experience. There is some graphic violence, but that isn’t overdone considering the subject matter of the movie. Four hours is a bit much, but I found the time spent well worth-while.
Daniel ………… Michael J. Fox
Uncle Joe ……… Kirk Douglas
Robin …………. Nancy Travis
Molly …………. Olivia d’Abo
Frank …………. Phil Hartman
Carl ………….. Ed Begley Jr.
Glen ………….. Jere Burns
Patti …………. Colleen Camp
Ed ……………. Bob Balaban
Imagine Entertainment presents a film directed by Jonathan Lynn. Produced by Brian Grazer. Written by Lowell Ganz and Babaloo Mandel. Photographed by Gabriel Beristain. Edited by Tony Lombardo. Music by Randy Edelman. Running time: 113 minutes. Classified: PG-13 (for language).
This film is not a great one, by any means, but there are a few good laughs in it. The idea is that rich Uncle Joe, played by Kirk Douglas, has a horrid family of people who are totally devoted to inheriting his vast wealth, no matter what it takes. The skull-duggery is sometimes funny, most often tedious. When filmmakers ask the audience to spend a couple hours watching thoroughly unpleasant people, they should really give us more in return than they give us here. Scheming can be fun, in a film like “The Sting;” but in this one it is heavy-handed and boring.
The one interesting thing about the movie is its exploration of the concept of greed. Daniel, played by Michael J. Fox is, at the beginning of the film, the one uncorrupted relative. His father had walked out on Uncle Joe years ago, motivated by disgust at the other relatives’ behavior and some measure of liberal aversion to the very idea of wealth. Danny is a professional bowler who chokes in the big games and is ready to throw his career overboard anyway when his relatives try to bring him into their plans regarding Uncle Joe. They figure that Joe always liked Danny as a boy (though he now hates his other relatives for obvious reasons), and that if he left his money to Danny they could make deals with Danny on the side.
Danny starts out, however, as a marvel of integrity, vowing not to let himself be sold out to greed. He manfully resists some opportunities to ingratiate himself for financial reward. Eventually, however, he begins to crack. For various reasons, it appears that Joe wants to dispose of his assets before he dies. In time, Danny comes to feel that it is in Uncle Joe’s best interest to leave the money to him rather than to the other family members, since they would simply dump Joe in a nursing home and forget about him. So Danny schemes like the rest of them, on one occasion transparently and shamefully, to get the money.
The question arises, to what extent are Danny’s actions motivated by real love for Uncle Joe, and to what extent by greed? What the film seems to tell us (mostly through the sayings of Danny’s all-wise girl friend) is that in the final analysis the motive is greed, though from seeing Danny’s actions I would not have been so sure. At any rate, at the end, Danny’s true (ungreedy) colors shine through.
The film does present, if it doesn’t always understand, the fact that people’s motives are usually mixed. Even the horrible relatives can plead some measure of altruism as they state their own cases. Danny undoubtedly has good and bad in his intentions. And Uncle Joe’s young British “nurse,” who spends most of her time nearly nude, is the butt (ahem) of much the family’s hatred, but in the end she has the integrity to leave (or at least so it seems) rather than sleep with Joe. After all of this, one wonders why the film seems so sure about the moral judgments it does make.
The other question: have the people been corrupted by the quest for money, or has the quest been corrupted by the people involved? The film leaves the question open, but the plot seems to lead us to the conclusion that both are true.
Christians can raise issues here about original sin. The quest for moral purity in a sinful world, apart from divine grace, is so futile. The love of money, too, is a root of all kinds of evil. Who among us can claim to be free from covetousness? The film seems to be saying that all of us are greedy at heart. Whether intentionally or not, they have hit a biblical principle. Would that they had seen the biblical solution. The heart is deceitful and desperately wicked; but Jesus can cleanse it through his blood.
Tess Carlisle ……… Shirley MacLaine
Doug Chesnic ………. Nicolas Cage
Earl ……………… Austin Pendleton
Barry Carlisle …….. Edward Albert
Howard Shaeffer ……. James Rebhorn
Frederick …………. Richard Griffiths
TriStar presents a film directed by Hugh Wilson. Produced by Ned Tanen and Nancy Graham Tanen. Written by Wilson and Peter Torokvei. Photographed by Brian J. Reynolds. Edited by Sidney Levin. Music by Michael Convertino. Running time: 98 minutes. Classified: PG-13 (for some language).
This film is enormously satisfying as entertainment. Shirley MacLaine gives a wonderful performance here, I think the best in a fine career. I am not wild about her occult philosophizing, any more than I am enthusiastic about Jane Fonda’s politics; but both ladies are very substantial actresses. MacLaine here provides a funny, yet realistic portrait of a woman who is both difficult and likeable, nasty yet surprisingly loving, apparently irrational, yet supremely rational in the context of the plot. All these paradoxes require a performance of great nuance, and MacLaine provides it here.
Nicholas Cage also gives what may be his most impressive performance to date. In the past, he has played a lot of Wild and Crazy men. Here, for most of the film, his emotions are tightly under control as he portrays an uptight, by-the-book secret service agent. But it is evident that he could explode at any moment, as he does at a few crucial points, especially once late in the film.
The script is beautifully written, and the humor is constant, though not the slightest bit heavy-handed. Tiny bits of uneasiness in the characters for reasons known to the audience produced much laughter. The film is remarkably balanced in its comedy. It has a keen eye for the ridiculous elements in various government procedures, but in the end it respects, even vindicates them. It satirizes the uptightness of the secret service, but it also shows that in one agent there is a lot going on below the surface. Except for the villains of the piece, every character, no matter how silly at moments, comes out lovable in the end.
Cage plays Doug Chesnic, assigned by the secret service to guard Tess Carlisle, a former first lady, played by MacLaine. Tess gives Doug quite a hard time, requiring him to run trivial errands, rebelling at petty rules, sneaking away from her protectors, insulting Doug in various ways, often hitting him hard with true but unwelcome insights about himself. But when he seeks a new assignment, she calls the president, who then calls Doug and tells him to stay with her and shape up. The Clinton-like president’s annoyance at having to play peacemaker between these two is hilarious.
When all the truth is out on the table, Tess’s eccentricities make perfect sense, her maternal love for Doug becomes patent, and he breaks through all sorts of standard procedures in order to save her life.
There is no God in this movie, no reference to religion, no obvious theological theme, except, perhaps, the effect of approaching death on behavior. Therefore, it was a real challenge for this highly theological reviewer to come up with anything interesting to say. But after some reflection, it is evident to me that there is a very profound theological dimension here, doubtless quite contrary to the intentions of the filmmakers.
Cornelius Van Til taught that all non-Christian thinkers fall into a kind of dialectic between rationalism (= “my mind is the final standard of truth”) and irrationalism (=”there is no ultimate truth”). These positions are formally contradictory; yet naturalist thinkers need to appeal to both of them, and they tend to hold them in tension. I have argued that the same pattern can be seen in non-Christian political theory: a dialectic between totalitarianism (= rationalism: society must be totally under control of the rational elite) and anarchy (=irrationalism: nobody has the wisdom to govern, so there should be no government at all). Without appeal to divine revelation, non-Christian political thought and practice vacillates constantly between these two extremes. Believers in scripture know that God requires both authority and freedom in society, and they know in general where those lines are to be drawn. Unbelievers do not, so they vacillate from a belief in total control to advocacy of total freedom.
Now if ever a film demonstrated the totalitarian/anarchic dialectic, it is this one. The secret service people are totalitarians for the most part. The film ridicules their blind, unsmiling commitment to total control. Tess is the anarchist, the free spirit, wanting no restraint at all, manipulating events humorously and successfully (for the most part) to control her controllers. But she knows (at the end, more than ever) she must have some protection, and Doug comes to understand her need for freedom. The film notes insightfully that total control is impossible and that anarchy leads to disaster. But the balance between the two is just as mysterious at the end as it is in the beginning. I gather that the film wants to say that love is the answer, but it is too smart to state such a truism explicitly. What emerges is a kind of accommodation, but how can there be any stable accommodation between anarchy and totalitarianism?
At the end of the film, when an officious hospital orderly requires Tess to exit in a wheelchair and she demurs, Doug solves the problem with a twofold exhortation. To the orderly: “are the rules really that sacred?” and to Tess, “get in that wheelchair!” Very funny, but also an excellent illustration of the tension which is the main theme of the film. He is saying that rules aren’t really sacred, but we absolutely must accommodate ourselves to them.
The relation between Tess and Doug hits home, because it is essentially the relation between government and all of us. We love our country and appreciate its protections, but most of our concrete experiences with it are exasperating.
Were Tess and Doug Christians, their relationship would have been very different. Love would have been an important part of it, no doubt, and that would have gone a long way toward reconciling their divergent interests, as in this film. But Christians also acknowledge rules, rules which are “sacred,” and among which love is the chief. A Christian Tess would not have run away without protection, and a Secret Service organized on Christian principles would have been more flexible, knowing that they are servants: servants of God and of God’s people (Matt. 20:26).
The same benefits, and more, might be expected from a really Christian government.
As for the theme of the approach of death: Tess has a brain tumor. Her odd behavior, wanting to play golf and have a picnic by the lake in the dead of winter, turns out in the end to result from a desire to have a few of her old enjoyments one more time before the end. One can hardly blame her, but it is a bit sad that these things are so important to her, and God’s heaven so unimportant, as she approaches the end. The meaning of her life is personal freedom, anarchic freedom, which the film itself regards as ultimately disappointing. This movie comedy presents her as finally triumphant and happy, but a more careful look at the story offers for our meditation a sense of tragedy.
Le Ly ………………. Hiep Thi Le
Steve Butler ………… Tommy Lee Jones
Mama ……………….. Joan Chen
Papa ……………….. Haing S. Ngor
Eugenia …………….. Debbie Reynolds
Warner Bros. presents a film written and directed by Oliver Stone. Produced by Stone, Arnon Milchan, Robert Kline and A. Kitman Ho. Based on the books “When Heaven and Earth Changed Places” by Le Ly Hayslip with Jay Wurts and “Child of War, Woman of Peace” by Le Ly Hayslip with James Hayslip. Photographed by Robert Richardson. Edited by David Brenner and Sally Menke. Music by Kitaro. Running time: 138 minutes. Classified: R (for violence, language and sexuality).
This is the third of Oliver Stone’s movies about the Viet Nam war and its aftermath, the others being “Platoon” and “Born on the Fourth of July.” This one is a true story, though I assume certain liberties have been taken, of a Vietnamese woman. During her childhood, the French destroy her village. Then in her teen years, the Viet Cong come, demanding the loyalty of the villagers, torturing and raping any (including Le Ly, on the basis of a mistake) who appear to give aid and comfort to the enemy. Then came the Americans, who transform everything. Now Viet Nam is a bog of prostitution, cigarettes, drugs, corruption, suspicions, hatreds. Le Ly is forced to go to the city and work for a Vietnamese man who fathers her first son to the angry response of his wife. Le Ly is reduced to begging and selling goods to soldiers in the streets.
At this point, Steve Butler appears, a Marine officer who seems to genuinely love and understand her. He makes her his wife, and the family flees Viet Nam with the American pullout, settling in San Diego, at first with Butler’s family. Steve cannot make it financially, and his bitterness turns to viciousness and eventual suicide. In the course of events, Le Ly learns that his work in Viet Nam was to assassinate Vietnamese who collaborated with the Cong. What the film tells us is that he was in effect a serial killer, who after the war is wracked with guilt over it.
Le Ly herself prospers in the US. She visits her family in Viet Nam, and encounters more bitterness: family members resent her wealth while they have so little. But there is reconciliation.
Oliver Stone is, of course, one of the most deeply ideological of directors, and in many ways he expresses here his loathing for American values and culture. To his credit, he does not glamorize the Viet Cong: they are brutal. But their brutality is the brutality of self-defense, we are told, the brutality made necessary by people who want the freedom to govern themselves. The Americans are the real wreckers of the peaceful culture. Butler seems to typify the whole American war effort: sheer murder under the guise of nation-building.
Also, in America, we see scenes of huge refrigerators and supermarket shelves filled with all sorts of food, to the amazement of Le Ly. And we see shovels of it being emptied into the sink disposal unit, after mass quantities have been conspicuously consumed by Steve’s fat female relatives.
Nevertheless, Stone does not hide the fact that Le Ly does eventually find happiness in America and through her prosperity is able to help the poor of her own country, doubtless far more than if she had stayed there. Nor does he hide the fact that the Communist rule puts Le Ly’s family into a state of constant poverty and suffering. Yet it is not clear how these inconvenient facts have modified Stone’s value judgments.
It is a very beautiful movie. Hiep Thi Le and Tommy Lee Jones give wonderful performances, as do the others in the cast. Stone’s critiques of American materialism are certainly not entirely wrong, though they come across to me as rather heavy-handed.
The film has a deeply Buddhist sensibility. Repentance and reconciliation inhibit bad karma. But is that not, in the end, a form of selfishness just as much as that which Stone has been quick to condemn in the American culture? Would that Christ had
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A MEMORY OF A LIFETIME : on THE REMAINS OF THE DAY (1993)
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** As of today, Indian producer Ismail Merchant and American director- screenwriter James Ivory have raised their cumulative artistry to eternal heights of cinematic collaboration, adorning a global filmography much before the term 'global' translated to an eminent reality of our times. With unique and distinctive tales set in a post Independence India, films like…
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An Awadh Boy's Panorama : tracing words on these filigreed, discerning fingertips.
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https://anawadhboyspanorama.wordpress.com/2019/06/04/a-memory-of-a-lifetime-on-the-remains-of-the-day-1993/
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**
As of today, Indian producer Ismail Merchant and American director- screenwriter James Ivory have raised their cumulative artistry to eternal heights of cinematic collaboration, adorning a global filmography much before the term ‘global’ translated to an eminent reality of our times. With unique and distinctive tales set in a post Independence India, films like THE HOUSEHOLDER, SHAKESPEAREWALLAH, BOMBAY TALKIE, HEAT AND DUST and IN CUSTODY among several others, gave credence to the beginning of a globe traversing medium of storytelling that was incomplete without the expertise of writer Ruth Prabher Jhabwala. Her screenwriting credits became synonymous with the famed Merchant- Ivory trademark.
Together, they brought an elegant, pithy, observant timelessness to the cinematic idiom with such works as HOWARDS END, A ROOM WITH A VIEW and A SOLDIER’S DAUGHTER NEVER CRIES to name a few. Their partnership is so impactful and definitive then that it can never become a relic of the past even as their storied narratives celebrating the power of memories and recreated yesteryears culled from novels and real time accounts justify their eye for details and human behaviour through the annals of time. I write about them because any of their feature films will be nullified of a presence per se without speaking of them as the collective soul of creative vision.
Mr. Ivory, on his part, has added further kudos to his long lasting legacy by recently bagging a Best Adapted Screenplay Oscar for the exquisite CALL ME BY YOUR NAME.
THE REMAINS OF THE DAY, based on Kazuo Ishiguro’s novel, is one of the great exemplars borne out of this trio’s passion for period tales and memorable character studies, whether it’s of a nation, class structures or inherently decent individuals stifled by pre-ordained social mores. The title attests to the past where a present continuum was binding on all individuals. Now that I have watched it, I feel it will hold a special place in my heart for the longest time. Temporal distinctiveness doesn’t define it. The narrative is beautifully constructed to instill a sense of of humanity in an often fraught world, sort of like an inside look at personalities from within the site of a transformative era.
**
Set in the Darlington estate, a storied mansion belonging to the aristocratic Lord Darlington (James Fox), it is about the sense of compassion, trust, respect and interdependence between the master and his coterie of faithful servers that includes the eternally faithful head butler Mr. Stevens (Anthony Hopkins) whose aged father (Peter Vaughan) himself has been in the line of domestic duties for a whole lifetime. Mr. Stevens impeccably manages the household and the generational ideal of serving the upper echelon’s every need is part of his psychological make up, an unbroken trail which he is glad to contribute to with firm discipline and gentility. The adaptation here keeps it as a close knit unit that runs this important site in the English countryside at a time of great social churning, that is in an epoch when signs of a second World War were being broadcast on the horizon and the personal became political as Lord Darlington used his estate to host meritorious individuals of great intellect to determine England’s role in the times to come. There is no vulgate or obvious display of power wrestling either by the soft spoken and utterly gentlemanly Lord Darlington or by those who manage the household. There is a meeting of the twain in terms of common civility even though distance and dispassionate tempers rule the roost and Lord Darlington’s own ideologies may be open to doubt. An unquestioning strain of loyalty runs through the people and their carefully regimented inheritances of behaviour.
Those on this side of the English channel will find a welcome note of identification as the Indian subcontinent has perpetually run on the contributions of those who serve us and it is not really a rarity available only to the rich or upper middle classes but to anyone with enough finances to spare, having domestic help is a way of life ingrained in the culture, a very important marker of class and national identity, of an Eastern sense of housekeeping responsibilities intrinsic to majority of the households.
Lord Darlington, by virtue of his class and exclusive right to such a privilege, can afford this large, efficient consortium of people who are, in essence, actual masters of the house. From a post colonial perspective, it is an interesting common point that those who ruled over the commonwealth have the same heirarchy. The world is the same, that’s what we realize in the end. The subtle projection of these ideas add complexity and realistic approximation to this scenario. The finesse of Ruth Prabher’s screenwriting shines through here.
**
Another great part of this story is essentially one of unrequited yet passionate feeling as the female head of the housekeeping duties Ms. Kenton( the always wonderful Emma Thompson) shares a communion of the soul with Stevens. She is opposed to his always calm demeanour without nary a hint of anger as she is opinionated, haughty and not merely a puppet but ultimately is a follower of the decorum that binds both together. This relationship is so delicate, it feels that one wrong touch can break it. However, this is the paradigm of transcendental love, beyond set definitions and shared by those rare creatures in flesh and blood who we come across once in a lifetime as they exercise the dignity and passion to convey multitudes through just one look, shorn of lust or any expectant tide of passion. The writing strokes paint them as two different individuals marked by their natures.
Cue the scene in the room where Ms. Kenton asks Stevens about the book he is reading. The intimacy of that scene is all in the looks, the beauty of the expressions in that tiny space where she wants him to break the spell of regulations while he holds himself in the stead of passive resignation. There is not even a suggestion of anything sexual developing between man and woman as conventional screenwriting would have us believe in this kind of exchange. Rather here, the sense of acknowledgement teeters on the edge of a breakthrough. In this moment, the shared love between both becomes clear to the discerning eye. But something magical and simultaneously heartbreaking transpires then. In the scene when Miss Kenton breaks down in her own room and Stevens comforts her, this becomes tortorous for both of them. After all even though they can’t be together, their mutual journey will last for years on end. Ivory has a similar splendid sense of the invisible ties that bind us together.
The performers convey a silent storm punctuated by variables of decorum, freedom and stature. With Stevens, the question of loyalty and total belief towards his master blurs lines and it is a grey zone for the viewer but to him it is a matter of faith to Lord Darlington. We may reckon it as a typically British way but I think it’s a matter of circumstance and personal natures. Sir Anthony Hopkins generates a spectral presence and cuts an emphatic figure with the help of those glinting light eyes as the true anchor of the house. His clockwork precision is enlightening in terms of detached social mobility and class consciousness extending to every interaction. Emma Thompson’s interiority is spectacular too, mining her desires in a study in restraint.
Miss Kenton marries another man who adores her (Tim Pigott Smith) and makes a life for herself while Mr. Stevens continues to serve the Darlington estate, later occupied by the charismatic American statesman ( the wonderful Christopher Reeves ) who had befriended Lord Darlington since their heydays, even as age descends on him in all its huffs and puffs. Note the formality of Mr. and Ms. binds them to a perpetual cycle of conformity. Hence their reunion after decades apart in the final minutes is poignant and will make one misty eyed.
The fact that a dutiful Stevens doesn’t open up to ways of love to maintain his linearity of being makes us wonder : is it his utter competence, his inherent decency that draws Ms. Kenton to him? In other interpretations, he may be asexual or so bound by rules of his trade that the very whisper of companionship is something he evades. The same applies to Lord Darlington. Even when he gives shelter and work to two Jewish girls, he doesn’t display so much as an inkling of predatory, prurient stereotype. The men being gentlemen elevates this script.
James Fox conveys the incredulity, kindness and civility of Lord Darlington and the nuanced way in which he balances his vulnerabilities with the possible odd outcome of his loyalty to a German gentry that may be ensnaring him is brilliant. This is from the man who had a greater moral weight to carry as Mr. Fielding in A PASSAGE TO INDIA. For me, he will always be headmaster Fielding. Here, his name is besmirched in the annals of time but it is difficult to not feel a twinge for him as he may have only acted in best interests or was naive enough to think of others as allies. Fox’s performance makes us see the emphatic and conflicted man who seeks Stevens’ opinions in matters of politics thereby establishing his equanimity. This is a subtle prowess.
Now iconic names as Hugh Grant and our very own Cersei Lannister ala Lena Headey ( both in early parts) are there too as is Ben Chaplin and they are competent.
**
THE REMAINS OF THE DAY focuses on people who are forever trapped in the backdrops of their lives and gives them the respect they deserve. Within beautiful locations and grandiose structures, the people occupy a place in the heart. The mute internalizations here find a personal representation in everyday images . Memory and history come together to create a striking mosaic of static lives alive with a million sensations of love and compassion.
THE REMAINS OF THE DAY is a once in a lifetime experience and must be watched for its intricacies and humanity.
***
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During the 1930s, James Stevens (Anthony Hopkins) serves as a proper English butler to the doltish Lord Darlington (James Fox). Stevens is so dedicated that he forgoes visiting his father on his deathbed in order to serve, and overlooks Darlington's Nazi sympathies and growing anti-Semitism. Twenty years after his employer's death, Stevens tries to reconnect with Miss Kenton (Emma Thompson), Darlington's head housekeeper, and begins to regret his loyalty to his former master.
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Page Module:Infobox/styles.css has no content. The Remains of the Day is a 1993 Anglo-American drama film adapted by Ruth Prawer Jhabvala from the 1989 novel of the same name by Kazuo Ishiguro. It was directed by James Ivory and produced by Ismail Merchant, Mike Nichols and John Calley. It...
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Culture Wikia
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https://culture.fandom.com/wiki/The_Remains_of_the_Day_(film)
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For other uses, see The Remains of the Day (disambiguation).
Page Module:Infobox/styles.css has no content.
The Remains of the DayFile:Remains of the day.jpgDirected byJames IvoryScreenplay byRuth Prawer Jhabvala
Harold Pinter (uncredited)Produced byIsmail Merchant
Mike Nichols
John CalleyStarring
Anthony Hopkins
Emma Thompson
James Fox
Christopher Reeve
Peter Vaughan
Hugh Grant
Michael Lonsdale
Tim Pigott-Smith
CinematographyTony Pierce-RobertsEdited byAndrew MarcusMusic byRichard Robbins
Production
company
Merchant Ivory Productions
Distributed byColumbia Pictures
Release date
5 November 1993 ( )
Running time
134 minutesCountryUnited Kingdom
United StatesLanguageEnglishBudget$15 millionBox office$63.9 million[1]
The Remains of the Day is a 1993 Anglo-American drama film adapted by Ruth Prawer Jhabvala from the 1989 novel of the same name by Kazuo Ishiguro. It was directed by James Ivory and produced by Ismail Merchant, Mike Nichols and John Calley. It starred Anthony Hopkins as Stevens and Emma Thompson as Miss Kenton with James Fox, Christopher Reeve, Hugh Grant and Ben Chaplin. The film was nominated for eight Academy Awards.
Plot[]
In 1950s post-war Britain, Stevens, the butler of Darlington Hall, receives a letter from Miss Kenton, a recently divorced former work colleague employed as the housekeeper some twenty years earlier. Lord Darlington has died a broken man, his reputation destroyed after he was exposed as a Nazi sympathizer, and his stately country manor has been sold to a retired United States Congressman, Mr Lewis. Stevens is granted permission to borrow his Daimler, and he sets off to the West Country to meet the former Kenton.
The film flashes back to Kenton's arrival as housekeeper in the 1930s. The ever efficient Stevens manages the household well, taking great pride in his profession, and his dedication is fully displayed when, while his father lies dying, he steadfastly continues his duties. Kenton also proves to be a valuable servant, and she is equally efficient and strong-willed, but also warmer and less repressed. Relations between the two eventually warm, and it becomes clear that she has feelings for him, yet despite their proximity and shared purpose, Stevens' detachment remains unchanged. Eventually, she forms a relationship with a former co-worker and leaves the house prior to the outbreak of the Second World War. Before she resigns, Stevens finds her crying in frustration, but the only response he can muster is to call her attention to a neglected domestic task.
Meanwhile, the hall is regularly frequented by politicians of the interwar period, and many of Lord Darlington's guests are like-minded British and European aristocrats, with the exception of Congressman Lewis. Darlington later also meets Prime Minister Chamberlain and the German Ambassador, and uses his influence to try and broker a policy of appeasement towards Nazi Germany, based on his belief that Germany had been unfairly treated by the Treaty of Versailles following the First World War. In the midst of these events, one day Darlington suddenly requests that two newly appointed German-Jewish maids, both refugees, should be dismissed. Stevens carries out the command, and Kenton threatens resignation in protest, but she is too timid to do so.
En route to meeting Kenton, when asked about his former employer, Stevens at first denies having served or even met him, but later admits to having served and respected him. He meets Kenton (now Mrs Benn), and they reminisce, but she declines Stevens' offer to return to Darlington Hall, wishing instead to remain near her pregnant daughter. After the meeting, Kenton is emotional, while Stevens is still unable to demonstrate any feeling. Back in Darlington Hall, Lewis asks Stevens if he remembers much of the old days, to which Stevens replies that he was too busy serving. Symbolically, a pigeon then becomes trapped in the hall, and the two men eventually free it, leaving both Stevens and Darlington Hall far behind.
Cast[]
Production[]
A film adaptation of the novel was originally planned to be directed by Mike Nichols from a script by Harold Pinter. Some of Pinter's script was used in the film, but, while Pinter was paid for his work, he asked to have his name removed from the credits, in keeping with his contract.[2] Christopher C. Hudgins observes: "During our 1994 interview, Pinter told [Steven H.] Gale and me that he had learned his lesson after the revisions imposed on his script for The Handmaid's Tale, which he has decided not to publish. When his script for The Remains of the Day was radically revised by the James Ivory-Ismail Merchant partnership, he refused to allow his name to be listed in the credits" (125).[3][4][5]
Though no longer the director, Nichols remained associated with the project as one of the producers of the Merchant Ivory film.
Settings[]
A number of English country estates were used as locations for the film, partly owing to the persuasive power of Ismail Merchant, who was able to cajole permission for the production to borrow various houses not normally open to the public. Among them was Dyrham Park for the exterior of the house and the driveway, Powderham Castle (staircase, hall, music room, bedroom), the interior of which was used for the aqua-turquoise stairway scenes, Corsham Court (library and dining room) and Badminton House (servants' quarters, conservatory, entrance hall). Luciana Arrighi, the production designer, scouted most of these locations. Scenes were also shot in Weston-super-Mare, Somerset, which stood in for Clevedon. The pub, where Mr Stevens stays, is the Hop Pole in Limpley Stoke; the shop featured is also in Limpley Stoke. The pub where Miss Kenton and Mr Benn meet is the George Inn, Norton St Philip.
Characters[]
The character of Sir Geoffrey Wren is based loosely on that of Sir Oswald Mosley, a British fascist active in the 1930s.[6] Wren is depicted as a strict vegetarian, mimicking the diet of his idol, Adolf Hitler.[7]
Edward Wood, 1st Earl of Halifax also appears in the film. Lord Darlington tells Stevens that Halifax approved of the polish on the silver, and Halifax himself later appears when Darlington meets secretly with the German Ambassador and his aides at night. Halifax was a chief architect of the British policy of appeasement from 1937 to 1939.[8]
Score[]
Page Module:Infobox/styles.css has no content.
Untitled
Professional ratingsReview scoresSourceRatingEntertainment WeeklyA link
The original score is composed by Richard Robbins. The score was nominated for the Academy Award for Best Original Score, losing to the score of Schindler's List.
Track listing
Opening Titles, Darlington Hall - 7:27
The Keyhole and the Chinaman - 4:14
Tradition and Order - 1:51
The Conference Begins - 1:33
Sei Mir Gegrüsst (Schubert) - 4:13
The Cooks in the Kitchen - 1:34
Sir Geoffrey Wren and Stevens, Sr. - 2:41
You Mean a Great Deal to This House - 2:21
Loss and Separation - 6:19
Blue Moon - 4:57
Sentimental Love Story/Appeasement/In the Rain - 5:22
A Portrait Returns/Darlington Hall/End Credits - 6:54
Critical reception and awards[]
The film received a 97% rating on Rotten Tomatoes, a site that tracks film reviews posted by both critics and audiences; its consensus states: "Smart, elegant, and blessed with impeccable performances from Anthony Hopkins and Emma Thompson, The Remains of the Day is a Merchant-Ivory classic."[9] Roger Ebert particularly praised the film and called it "a subtle, thoughtful movie."[10] In his review for The Washington Post, Desson Howe gave the film a favorable review, and said of it "Put Anthony Hopkins, Emma Thompson and James Fox together and you can expect sterling performances," praising their work in the film.[11] Vincent Canby of The New York Times said, in another favorable review, "Here's a film for adults. It's also about time to recognize that Mr Ivory is one of our finest directors, something that critics tend to overlook because most of his films have been literary adaptations."[12] The film was nominated for eight Academy Awards, but won none:[13]
Award Nomination Lost to Best Actor in a Leading Role (Anthony Hopkins) Tom Hanks (Philadelphia) Best Actress in a Leading Role (Emma Thompson) Holly Hunter (The Piano) Best Art Direction-Set Decoration Allan Starski and Ewa Braun (Schindler's List) Best Costume Design Gabriella Pescucci (The Age of Innocence) Best Director Steven Spielberg (Schindler's List) Best Music, Original Score John Williams (Schindler's List) Best Picture Schindler's List Best Adapted Screenplay Steven Zaillian (Schindler's List)
The film is also recognized by American Film Institute in these lists:
2002: AFI's 100 Years...100 Passions – Nominated[14]
Notes[]
Works cited[]
Gale, Steven H. Sharp Cut: Harold Pinter's Screenplays and the Artistic Process. Lexington, Ky.: The University Press of Kentucky, 2003.
Gale, Steven H., ed. The Films of Harold Pinter. Albany: SUNY Press, 2001.
Hudgins, Christopher C. "Harold Pinter's Lolita: 'My Sin, My Soul'." In The Films of Harold Pinter. Steven H. Gale, ed. Albany, N.Y.: SUNY Press, 2001.
Hudgins, Christopher C. "Three Unpublished Harold Pinter Filmscripts: The Handmaid's Tale, The Remains of the Day, Lolita." The Pinter Review: Nobel Prize / Europe Theatre Prize Volume: 2005 - 2008. Francis Gillen with Steven H. Gale, eds. Tampa, Fla.: University of Tampa Press, 2008.
[]
Template:IMDB title
The Remains of the Day at AllMovie
The Remains of the Day at Merchant Ivory Productions
The Remains of the Day at Rotten Tomatoes
Template:Merchant Ivory Productions Template:James Ivory Template:London Film Critics Circle Award for British Film of the Year Template:Kazuo Ishiguro
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Christopher Reeve Homepage! - Information on Christopher Reeve. Including Movie Reviews, News and Information, Huge List of Relevant Links, Fundraising Information and much more!
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The Remains of the Day (1993)
Character Name: Jack Lewis
Reviewed by Betsy Mahon (bmahon@alamedanet.net)
In his autobiography, Christopher Reeve recalls that, after the premier of Howard's End, he tapped James Ivory on the shoulder and asked "Any part in your next film, it doesn't matter what it is". Ivory offered him the small, but important, role of Jack Lewis, an American congressman, in his upcoming movie The Remains of the Day, based on a novel of the same name, by the British author Kazuo Ishiguro. The film reunites Howard's End stars Anthony Hopkins and Emma Thompson. It also features the yet undiscovered Hugh Grant in a small role.
Ivory stated: "I first read The Remains of the Day in 1989 while we were shooting Mr. and Mrs. Bridge in Kansas City. One of our actors gave me the book. I knew at once that I wanted to make it into a film. The story seemed to me to be a sort of classic triangle.... The milieu was also interesting for me, as well as the period: a great aristocratic establishment centered in an English country house just before and after the Second World War, but seen from the perspective of the staff, and most particularly, the butler." He added: "I instructed my agent in England to see if the novel's rights were free, but I soon learned they were not: Harold Pinter had optioned the book and was said to be writing a screenplay for Mike Nichols, who would be making the film for Columbia Pictures. I thought, 'Well, that's that,' but I followed the progress of the project anyway - things can always happen - this time through my American agent." Things did happen. Mike Nichols withdrew, then formed a partnership with the Merchant-Ivory team which had just completed Howard's End. Long time collaborator Ruth Prawar Jhabvala agreeded to rewrite the script. Many members of the production crew moved directly from Howard's End toThe Remains of the Day.
The film is basically the story of 2 loyal servants - Mr. Stevens (Hopkins), the butler, and Miss Kenton (Thompson), the housekeeper - at Darlington Hall in pre World War II England. Early in the movie, we see Congressman Lewis bidding on Darlington Hall at auction. He takes possession of the manor and offers Stevens a well deserved vacation. While driving across England, Stevens has a chance to reminisce about life on the great estate. Stevens, a second-generation servant, always performed his duties with the utmost discretion and attention to detail. Miss Kenton was equally as efficient, but much more high spirited. They were clearly attracted to each other, but only able to relate on the level of butler and housekeeper. Their affection was only expressed in terms of pitched battles over domestic details. Frustrated by the situation, Miss Kenton broke away from the service of Darlington Hall to marry. Stevens remained loyal to Lord Darlington (James Fox), a Nazi sympathizer, and blind to the intrigue going on in the household which he so ably managed. Stevens' journey at the outset of the film is an attempt to reconcile with the former Miss Kenton and to persuade her to return to Darlington Hall. When he is unsuccessful in these endeavors, he returns to the only environment where he is comfortable and takes up the service of the new owner of Darlington Hall.
Although he appears in a limited number of scenes, Christopher Reeve adds a breath of life to this film. He appears in the opening sequence bidding on Darlington Hall when it is on the auction block. Old retainers with long memories at the estate ask "Is this the same Lewis who attended the conference in 1936?" His relaxed manner eating breakfast and chatting contrasts with the formality of Stevens. When the movie reverts back to the thirties, Reeve portrays the brash young American Congressman who has no patience with the stodgy British and French aristocrats or their naïve political philosophies. In my favorite scene, he is frustrated when a French diplomat (played by Michel Lonsdale, whom Reeve had befriended in Paris two decades earlier) refuses to look beyond his sore feet to the dangers posed by the Nazis. He yanks the man's shoe off and throws it to the ground. At a formal banquet, he delivers his stirring speech "You are amateurs and international affairs should not be run by amateurs. We don't need gentlemen politicians, but real ones."
Reeve clearly enjoyed being reunited with the Merchant-Ivory team and with the artistic license it provided him. He wrote, "Jim was as generous and open to suggestions from everyone as he had been when we worked together nine years earlier." Reeve ad libbed the above scene where he threw the ambassador's shoe in frustration, as well as a later one in which he apologized to Lord Darlington for his statements. "After we shot this speech it seemed to me that it might be a good idea for Lewis to apologize to the host to make it clear that the cutting remarks at dinner were not meant to be taken personally. Jim and I added some dialogue about how I had loved England since I was a child and had always enjoyed visiting here with my family. As the cameras rolled I approached our host with my apology. James Fox had not expected me to come over, so his look of polite bewilderment was absolutely genuine. Once again, as he had done with the dog on the beach in The Bostonians, Jim appreciated the spontaneity of the moment and used it in the final cut."
The Remains of the Day opened in November 1993 and was an immediate success. It was nominated for 8 Academy Awards including "Best Picture", "Best Actor" (Hopkins), "Best Actress" (Thompson), "Best Director" (Ivory) and "Best Screenplay Adaptation" (Jhabvala). Reeve wrote in Still Me, "After only a few days of shooting, it was obvious to everyone involved that Tony and Emma were giving the performances of a lifetime. My spirits soared with the realization that I was contributing, even in a small way, to a film that was certain to become a classic." He is quoted in the Havill book "I don't regard that as my movie - I was a visitor - but it's the best movie I've ever been in. Anthony Hopkins gave one of the best performances ever captured on screen." Reviews of Reeve's performance were good but brief. The Variety critic wrote "Christopher Reeve brings authority and Yankee energy to the one dissenting voice in the collaborationist circle." Christopher Reeve "heads a superb supporting cast" was used more than once.
There is some disagreement over the effect Reeve's role in The Remains of the Day had on his future career. Havill writes that the success of this movie meant a return to stardom and that "there were movie offers again arriving by the dozen". Reeve clearly thought otherwise. "...I felt that my performance as Lewis was one of my personal best and hoped the role might begin the resurrection of my film career....But when the articles and reviews came out, I was scarcely mentioned. ...I had the satisfaction of being a part of an undeniably great film, but it did nothing for my career." After The Remains of the Day, Reeve made three movies in fairly quick succession. In all, he gave earnest performances but none was enough to return him to true stardom. He had long coveted the role of Thomas Jefferson in another Merchant Ivory film Jefferson in Paris. Reportedly he had discussed the role as early as 1985, but when Merchant-Ivory formed a partnership with Walt Disney Studios to offset costs, Disney insisted on Nick Nolte in the title role. Still, Reeve refused to feel sorry for himself. In an interview just 17 days before his accident, he told a reporter: "Overall I'm happy with the route that I took and think the best opportunities are ahead of me."
"Remains of the Day" is available on videotape and DVD.
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This page is Copyright © 1999-2005, Steven Younis. All Rights Reserved
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https://www.bfi.org.uk/film/38c090b6-bf34-5809-9a4c-f350b62ce37c/the-remains-of-the-day
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The Remains of the Day (1993)
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This adaptation of Kazuo Ishiguro’s Booker-winning novel about a repressed and dutiful butler continued the Merchant-Ivory team’s run of handsome, awards-laden period pieces.
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https://www.bfi.org.uk/film/38c090b6-bf34-5809-9a4c-f350b62ce37c/the-remains-of-the-day
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“Nothing that Mr Merchant, Mr Ivory and Ms Jhabvala have done before has the psychological and political scope and the spare authority of this enchantingly realized film.” Vincent Canby, The New York Times, 1993 British cinema in the 1980s and early 1990s was defined by an American director, an Indian producer and a German-born screenwriter: James Ivory, Ismail Merchant and Ruth Prawer Jhabvala respectively. They were nearing the end of their commercial reign when they brought to the screen Kazuo Ishiguro’s story of the unexpressed affection between Mr Stevens (Anthony Hopkins) – head butler at an English stately home shortly before World War II – and housekeeper Miss Kenton (Emma Thompson). But the film finds them at the peak of their powers, the fragile almost-love between the main characters explored with heartbreaking delicacy. There’s notable support too from Peter Vaughan, who almost steals the movie as Mr Stevens’s father, a fellow butler who must work under his son. Among the trio’s other collaborations is Howards End (1992). In 2010, Ishiguro’s novel Never Let Me Go was adapted by screenwriter Alex Garland and director Mark Romanek.
1993 USA, United Kingdom
Directed by
James Ivory
Produced by
Ismail Merchant, Mike Nichols, John Calley
Written by
Ruth Prawer Jhabvala
Featuring
Anthony Hopkins, Emma Thompson, James Fox
Running time
134 minutes
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THE REMAINS OF THE DAY – Richard Robbins
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2023-11-16T00:00:00
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THROWBACK THIRTY Original Review by Jonathan Broxton The Remains of the Day is a British period drama film directed by James Ivory, based on Kazuo Ishiguro's novel of the same name. The story follows James Stevens (Anthony Hopkins), a repressed English butler who has spent most of his life in service at Darlington Hall, a…
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MOVIE MUSIC UK
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https://moviemusicuk.us/2023/11/16/the-remains-of-the-day-richard-robbins/
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THROWBACK THIRTY
Original Review by Jonathan Broxton
The Remains of the Day is a British period drama film directed by James Ivory, based on Kazuo Ishiguro’s novel of the same name. The story follows James Stevens (Anthony Hopkins), a repressed English butler who has spent most of his life in service at Darlington Hall, a grand manor house formerly owned by Lord Darlington (James Fox), a man who was once deeply involved in political affairs and international diplomacy. The film is set in 1958 as Stevens, who is now working for an American named Farraday (Christopher Reeve), embarks on a journey across England, and reflects on his life at Darlington Hall – the events that transpired there in the years leading up to World War II, and specifically his relationship with housekeeper Miss Kenton (Emma Thompson), which Stevens never allowed to blossom into romance. The film explores themes of duty, loyalty, and personal sacrifice, particularly as Stevens begins to come to terms with the consequences of his unwavering blind loyalty to Darlington, who held complex political stances in the pre-war years. The film is also a poignant exploration of regret, nostalgia, and the changing social landscape of post-war England, as Stevens comes to the realization that he may have sacrificed his personal happiness for a sense of duty.
The film is, as all Merchant-Ivory films were, very English in its attitude and outlook, despite the fact that Merchant was Indian and Ivory was American. It has a certain stillness, an introspection, and Stevens is perhaps the cinematic personification of the British ‘stiff upper lip,’ a man whose manners and sense of propriety is derived entirely from his dedication to service. It’s a slow, ponderous, but nevertheless moving film that hints at simmering tensions and passions underneath its glacial surface, and it is anchored by two astonishing lead performances by Hopkins and Thompson, both of whom received Oscar nominations for their work. It’s also a visually beautiful film, with lush cinematography and splendid production design that captures the full majesty of the opulent English country mansions and their gorgeous gardens.
The score for The Remains of the Day, as was the case for all Merchant-Ivory films, was by American composer Richard Robbins, who was also Oscar-nominated for his efforts. In my review of Howard’s End I mused about how Robbins was something of a curiosity in film music circles because, with just one or two exceptions, he essentially only worked on Merchant-Ivory films. A classically trained composer, he began his career as Ismail Merchant’s personal assistant in the late 1970s, before going on to score The Europeans in 1979, nine more films for them in the 1980s (including A Room With a View, Maurice, Heat and Dust, The Bostonians, Mr. & Mrs. Bridge, and the aforementioned Howard’s End), plus another dozen or so additional films in the 1990s and early 2000s, up until his death from Parkinson’s disease at the age of 71 in 2012.
Outside of Merchant-Ivory films, Robbins was something of a film music unknown quantity. As virtually every film he scored was a British period drama – he never did a comedy, never did an action film or a fantasy film, for example – for all intents and purposes, every score he wrote was a variation on the same stylistics, with just enough differences in melody and orchestration. As such, The Remains of the Day is very much cut from the same cloth as Howard’s End, A Room With a View, Maurice, and all the others, and knowing what your taste is going in will clearly dictate whether this is a score that will appeal to you.
Robbins’s main conceptual idea for The Remains of the Day is to capture through music the rigidity, perfectionism, and reserved emotions of Stevens; he runs Darlington Hall like clockwork, with a militaristic precision that borders on the obsessive, and so to capture this Robbins underpins the score with repetitive, almost minimalist melodic lines that repeat throughout the film. However, what’s also interesting is how Robbins gradually softens these rigid formalities as the score progresses and we learn more about Stevens’s life; what begin as a mechanized, outwardly cold, austere set of string phrases, eventually start to thaw and become warmer and more approachable – no doubt due to the softening of the relationship between himself and Miss Kenton over the years. Robbins makes prominent use of plucked strings, undulating basses, and glassy percussion waves, augmented by cool electronic tones; these are prominent in the opening cue “Opening Titles/Darlington Hall” and throughout much of the first half of the score. The melody itself is perhaps a little on the spartan side – it’s not a theme that you’ll leave humming – but it does what it needs to do.
There’s an old adage that butlers are like swans; serenely gliding through the world on the surface, but paddling frantically underneath. This idea is very much in evidence in the cues that accompany the hustle and bustle of life ‘downstairs’ at Darlington Hall, where cooks and chefs and manservants and scullery maids busily carry out Stevens’s meticulous orders. Through cues like “The Keyhole and the Chinaman,” parts of “Tradition and Order,” and “The Cooks in the Kitchen,” Robbins creates a more hectic sense of movement through the use of woodblocks alongside more dynamic bubbling orchestral passages, pizzicato strings, and ticking watches. It’s not comedic, per se, but it is definitely quirky and playful.
At the other end of the scale, the scenes of political machinations in Darlington Hall’s state rooms and dining rooms are given a striking sense of importance through Robbins’s increased use of brass amid the strings. There is a sense of seriousness and regality to the trumpet theme that runs through the superb “The Conference Begins,” but then in the more somber pair comprising “Sir Geoffrey Wren and Stevens, Sr.” and “You Mean a Great Deal to This House” Robbins scores the film’s shocking twist – that Lord Darlington holds Nazi sympathies and is hosting prominent German dignitaries at his home – with a sense of impending tragedy, as if the music knows exactly what sort of horrors are being plotted within the hall’s walls. Robbins‘s use of slightly abstract, low-end woodwind textures here is fascinating.
“Loss and Separation” sees the main theme for Stevens being carried initially by a slightly grim-sounding saxophone backed by undulating piano textures, but as the cue develops the thematic content is transferred to strings, and Robbins offers a gently romantic, bittersweet exploration of the relationship between Stevens and Miss Kenton – both of whom ponder about what their lives might have been like had Stevens set aside his rigid adherence to duty and decorum and responded to Miss Kenton’s clear affections. There is sadness and regret in this music, and it works excellently in conveying the subtle layers of their friendship.
The final two cues – “Sentimental Love Story/Appeasement/In the Rain” and “A Portrait Returns/Darlington Hall/End Credits” – offer 12 minutes of solid, consistent dramatic scoring that ranges from the stark to the romantic, the soothing to the surprisingly intense, and contains several strong performances of the score’s main theme. The “Appeasement” part of the first cue is excellent, an array of bold and resonant surging piano lines punctuated by dark horns, underscoring one of the most important parts of the political half of the story involving British Prime Minister Neville Chamberlain and Nazi German ambassador Joachim von Ribbentropp planning the famous ‘peace in our time’ pact that, in fact, entirely failed to prevent World War II. In the final cue Robbins presents Stevens’s theme at its most approachable and emotionally engaging, as the stoic butler finally comes to terms with the life he had, the love he spurned, and his role in turning a blind eye to what turned out to be one of the most devastating political moments in world history. There is some really powerful, overtly dramatic music here, cymbal clashes and more, and it’s among the most stirring music Robbins ever wrote.
One thing I have to mention here – and the fact that I am mentioning it at all, considering how often I fail to recognize things like this as an issue in the first place, should tell you something – is the fact that the Remains of the Day album has unexpectedly appalling sound quality, with clearly audible distortion throughout much of the running time, hiss problems, and much more besides. Whether this was an issue with engineer Bill Somerville-Large’s original recording, or whether it was to do with the mastering by the people at Angel Records, is unclear, but anyone who finds that audio issues diminish a score’s enjoyability will certainly find that to be the case here.
However, from a compositional and dramatic standpoint, The Remains of the Day is worth exploring. It’s Oscar nomination was likely a result of it riding the coattails of the film itself, but even with that in mind it’s one of the most emotionally accessible scores of Richard Robbins’s career. It offers a compelling musical portrait of a man whose personal life is entirely subsumed by his devotion to duty, and who only discovers what his life truly meant long after he was able to do anything about it. It has that inherent Englishness to it that Merchant-Ivory productions always contained, and if that musical sound has never appealed to you, then this score is unlikely to be the one to final open the gates. However, anyone whose taste encompasses this type of work, or the similar-sounding work of composers like George Fenton, or Richard Rodney Bennett, or perhaps Geoffrey Burgon or Christopher Gunning, will find much to appreciate.
Buy the Remains of the Day soundtrack from the Movie Music UK Store
Track Listing:
Opening Titles/Darlington Hall (7:25)
The Keyhole and the Chinaman (4:12)
Tradition and Order (1:49)
The Conference Begins (1:31)
Sei Mir Gegrusst (written by Franz Schubert, performed by Anne Murray) (4:11)
The Cooks in the Kitchen (1:32)
Sir Geoffrey Wren and Stevens, Sr. (2:38)
You Mean A Great Deal To This House (2:20)
Loss and Separation (6:17)
Blue Moon (written by Richard Rodgers and Lorenz Hart) (4:54)
Sentimental Love Story/Appeasement/In the Rain (5:20)
A Portrait Returns/Darlington Hall/End Credits (6:48)
Running Time: 48 minutes 57 seconds
Angel Records CDQ-5502926 (1993)
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Michael Chekhov’s Acting Technique: A Practitioner’s Guide 9781350090033, 9781408156889, 9781472503459, 9781472503466
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Intended for actors, directors, teachers and researchers, this book offers an exceptionally clear and thorough introduct...
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dokumen.pub
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https://dokumen.pub/michael-chekhovs-acting-technique-a-practitioners-guide-9781350090033-9781408156889-9781472503459-9781472503466.html
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Table of contents :
Title Page
Copyright Page
Contents
Preface
Acknowledgements
List of Abbreviations
Introduction: Guiding Principles
Creative individuality
The higher ego or self
Four reasons to develop the higher ego
Divided or dual consciousness
A Note on the Context of Chekhov’s work
Imperial Russia
The Russian revolution
Post-Revolutionary theatre
New theatrical forms
The Stalin years and socialist realism
Chekhov in exile and Chekhov Theatre Studio
Publications
Part One: Preparation
Chapter 1: The Ideal Centre
Clearing a space
The ideal
Location of the centre
Presence
Chapter 2: The First of the Four Brothers: Feeling of Ease
Physical ease
Emotional ease
Application of ease
Ease as a foundation
Chapter 3: Receiving
Transition and the changeover
Receptivity and embodied listening
Concentration
Chapter 4: The Second of the Four Brothers: Feeling of Form
Form as characterization
Form as composition of the actor: Blocking
Form as composition of the production: Style
Chapter 5: The Third of the Four Brothers: Feeling of Beauty
Beauty and aesthetics
Beauty and character
The character’s palace of beauty
Chapter 6: The Fourth of the Four Brothers: Feeling of Entirety
Triplicity
Polarity
Flying over the play
Entirety of the role
Working within the whole
Chapter 7: Radiating
Radiating as a quality
Radiating as projecting or sending
Sustaining and the pause
Chapter 8: Expansion and Contraction: Expansion as a principle
Expansion as empathy
Expansion and contraction as psychophysical tools
Polarity of the gestures
Development of the gestures
Part Two: Practice
Chapter 9: Qualities of Movement: Moulding, Floating, Flying
Quality of moulding
Quality of flowing or supporting
Quality of flying
Chapter 10: Further Qualities of Movement
Staccato and legato
Emotional adverbs
Curved and straight sensation
Large and small steps
Chapter 11: Six Directions
Forward direction
Backspace or backward direction
Upward direction
Downward direction
Right and left directions
Combining directions
Chapter 12: Archetypal Gesture
The form of the gesture
The basic set of archetypal gestures
Direction and quality
Archetypal gesture and other forms
Chapter 13: The Three Sisters: Rising, Falling and Balancing
Rising
Falling
Balancing
Chapter 14: Image and Imagination
Four stages in training the imagination
Thinking in images
Imagination in the actor’s process
Imagination in the rehearsal process
Autonomy of the imagination
Autonomy of the actor
Chapter 15: Improvisation
Inspiration
Transition: Transformation
Transformation as a law of composition
Transformation as a practice
Chekhov’s transformations
Part Three: Performance
Chapter 16: Imaginary Body
Psychological resonance of the imaginary body
Fantastic imaginary body
The character in the given circumstances rather than the actor
Finding the objective
Collaborating with the image
Merging with the image
Chapter 17: Imaginary Centres
Thinking, feeling, willing centres
Interplay of the three centres
Determining the character’s centre
The centre in a specific partof the body
An image in the centre
Centre as a quality
Multiple and shifting centres
Chapter 18: Stick, Veil, Ball
Stick
Veil
Ball
Connection with imaginary body, imaginary centre and qualities of movement
Chapter 19: Archetypes
Gesture of the archetype
Archetype as category
Determining the archetype: Archetype lists
Determining the archetype: Deeds done list
Determining the archetype: Key moments, polarity, image
Archetype and superobjective
Embodying the archetype of other characters
Chapter 20: Psychological Gesture
Archetypal gesture, psychological gesture and gesture of the archetype
Psychological gesture and superobjective
Creating the PG from the archetype
Creating the PG from specific archetypal gestures
PG and scene objectives
PG and acting gestures
PG and specific objectives
Chapter 21: Subjective Atmosphere
Defining the character’s subjective atmosphere
Creating a personal atmosphere
Subjective atmospheres and playing moments
Chapter 22: Objective Atmosphere
Time, place, event
Determining atmosphere
Naming the atmosphere
Heightened atmospheres
Atmosphere and the senses
Atmosphere and colour
Multiple atmospheres
Atmosphere in rehearsal
Atmosphere and the audience
Chapter 23: Extras
The ghost exercise
Character biography or time line
Conclusion: Theatre of the Future
Summary
Collective practice
Interdisciplinary practice
Independent practice
Chronology of Michael Chekhov’s Career
References
Index
Citation preview
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https://www.academia.edu/5593976/Kazuo_Ishiguro_Remains_of_the_Day
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Kazuo Ishiguro "Remains of the Day
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2014-01-03T00:00:00
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Kazuo Ishiguro "Remains of the Day
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https://www.academia.edu/5593976/Kazuo_Ishiguro_Remains_of_the_Day
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Kazuo Ishiguro (b. 1954) is a Japanese diasporic writer residing in Britain and is a master of storytelling through his use of the melancholic and nostalgic elements to embody the fragmented self. In his 1989 Booker Prize winning novel, The remains of the day , Ishiguro portrays the main character, a butler named Stevens, who works under an aristocrat whom he highly respects which he later finds out had supported the Nazis during World War Two. The text is laden with Steven’s gradual acceptance of how his mentor eventually fails him and also how he denies himself of happiness in the pursuit of his career. Various studies from different perspectives have been conducted to examine the layers of complexity behind the characters and storytelling; for example, contesting how the stark scenery and setting changes in the novel reflect Steven’s state of mind through ecocriticism (Konlov, 2013) and a New Historicist reading to link how the storyline is parallel to real historical events rega...
Kazuo Ishiguro's contribution to the form and content of the English novel The Remains of the Day is twofold. He has reinvigorated the way characters have traditionally been depicted by foregrounding the predicament of the butler at the expense of time-honored heroes like lords and nobles; he has also appropriated the full potentialities of memory in order to consummate his first-person narrative. By thus expanding the possibilities of the novel as an art form, Ishiguro can justly be said to have confounded the horizon of expectation that readers bring to his fiction, and thus he also helps us to see the world in all its multihued complexity.
Kazuo Ishiguro a Japanese born British novelist has been celebrated as one of the renowned contemporary British writer. He has been nominated for several awards and possess’ Booker Prize for the novel The Remains of the Day. As a product of Nagasaki, he has the very feeling of the post war dilemmas and deliberations. Though his family move to Britain, London when he is five, his natural instinct has the ideal nostalgia within himself but to a little extent. A kind of hybridity is chief in his novels, serving as a dual background for his novels. He quotes “I have this experience of another culture. I m also a very Japanese writer, keeping back the really scary and important emotions”. The novels of Ishiguro are set in the past reflecting the 20th century confronting nasty life style. The novels are expressive about self-denial in the face of preserving the dignity that the protagonist faces. This self-denial is a fascinating feature that is associated with Japanese background. The setting of the novel deliberately changes to an English background narrating the story of an English butler who is the representative feature of Ishiguro’s and 20th century modern Britain. Ishiguro quotes that he has a liking towards both the pre and post war settings as that they try to test the values and ideas. The post war tensions are seen in all of Ishiguro’s narrative protagonists exhibiting human failings and the disclosing of their flaws of dilemmas.
Kazuo Ishiguro (1954-) is one of the most influencing writers of post-world war era. His third novel The Remains of the Day (1989) is one of the best of his fictions written using his signature mnemo-technic. The novel went on to bag the Booker the following year. The narrator- protagonist Stevens is a butler by profession. With all his faults and blemishes he represents a unique human instinct- if not normal- of preferring to be rather to become, in a Nietzschean sense. Stevens has numerous flaws which holds on to the interest of the readers. He is addicted to believing and remaining the same- an image of his father. His memories and his style of recollection gives him away to the readers as one of the most intriguing of the unreliable narrators ever created. The character of Stevens is more of a warning than a study. The author warns us of the extremities or absolutisms. Indeed too much of anything- even an idea- is simply wrong.
The present article aims to provide a reading of Kazuo Ishiguro’s 1989 Booker Prize winning novel The Remains of the Day that focuses on the author’s ‘gentle transgression’ of three local myths become international commodities: the myths of the English butler, the English country house and Englishness itself. It also examines how, in the process, the butler’s identity becomes an increasingly heterogeneous one, a “transindividuality” (Bessière 2010) potentially representative of a sedentary or “rooted” (Appiah 1997) form of critical cosmopolitanism. Ishiguro thus responds to the challenges of globalization, suggesting that a constantly questioned to-and-fro movement between the local and the global, each in turn enriching the other, might prevent the much-feared homogenization of cultures. Keywords: Kazuo Ishiguro; The Remains of the Day; cosmopolitan novel; contemporary literature; Britishness
Kazuo Ishiguro (1954-) is quite possibly the most affecting scholars of post-world war period. His third novel The Remains of the Day (1989) is truly outstanding of his fictions composed utilizing his mark mnemo-method. The tale proceeded to pack the Booker the next year. The storyteller hero Stevens is a steward by calling. With every one of his shortcomings and imperfections he addresses an extraordinary human nature if not typical of liking to be somewhat to become, in a Nietzschean sense. Stevens has various blemishes which clutches the interest of the perusers. He is dependent on accepting and continuing as before a picture of his dad. His recollections and his style of memory parts with him to the perusers as perhaps the most charming of the inconsistent storytellers at any point made. The personality of Stevens is even more an admonition than an examination. The creator cautions us of the furthest points or absolutisms. In reality a lot of anything-even a thought is essentially off-base.
The paper aims to explore the historical aspects of the novel The Remains of the Day by Kazuo Ishiguro. The novel deals with six days motoring trip in the life of the protagonist Mr. Stevens, an English butler from Darlington Hall, England to Cornwall for business purposes in 1956. The study traces how the physical journey leads him to recognize his past issues through a mental journey of a loyal butler. This helps him to identify his true self. The remembrance of his personal history, loss, historical events, places, historical figures, and political situation in Europe shape his existence. The novel & historical background is First World War and Second World War, which play a major role in this novel. The paper explains the problem statements as how Kazuo Ishiguro mentions the intermixing of Steven's personal and historical incidents in the novel. It analyses how strong emotion of suppression, suffering, regrets, and pain leads the protagonist to the emotionless condition in his life. The aim of the paper is to bring out the historical traces of the Nazi party, the Treaty of Versailles, the Hayes Society-an elite society of butlers in the 1920s and 1930s and the Suez Canal crisis in the novel. The paper also suggests ideas and the scope of further research.
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https://www.dailynews.com/2022/12/21/how-actor-bill-nighy-and-novelist-kazuo-ishiguro-came-together-for-living/
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How actor Bill Nighy and novelist Kazuo Ishiguro came together for ‘Living’
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2022-12-21T00:00:00
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'Living,' which also stars Aimee Lou Wood, is an adaptation of the 1952 Akira Kurasawa film 'Ikiru' set in London a few years after World War II.
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en
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Daily News
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https://www.dailynews.com/2022/12/21/how-actor-bill-nighy-and-novelist-kazuo-ishiguro-came-together-for-living/
|
At the end of an evening with friends, actor Bill Nighy and novelist Kazuo Ishiguro decided to share a taxi home, a simple yet fateful decision which in time led to the new movie “Living.”
“I kind of said almost spontaneously, ‘Oh, Bill, I know this fantastic role for you that will win you all these awards,’” says Ishiguro, the 2017 Nobel laureate in literature, whose novels include “Klara and the Sun,” “Never Let Me Go,” and “The Remains of the Day.”
“And my wife, Lorna, said immediately, ‘Stop bothering, Bill; he’s got plenty of work,’” he says, laughing.
“He did, at the end of dinner, say, ‘We know what your next film should be,’” Nighy recalls in a separate video call. “I said, ‘Well, when you’re ready, let me know.’” And two weeks later, Stephen called and said this is Ishiguro’s suggestion.”
Film producer Stephen Woolley and his wife and producing partner Elizabeth Karlsen had hosted Nighy and the Ishiguros for dinner that night. Ishiguro’s idea, the producer explained, was for Nighy to star in a British remake of Japanese director Akira Kurasawa’s 1952 classic “Ikiru.”
“Not that I would participate in it,” Ishiguro says. “I said to Stephen, ‘Please make it because you have a real love of a certain kind of British film. You have a great relationship with Bill Nighy. Talk him into it and you’ve got a movie.’
“That was supposed to be my contribution,” he says. “But he came back and said, ‘Look, you’re talking about a Kurasawa movie, Japan, England. It’s your idea. Why don’t you have a go at writing the movie yourself?’ And that’s how I got sucked into it.”
“Living” is the story of Williams, played by Nighy, a London governmental bureaucrat, drifting through the mundane routines of his life until the day his doctor tells him he is terminally ill.
Forced to consider the life he’s led since the death of his wife years earlier, Williams strikes up a friendship with Miss Margaret Harris, played by Aimee Lou Wood, a former secretary in his office, whose joyful vivacity inspires him to make the most of the time he has left.
The film opens Friday, Dec. 23 in the United States, but already Ishiguro’s instincts are proving true: Earlier this month Nighy was nominated for a Golden Globe for his role in the film, adding more fuel to the growing Oscar buzz around his performance.
Impactful ‘Ikiru’
Ishiguro, 68, was born in Japan but has lived most of his life in Britain where his parents immigrated in 1960. As a boy curious about the country and culture of his forebears, it was a big deal when a Japanese film turned up on British television.
“‘Ikiru’ had been of huge impact on me when I was 11 or 12 when I first saw it,” he says. “Probably I was too young to really appreciate the movie, but it really made a profound influence on me.”
Despite the melancholy of much of the movie, Ishiguro says he found its ultimate message encouraging.
“I didn’t come from the kind of background where you might expect that you’d go on to be famous or do huge things,” he says. “I thought I would be like the commuters I saw going into London from my suburban town when I grew up, just doing some kind of regular job.
“And I found this story about this man, who with a supreme effort, within the confines of the very restrictive world that he has to live in, and the confines of who he has become over the years, finds it within himself to turn it around,” Ishiguro says.
That transformation felt realistic to the young Ishiguro.
“He just does things a little bit better, and that makes the crucial difference between his life being empty, a shallow life, and one that that is actually fulfilled and magnificent,” he says.
“Ikiru” in time would influence in ways large and small the novels he wrote, Ishiguro says.
“Almost everything I’ve written I think has been shaped by that kind of vision that actually you have to find a kind of rather lonely sense of success and failure,” he says.
“A novel like ‘The Remains of the Day,’ you might see parallels between the character in ‘Living’ and the English butler,” Ishiguro says of his novel that was later adapted into a film starring Anthony Hopkins and Emma Thompson. “A figure that is in danger of losing his humanity, who’s been ground down by the everyday and ground down by his fear of emotions and exposing himself to the contingencies of life.
“Perhaps less obvious, but also a novel and movie, ‘Never Let Me Go,’ uses a very similar device to ‘Ikiru’ and ‘Living,’” he says of the way the shortened lifespans of characters in each force protagonists to consider how best to live. “The question becomes very urgent: So what do you do in the time you left? What are the important things?”
A quiet life
For Nighy, 73, the character of Williams appealed to him from the first read of Ishiguro’s screenplay.
“It’s absolutely in my area of interest in every way,” he says. “There was never any doubt in my mind. I was born into that period. My father is almost contemporaneous with that character. I grew up in the atmosphere of the ’50s.
“And I’m very interested in that kind of restraint that they required of themselves in those days,” Nighy says. “I know it’s unhealthy, you know, to suppress all your feelings and repress all your emotions. But I see it as sometimes there’s a degree of an element of heroism involved there.”
The transformation of Williams over the final months of his life, and through his friendship with Miss Harris, also appealed greatly to him.
“The idea that a so-called ordinary person can have a meaningful and valuable life without having to reach for world domination,” Nighy says. “And as Ishiguro says, try and make the most of the life you have rather than what you didn’t get, or worrying about what you’re not going to get in the future.
“You just make the most of the day. It’s the big thing: How do you do today? How do you not compromise today with regret from the past? Or dread of the future? How do you do that – that’s the project.”
Nighy, whose best-known roles are often larger than life – think of the aging rocker Billy Mack in “Love Actually,” Davy Jones in the “Pirates of the Caribbean” franchise, or any of the Edgar Wright comedies in which he’s appeared such as “Shaun of the Dead.”
In “Living,” his work is delicate and inward-looking as emotions and meaning are often conveyed through subtle expressions than words.
“I like when it’s kind of what I call ‘close work,’” Nighy says. “I don’t know whether one’s harder than the other. But I mean, as close as I ever get to enjoying acting, I did enjoy this part. I found it fascinating, that thing of trying to express quite a lot with not very much.”
Opposites attract
For Aimee Lou Wood, even after watching “Living” on screen, the fact that she acted opposite Nighy, in a movie written by Ishiguro, still feels surreal.
“Every time that I’ve seen myself back in things I, first of all, get straight into being critical, obviously, of myself,” says Wood, 28. “But I’m always very much aware that that’s me.
“Whereas with ‘Living,’ I had this really weird thing where I was like, ‘That can’t be me. It’s not me,’” she says. “Because there’s something about the movie that was so magical I couldn’t quite grasp that that was me.”
It’s an unfamiliar feeling that the actress, whose credits include the Netflix series “Sex Education” and the period film “The Electrical Life of Louis Wain,” says has been there since the day the script first arrived.
“I opened it up and I immediately cried,” Wood says. “Like within the first page, it made me so emotional. And what was amazing about it was that my actor brain, which usually kicks in straight away, didn’t actually until afterwards.
“Like I really got lost in the story and was just so moved by it and really inspired by it.”
In contrast to the closed-off Williams, Margaret is the warm, open heart of the film.
“She’s this character who notices every small thing and delights in all the small details,” Wood says. “I found her totally kind of aspirational as a person, so the idea of playing her was just so thrilling to me.”
Nighy says his quiet performance was enhanced by the emotions that Wood brought to Margaret.
“She’s wonderful and gorgeous and fabulous,” he says of his costar. “And deeply conscientious and professional and dreamy to do business with.
“The fact that Mr. Williams is drawn to a young person who is vibrant, with that vivacity and spontaneity, well, there’s Aimee Lou. I mean, you stand around Aimee Lou for a while, you’ll feel a whole lot better.”
For Wood, who grew up watching Nighy in films such as “Love Actually” and “About Time,” acting opposite him was a dream.
“It’s going to be so different to what people are used to from Bill,” Wood says. “Because he is the most charismatic, charming, sparkly man. He just exudes charisma. And Mr. Williams does not.
“Bill has that lovely thing where everyone kind of feels like they know him, you know,” she says. “Everyone kind of feels like he’s their mate. And all of a sudden he was this man who just spoke so quietly and was so restrained and so lost.
“I was just so desperate for people to see it for so long,” Wood says. “Because I want people to see Bill. I want people to see what he’s doing.”
‘Living’
The film opens Friday, Dec. 23 exclusively at the Laemmle Royal, 11523 Santa Monica Blvd, Los Angeles, before expanding to more theaters in coming weeks.
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https://www.bartleby.com/essay/Loss-In-The-Remains-Of-The-Day-1A542CF9200476FD
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Loss In The Remains Of The Day - 1077 Words
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Free Essay: The protagonist of Kazuo Ishiguro’s The Remains of the Day is Stevens, an English butler before and after World War II. Throughout the text, he...
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https://www.bartleby.com/essay/Loss-In-The-Remains-Of-The-Day-1A542CF9200476FD
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The protagonist of Kazuo Ishiguro’s The Remains of the Day is Stevens, an English butler before and after World War II. Throughout the text, he reflects on the various losses that he has suffered throughout his career. In the text, loss is depicted as death, a decline in status, or missed opportunities. Stevens experiences each of these forms of loss, yet does make any changes to his character. Through him, Ishiguro suggests that remaining consistent in their usual activities is how some people get through times of great loss. During each loss that Stevens faces, he holds steadfast to his role as a butler, refusing to let the loss affect him and his work. However, as a result of this behavior, Stevens’s sacrifices time to reflect on these losses …show more content…
The housemaid of Darlington Hall, Miss Kenton has worked the closest with Stevens. One night, after spending time with a man that she had been seeing for some time, Miss Kenton announced to Stevens that she had accepted this man’s marriage proposal (Ishiguro 217). When Miss Kenton told Stevens of her engagement, Stevens congratulates her and tells her “I will do my best to secure a replacement at the earliest opportunity…Now if you will excuse me, I must return upstairs” (Ishiguro 218). In this moment, Stevens could have shared an array of emotions and thoughts. He is being informed that he was losing his closest coworker and a chance at having an intimate relationship with her. Instead, he chooses to stay focused on his job. Even when Miss Kenton began to provoke him, asking him “you have no more words to greet the news of my possible departure than those you have uttered,” he did not take a break from his duties (Ishiguro 218). Stevens is about to lose one of the few closest relationships that he has. Through this loss, Stevens’s keeps reverting back to his work and uses it as an excuse to avoid a conversation with Miss Kenton. In addition, by immediately returning to work, Stevens sacrifices a chance to process what he has done. Steven was given opportunity to share his emotions and feelings with Miss Kenton. Instead, by focusing on his work, …show more content…
When discussing the qualifications for what makes a great butler, Stevens states that a great butler is one who serves a moral man or “gentlemen who were, so to speak, furthering the progress of humanity” (Ishiguro 114). Because his employer and owner of Darlington Hall, Lord Darlington, was perceived as being a moral man, Stevens views himself as being a great butler. However, Darlington loses his position as a moral man. As a result of his actions with and relationship to German dignitaries prior to World War II, Lord Darlington became known as a Nazi sympathizer after the war (Ishiguro 235). As Darlington loses his status, Stevens is losing his; based on his own evaluation of his status. Yet, Stevens does not waver in his commitment to Darlington. Even after Darlington’s death, when Stevens is no longer his butler, he remains dedicated to his role as Darlington’s butler. When questions arise about Darlington after he has died, Stevens does answer these questions fully because he believes “that it is not customary in England for an employee to discuss his past employers” (Ishiguro 125). Even with Darlington being deceased and his status no longer existing, Stevens remains faithful to his former employer. Through all his other losses, staying consistent in his role as a butler is how Stevens got through them. Thus, as he loses his status and Lord Darlington, Stevens does what he has always done during
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The Remains of the Day
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The Remains of the DayKazuo Ishiguro1988IntroductionAuthor BiographyPlot SummaryCharactersThemesStyleHistorical ContextCritical OverviewCriticism Source for information on The Remains of the Day: Novels for Students dictionary.
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Kazuo Ishiguro
1988
Introduction
Author Biography
Plot Summary
Characters
Themes
Style
Historical Context
Critical Overview
Criticism
Sources
Further Reading
Introduction
Kazuo Ishiguro's third novel, The Remains of the Day, earned the 1989 Booker Prize, England's highest literary honor. The book is, in effect, a character study of Stevens, an aging butler who has spent thirty years in service at Darlington Hall. As he considers his past, he is forced to come to terms with the gravity of the sacrifices he has made in the name of duty.
Ishiguro's first two novels were set in Japan, so The Remains of the Day represents a departure in the author's work. Still, it is consistent with his writing style in that the book is told from a first-person point of view by a person who faces past self-deception and regret. Further, the tone is controlled, the language is carefully crafted, and the themes revolve around the position of the individual within a society. While some critics maintain that although Ishiguro's setting is not Japan, the book retains a strong sense of the author's Japanese heritage, Ishiguro is quick to disagree. He responds by saying that most of his life experience has taken place in England and that his fictional influences are Britain's writers. Ishiguro's choice of subject matter in this book—and the realism with which he depicts it—demonstrates the importance of England's past and culture to him.
Author Biography
Kazuo Ishiguro was born in Nagasaki, Japan, on November 8, 1954, to Shizuo (an oceanographer) and Shizuko (a homemaker). When he was six, he and his family moved to England where his father was commissioned by the British government to work on a project. Although the family expected to stay only a few years, his father's work kept them there much longer until England had truly become their home. Although Ishiguro and his two sisters attended English schools and had fairly typical English childhood experiences, at home they spoke Japanese and integrated their Japanese roots into their lives. In fact, Ishiguro has said that his interest in writing started as a way to preserve his fading memories of Japan, a country he would not see again until 1989.
Ishiguro earned a bachelor of arts degree with honors in philosophy and literature in 1978, and then completed his master of arts in creative writing at the University of East Anglia in 1980. He worked as a social worker for a number of years (during and after college) until he was able to make a living as a writer. During his years as a social worker, he met Lorna Anne MacDougall, whom he married in 1986. They have a daughter named Naomi, who was born in 1992. Ishiguro's interests include music and the cinema.
Despite his youth, Ishiguro has already built an impressive literary career. Each of his first three novels won awards—the third, The Remains of the Day won the prestigious Booker Prize—and all five of his novels to date have earned critical acclaim. Ishiguro's novels deal with self-deception, regret, and personal reflection. His narratives are carefully wrought first-person accounts with a controlled tone that does not deter from the speaker's deep soul-searching. Ishiguro is credited, alongside such high-profile writers as Salman Rushdie, with breathing new life into contemporary British fiction. In 1995, Ishiguro was named to the Order of the British Empire for his contributions to literature.
Plot Summary
Prologue: July 1956
Readers are introduced to Stevens, an aging butler who has served Darlington Hall for about thirty years. The house has recently come under the ownership of an American man named Mr. Farraday, after belonging to Lord Darlington's family for two centuries. While Lord Darlington was a reserved English gentleman, Mr. Farraday is a carefree man who likes to banter. Because he will be away for a while, he suggests that Stevens take his car and go on a trip. Stevens agrees, reasoning that he will go see Miss Kenton (the Hall's ex-housekeeper), who has just written a letter to Stevens. Always focused on duty, Stevens hopes to recruit Miss Kenton back to Darlington Hall, where she is needed.
Day One
Stevens begins his trip, feeling uneasy as he leaves Darlington Hall behind him. As he drives, he considers what is to him a very important question: What is a great butler? He recalls lively conversations with past colleagues on the matter. Stevens is humble, however, and never claims to be truly great, only to perform his duties with dignity.
Stevens relates stories about his father, also a butler. These stories reflect the sort of dignity and dedication to duty that Stevens admires. He is proud of his father's accomplishments, yet the reader notices that everything Stevens says about his father is relevant to work.
Day Two
Stevens stays the night at a country inn and wakes early. He provides some background about Miss Kenton, who left Darlington Hall in 1936 to get married. Although she is Mrs. Benn now, her letter to Stevens has indicated that her marriage may be in trouble. Stevens recalls that she was a good housekeeper with a professional demeanor. Stevens also reveals that she came to the Hall at the same time that his father came to serve as under-butler. Stevens's father's employer had recently died, and the old man had nowhere to go, so Stevens brought him to Darlington Hall. Although committed to doing a good job, the elder Stevens was limited by his age.
Reflecting on the past, Stevens provides more detail about Lord Darlington. He was influential and involved in politics, and he entertained frequently. Just after World War I, he was sympathetic toward Germany due to the harsh demands of the Treaty of Versailles. He resolved to do something and organized an unofficial conference in 1923 where important representatives from around the world gathered to make plans for asserting their influence in their respective governments on Germany's behalf. During the conference, Stevens's father became seriously ill and died, but Stevens insisted on continuing with his duties.
Day Three
Stevens is still thinking about what makes a great butler when he has car trouble. Pulling into the driveway of a large house, he speaks with the chauffeur, who fixes the car. The man seems surprised to hear that Stevens worked for the Lord Darlington. This is the reader's first sense that Lord Darlington ended his life with a shameful reputation. Stevens explains that he has seen this reaction from people before, and that he has chosen to distance himself from it, not because of shame, but because of his desire to avoid hearing his past employer disparaged.
The next morning, Stevens interacts with the locals and then sits in a cafe enjoying tea. He reflects further about Lord Darlington and the political events and influential Germans that figured prominently in his life. Although Lord Darlington told him to fire two Jewish members of the house staff (which outraged Miss Kenton), Stevens maintains that his employer was not anti-Semitic.
Stevens continues on his drive to see Miss Kenton. He recalls an incident in which she came to his room and found him reading a romance novel. He explains this by saying that he was only reading it to improve his command of the English language. He follows this story by relating that he and Miss Kenton used to meet over cocoa to discuss household matters. Although they got to know each other better during these meetings, the relationship never became truly personal.
Stevens's thoughts return to Lord Darlington, and he admits that his employer was not the man Stevens thought he was at the time. Lord Darlington became a Nazi sympathizer and was manipulated and used by people in positions of power. Stevens realizes that Lord Darlington was misguided and foolish, but maintains that his own dedication to his employer was not blameworthy or unwise.
Day Four
Stevens's car runs out of gas, and a kind doctor helps him. Once his car is refueled, Stevens reaches his destination, Cornwall. As he prepares to meet with Miss Kenton, he remembers when she told him she was leaving to get married. His memory also takes him back to the time when he found out that Lord Darlington had been used by Hitler to spread propaganda in England.
Day Six
Now in a seaside town, Stevens relates his meeting with Miss Kenton two days previous. They exchanged pleasantries and caught each other up on what they had been doing. Stevens asked Miss Kenton if her husband was treating her well, and she said that he was. She added that she did not love him at first, but came to love him. Now, she said, they are happy and expecting a grandchild. She also confessed that, at times, she wonders what might have been if she and Stevens had shared a life. When her words have sunk in, Stevens is saddened and a little heartbroken at realizing how close he came to having a fuller life.
Stevens shares his regrets with a stranger. He tells the man that he gave so much to Lord Darlington that he has little left for himself or anyone else. While Lord Darlington was not a bad man, he reasons, Stevens regrets not having made his own mistakes. He asks, "Really—one has to ask one-self—what dignity is there in that?" The stranger advises Stevens that it is best simply to look ahead. Stevens resolves to return to Darlington Hall and be the best butler he can be for his new employer, which means learning to banter with him.
Characters
Lord Darlington
Lord Darlington is Stevens's original employer, beginning in the 1920s, and Stevens nar-rates his recollections of Lord Darlington throughout the novel. At the time of the novel, he has died, and his estate has been sold to an American man. Lord Darlington is proper, reserved, determined, and well-mannered. He is most comfortable keeping his relationship with Stevens as formal as possible, so much so that when he needs to discuss anything with Stevens, he pretends to be engrossed in a reference book while speaking.
Lord Darlington feels strongly that Germany had been mistreated by the restrictive Treaty of Versailles, and he resolves to do something about it. As he becomes enmeshed in international politics, however, he allows himself to be manipulated by the German regime to spread propaganda in England. These actions indicate that he is shortsighted, naïve, and not the best judge of character. As a result, he earns a shameful reputation in England and dies in disgrace.
Mr. Farraday
Mr. Farraday is Stevens's current employer. He is an American businessman who has bought Darlington Hall and wants to keep the staff employed there. Although most of the staff has left, he is happy to have Stevens, a "real old English butler." Mr. Farraday seems less interested in immersing himself in English culture than in enjoying the novelty of the change. He is carefree and often makes jokes to or about Stevens, which makes Stevens very uncomfortable. At the same time, Farraday is considerate and offers to loan Stevens his car for a vacation.
Miss Kenton
Miss Kenton (known as Mrs. Benn after her marriage) is the housekeeper at Darlington Hall until she leaves to get married. She is very professional and detail-oriented in her work and staff management, and she resents the arrogance with which Stevens generally speaks to her when she first arrives at Darlington Hall. She is not intimidated by Stevens and does not hesitate to voice her opinions to him. When he tells her he must let two of the maids go at Lord Darlington's order (because they are Jewish), Miss Kenton is quick to express her outrage. At the same time, she respects Stevens and wants to find out more about the man behind the butler. In fact, she develops a romantic interest in him. She is also realistic, and when she realizes that Stevens will never open up to her, she accepts a marriage proposal and leaves Darlington Hall.
Miss Kenton is not afraid to express her emotions, although she does so in as respectful a way as possible. When she first comes to Darlington Hall, she attempts to demonstrate her thoughtful-ness by bringing Stevens a vase of flowers for his room. Not until she reunites with Stevens after twenty years does she admit that she once hoped for romance between them. Although her marriage goes through cycles, she ultimately decides that it is best to stay with her husband.
Media Adaptations
The Remains of the Day was adapted to audio by Random House in 1990 with British actor Michael York as reader.
In 1993, the novel was adapted to film by Columbia Pictures. Directed by James Ivory, this film starred Anthony Hopkins as Stevens and Emma Thompson as Miss Kenton. It earned numerous prestigious awards and nominations from all over the world, including the American Academy Awards, British Academy Awards, and Golden Globe awards. Hopkins and Thompson won David di Donatello Awards for their performances.
Mr. Stevens
Stevens is the book's narrator. He is a butler in his sixties and has served Darlington Hall for over thirty years. While taking a short vacation on which he goes to see Miss Kenton, he reflects on his past and on the decisions he has made (and not made) along the way. He realizes that he has put his sense of duty above all, including his family, his emotional needs, and his good judgment. He deeply admired his past employer, Lord Darlington, but he now realizes that this man was not as great a gentleman as Stevens needed to believe he was. Stevens operates on the idea that the best way to serve the world is to serve a great man who does important things. That Lord Darlington was a Nazi sympathizer who was manipulated in the years leading up to World War II creates moral tension within Stevens as he thinks back on those years.
The reader comes to know Stevens through the stories he tells and the way in which he tells them. He is reserved, formal, disciplined, and detail-oriented, all of which is important to his position as a butler. He believes in tradition and does not realize that he has become an anachronism. Through his stories, the reader sees that he was—and is—an ideological chameleon. His beliefs and feelings are dictated by his employer. When Lord Darlington thinks it is best to fire the Jewish maids, Stevens agrees. And when Lord Darlington later says that doing so was a terrible mistake, Stevens agrees.
In his working relationship with Miss Kenton, Stevens avoids intimacy of any kind, including the slightest display of emotion. He seems to have no personality, no self, beyond the qualities necessary for his position. This is because for Stevens, being a butler is not merely a job, it is the core of his identity. At the end of the book, however, he realizes that he has sacrificed his humanity in the name of duty and dignity.
William Stevens
William Stevens is Stevens's father, and also a lifelong butler. At the opening of the novel, he has been dead for over thirty years; his son recalls him in extended flashbacks. Stevens admires his father for his years of service and for the stories he has heard about the dignity with which his father carried out his duties. When the elder Stevens becomes unemployed in later years, the younger Stevens secures him a position as an under-butler in Darlington Hall.
The elder Stevens and his son do not share a warm relationship. They are both focused exclusively on their jobs, and the elder Stevens is abrupt when his son tries to talk to him. He keeps his small room extremely tidy, having few personal items. He is proud and therefore resents his son's limiting his household duties after he trips with a full tray. When he falls ill, he becomes reflective and tries to reach out to his son. He realizes that he was not a good father, but he also seems to realize that it is too late to redress his personal failings.
Themes
Duty
Duty and dedication are at the heart of this novel. Stevens has lived his life in pursuit of perfect dutifulness. He has willingly made every personal sacrifice along the way, and when he realizes what he has given up in life, it is too late. He cannot reconnect with his family members because they are all dead, he cannot choose a different vocation, and he cannot marry and enjoy romantic love. As he made these sacrifices, he did so gladly, because he felt that the best way to be of service in the world was to serve a great gentleman. By convincing himself that Lord Darlington was such a man, Stevens deceived himself into believing he was living honorably. Sadly, he allowed himself to be so blinded by duty that he ignored his own judgment and needs.
Stevens's father provides a role model for his son's extreme devotion to duty. Stevens recalls a story about his father in which a general was coming to visit his employer. This general was responsible for the needless death of the elder Stevens's other son, who was under the general's command at the time. The elder Stevens understandably feels deep loathing for this man, yet when he is called on to act as his valet, he does so with emotionless dedication. The elder Stevens's employer had offered to allow his butler to leave the house for the duration of the general's stay, yet he refused. To him, as to his son, duty came before anything and everything else. It is little wonder, then, that Stevens chose to keep performing his duties without hesitation when his father died. In fact, Stevens comments on that evening when his father died and there was a banquet for the important international guests. He states, "For all its sad associations, whenever I recall that evening today, I find I do so with a large sense of triumph." His triumph is that he orchestrated a well-run banquet and did not waver from his duties even when his father died. In other words, he was the picture of dignity and duty.
Related to the theme of duty is patriotism, because both come from dedication to a larger entity. Stevens is deeply patriotic and loves his native England, although he has seen very little of it. In his mind, he has seen the best of England in the great people who have visited Darlington Hall over the years. When he embarks on his trip, however, he has the opportunity to take in England's expansive landscape. He finds it utterly breathtaking and perfectly beautiful. In a way, he projects himself into the landscape, because he finds it beautiful in its understatement and its confidence in knowing that it is beautiful. He imagines that other countries have stunning features, too, but what he admires about England's landscape is its unwillingness to try too hard to be noticed. On day one in Salisbury, he writes, "It is as though the land knows of its own beauty, of its own greatness, and feels no need to shout it."
Hindsight
As Stevens leaves his microcosm of Darlington Hall, his mind slowly wanders from familiar matters (great butlers, dignity, and the staff plan) to less familiar, more personal, matters. This leads him to reflect on his past and to come to certain realizations in hindsight. As much as he admired Lord Darlington and as deeply dedicated as he was to serving him, he now realizes that Lord Darlington was not the great gentleman Stevens needed to believe he was. Upon reflection, Stevens understands that his employer lacked the wisdom, power, and decency Stevens once believed he possessed. This realization is very troubling to Stevens, who made profound sacrifices to serve his employer. He grapples with this realization, concluding that he is not to blame because, after all, he merely carried out his duties with the dignity appropriate to a butler. At the end of day three, he reflects:
How can one possibly be held to blame in any sense because, say, the passage of time has shown that Lord Darlington's efforts were misguided, even foolish? Throughout the years I served him, it was he and he alone who weighed up evidence and judged it best to proceed in the way he did, while I simply confined myself, quite properly, to affairs within my own professional realm.
The irony, of course, is that at the time Stevens was not concentrating solely on his professional obligations; his need to serve a "great gentleman" led him to believe that Lord Darlington was something he was not. By the end of his trip, Stevens also realizes that he had the opportunity for love, but he let it go. Now it is too late.
The character of Stevens's father provides foreshadowing. As he approaches death, the elder Stevens shares a rare moment of attempted tenderness with his son. He asks if he has been a good father, and supposes he has not. The elder Stevens seems to realize at the end of his life that he has wasted his years focusing on being a good butler rather than spending them being a good father or a good person. The younger Stevens fails to understand the significance of this exchange and thus loses the opportunity to learn from it. As a result, he too finds himself, late in life, regretting choices he made in the past.
Topics for Further Study
Imagine that the system of house servants described in The Remains of the Day exists today in the United States. Given the cultural differences, consider how the employer/employee relationship would be different and how duties would be defined differently. Prepare an orientation packet for a new butler as if you are an experienced butler.
Lord Darlington was passionate about the political and economic changes he witnessed after World War I, so he organized an unofficial summit meeting. What wrongs do you feel need to be addressed in the world today? Plan an unofficial summit meeting of your own, complete with guest list, agenda, goals, and social events.
The story takes place in July 1956, the same month and year as the Suez Crisis. Why do you think Ishiguro chose this particular time for his novel? Write a well-developed essay explaining your interpretation of the importance of the Suez Crisis to the novel.
The novel portrays the decline of the aristocracy and of the practice of keeping a large staff of house servants on English estates. Research the tradition of the English house staff, along with the factors that brought about its decline. Create a presentation to share your findings with a middle school history class.
Style
First-Person Narration
For the most part, the style of The Remains of the Day flows from the voice of Stevens, whose memories provide the novel's text. The entire book is his account of the past and present, which gives the reader a distinct impression of his character. Stevens's style is formal, courteous, and long-winded. He has a tendency to be very precise in his communication, to overthink matters, and to share his every thought. For example, rather than simply explaining that Mr. Farraday's banter makes him uncomfortable, Stevens rambles on with reasons why he is unable to engage with his employer in this way, with what he imagines Mr. Farraday thinks of him, and with his judgment that his inability to banter is a failing of his duties. He returns to this concern repeatedly.
As Stevens relates events of the past, all the while emphasizing the admiration he felt for Lord Darlington, it becomes clear that Stevens is an unreliable narrator. Besides his unwillingness to assess Lord Darlington realistically, there are inconsistencies in his accounts of the past. For example, he credits both Miss Kenton and Lord Darlington with saying about his father, "These errors may be trivial in themselves, Mr. Stevens, but you must yourself realize their larger significance." At a deeper level, Stevens is unreliable because he has an underdeveloped identity and thus has come to experience life through the filters of what he believes is expected of him.
Because the reader has only Stevens's interpretation and recollection of events, there is no way to know what Lord Darlington, Miss Kenton, Stevens's father, or Mr. Farraday experienced. As the reader gets to know Stevens better, the words and actions of others are easier to interpret despite the fact that Stevens is often unable to see them clearly. Still, the reader is limited by the exclusive narration of Stevens. This points to the fact that The Remains of the Day is in many ways a character study of Stevens; it is unnecessary to Ishiguro's intentions to include the points of view of other characters.
Tragedy and Comedy
Part of the novel's realism lies in its inclusion of both tragic and comic elements. This makes the novel feel less manufactured and manipulated and more like an honest telling of a man's story. Readers enjoy the comedy that stems from Stevens's stiff demeanor in the face of unusual circumstances. For example, Lord Darlington asks Stevens to tell his godson the "facts of life" in the midst of preparing for a houseful of important international guests. Without the additional pressure of the guests, Stevens would be ill-equipped to have such a candid and heartfelt conversation with a near stranger, but the distractions of preparing for guests add to the comedy. Stevens struggles to get the boy alone and then talks around the subject by extolling the virtues of nature. The young man, of course, has no idea what Stevens is trying to do, and because of ongoing interruptions, Stevens is never successful in telling the boy what he ostensibly needs to know. Also comic is Stevens's preoccupation with his American employer's love of banter. Despite his intense discomfort with this type of exchange, Stevens makes a pathetic attempt at being witty. The reader is as embarrassed for him as he is for himself.
At the same time, the novel contains tragic incidents, such as when Stevens's father dies and Stevens continues with his domestic duties. This is tragic because Stevens places duty above anything else, and also because there is the suggestion that Stevens does not know how to react to the news of his father's death. He has become so emotionless in his occupation that he is not moved like most people are upon the death of a loved one. That Stevens places himself second to his occupation is in itself tragic. He forgoes developing a sense of self-worth, enjoying personal relationships, and the possibility of love, all in the name of duty. In the end, he comes to regret much of his past, but he is in his sixties and has lost many years.
Historical Context
The 1919 Treaty of Versailles
World War I ended in 1918, and the victorious nations met at the Paris Peace Conference in 1919 to determine the fate of Germany, the loser. Representatives at the Conference included British Prime Minister Lloyd George, Italian Foreign Minister Giorgio Sonnino, French Premier Georges Clemenceau, and American President Woodrow Wilson. Because Germany was blamed for the war, it was forced to pay reparations and to dismantle its military. In addition, Germany was forced to give up its colonies and most of its means of trade (trains, merchant ships, etc.).
The Treaty of Versailles was not sustainable; its punitive terms undermined hopes of lasting peace by discouraging Germany's recovery and return to the European community. Although the leaders of the victorious governments generally supported the treaty, there were individuals and groups who felt that Germany was being treated too harshly. As fascism rose in Europe in the 1920s, many of these people sympathized with its stated goals. Postwar Germany accepted a democratic constitution, but a form of militaristic totalitarianism slowly emerged, promising to fulfill the people's wants more effectively and to protect them from communism. Mussolini rose to power in Italy in 1922, but not until 1933 did Hitler become Germany's chancellor.
The 1956 Suez Crisis
The Suez Canal is a human-made waterway in northeastern Egypt that acts as a valuable shortcut for trade among Europe, America, Asia, and Africa. In 1854, a French diplomat established the Universal Company of the Maritime Suez Canal. This organization built and maintained the canal, enlisting the help of Egyptian officials. The company was given authority to build the canal and, in return, ownership of the canal would go to Egypt after ninety-nine years.
Compare & Contrast
1920s: Aristocrats often have extensive family estates in which they live and employ a large staff of house servants, such as butlers, house keepers, gardeners, cooks, and nannies. Wealth and status are the currencies in the competition to employ the very best servants in England.
1950s: The tradition of the house staff is waning. Some aristocrats and wealthy foreigners with homes in England keep a modest house staff.
Today: The tradition of the house staff is a luxury of the past, with the exception of the very wealthy and royalty. People's lifestyles have changed, and they take advantage of modern conveniences that make keeping up a household easier to do with less domestic help. House-cleaners and gardeners are more likely to work for several different employers and to live in their own homes.
1920s: The experience of World War I has made England eager to avoid another war on that scale. As a result, England is a leader in the League of Nations and in disarmament conferences whose mission is to maintain world peace. Still, many English people feel sympathetic to ward Germany because of the harsh treatment it received at the 1919 peace conference. As political forces in Europe begin to polarize, many English men and women take Germany's side.
1950s: In the aftermath of World War II, public sentiment is decidedly against Germany. During the war, England fought with the Allies against Germany and the other Axis powers. As the truth about German concentration camps spreads, people are even less sympathetic to the defeated Nazis.
Today: English politics are more centered on domestic affairs than on international issues. Although England participates in international organizations such as the United Nations, the country's government is primarily focused on issues such as taxes, federal spending, health care, crime, and immigration.
1920s: For vacations within Great Britain, people rely primarily on automobiles to take them where they want to go.
1950s: Many people in Britain take advantage of comfortable passenger trains that take them to vacation destinations. While many people still enjoy a car trip through the country, others prefer to shorten their travel time by taking the trains so that they can enjoy more time at their destinations.
Today: English men and women continue to use the train system for vacation travel, although many prefer to greatly shorten their travel time by booking an airplane flight. As in the United States, air travel is often an affordable option.
Originally, the company was a privately held Egyptian entity, whose stock was owned by Egypt and France. In 1875, however, Great Britain bought Egypt's interests because the canal was crucial to its nautical power and colonization plans. In 1936 an agreement was made that allowed Britain to employ defense forces in the canal area, which meant control of the passageway. As Britain's power over the canal grew, Egyptian nationalists began to de-mand that Britain evacuate. In 1954, Britain and Egypt signed a seven-year agreement calling for the gradual removal of Britain's military from the area. By June 1956, British troops were gone and Egyptian troops replaced them.
In July, however, the United States and Great Britain withdrew their promises to provide financial help for constructing the Aswan High Dam. Their refusal to assist was based on the fact that Egypt had become friendly with Czechoslovakia and the Soviet Union. In response to this withdrawal of funds, Egyptian officials seized the Suez Canal in order to rechannel its proceeds to the dam project. This loss of income was significant to Britain because it was one of the main causes of the decline of British colonization.
Critical Overview
The Remains of the Day is a critical and commercial success. Reviewers' glowing notices of the novel praise its characterization, language, tone, and thematic content. Lawrence Graver of the New York Times Book Review calls the novel "a dream of a book: a beguiling comedy of manners that evolves almost magically into a profound and heart-rending study of personality, class, and culture." In a review for London's Observer, noted author Salman Rushdie praises the novel for its ability to simultaneously present surface understatement and tremendous underlying tension. In the Christian Science Monitor, critic Merle Rubin declares, "Delicate, devastating, thoroughly ironic, yet never harsh, this is a novel whose technical achievements are matched by its insightfulness." David Gurewich of New Criterion deems the novel a "remarkable" book in which "the pitch is perfect." Commenting on the comic tradition of butlers in English literature, Hermione Lee of New Republic observes, "Butlers in British fiction are a joke … Ishiguro's cunning is to invoke these associations—Stevens, after all, is a comic figure, pompous, funny, antiquated, and obtuse—and turn them to serious ends." Ihab Hassan in World and I adds that Ishiguro transcends the tradition, or "more precisely, he perfects and subverts it at the same time. He does so with immaculate craft…."
Not only do critics find Stevens tragic and sympathetic, but they also praise Ishiguro's ability to create a consistent and believable voice for a character so unlike himself. Galen Strawson of the Times Literary Supplement writes that the book is both strong and delicate, adding that Stevens's voice "creates a context which allows Kazuo Ishiguro to put a massive charge of pathos into a single unremarkable phrase." Echoing this idea, Graver remarks that Ishiguro's "command of Stevens' corseted idiom is masterly," adding that the author's "tonal control of Stevens' repressive yet continually reverberating first-person voice is dazzling. So is his ability to present the butler from every point on the compass: with affectionate humor, tart irony, criticism, compassion, and full understanding." In the New York Times, Michiko Kakutani also praises Ishiguro's controlled tone and his portrayal of unfolding realization in Stevens's mind. He writes:
By subtly modulating the flow of Stevens' memories and the nuances of his tone, by revealing to us the increasingly difficult emotional acrobatics that Stevens is forced to perform in order to remain in control, Mr. Ishiguro is able to create a portrait of the man that is uncompromisingly tough, and at the same time elegiac. He shows us the consequences of both emotional repression and misplaced loyalty, the costs of blindly holding onto values formed by another age. The result is an intricate and dazzling novel.
Joseph Coates of the Chicago Tribune applauds Ishiguro's use of an unreliable narrator to reveal so much about the character. Gurewich writes that Stevens is "a fully realized character, through whom the author manages the world of his novel as sure-handedly as Stevens himself manages the beloved estate of Darlington Hall." He adds, "There is an almost-perfect harmony of style and substance in the book's relationship between the writer and the narrator…." Rubin is struck by the complexity of Stevens's narrative; he remarks: "Stevens (by his own unwitting admission) has tailored his life to produce a complete façade. What makes his narrative so poignant as well as funny, its pathos and satire evenly matched, is the sincerity with which the façade has been cultivated." Hassan interprets Stevens as an allegorical representation of modern history, suggesting that Ishiguro intends to symbolize modern politics, class, and suffering in the character of an English butler.
Much is made of Ishiguro's Japanese roots, as many critics believe that this heritage deeply influences The Remains of the Day. They note that the themes of service, discipline, and duty are Japanese in nature and that the controlled, detached tone is typical of Japanese culture. Hassan, for example, asks, "Is the result a Japanese vision of England or, more slyly, an English version of Japan? Or is it both and neither, a vision simply of our condition, our world?" Gurewich comments on this at length, observing:
[W]hen Stevens admires the English landscape for "the very lack of obvious drama or spectacle that sets the beauty of our land apart," I cannot help thinking how neatly his description fits some of the Japanese criteria for beauty. Stevens' attention to detail is comparable to an origami maker … Stevens' insistence on ritual; his stoicism in performing his duties, especially in the face of adversity; his loyalty to his master that conflicts with his humanity—all of these are prominent aspects of the Japanese collective psyche….
Similarly, Gabriele Annan of the New York Review of Books finds that Ishiguro's first three novels "are explanations, even indictments, of Japan-ese-ness," including The Remains of the Day, which features no Japanese characters. She explains that Ishiguro "writes about guilt and shame incurred in the service of duty, loyalty, and tradition. Characters who place too high—too Japan-ese—a price on these values are punished for it."
Although the majority of the reviews are positive, a handful of critics find fault in the book. Geoff Dyer of New Statesman, for example, suggests that the notion of narrative irony (in which the reader understands something the speaker says that the speaker does not) is trite. He believes that Stevens's voice is "coaxed" to achieve this irony and thus lacks integrity. Annan is impressed with Ishiguro's creation of the character of Stevens, but finds the novel's message anti-Japanese and unsatisfying. She explains that the novel "is too much a roman à these [a novel written to illustrate a social doctrine], and a judgmental one besides. Compared to his astounding narrative sophistication, Ishig-uro's message seems quite banal. Be less Japanese, less bent on dignity, less false to yourself and others, less restrained and controlled."
Criticism
Jennifer Bussey
Bussey holds a master's degree in interdisciplinary studies and a bachelor's degree in English literature. She is an independent writer specializing in literature. In the following essay, she refutes the body of criticism asserting that Ishiguro's novel is largely a Japanese novel.
The author of The Remains of the Day, Kazuo Ishiguro, was born in Japan and moved to England with his family when he was six years old. He has lived in England ever since, although he was reared with full awareness and practice of his Japanese heritage. Because of his Japanese background, many critics of the novel hasten to claim that it is Japanese in nature and content. The two novels preceding The Remains of the Day featured Japanese settings and characters, and this may be part of the impulse to categorize Ishiguro's third novel as also being Japanese. The idea is that Ishiguro has retained his Japanese worldview and simply filtered an English story through this way of interpreting the world. Critics point to the character of Stevens as evidence of the Japanese undercurrents of the novel. They observe that Stevens expresses himself in a detached tone and that he is driven by his sense of duty, loyalty, and service; that his lifestyle is characterized by propriety, ritual, discipline, and stoicism; and that he grapples with personal guilt and shame. Some critics go so far as to claim that Stevens's unhappy fate and empty feeling when he reaches his sixties is an indictment against being "too Japanese." That Ishiguro is both Japanese and English certainly warrants the assumption that he sees his world in a unique way, but to deem The Remains of the Day a Japanese story grossly diminishes his extraordinary accomplishment in the novel.
While every nation has a distinct culture, there are similarities among them. English culture and Japanese culture, although they are subject to the West-East dichotomy, share certain qualities. Yet critics are quick to attribute any overlapping characteristics to Ishiguro's Japanese influence. Both cultures have a history of well-defined, rigid social and political hierarchies. Both have developed a system of manners and accepted means of interacting that are considered "proper", and in both cases proper behavior is reserved, polite, and respectful. While Ishiguro's upbringing may have prompted him to respond to these cultural aspects in England differently than someone who knew only English culture, Ishiguro is far from unique in recognizing these qualities in England and the English. Readers and critics find The Remains of the Day realistic and insightful, and this is because he accurately portrays English aristocratic culture. Further, his portrayal is complex, as it depicts this culture in a time of transition when elitism and dependence on manners are making way for a new social order. The realism—which is so readily recognized by readers—comes from the fact that Ishiguro has drawn from the richness of England's own culture and social history to create his story. Had he included uniquely Japanese elements disguised as English elements, the story would not ring true. For critics to claim that Ishiguro's Japanese sensibility is somehow superimposed onto an English setting and cast of characters only taints the reading of the story.
It is also worth noting that the subject matter of The Remains of the Day is distinctly English. The central character is an English butler, a man who, by his own admission, holds a position unparalleled in any other country. Stevens reflects on day one, "It is sometimes said that butlers only truly exist in England. Other countries, whatever title is actually used, have only manservants. I tend to believe this is true." If Ishiguro were trying to make a statement about Japanese culture, he would not put these words in his butler's (the supposed symbol of Japanese restraint) mouth. Besides the tradition of the butler, the novel addresses English aristocracy and its descent in the context of Europe in the years just after World War I. These are all uniquely English concerns and characteristics; they are not universal enough to symbolize anything else.
There are a number of other ways in which Stevens is not a suitable representative for the Japanese. He completely lacks a religious or philosophical foundation, for example, an element of Japanese culture that guides a person's decision-making and way of interpreting life. Stevens comes to realizations about himself not through meditation, reading, or music, but as a side effect of thinking about his career. He does not seek wisdom or honor; the latter is something he does not even want for himself; rather, he is content in deluding himself into believing that he is serving a great man. When he arrives at a personal crossroads, he has no resources on which to draw for insight. He has no religious convictions, philosophical inquiries, or mentor.
This relates to another way in which Stevens is decidedly un-Japanese. He has no sense of fam-ily whatsoever. While Japanese society is paternalistic and places a high value on the family unit, Stevens speaks passively about his brother, who died needlessly, and he has a stiff relationship with his father. Stevens and his father are both butlers, and they have transferred whatever energy and attention that would naturally go to family members into their profession. When Stevens's father attempts to make amends on his deathbed, Stevens merely responds that he is busy and has work to do. The years of distance between them cannot be bridged, and the night his father dies, Stevens chooses to continue working. He adds that his father would want him to go on performing his duties with dignity, and he is probably right. In fact, Stevens's father pretended to accept his other son's death rather than seize an opportunity for revenge. Does he do so because of a belief in karma? No, he does so because he values duty absolutely. His son, Stevens, does likewise.
Another aspect of Stevens that makes him an unlikely symbol of Japanese culture is his deep, though long repressed, need to be recognized as an individual. This need is at odds with the Japanese (and, more generally, the Eastern) emphasis on the collective, as opposed to the individual, experience. Once Stevens leaves Darlington Hall, he gradually realizes that he regrets not being more individualistic. He has ignored his potential and his personal needs, and at a level that is almost buried, he realizes that he deserves to be treated as an individual. This need is also revealed when he sees that locals in the town he visits on his way to Cornwall believe he is an important aristocrat, and he enjoys letting them think so. Having never felt important in his own right, he savors the experience. This indicates that his years of putting himself last are not true reflections of his desire or personality. Instead, these are learned behaviors that have become second nature. Yet the truth of Stevens's desires can not be squelched, even after sixty years.
What Do I Read Next?
Hope and Glory: Britain 1900–1990 (1997) is the work of P. F. Clarke and Mark Kishlansky, whose contribution to the Penguin History of Britain Series provides an overview of modern British history. Besides providing students with a better understanding of the events leading up to both world wars (and their aftereffects), this book provides commentary on religious, social, and intellectual changes over the past century.
Ishiguro's An Artist of the Floating World (1989) concerns Masuji Ono, an artist who becomes a propagandist during World War II and later witnesses the dramatic changes in his country after the war. This novel complements The Remains of the Day because it offers readers an in-depth look at Japan during the postwar era.
Mike Petry's 1999 Narratives of Memory and Identity: The Novels of Kazuo Ishiguro presents detailed analyses and comparisons of Ishiguro's first four novels. Petry also places Ishiguro's novels within the context of contemporary British literature.
P. G. Wodehouse's Life with Jeeves: The Inimitable Jeeves, Very Good, Jeeves!, and Right Ho, Jeeves (1983) contains three novels about the comic fictional character of Jeeves, the butler of Bertie Wooster. Wodehouse's novels about Jeeves, written in the early part of the 1900s, follow Wooster and his butler through various humorous incidents.
Kazuo Ishiguro (Writers and Their Work) (2001) by Cynthia Wong is an authoritative overview of the author's background in Japan and England and his ensuing career as an acclaimed author. Because this is the most recent treatment of Ishiguro's career to-date, it includes updated information.
As a writer, Ishiguro is influenced by his dual heritages, but he has stated that his fictional influences are the British greats, such as Joseph Conrad and Ford Madox Ford. If The Remains of the Day had been published anonymously, the criticism regarding the possible Japanese connection could be lifted out, and there would still be a Booker Prize and an impressive body of commentary about every aspect of the book. Because of the consistent portrayal of English culture and history, the distinctly English subject matter, and the many ways in which Stevens is not a good representative of Japanese culture, the claims of the novel's Japanese nature must be regarded as overstatements. Worse, the overemphasis by many critics on the author's Japanese roots only acts as a distraction to an impressive fictional work.
Source: Jennifer Bussey, Critical Essay on The Remains of the Day, in Novels for Students, The Gale Group, 2002.
John Rothfork
In the following essay, Rothfork asserts that Ishiguro's work "provides a particularly illuminating case study for postcolonial criticism … because of the way that his work has been 'translated' for Western audiences."
Although Commonwealth literature (from the Commonwealth of Nations, hence written in English) and postcolonial literature (translated into English) are taught in many English departments, such courses and collections remain problematic for at least two reasons. First, taxonomically the designations never escape their flawed origins. Thus Jayana Clerk and Ruth Siegel, editors of a recent anthology (1995), virtually apologize for their title, Modern Literatures of the Non-Western World, saying that they "faced the dilemma of using a negative term that derives from a Western perception". Similarly, the rationale for grouping works and the related supposition for survey courses is a sense of an underlying cultural history (e.g., American literature), which also informs other courses or genres that derive from that history. Lacking any comparable unity, postcolonial literature is presented as a hodgepodge assembly and is often associated with minority studies. By definition, minority views are supplemental; they frequently arise in reaction to majority views, and since they do not voice majority experience, they tend to be regarded as secondary and somewhat exotic.
Yet the views presented by Commonwealth writers are not minority views, though one would hardly know this from the scolding of critics such as Graham Parry who takes the most prominent Indian novelist, R. K. Narayan, to task for "the odd psychology of some of his characters whose emotional responses are often bizarre to a Western reader." Anglo-American readers' cannot understand the actions of Narayan's characters until they know something of the Hindu social psychology that defines normal behavior in Indian society. This, then, is the second problem: to understand something of a profoundly alien society requires a deeper shift in outlook than can be accomplished by an examination of an isolated text or even a collection of works.
Commonwealth writers are native to the regions and cultures they write about: the Caribbean, India, China and parts of Africa. In some measure an Anglo-American audience must appreciate the exotic element of such writing: how different the fictional characters and their situations are from what is ordinary and important in our experience. When this is ignored, critics often bluster, scorning the unfamiliar, or preach, asking for tolerance of the unfamiliar. Evidencing the evangelical approach, Clerk and Siegel hope that their anthology "helps cultivate an awareness that honors different cultural perspectives," as though assuming that it was the professed intent of each author to pitch his or her culture to an audience of North American undergraduates. We do not expect great works from our own tradition to be so transparent and pandering. William Walsh illustrates the bluster approach, concluding that Narayan's Mr Sampath "doesn't quite succeed" because of "an insufficiency of 'composition.'" Exasperated because he cannot explain the accomplished work, Walsh proclaims, "The novel's shape is oddly humpbacked, and repeated readings fail to convince me that I have missed some deeper and more structurally implicit unifying influence." What Walsh could not feel was the Hindu atmosphere, which provides motives for the characters in the novel and themes for readers.
Criticism has recently become sensitive to the presumptive tone of male narrative voices, to racially white voices and to colonial voices. Critical explanations proceeding from such sensitivities, however, tend to remain dialectically two dimensional, assuming that truth can be discovered by stretching the text between two poles: male/female, white/black, majority/minority, America/the world. Moving from one pole to the other is regarded as significant and such movement in a protagonist's understanding and his/her subsequent moral growth provides the model for many Western novels. Nonetheless, the change is measured by distance from the initial pole, which continues to broadcast paradigm assumptions that postcolonial writers do not hear, because they are tuned into the cultural programs which shaped their childhoods. The non-Western cultures, in which postcolonial and Commonwealth writers typically spend their childhoods, construe identity and motives that often lack Western counterparts. In some cases there is no second pole, either similar to or opposite from the first.
To read postcolonial literature with insight, Anglo-Americans must recognize that cultures are discrete and incommensurable. Indian Hindus are not bizarre British Christians. Readers must accept that there are no Kantian categories of logic or a deep grammar that will explain everything. At the same time, the notion that critical tools should emerge from the culture they seek to explain may be more difficult to put into practice than in principle it might appear. Objections arise on two counts. First, the legacy from Plato through Kant, paralleled by theology, claims a transcendental logic capable of giving the true picture. Although postmodernism opposes this belief by stressing that any specific claim to the truth is necessarily grounded in a concrete language and historic culture, the second problem, as Bishop Berkeley might say, is that we only know what we know. Most readers of postcolonial and Commonwealth literature know only English and its associated culture; even when they do not explicitly assume that Anglo-American culture is normative, such readers are able only partially to escape or suspend the mindset, inevitably smuggling along implicit assumptions. The two problems thus reinforce each other: if one knows only one view, it becomes extremely difficult to imagine exactly where it diverges from the truth or where one culture differs from another.
In the case of postcolonial literature, therefore, the primary thing we need to bear in mind is that there is no neutral or obvious place to begin, a place where truth is bare and universal, which consequently can be used as a standard. This should not forestall critical effort, but should work recurrently to qualify judgments as cultural instead of true. In turn, it could be argued that criticisms of post-colonial literature must have a foot in both the culture of the reader and that of the writer, and must move beyond the confines of strictly literary analysis. Because postcolonial novels offer exotic material, the critical enterprise is closer to anthropology, which studies alien cultures, than sociology, which studies one's own culture. A theoretical basis for such anthropological criticism is provided by the prolific and readable work of McGill philosophy professor, Charles Taylor. Equally, comparative religion and comparative philosophy provide useful critical terms. Pioneered by Huston Smith, William Cantwell Smith and Joseph Campbell, the discipline of comparative religions opposes the presumption of Christian apologetics to be the true religion. Comparative philosophy is an even younger field. The works of David Hall and Roger Ames on comparing Confucian China to ancient Greece are exemplary, just as Bernard Faure's The Rhetoric of Immediacy offers a postmodern reading of Zen Buddhism. Most recently the essays in Japan in Traditional and Postmodern Perspectives (Fu & Heine, eds.) offer additional critical tools for readers of Asian postcolonial literature.
With respect to postcolonial/commonwealth writers themselves, one might observe that African-American culture has no doubt aided Western readers to appreciate the fiction of such African writers as Chinua Achebe, Cyprian Ekwensi, Ngugi Wa Thiong'o (James Ngugi) and Nadine Gordimer. The Caribbean worlds of V. S. Naipaul and Sam Selvon are also vaguely familiar, crisscrossing with reggae music and cruise holidays. India has produced many talented novelists who write in English (R. K. Narayan, Nayantara Sahgal, and Ruth Prawer Jhabvala) and of course the Western world has recently become very acquainted with the work and silencing of Salmon Rushdie. Despite the translation efforts of such publishers as Charles Tuttle in Tokyo and the awarding of the Nobel Prize to two Japanese novelists (Yasunari Kawabata and Kenzaburo De), East Asia remains enigmatic to most Western readers.
Among East Asian novelists who write in English, one name stands out, Kazuo Ishiguro. Born in 1954 in Nagasaki, Japan, Ishiguro came to England in 1960. His work provides a particularly illuminating case study for postcolonial criticism not merely because of the cross-cultural issues which his works address but also because of the way that his work has been "translated" for Western audiences. That is, thanks in part to Anthony Hopkins's fame, the movie version of Ishiguro's novel, The Remains of the Day, is probably the best known—and probably the most misunderstood—single work by a Commonwealth writer. The work presents the ambivalent reflections of an English butler who recalls highlights from his service to a prominent aristocrat who was involved in formulating national policy toward Nazi Germany. The movie was successful enough to provide a familiar world for a Pepsi Cola television ad in which an ancient butler shuffles through a cavernous English mansion to deliver a tantalizing can of the product sans a straw. Winning the Booker Prize in 1989, The Remains of the Day was preceded by two ear-lier novels, both set in Japan. A Pale View of Hills (1982) illustrates the ennui caused by defeat in WWII and the subsequent American occupation. The novel ends with a character recognizing that "It's not a bad thing at all, the old Japanese way," which the war has irrecoverably destroyed. An Artist of the Floating World (1986) offers the postwar diary of a prominent painter who produced war propaganda for the government before and during WWII. The "floating world" refers to "the nighttime world of pleasure, entertainment and drink," which Ishiguro uses to symbolize basic tenets of Buddhism.
I will argue that these three novels need to be read as related in order to see that The Remains of the Day expresses a Buddhist criticism of Confucian ethics. Although this is a common theme in Japanese culture—which is largely formed by the tensional unity of Buddhism, Confucianism and Shinto, in somewhat the way that Western culture is formed by the tensional unity of Greek and Christian elements—the movie ignores this dimension, and instead renders stock Western formulas of lost love and moral outrage. Somehow the emotionally dead life of Mr. Stevens, the butler whose 1956 diary tells the story, is supposed to explain the blase British unconcern with anti-Semitism expressed in Neville Chamberlain's appeasement to Hitler. Although these elements, contained in a glossy picture of decrepit aristocracy, are obvious, what is not so easy is explaining how aristocratic haughtiness, and the last glimmer from the dying light of the Raj, serves to kindle Nazism. Western sentiment, if not morality, for example, would seem to dictate that Stevens should be chagrined to have neglected his father on his deathbed to arrange for a physician to treat the blistered feet of a French diplomat. Instead Stevens boasts: "Why should I deny it? For all its sad associations, whenever I recall that evening today, I find I do so with a large sense of triumph." Even more to the point, we expect Stevens to echo Miss Kenton's judgment—"What a terrible mistake I've made with my life"—about both his failed romance with her and his support of Lord Darlington's Nazi sympathies. Instead Stevens talks about trying "to make the best of what remains of my day." This may be no more than denial and evasion in Anthony Hopkins's performance, but there is more at work in the novel.
Mr. Stevens believes that he can sum up his life in the confession, "I gave my best to Lord Darlington." He hopes that his life makes a "small contribution to the creation of a better world." The Japanese term for this is bushido:
it required the samurai specifically to serve his lord with the utmost loyalty and in general to put devotion to moral principle (righteousness) ahead of personal gain. The achievement of this high ideal involved a life of austerity, temperance, constant self-discipline … qualities long honored in the Japanese feudal tradition … [and which were] given a systematic form … in terms of Confucian ethical philosophy.
According to Ruth Benedict, whose 1946 book The Chrysanthemum and the Sword: Patterns of Japanese Culture remains a classic starting point for the analysis of Japanese culture, "such strength [of character] is the most admired virtue in Japan."The purpose of Confucian ethics is to produce a person who exhibits grace and authority under any social circumstance. Confucian ethics are not eschatological. There is no Last Judgment nor transcendental authority to separate sheep from goats. As Hall and Ames explain: "The model [chun tcu: exemplary person] qualifies as model not on the basis of what he can do, but by virtue of the quality of his actions: how he does things."
In contrast to Confucian ethics, Zen Buddhism hopes to liberate a person from all (Confucian) social situations, which are inherently worrisome. In Zen Buddhism, writes T. P. Kasulis, one is enlightened "when one lets go of pre-conceived notions of the self."Such pre-conceptions are not Platonically innate but are derived from memorable performances of behavior evoked by specific social contexts or special occasions, which define tradition. In contrast, "The Zen ideal is to act spontaneously in the situation without first objectifying it in order to define one's role." Against this Japanese Confucian/Buddhist tension, The Remains of the Day can be seen as a Buddhist critique of Confucianism. Mr. Stevens's life is stunted by the Confucian bushido code that he relies on to render identity and self-worth. The remedy is to develop a Zen Buddhist outlook which is characterized by a unique kind of comedy.
The contrast between Eastern and Western attitudes in regard to social roles provides a door into Kazuo Ishiguro's world. In the Western view, Stevens is pathetic because his obsession with duty has arrested the development of adult autonomy. Westerners believe that something like Erik Erikson's "Eight Stages of Man" specifies objective and universal stages of human, in contrast to cultural, development. Measured by this standard, Stevens fails to grow up; he follows a social role instead of becoming his own person. Exasperated when Stevens fails to drop the role of butler and does not romantically respond to her, Miss Kenton asks, "Why, Mr Stevens, why, why, why do you always have to pretend?" Stevens's ambitions remain oedipal: to please a father figure. Especially in the movie version, Stevens remains pathetically defensive until he tragically admits, "All those years I served him, I trusted I was doing something worthwhile. I can't even say I made my own mistakes. Really—one has to ask oneself—what dignity is there in that?" Stevens poses this as a rhetorical question because every Westerner knows the answer: that one's deepest obligation is to develop a unique individuality. Christianity demands this. In Sources of the Self Charles Taylor illustrates that Romanticism/Modernism simply provided different arguments to insist on the same duty.
Nothing like this analysis can be made from a Confucian outlook. In Japan filial loyalty (hsiao)—which is ultimately offered to the person of the Emperor (symbolized in this case by Lord Darlington)—provides the vocabulary for self-worth. Without this loyalty, which derives from a sense of gratitude and obligation (gimu: the infinite debt owed to parents for giving life and to the emperor for giving culture; giri: the debt owed to teachers, employers and other benefactors), one is no better than a monkey or a sociopath. Benedict explains that "the hero we [Westerners] sympathize with because he is in love or cherishes some personal ambition," the Japanese "condemn as weak because he has allowed these feelings" to erode his moral worth: "Westerners are likely to feel it is a sign of strength to rebel against conventions…. But the strong, according to Japanese verdict, are those who disregard personal happiness and fulfill their obligations. Strength of character, they think, is shown in conforming not in rebelling".
Since the time of the pre-Socratics, Western metaphysics has assumed the existence of some single underlying and presocial reality. Asian thought concedes that such a reality exists but has no confidence that reason can mirror it. Its sensitivity to the notion that reality is ultimately indiscernible and ineffable is revealed in self-consciousness about metaphor or the ways in which reality can be traced, in Derrida's sense of the term. For the Japanese, one would be a fool to die for the Truth like Socrates or Jesus. Believing that specific meaning and identity are conferred by social context, Asian concern focuses on adept shifts of identity in response to differing social situations. Hence Joseph Tobin reports that "the most crucial lesson to be learned in the Japanese preschool is not omote, not the ability to behave properly in formal situations, but instead kejime—the knowledge needed to shift fluidly back and forth between omote and ura [literally "rear door," thus informal behavior]."Because Japanese are adept at making such shifts of identity, they generally do not feel compelled to make one choice among Shinto, Confucian and Buddhist outlooks. They unselfconsciously adopt the appropriate identity when social circumstances call for a choice. Using psychological terminology, Takie Sugiyama Lebra identifies four possible Japanese selves: presentational (Confucian), inner (Shinto), empathetic (Mahayana) and boundless (Buddhist).
These shifts between various identities are generally under social and personal control. In contrast, paradigm shifts are occasioned by historical forces, such as the shift from the feudal values of the isolated Tokugawa Shogunate (1603–1867) to the values of the Meiji Restoration of 1868, which committed Japan to modernization. Edwin Reischauer has compared this shift to an earthquake: "The Tokugawa system had been shaken to its foundations by the events since 1853 [caused by an American naval presence and threats of colonization], and the whole antiquated structure began to disintegrate. All policies had become subject to debate by samurai from all over Japan." He explains that "the samurai in a brief nine year period were deprived of all their special privileges, and Japan was started on a great change which was to transform its society in a mere generation or two from one in which status was primarily determined by heredity to one in which it depended largely on the education and achievements of the individual." Benedict offers a more graphic picture: "The Tokugawas … regulated the details of each caste's daily behavior. Every family head had to post on his doorway his class position and the required facts about his hereditary status. The clothes he could wear, the foods he could buy, and the kind of house he could legally live in were regulated according to this inherited rank." In the thirty years that Reischauer mentions, all of this was erased and new scripts were written. Even the emperor had his photo taken in Prussian military regalia.
After less than a century's involvement with the Western outlook, the Japanese world exploded in Hiroshima and Nagasaki. Like many Japanese novel's written after the war—one example is the brooding novel by Jiro Osaragi, The Journey (1960)—Ishiguro's first two novels are set in the mushroom shadow of the atomic bomb, which so dramatically ended the outlook provided by state-mandated Shinto. One day it was Emperor Hirohito's portrait in every public building, the next it was Douglas MacArthur's picture in the newspaper. Overnight definitions of honor, dignity and status were redefined. In A Pale View of Hills, a retired teacher laments, "I devoted my life to the teaching of the young. And then I watched the Americans tear it all down." The same teacher lectures his son, already converted to the new outlook, "Discipline, loyalty, such things held Japan together once. That may sound fanciful, but it's true. People were bound by a sense of duty. Towards one's family, towards superiors, towards the country." Later the sensei (teacher) is lectured by one of his former students who bluntly tells him, "In your day, children in Japan were taught terrible things. They were taught lies of the most damaging kind. Worst of all, they were taught not to see, not to question. And that's why the country was plunged into the most evil disaster in her entire history." How can the teacher respond? Can he meekly admit that his entire world view was wrong, that his life was "spent in a misguided direction"? And what value system should he adopt to assess his putative failings? The contemporary zeitgeist of his student, with its "self-evident" democratic values, simply did not exist in the old teacher's world. And who can say how long the current outlook will be fashionable? The teacher is too old to abandon his prewar outlook; the younger man is too earnest to recognize how arbitrary his own outlook is. Yet millions of people in the 20th century have been caught trying to straddle the conflicting values of two worlds. Ishiguro offers us an example in the second plot of A Pale View of Hills, which tells a fragmentary tale of a ghost-like woman and her neglected daughter. The little girl does not attend school and is literally lost at various times in the novel. Her mother is equally lost, chasing an American serviceman in the hope of redemptive immigration to the America that destroyed Japan. Her equivocation and uncertainty are well illustrated by her?" Inability to care for her daughter, who symbolizes the next generation. At one time she says, "I'm a mother, and my daughter's interests come first". At another time she sarcastically asks, "Do you think I imagine for one moment that I'm a good mother to her?"
In addition to the possibilities of exclusively living in the old world or the new world, or equivocating between them, there is a fourth possibility suggested by Zen Buddhism, which recognizes that social roles work like dramatic roles to dictate action and identity, and that the concepts of analytic language simply write more scripts rather than naming preexisting entities. Kasulis explains that "We go through life thinking that our words and ideas mirror what we experience, but repeatedly we discover that the distinctions taken to be true are merely mental constructs." Values are a matter of style, a way of seeing things. There is no ultimately true world of essential substances; in positing eternal ideas Plato was simply imagining, functioning as another artist. Human nature does not operate by following a set of formulas. The most we can know is how to act and who we are within concrete social boundaries. Who and what we are beyond these is an enigma, a subject for Zen koans, which state paradoxes that are used as a meditative focus for Zen training. "Show me your original face," a Master might demand of a disciple, thereby directing him to reflect on pre-social (nonConfucian) identity. How can this primal state be identified without recourse to an arbitrary social context? Here one must remark that language itself is such a context.
For most of The Remains of the Day, Stevens feels that his tragic and wasted life resulted from mistaken loyalty, so that if he had backed a different horse or had played different cards, he would have been a winner instead of a loser. Pondering this issue, Stevens writes: "Naturally, when one looks back to such instances today, they may indeed take the appearance of being crucial, precious moments in one's life; but of course, at the time, this was not the impression one had." Indeed, the very problem is that "There was surely nothing to indicate at the time that such evidently small incidents would render whole dreams forever irredeemable." Zen advises us to cease looking for such definitive and seminal moments because they are not there. These putative moments of choice are characteristic properties of analysis rather than objectively existent or discrete entities waiting to be discovered. The recognition that consciousness is a process like painting, rather than a mirror, can instantly dissolve trust in the analytic process. Suddenly the gestalt shifts from seeing the contents of consciousness to noticing the process itself. One can then develop an esthetic taste for this voyeuristic, detached perspective, which keeps one from too quickly professing another explanation, which promises to explain what was mistaken in the former view. The Remains of the Day and An Artist of the Floating World are both rendered as diaries in which each diarist searches for (moral) points of judgment in his experience, which he thinks mistakenly committed him to a historically failed vision. The problem is that the diary, or any retrospective analysis, is an interpretation committed to some set of implicit values that the analysis will make explicit. Analysis is a performance which requires "causes" in order to produce "effects." For this reason, as Kasulis explains, "Zen Buddhism criticizes our ordinary, unenlightened existence by refusing to accept a retrospective reconstruction of reality" as uniquely or even especially true or definitive. Any expectation of discovering the "truth" or developing a transcendent identity in such terms is futile. People like Stevens, who cannot escape the deconstruction of beliefs they relied on to make sense of their experience—a world view they thought was objective and universal—have an opportunity for liberation, for not recommitting themselves to an alternative interpretation. In fact the Zen monastic experience is designed to force monks to just such a crisis.
It is Ichiro Ono, the artist in the novel An Artist of the Floating World, who, by virtue of a heightened sensitivity to Japanese esthetics—which were largely formulated by Zen Buddhism—is most aware of the possibility of floating rather than diving in hopes of getting to the bottom of things. As Ishiguro depicts him, Ono rose to prominence in the 1930s as a painter. He is enticed to direct his art towards the production of didactic propaganda by earnest men who tell him that as a leader of "the new generation of Japanese artists, you have a great responsibility towards the culture of this nation." They counsel Ono not to "Thide away somewhere, perfecting pictures of courtesans", but to paint inspiring pictures of "stern-faced soldiers … pointing the way forward" to greatness. Under the American occupation of 1945, Ono admits that he had been "a man of some influence, who used that influence towards a disastrous end." What else could he say? Still, there is a disconcerting tone in Ono's contrition, which makes it sound insincere. He seems to disown too quickly his earlier commitment to the war effort and to equivocate in denouncing it, saying, "Indeed, I would be the first to admit that those same sentiments [expressed in didactic war art] are perhaps worthy of condemnation." Ono's motive is not to defend a choice. He considers any choice to be a consequence of a process. The (moral) problem is unconditional faith in the process: "All I can say is that at the time I acted in good faith. I believed in all sincerity I was achieving good for my fellow countrymen. But as you see, I am not now afraid to admit I was mistaken." People who earlier demanded that Ono support fascist values, now expect the same ardor in condemning those values. As an artist (Buddhist), Ono perceives that the performance is the same.
Art frustrates the wish to get to the bottom of things, to gain a clear and definitive picture of the way things really are. As a young artist, Ono was not ready to sacrifice his vanity, his confidence that as a man of discipline and technical mastery, he would get to the bottom of things. Even when he is middle-aged, basking in the glow of adulation from his students, he considers art a vehicle, something he can use to achieve aims which precede and remain unaffected by the vehicle. When he thinks that he has mastered enough of the instrument, Ono informs his teacher, "I have learnt much in contemplating the world of pleasure, and recognizing its fragile beauty." But he then demonstrates how little he has learned: "I now feel it is time for me to progress" because "artists must learn to value something more tangible than those pleasurable things that disappear with the morning light." The Zen roshi or teacher could tell him that perceiving and thinking are processes like painting a picture. We perceive how light and language connect things, paint things. We fleetingly possess the picture but never the objects.
For the essence of the Buddhist outlook is the recognition that everything, including the values to which we are so earnestly dedicated, is a temporary perceptual amalgam fused by language and emotion. The ground for the existence of things is temporal and as insubstantial as light. Yet, like Ono and Stevens, we become "attached to our characterizations, thinking of them as absolutes, rather than as names convenient for a given purpose." This includes our very identities, which are no more than cultural performances. Identity is a play of light and color, not something static; not a number nor an atom nor a soul. This Buddhist line of thinking gets to the bottom of things in its own way, and in Ishiguro's novel, Ono's teacher, Mori-san, tries to communicate something of this view to his pupil, telling Ono that "the finest, most fragile beauty an artist can hope to capture drifts within those pleasure houses after dark. And on nights like these, Ono, some of that beauty drifts into our own quarters here." The master then refers to some of his own early paintings, saying, "they don't even hint at these transitory, illusory qualities." If Ono were as discerning as the artist he aspires to be—and ironically claims to be—he would recognize this as Japanese politeness, as face saving admonishment which avoids explicit formulation and consequent direct confrontation. Mori is suggesting that despite whatever technical mastery he achieved in his youth, he could not see with the profundity produced by a life-time of (Buddhist) dedication and practice. The point, he suggests, is for Ono not to think that he has finished the job of development, that he can see to the bottom of things and that consequently he no longer needs to strive for enlightenment. For enlightenment is also a process which needs to be repeatedly performed.
In Christianity, pride is a sin because God is everything and we are merely his creatures. In Buddhism, pride is embarrassing because it so flagrantly ignores elementary principles. In the Buddhist view, one cannot possess anything, including the self that craves possessions; everything dissolves and changes. In a Zen-like tradition of relating how his master enlightened him, Morisan talks about "a man of no standing" (someone with no conferred authority). Ono complains, saying, "I am puzzled that we artists should be devoting so much of our time enjoying the company of those like Gisaburosan." Mori explains, "The best things, he always used to say, are put together of a night and vanish with the morning." The principle of change (anicca) is an axiom of Buddhism. You cannot hold on to nor control experience by retrospective interpretation, which always renders a substitute (sign) for the experience to produce propaganda. Interpretation discovers only what is latent in its own structure. It cannot get to the bottom of experience because interpretation always deals with the substitutes it paints. The artist controls only the illusion of light.
Like a Zen monk, Mori has spent much of his life trying to capture the oblique light of the floating world, which does not spotlight a specific moment or subject, like truth or dignity or even beauty, but rather encompasses all such particulars in a suffusive glow—just as the light of life similarly contains all specific moments, none of which transcends the process. Explaining the eminent Japanese philosopher Nishida Kitaro's idea of satori (enlightenment), Robert Carter writes: "The deep self, which forever eludes our conceptual grasp, is yet somehow known, nevertheless, as that at the background of our experience. It is never known but is ever present as a background 'lining.'" Kasulis defines Zen enlightenment as "the direct recognition of what one most fundamentally is: the purity, unity, and responsiveness of pre-reflective experience." The Trappist monk and student of Buddhism, Thomas Merton, explains that "the chief characteristic of Zen is that it rejects all these systematic elaborations in order to get back, as far as possible, to the pure unarticulated and unexplained ground of direct experience. The direct experience of what? Life itself."
The intent of Buddhism is to achieve an esthetic appreciation rather than to employ analysis in a search for an illusory redemptive moment, a moment of truth, moral choice and justification. In Ishiguro's novel, Mori plays the part of a Zen Master, telling Ono, his disciple:
I was very young when I prepared those prints. I suspect the reason I couldn't celebrate the floating world was that I couldn't bring myself to believe in its worth. Young men are often guilt-ridden about pleasure, and I suppose I was no different. I suppose I thought that to pass away one's time in such places, to spend one's skills celebrating things so intangible and transient, I suppose I thought it all rather wasteful, all rather decadent. It's hard to appreciate the beauty of a world when one doubts its very validity.
Surprisingly this intangible and transient world of perception is the only world we ever experience.
On the last page of the novel, Ono, now an old man, reflects, "when I remember those brightly-lit bars and all those people gathered beneath the lamps, laughing a little more boisterously perhaps than those young men yesterday, but with much the same good heartedness, I feel a certain nostalgia for the past," but he then goes on to conclude: "one can only wish these young people well" today. Neither Mori nor Ono offer specific advice from theology that would force life to conform to some principle; nor do they offer advice about seizing an opportune or all important moment of decision that once lost results in tragedy. Their advice, which seems so empty to earnest young people, is to encourage them to be esthetically sensitive to the quality of light that illuminates life; to appreciate life itself. In 1949 Ono's son-in-law parrots the same rhetoric Ono heard in the thirties, which was the same rhetoric Ono's grandfather might have heard in the early days of the Meiji restoration: "We needed new leaders with a new approach appropriate to the world of today." The truth is that the light of the lamps and laughter of the people beneath them and the political ardor of Ono's son-in-law are no different now than they ever were; nor will they ever be fundamentally different in the future. There is nothing to find or repudiate in the past; neither is there anything to prove or create in the future. Life is not—except in Christian/Islamic interpretation—moving toward some eschatological moment. A koan has it that "When an ordinary man attains knowledge he is a sage; when a sage attains understanding he is an ordinary man."
Mr. Stevens is interested in extraordinary men. As a kind of Victorian samurai, his life is dedicated to the great or at least the powerful. A life of devotion requires a worthy object, a fixed point. Thus Stevens confesses that in his youth we tended to concern ourselves much more with the moral status of an employer." Sounding like the youthful Ono, Stevens acknowledges that "we were ambitious … to serve gentlemen who were, so to speak, furthering the progress of humanity." Stevens speaks not only for himself and the servant class, but for everyone in the empire when he says, "professional prestige lay most significantly in the moral worth of one's employer." Extraordinary people were the measure of empire. No less than the fascist regimes of the 20th century, European aristocracies of early centuries were dedicated to providing an environment for superior people. Thus Lord Darlington's Nazi sympathies are no quirk, and Stevens could have comfortably worn a Nazi uniform.
Stevens is proud to be near the hub of the wheel of empire, where "debates are conducted, and crucial decisions arrived at, in the privacy and calm of the great houses of this country." Initially Stevens is exclusively concerned with samurai values. Someone else chooses the game; the butler is content to be a skilled player: "my vocation will not be fulfilled until I have done all I can to see his lordship through the great tasks he has set himself." In 1923 Stevens witnesses a confrontation between his employer and an American Senator, Mr. Lewis, who calls Lord Darlington a fool: "He [Darlington] is an amateur and international affairs today are no longer for gentlemen amateurs. The sooner you here in Europe realize that the better." When Darlington rises with icy civility to correct Lewis—"What you describe as 'amateurism', sir, is what I think most of us here still prefer to call 'honour'"—Stevens heartily approves. Yet Lewis proves to be correct: good intentions are not enough to create a just world. Reginald Cardinal, tragically killed in WWII, represents British hopes for the post empire period. In touch with modern politics, he is less crass than the American senator and might be characterized as a young John Majors. His observation on Darlington is discomfiting: "Over the last few years, his lordship has probably been the single most useful pawn Herr Hitler has had in this country for his propaganda tricks. All the better because he's sincere and honourable and doesn't recognize the true nature of what he's doing." Stevens has himself, if only silently, objected to Darlington's sycophantic behavior towards Hitler's foreign minister, Ribbentrop.
Stevens's loyalty to a single view exhibits a hair-line crack when he is involved in what he would like to dismiss as lower-class political wrangling in a village where he is stranded for a night. A garrulous barroom character expresses the opinion that "Dignity isn't just something gentlemen have. Dignity's something every man and woman in this country can strive for and get." Stevens tries to deny this, since it strikes at the foundation of aristocratic, fascist and Confucian claims to possess exclusive authority to set the rules for social games. For example, if each individual could freely decide how to be religious, what authority would the pope retain? Stevens asks, "how can ordinary people truly be expected to have 'strong opinions' on all manner of things?" He has, however, discovered that Darlington and his cronies are as uninformed as the villagers or any other "amateurs" and that their "strong opinions" are nothing more than the gullible fantasies of childhood redefined in Nazi propaganda. Calling someone like Darlington "lord" or the housemaids "Jews" does not denote some inherent property; it simply assigns a position in a social game. Not to have realized this, especially since he was himself such a skilled player—this is Stevens's mistake from a Buddhist perspective.
Although it might appear that the end of the novel leaves Stevens a wreck, regretfully cynical of his misplaced trust, this is not the case. Stevens talks about hoping "to make the best of what remains of my day," in a tone that is not glum. Once again Ono provides instructive insight when in the earlier novel he says, "it is one of the enjoyments of retirement that you are able to drift through the day at your own pace, easy in the knowledge that you have put hard work and achievement behind you." In retirement one is a person of no standing and hence no anxiety. Having no assigned part to play, one has no fear of giving a bad performance. In retiring from the world, as do Buddhist monks, there is an invitation to see life as art, as a performance rather than as a Zoroastrian battle. A Westerner might argue that even Zen Buddhist monks play some social role and that Stevens remains employed. Yet consider what is wanted from Stevens by Mr. Farraday, a rich American who employs him after Darlington's demise: he wants a purely dramatic performance. Farraday is amused by Stevens, until one day when Stevens fails to offer the performance that is expected of him for one of Mr. Farraday's American guests by denying that he was Lord Darlington's butler. At least in part, Stevens's motive is obvious: he did not want to exhibit his part in the pretension and gullibility of drafting policies of appeasement to Hitler. The guest lets Mr. Farraday know that she thinks the house and butler are imitations. Farraday is not amused when he inquires, "I mean to say, Stevens, this is a genuine grand old English house, isn't it? That's what I paid for. And you're a genuine old-fashioned English butler, not just some waiter pretending to be one. You're the real thing, aren't you?". Farraday bought the house because it was a theatrical museum. Stevens is employed as the star actor in this small theme park. What angers Farraday is the quality of performance. Because Stevens's performance failed to entertain the audience, Farraday is disappointed in the way a producer would be disappointed in a stage play flop. The sole concern is esthetic. Death camps and atomic bombs do not threaten.
At the end of The Remains of the Day, two features offer opportunities to reconsider the entire novel and to see it as something more than a tour de force of style. First, we might note that the final image is almost the same as that in An Artist of the Floating World. In the earlier novel the final image is of "all those people gathered beneath the lamps, laughing." In The Remains of the Day we find Stevens waiting for pier lights to come on, and when they do he studies "more closely these throngs of people laughing and chatting," discovering that "evidently, they had all paused a moment for the lights coming on." This is a moment of zazen, of disengagement from unreflective life preoccupied with details, of noticing the light instead of the objects it illuminates. Consider next how Stevens continues: "As I watch them now, they are laughing together merrily. It is curious how people can build such warmth among themselves so swiftly. It is possible these particular persons are simply united by the anticipation of the evening ahead. But, then, I rather fancy it has more to do with this skill of bantering. Listening to them now, I can hear them exchanging one bantering remark after another." The topic of "bantering" provides the second opportunity to reconsider the novel. At the beginning of the novel, the banter of Mr. Farraday seemed a nuisance to Stevens and seemed perhaps to provide a source of humor to readers. In either case it did not seem especially significant. How astonishing, then, to discover the centrality of bantering in Zen Buddhism and accordingly to recognize that it functions in the novel as a kind of Zen practice which liberates Stevens from his samurai role.
There are two schools of Zen Buddhism: Soto and Rinzai. Both rely on zazen (seated meditation) to produce enlightenment. Rinzai Masters additionally assign koan study to their disciples. Meditation temporarily suspends all social roles except that of zazen, which Zen Buddhism claims is not really a social role but the natural human condition, our "original face." Koans present the student with culturally insoluble problems in order to erode confidence in the assumption that Confucianism has delineated the rules for every game that can be played and in order to question the assumption that analysis can get to the bottom of things. Many Westerners are familiar with the koan which asks, "what is the sound of one hand clapping?" Yet what may be misleading in this popular example is that koans are not mildly entertaining enigmas. Koan study constitutes a formal and intense dialogue (another Confucian game) between a student and his roshi (Zen Master). When the Master demands, "Not thinking of good, not thinking of evil, just this moment, what is your original face before your mother and father were born?" he wants an answer. Alan Watts quotes a Zen master's description of koan work: the enigma causes a "'feeling of uneasiness and impatience'. After a while this feeling becomes intensified, and the Koan seems so overwhelming and impenetrable that the disciple is likened to a mosquito trying to bite a lump of iron." The famous Chinese scholar, Wingtsit Chan, adds: "Literally koan means an official document on the desk, connoting a sense of important decisions and the final determination of truth and falsehood." The inability to provide the right answer—like the inability of Stevens to find the key moment on which his life pivots, imagining that he could have turned it in the right direction by giving the correct response—creates great anxiety for a Japanese schooled in Confucian etiquette. To the same effect, Kasulis recounts the story of an exasperated Buddhist monk who tried to turn the tables by asking his master, "What [sort of thing] is this person of no status?" The roshi came down from his dais like a thunderstorm. Seizing the student, "Rinzai exclaimed, 'Speak! Speak!'" When the monk hesitated, not knowing how he was expected to respond in this situation, "Rinzai released him," saying of the student, here is "the true person of no status, what a dried-up s—stick he is." He then left the monks to ponder the double entendre hinged between Buddhist and Confucian expectations about how the monk should have acted. Kasulis explains that "while the secular person must have a presupposed status in order to act, the Zen Buddhist is, in Rinzai's words, a person of no status." He has no social situation or stage on which to act, no script to follow, and yet there is an insistent demand to perform. Yes, but which part? The answer is no part, show me your original face: "the Zen ideal is to act spontaneously in the situation without first objectifying it in order to define one's role"; that is, the "message" of Zen is simply to live instead of first studying how to live as specified by Confucian texts.
In a less intense way, the bantering in The Remains of the Day produces an effect similar to koan study in zazen. Bantering will accept neither habitual nor conventional response. In laughing at the proffered response, it forces one to consider how one has acted—from a point of view without rules. On this point Faure says that "There may be a type of sudden awakening that, like humor, totally subverts all … categories (and as such is not itself a category)." In this context, we might note that very early in the novel Stevens confesses that "bantering on my new employer's part has characterized much of our relationship over these months." Like a Zen monk challenged to respond to a koan assigned to him by his master, Stevens tells us that he "would smile in the correct manner whenever I detected the bantering tone in his voice. Nevertheless, I could never be sure exactly what was required of me on these occasions." Zen monks also compiled lists of koans—one might almost call them jokes—and their "answers" in a work called the Mumonkan. Stevens sounds very much like a Zen monk when he puzzles, "how would one know for sure that at any given moment a response of the bantering sort is truly what is expected?" What one needs to appreciate here is Steven's Japanese heritage, wherein a roshi requires as much respect as an English lord. Thus Stevens worries, "One need hardly dwell on the catastrophic possibility of uttering a bantering remark only to discover it wholly inappropriate." He experiments with timid and studied witticisms, but admits, "I cannot escape the feeling that Mr Farraday is not satisfied with my responses to his various banterings."
The problem in regard to enlightenment is that the Zen Buddhist monk typically relates to his roshi in a manner specified by Confucian ethics, the system that seems coterminous with Japanese culture. In Japanese culture, the whole point of Confucian ethics is security: to provide safety from embarrassment by meticulously following etiquette. Benedict explains that the Japanese tend to "stake everything on ruling their lives like pedants and are deeply fearful of any spontaneous encounter with life". Zen Buddhism provides alterity. It is a crazy "system"—Faure calls it "ritual antiritualism"—dedicated to destroying, or at least suspending, the mediating system of Confucian ethics, which Zen Buddhism claims alienates one from direct experience. Consequently the roshi often employs crazy-wisdom to violate Confucian expectations. The roshi may slap the student or denigrate conventional Buddhist piety or do something strange. For example, the Mumonkan tells this shocking story. Some monks are quarreling about a cat when Nansen, their roshi, intrudes, saying, "if you can say a word of Zen, I will spare the cat." Not knowing what they are expected to say, the monks are silent and the roshi kills the cat, violating ethical principles about nonviolence and compassion. Imagine the shock among non-Buddhists as well as Buddhists, if the Dalai Lama were filmed today chopping a pet cat in two. The monks must fear that their master had gone crazy. What would they expect when Nansen reports the incident to Joshu, an even greater Zen master? They would expect Joshu to upbraid Nansen, perhaps to expel him from the monastery and proclaim that he is no Buddhist. Instead Joshu "took off his sandal, put it on his head, and walked off"! Nansen then remarked, "If you had been there, I could have saved the cat!". In a formal interview the roshi asks his disciple, "what is the meaning of Joshu's putting his shoe on his head?" The Buddhist monk is likely to be as perplexed as Mr. Stevens is by Mr. Farraday's bantering.
The problem with rules and scripts is that they cannot take the measure of life. Even if the code is perfectly, rather than shabbily, enacted, it produces mandarins instead of Buddhas. The perfect Nazi is still a thug. Stevens's father provides an additional illustration. In his seventies, at the end of a life of distinguished service, Stevens's father has always been a paragon of bushido, of samurai discipline and loyalty. Stevens is shocked when Miss Kenton, at the time a newcomer to the estate, sees in the old man nothing more than an under-butler. Stevens remarks, "I am surprised your powers of observation have not already made it clear to you that he is in reality more than that. A great deal more." Consider Mr. Stevens senior as his son finds him early one morning near the end of his life. Is he a man to be emulated? Stevens offers us the portrait of an old monk living in a "prison cell" garret at the top of the house, as though at the summit of a mountain. Although it is still dark, the old mandarin "was sitting, shaved and in full uniform" waiting for the dawn. Clearly the model of monastic discipline, he admonishes his son, "'I've been up for the past three hours,' he said, looking me up and down rather coldly." The old man also glanced "disapprovingly at the lamp I had brought to guide me up the rickety staircase." Stevens reports that "the oil lamp beside his bed had been extinguished." We have already become aware of the significance of this symbol fr
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Was vom Tage übrig blieb (1993)
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1994-03-10T00:00:00
|
Was vom Tage übrig blieb: Directed by James Ivory. With John Haycraft, Christopher Reeve, Anthony Hopkins, Emma Thompson. A butler who sacrificed body and soul to service in the years leading up to World War II realizes too late how misguided his loyalty was to his lordly employer.
|
en
|
IMDb
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https://www.imdb.com/title/tt0107943/
|
I can only repeat what most previous commentators have said. This is a beautiful film in every way.
Anthony Hopkins performance is awe-inspiring and difficult to describe. Stevens the butler never shows any emotion so his face is always suitably deadpan. The dialogue is spare. Then just how is it that we are able to follow the emotional undercurrents? Emma Thompson is also brilliant as the energetic housekeeper who does display and express her feelings without ever stating them directly. But all the actors are excellent, even in the most minor parts. Hugh Grant has a small part and plays it perfectly. Sadly his talent is too often misused and misapplied. James Fox was a revelation as prior to this I had only seen him in very light roles. Here he played an essentially decent man who is not too bright but has been born into wealth and influence. His sentiments and suggestibility lead him to misguided positions and tragedy.
Among the many great scenes there is a hilarious laugh-out-loud sequence with Hopkins and Grant.
I have seen "A Room With a View", another effort from the Merchant-Ivory-Jhabwala team. It is adapted from a lovely book but I disliked the film. I thought it failed to set the mood and put across the emotions. But in "The Remains of the Day" everything works. It is sad, actually heart-rending, but not gloomy. The period details are wonderfully executed and you are impressed by the order and efficiency in the running of the stately home. Everything in the film looks good- clean, bright and sharp. You are swept in at the beginning and stay rapt till the end. And the magic does not decrease with repeated viewing. I have seen it a number of times, it remains absorbing and fresh.
|
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dbpedia
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https://www.chrisreevehomepage.com/m-remains.html
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en
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Movie Reviews (Christopher Reeve Homepage)
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[] | null |
Christopher Reeve Homepage! - Information on Christopher Reeve. Including Movie Reviews, News and Information, Huge List of Relevant Links, Fundraising Information and much more!
| null |
The Remains of the Day (1993)
Character Name: Jack Lewis
Reviewed by Betsy Mahon (bmahon@alamedanet.net)
In his autobiography, Christopher Reeve recalls that, after the premier of Howard's End, he tapped James Ivory on the shoulder and asked "Any part in your next film, it doesn't matter what it is". Ivory offered him the small, but important, role of Jack Lewis, an American congressman, in his upcoming movie The Remains of the Day, based on a novel of the same name, by the British author Kazuo Ishiguro. The film reunites Howard's End stars Anthony Hopkins and Emma Thompson. It also features the yet undiscovered Hugh Grant in a small role.
Ivory stated: "I first read The Remains of the Day in 1989 while we were shooting Mr. and Mrs. Bridge in Kansas City. One of our actors gave me the book. I knew at once that I wanted to make it into a film. The story seemed to me to be a sort of classic triangle.... The milieu was also interesting for me, as well as the period: a great aristocratic establishment centered in an English country house just before and after the Second World War, but seen from the perspective of the staff, and most particularly, the butler." He added: "I instructed my agent in England to see if the novel's rights were free, but I soon learned they were not: Harold Pinter had optioned the book and was said to be writing a screenplay for Mike Nichols, who would be making the film for Columbia Pictures. I thought, 'Well, that's that,' but I followed the progress of the project anyway - things can always happen - this time through my American agent." Things did happen. Mike Nichols withdrew, then formed a partnership with the Merchant-Ivory team which had just completed Howard's End. Long time collaborator Ruth Prawar Jhabvala agreeded to rewrite the script. Many members of the production crew moved directly from Howard's End toThe Remains of the Day.
The film is basically the story of 2 loyal servants - Mr. Stevens (Hopkins), the butler, and Miss Kenton (Thompson), the housekeeper - at Darlington Hall in pre World War II England. Early in the movie, we see Congressman Lewis bidding on Darlington Hall at auction. He takes possession of the manor and offers Stevens a well deserved vacation. While driving across England, Stevens has a chance to reminisce about life on the great estate. Stevens, a second-generation servant, always performed his duties with the utmost discretion and attention to detail. Miss Kenton was equally as efficient, but much more high spirited. They were clearly attracted to each other, but only able to relate on the level of butler and housekeeper. Their affection was only expressed in terms of pitched battles over domestic details. Frustrated by the situation, Miss Kenton broke away from the service of Darlington Hall to marry. Stevens remained loyal to Lord Darlington (James Fox), a Nazi sympathizer, and blind to the intrigue going on in the household which he so ably managed. Stevens' journey at the outset of the film is an attempt to reconcile with the former Miss Kenton and to persuade her to return to Darlington Hall. When he is unsuccessful in these endeavors, he returns to the only environment where he is comfortable and takes up the service of the new owner of Darlington Hall.
Although he appears in a limited number of scenes, Christopher Reeve adds a breath of life to this film. He appears in the opening sequence bidding on Darlington Hall when it is on the auction block. Old retainers with long memories at the estate ask "Is this the same Lewis who attended the conference in 1936?" His relaxed manner eating breakfast and chatting contrasts with the formality of Stevens. When the movie reverts back to the thirties, Reeve portrays the brash young American Congressman who has no patience with the stodgy British and French aristocrats or their naïve political philosophies. In my favorite scene, he is frustrated when a French diplomat (played by Michel Lonsdale, whom Reeve had befriended in Paris two decades earlier) refuses to look beyond his sore feet to the dangers posed by the Nazis. He yanks the man's shoe off and throws it to the ground. At a formal banquet, he delivers his stirring speech "You are amateurs and international affairs should not be run by amateurs. We don't need gentlemen politicians, but real ones."
Reeve clearly enjoyed being reunited with the Merchant-Ivory team and with the artistic license it provided him. He wrote, "Jim was as generous and open to suggestions from everyone as he had been when we worked together nine years earlier." Reeve ad libbed the above scene where he threw the ambassador's shoe in frustration, as well as a later one in which he apologized to Lord Darlington for his statements. "After we shot this speech it seemed to me that it might be a good idea for Lewis to apologize to the host to make it clear that the cutting remarks at dinner were not meant to be taken personally. Jim and I added some dialogue about how I had loved England since I was a child and had always enjoyed visiting here with my family. As the cameras rolled I approached our host with my apology. James Fox had not expected me to come over, so his look of polite bewilderment was absolutely genuine. Once again, as he had done with the dog on the beach in The Bostonians, Jim appreciated the spontaneity of the moment and used it in the final cut."
The Remains of the Day opened in November 1993 and was an immediate success. It was nominated for 8 Academy Awards including "Best Picture", "Best Actor" (Hopkins), "Best Actress" (Thompson), "Best Director" (Ivory) and "Best Screenplay Adaptation" (Jhabvala). Reeve wrote in Still Me, "After only a few days of shooting, it was obvious to everyone involved that Tony and Emma were giving the performances of a lifetime. My spirits soared with the realization that I was contributing, even in a small way, to a film that was certain to become a classic." He is quoted in the Havill book "I don't regard that as my movie - I was a visitor - but it's the best movie I've ever been in. Anthony Hopkins gave one of the best performances ever captured on screen." Reviews of Reeve's performance were good but brief. The Variety critic wrote "Christopher Reeve brings authority and Yankee energy to the one dissenting voice in the collaborationist circle." Christopher Reeve "heads a superb supporting cast" was used more than once.
There is some disagreement over the effect Reeve's role in The Remains of the Day had on his future career. Havill writes that the success of this movie meant a return to stardom and that "there were movie offers again arriving by the dozen". Reeve clearly thought otherwise. "...I felt that my performance as Lewis was one of my personal best and hoped the role might begin the resurrection of my film career....But when the articles and reviews came out, I was scarcely mentioned. ...I had the satisfaction of being a part of an undeniably great film, but it did nothing for my career." After The Remains of the Day, Reeve made three movies in fairly quick succession. In all, he gave earnest performances but none was enough to return him to true stardom. He had long coveted the role of Thomas Jefferson in another Merchant Ivory film Jefferson in Paris. Reportedly he had discussed the role as early as 1985, but when Merchant-Ivory formed a partnership with Walt Disney Studios to offset costs, Disney insisted on Nick Nolte in the title role. Still, Reeve refused to feel sorry for himself. In an interview just 17 days before his accident, he told a reporter: "Overall I'm happy with the route that I took and think the best opportunities are ahead of me."
"Remains of the Day" is available on videotape and DVD.
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https://www.blu-ray.com/movies/The-Remains-of-the-Day-Blu-ray/257134/
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The Remains of the Day Blu-ray
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The Remains of the Day Blu-ray
Sony Pictures | 1993 | 134 min | Rated PG | Dec 17, 2019
Large:
Drama
Romance
Period
Video
Codec: MPEG-4 AVC (24.49 Mbps)
Resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
Audio
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 2.0 (48kHz, 16-bit)
French: Dolby Digital 2.0 (224 kbps)
Spanish: Dolby Digital 2.0
Note: 5.1: 1790 kbps, 2.0 Stereo: 1698 kbps
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 2.0 (48kHz, 16-bit)
French: Dolby Digital 2.0 (224 kbps)
Spanish: Dolby Digital 2.0
(less)
Note: 5.1: 1790 kbps, 2.0 Stereo: 1698 kbps
Subtitles
English SDH, French, Spanish
Forced subtitles
English SDH, French, Spanish (less)
Discs
Blu-ray Disc
Single disc (1 BD-50)
Playback
2K Blu-ray: Region A, B (C untested)
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List price: $26.18
Amazon: $26.45
New from: $17.81 (Save 32%)
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Overview Blu-ray review Screenshots (25) Packaging User reviews Region coding News Forum
The Remains of the Day
(1993)
The Remains of the Day Blu-ray delivers great video and solid audio in this excellent Blu-ray release
In post-World War I England, head butler Stevens has devoted his life entirely to service. With careful and unfailing devotion, he adheres to a system of old-fashioned propriety. His worldview is challenged and complicated by a vivacious housekeeper who falls in love with him and for whom he cares deeply, though he is unable to directly express it. Stevens must also quietly contend with the fact his master, Lord Darlington, is an influential, yet naïve gentleman under the spell of Nazi sympathizers.
For more about The Remains of the Day and the The Remains of the Day Blu-ray release, see the The Remains of the Day Blu-ray Review published by Dr. Stephen Larson on February 1, 2020 where this Blu-ray release scored 4.0 out of 5.
Director: James Ivory
Writers: Ruth Prawer Jhabvala, Kazuo Ishiguro
Starring: Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve, Peter Vaughan, Hugh Grant
Producers: Ismail Merchant, Mike Nichols, John Calley, Paul Bradley
» See full cast & crew
The Remains of the Day Blu-ray Review
Reviewed by Dr. Stephen Larson, February 1, 2020
In his book Fires were Started: British Cinema and Thatcherism, Andrew Higson observes that with the passage of the National Heritage Acts of 1980 and 1983, the British people gained greater access to the commodification, exhibition, and display of the heritage industry, which promotes contemporary tourism and service industries. Motion pictures are inextricably part of this industrial platform. Indeed, from the early Eighties onward, British heritage filmsmany of them literary adaptations made by the triumvirate of screenwriter Ruth Prawer Jhabvala, producer Ismail Merchant, and director James Ivoryarrived in the international marketplace when Prime Minister Margaret Thatcher's England and other countries underwent a capitalist recession. Higson defines "heritage" as connoting a stabilization with the past and a preservation of traditions and values. Higson characterizes heritage cinema as a quality costume drama set in the imperial past of upper-class England. Heritage films have played a viable role in the modern British art cinema (which straddles the line between classical European art films and mainstream cinema in Britain) as they cater to an older cultural elite well-versed in English literary works, music, painting, and other venerable arts.
Merchant Ivory's The Remains of the Day (1993) stands out from other screen adaptations in the heritage/nostalgia film canon because it attempts to establish a direct political discourse about pre-World War II Europe in its narrative. Adapted from Kazuo Ishiguro's 1989 Man Booker-Award winning novel, The Remains of the Day (hereafter cited as Remains) explores how class distinctions between the aristocracy/haute bourgeoisie and working classes create sexual repression amongst the characters (i.e., they are seduced by class), which contributes to a blind ignorance to global affairs hovering gravely over Britain on the eve of WWII. The film shows how pre-WWII upper class society in England had abandoned morals for rules as the hallmark of civilized society and that the working class in both cultures, seduced by the opulent lifestyles of their betters, had fallen prey to the same blind adherence to rules rather than action based on passions and moral convictions.
However, although Remains is the most politically charged work in Merchant Ivory's career, the film's critique of fascism and anti-Semitism is ultimately undermined by their predilection stylistically for "circumambience," which author Martin A. Hipsky defines as "a spectacular excess of signification that is unironically meant to provide great sensual pleasure." In Remains, Merchant Ivory decorate the mise-en-scène with an overabundance of architectural grandeur (i.e., "eye candy") and splendid views of the English countryside which not only supply audiences with images of nostalgia and vicarious pleasure, but also prevent them from "seeing" the death of the British aristocracy.
One reason that Remains is nostalgic on screen is because it looks back at events rather sentimentally in hindsight. The film integrates a dual perspective through flashbacks and alternating narration by its two main characters. Specifically, the film digresses from the novel in that it mostly prunes Ishiguro's first-person narration. Instead of the novel's diary narrative delivered by Stevens, the film oscillates between letter-readings by Miss Kenton (Emma Thompson), the housekeeper of Darlington Hall, and Mr. Stevens (Anthony Hopkins), who's the "perfect" butler for Lord Darlington (James Fox). Jhabvala and Merchant Ivory objectify this mode of narration through voice-overs, flashbacks, and a non-subjective camera, which result in an erasure of Ishiguro's social criticism. The film only gives a cursory glance at the war's origins (mid- to late-1930s) and the disintegration of Britain's oligarchy thirteen years after the end of the war (1958). It also falters narratively for a prime concentration on the failed love story between Stevens and Miss Kenton. Remains thus sacrifices its commentary on Britain's declining status as Empire (so central to Ishiguro's novel) in favor of the relationship between Stevens and Miss Kenton, which is relegated to a romantic subplot in the book. The ill-fated romance becomes the central plot in Merchant Ivory's filmed version. As an adaptation, Remains only superficially broaches several sociocultural and political themes that pervade Ishiguro's text through Merchant Ivory's threaded narrative.
Remains is a quintessential heritage film not only because it summons its audience to the surface pleasures of the immediate post-Edwardian era, but also because it invites its audience to trust the honorable butler, Stevens. The caveat is that while we may view Stevens as an unreliable narrator in the novel, we become invested in the version Jhabvala creates for him on screen and forget that the character is politically problematic because he projects steadfast obedience to his fascist lord and Nazi sympathizers who visit the country house. (Hence this is a criticism of the screenwriter's interpretation of Stevens and not Hopkins's performance, which is first-rate.)
The Remains of the Day Blu-ray, Video Quality
Sony has released The Remains of the Day in the US using the MPEG-4 AVC encode on a regular BD-50. This is the third edition of the eight-time Oscar-nominated film we've covered. Svet reviewed Sony UK's 20th Anniversary Edition while Jeff critiqued Twilight Time's 2015 disc. All BDs date from a 4K restoration completed ca. 2012 that was projected in select cinemas in the UK and US. I've seen Remains many times and the Blu-rays have cleaned up age-related artifacts that somewhat plagued Columbia TriStar's 2001 Special Edition DVD. But the BD transfers are not identical. The Sony's faux-like grain, which is a little more apparent than TT's slightly clearer and sharper image, distracted me at times because it didn't look as organic as it maybe should. It appeared more like mosquito noise to my eyes. It has a very coarse appearance at the large conference dinner (see Screenshot #3). Overall, the TT has a bit less noise. Sony does expunge a damage mark present on the TT. (In the sky above the middle of the castle before the great hunt.) See the comparison in shots 24 and 25. TT has substantially better compression than Sony. Exteriors look lush with clean and bright green grass on both transfers.
While shot in Technicolor, Remains predominately uses solid blacks and pure whites in many of Darlington Hall's interior scenes. Director of photography Tony Pierce-Roberts told Brooke Corner of American Cinematographer magazine that poor weather permitted him to generate dull gray light; sparse sunshine was only added for interiors. Notice the medium close-up in Screenshot #5 of Kenton and Stevens, who are nearly in full silhouette except for some sparse fill light in the background. (Most days of shooting ended by 4:30 in the afternoon so the filmmakers used a "less is more" approach to make the most of a relatively dark film that befits its gloomy subject matter.) Ivory sought a "grubby" look for Darlington Hall; although he wanted it to appear attractive from a distance, he also thought it should look dour up close. Remains's aesthetics also depart from the rustic exteriors and ripe beauty of the midday sun seen in two previous films Pierce-Roberts shot for Merchant Ivory: A Room with a View (1986) and Howards End (1992), both of which dictated rich light.
Screenshot #s 1-15, 17, 19, 21, 23, & 25 = Sony 4K Scan 2019 BD-50
Screenshot #s 16, 18, 20, 22, & 24 = Twilight Time 4K Scan 2015 BD-50
The Sony disc does have a main menu, which includes sixteen scene selections.
The Remains of the Day Blu-ray, Audio Quality
Sony supplies both an English DTS-HD Master Audio 5.1 Surround remix (1790 kbps, 16-bit) and an English DTS-HD Master Audio 2.0 Stereo (1698 kbps, 16-bit). Sony's lossless 5.1 doesn't nearly have the same amplitude and range as TT's uncompressed mix (DTS-HD MA 5.1; 3570 kbps, 24-bit). Dialogue by the mostly British cast is completely audible and often captured while the characters are near the camera. Voice-overs delivered by Emma Thompson and Anthony Hopkins are heard very clearly on the center channel. Richard Robbins's score has an air of longing about it. Extended pieces scored with rich and haunting strings are backed by occasional synths that don't sound dated. Besides door-closings and footsteps, music takes up much of the surround channels' activity.
Optional English SDH as well as French and Spanish subtitles are available for the feature only.
The Remains of the Day Blu-ray, Special Features and Extras
All supplements (except for one deleted scene about Mr. Stevens Sr. and an international trailer) originally appeared on the 2001 SD of Remains. Please refer to Svet and Jeff's reviews for details on the extras. These are all on the TT but the European BDs lack the feature-length commentary.
Audio Commentary with Director James Ivory, Producer Ismail Merchant, and Actress Emma Thompson
Love and Loyalty: The Making of The Remains of the Day Featurette (28:37, 480i)
The Remains of the Day: The Filmmakers Journey Featurette (29:52, 480i)
Blind Loyalty, Hollow Honor: England's Fatal Flaw Featurette (14:51, 480i)
7 Deleted Scenes with Optional Director's Commentary (14:27, 480i)
Theatrical Trailer (2:23, 1080p)
International Theatrical Trailer (2:24, 1080p)
The Remains of the Day Blu-ray, Overall Score and Recommendation
I know that I'm hard on the screen version of The Remains of the Day for depoliticizing Ishiguro's novel and celebrating the throes of hierarchy and tradition in post-Edwardian England. But as a standalone period drama, it's an enjoyable tour gaze of the lavish country houses and privileged lives of politically dimwitted European dignitaries as well as their less fortunate servants. I've seen nearly all the films Merchant Ivory worked on and would rank this one below Maurice (1987) and Howards End (1992). I believe The Golden Bowl (2000) is highly underrated with a spiffy Blu-ray release being long overdue. I'd also very much like to see respectable high-def editions done of Mr. & Mrs. Bridge (1990), Surviving Picasso (1996), and A Soldier's Daughter Never Cries (1998). This BD-50 from Sony has its pros and cons. I appreciate the studio including the original stereo surround track but sonic qualities in the 5.1 remix rank below Twilight Time's 24-bit track. I'm glad to also have the Sony release but grab any remaining copies of TT while they last (it also includes an exclusive isolated score and leaflet).
The Remains of the Day: Other Editions
4K
1-disc
$19.50
Blu-ray
1-disc
Screen Archives Entertainment
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The Remains of the Day Blu-ray, News and Updates
• The Remains of the Day 4K Blu-ray - October 31, 2022
Sony Pictures Home Entertainment has officially announced that it will release on 4K Blu-ray James Ivory's The Remains of the Day (1993), starring Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve, and Peter Vaughan. The release will be available for ...
• Upcoming Sony Pictures Catalog Releases - November 16, 2019
Sony Pictures Home Entertainment will bring four catalog titles to Blu-ray: David Mamet's Heist (2001), Ben Stiller's The Cable Guy (1996), James Ivory's The Remains of the Day (1993), and Amy Heckerling's Look Who's Talking (1989).
• Upcoming Via Vision Blu-ray Releases (UPDATED) - August 5, 2016
Australian label Via Vision Entertainment has informed us that it plans to release various classic and cult films on Blu-ray. Amongst them are Joseph L. Mankiewicz's Suddenly, Last Summer, The Amityville Horror Collection, and Frank Capra's Lost Horizon.
» Show more related news posts for The Remains of the Day Blu-ray
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The Remains of the Day Blu-ray Screenshots
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The Remains of the Day by Kazuo Ishiguro – a subtle masterpiece of quiet desperation
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"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Books%2CCulture%2CFiction%2CKazuo+Ishiguro",
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[
"Peter Beech",
"www.theguardian.com",
"peter-beech"
] |
2016-01-07T00:00:00
|
Kazuo Ishiguro’s Booker-winning novel is a story of unspoken love for anyone who’s ever held their true feelings back
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en
|
the Guardian
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https://www.theguardian.com/books/booksblog/2016/jan/07/the-remains-of-the-day-by-kazuo-ishiguro-book-to-share
|
Some of my friends and family might roll their eyes if they see this – they’ve heard my spiel about The Remains of the Day too many times. Some have already had a copy thrust upon them as a gift. Over the years since I read it, I’ve turned into a Remains of the Day evangelist. It’s not my fault. Kazuo Ishiguro’s subtle masterpiece about the private agonies of an ageing butler is hardly unknown – it won the 1989 Booker prize, after all – but sometimes you find a piece of writing so well executed, so moving and so perceptive about the lives many of us lead that you can’t help praising it to anyone not quick-witted enough to look busy.
A lack of restraint is perhaps the best response to Ishiguro’s novel, which is the tale of a man so burdened by propriety that he lets the love of his life slip through his fingers. Mr Stevens is chief of staff at an English stately home; as the novel opens, in the summer of 1956, he is set to undertake a motoring trip to visit Miss Kenton, a housekeeper who left 20 years earlier to get married. The butler says he wants to ask her if she’d consider returning to work: “Miss Kenton, with her great affection for this house, with her exemplary professionalism, was just the factor needed to enable me to complete a fully satisfactory staff plan for Darlington Hall.” But Stevens isn’t fooling anyone, especially when he lets slip that a letter (“her first in seven years, discounting Christmas cards”) contains hints her marriage is falling apart.
Unreliable narrators – those mysterious figures the reader must try to work out – are ten a penny in fiction. Ishiguro, instead, likes to give us unwitting narrators: speakers who remain trapped in self-preserving fictions, mysteries even to themselves. Bit by bit, you learn to look for the real emotions running beneath the buffed surface of the prose. Stevens reminisces grandly about his former employer, Lord Darlington, an aristocrat who aligned himself with the Nazis and eventually died in disgrace. He sifts through memories of his father – a butler himself, who was aloof to the point of abuse – and holds forth about “dignity”, a concocted ideal that has to do “with a butler’s ability not to abandon the professional being he inhabits”.
Each journal entry becomes a mannered exercise in avoidance and projection. When Stevens reaches a sensitive subject – such as whether Miss Kenton was driven away by his refusal to admit his feelings for her – he veers off into self-protective prattling, carrying on for pages before he feels able to continue. “All in all,” he writes tellingly, “I cannot see why the option of her returning to Darlington Hall and seeing out her working years there should not offer a very genuine consolation to a life that has come to be so dominated by a sense of waste.”
We get a picture of a man trying desperately to keep a lid on his emotions – and what a complete picture it is. The Remains of the Day does that most wonderful thing a work of literature can do: it makes you feel you hold a human life in your hands. When you reach the end, it really does seem as if you’ve lost a friend – a laughably pompous, party-hat-refusing, stick-in-the-mud friend, but a good friend nonetheless. You want to give him a hug, except he’d be outraged.
The Remains of the Day is a book about a thwarted life. It’s about how class conditioning can turn you into your own worst enemy, making you complicit in your own subservience. It’s probably quite an English book – I can’t imagine readers in more gregarious nations will have much patience with a protagonist who takes four decades to fail to declare his feelings. “Hanging on in quiet desperation is the English way,” as Pink Floyd sang. It’s a book for anyone who feels they’ve ever held themselves back when something that truly mattered was within their grasp.
Most of all, though, it’s a book about love. Stevens is forced to let go of his illusions about Lord Darlington, his filial pride, his cherished “dignity”, until all that remains is Miss Kenton and what might have been. The story reaches its low-key climax in the quiet surroundings of a Cornish tea-room. I won’t spoil it for you, except to say that, here as elsewhere, what is not said makes all the difference.
I once heard that, to make the reader cry, a writer should try to keep the characters dry-eyed. There are some tears in this novel – yet perhaps not enough, because the tale of the steadfast, hopelessly mistaken Stevens gets me every time. If you haven’t read The Remains of the Day, I hope you’ll let me park my professional dignity and beg you to get hold of a copy pronto. And if you’ve read it and loved it, then – whatever you do – don’t keep your feelings to yourself.
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5020
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dbpedia
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3
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https://bibliojunkie.wordpress.com/2012/03/17/the-remains-of-the-day-by-kazuo-ishiguro/
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en
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The Remains of the Day by Kazuo Ishiguro
|
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2012-03-17T00:00:00
|
The Remains of the Day is the story of Stevens, an aging butler who worked for Darlington Hall – back in the glory days of mansion staff with butlers and maids. Darlington Hall now has a new American owner, Mr. Faraday, who suggested that Steven should take his car for a drive in the West country…
|
en
|
https://secure.gravatar.com/blavatar/1006b62f93568e5dc90e52a3088636c8b03e103605ec52e3b8326bcbf38857a7?s=32
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JoV's Book Pyramid
|
https://bibliojunkie.wordpress.com/2012/03/17/the-remains-of-the-day-by-kazuo-ishiguro/
|
The Remains of the Day is the story of Stevens, an aging butler who worked for Darlington Hall – back in the glory days of mansion staff with butlers and maids. Darlington Hall now has a new American owner, Mr. Faraday, who suggested that Steven should take his car for a drive in the West country of South England. The chapters are divided as per Steven’s journey that takes him deep into the countryside and into his past…. His most important stop will be to see Miss Kenton, who has recently divorced, if she would like to come back and work in Darlington hall as they are a little shorthanded.
Stevens reminiscences about his time serving Lord Darlington over the years on the good old days before and after WWII and also his relationship with Miss Kenton, then housemaid. He also ruminates on issues of dignity and what makes a butler truly great. Unfortunately, as Stevens revisits his past, doubts about the respectability of his former employer begin to creep into his mind, and the possible hidden messages of love lost due to his dignity, Stevens must finally evaluate take stock of what he has made of his life and if his traditional values are valid in today’s world.
Now I have to admit that the last two books of Kazuo Ishiguro Nocturnes and Never let me go have annoyed me. There are mostly long sentences, convoluted passages, it didn’t hold my interest for long. Yet it is the same long sentences and the same techniques that brought the nuances of elegiac and past memory of butler Steven come to live.
Where do I start? This is one of the novel I sigh at the end with contentment and awe knowing that it is a masterpiece. A novel that you put down and there hung many deep implications that makes my mind thinking about it again and again. I’m trying to think when is the last time a novel had did this to me, perhaps In the country of men by Hisham Matar is one.
The English Landscape at its finest – …. Possess a quality that the landscapes of other nations, however more superficially dramatic, inevitably fail to possess. It is, I believe, a quality that will mark out the English landscape to any objective observer as the most deeply satisfying in the world, and this quality is probably best summed up by the term ‘greatness’ . … We call this land of ours Great Britain, and there may be those who believe this a somewhat immodest practice.
And yet what precisely is this ‘greatness’? Just where, or in what, does it lie? I am quite aware it would take a far wiser head than mine to answer such a question, but if I were to hazard a guess, I would say that it is the very lack of obvious drama or spectacle that sets the beauty of our land apart. What is pertinent is the calmness of that beauty, its sense of restraint. It is as though the land knows of its own beauty, of its own greatness, and feels no need to shout it. In comparison, the sorts of sights offered in such places as Africa an America, though undoubtedly very exciting, would, I am sure, strike the objective viewer as inferior on account of their unseemly demonstrativeness. – page 29
‘Dignity’ has to do crucially with a butler’s ability not to abandon the professional being he inhabits. Lesser butlers will abandon their professional being for the private one at the least provocation. … the great butlers are great by virtue of their of their ability to inhabit their professional role and inhabit it to the utmost; they will not be shaken out by external events, however surprising, alarming or vexing. They wear their professionalism as a decent gentleman will wear their suit:… he will discard it when, and only when, he wills to do so, and this was invariably be when he is entirely alone. It is, as I say, a matter of ‘dignity’. – page 44
The novel was subtle and gentle, in a true gentleman and English way, slowly building to a conclusion that is heart breaking. The words are few but every word is significant. The selected memories of Steven each and every one of them showcase an important social commentary about modern Britain. It is about the corrosion of traditional value of integrity, loyalty and dignity. It is about the ruling class and the working class and whether it is foolhardy to think the majority knows what is good for the country. It is about putting duty above self and to come to the part when Steven has to fulfil his duty while his father is breathing his last, speaks volume about Steven’s work ethics. Unfortunately it was his unerring deference to his higher principles that he lost his opportunity to find his own happiness.
In an almost all-male casts talking about masculine topics and old values, you would think this book is dry. In contrary it was an engrossing read. I relish in the meanings for things that are left unsaid. I feel my heart sigh on the longing and loss in the last few chapters.
I am continuously surprise that people are surprised Kazuo Ishiguro would embody a British soul and writes something so ‘English’. I feel I need to vehemently defend him just because someone carries a Japanese name doesn’t make him less a ‘British’ than someone who has a White man’s name. In all fairness, Ishiguro grew up in England and studied in grammar school and became a British citizen. He is as British as he can get. Moreover, the values that he amplified in the novel, which is ‘integrity’, ‘dignity’ and duty above self are values that are very similar to the Japanese.
What can we ever gain in forever looking back and blaming ourselves if our lives have not turned out quite as we might have wished? The hard reality is, surely, that for the likes of you and me, there is little choice other than to leave our face, ultimately, in the hands of those great gentlemen at the hub od this world who employ our services. What is the point in worrying oneself too much about what one could or could not have done to control the course one’s life took? Surely is it enough that the likes of you and me at least try to make a small contribution count for something true and worthy? – page 256
…bantering lies the key to human warmth. – page 258
I could spend days thinking about this novel in different ways and every other way that I see it, it all brings great insight to me. Due to my upbringing, I operate an innate honour code. I do my job in integrity and always work more than I’m paid for. I do not covet nor attempt to steal my friend’s boyfriend nor I could bring myself to do apple polishing at work for personal gain but I often wonder if I have bended my rules in life would I be in a better position than I am in now? Perhaps this is the same question (not literally!) that Steven asked himself and my take is that at the end he decided to live life a little and not take it all too seriously.
This is without a doubt Kazuo Ishiguro’s best work ever and is the best Man Booker Prize read ever for me. It’s a joy being able to finish a book that is much talked about and ended up loving it. With this book, I put Ishiguro up on my favourite authors’ pedestral and a contention for my favourite book of the year. I have been looking for a writer who writes about ‘dignity’ for a long time and if I need to pin down a book that is the epitome of British custom and its respected way, this is the book. And I question if an adoption of some of these traditional values wouldn’t do a bit of good for the society now that has lost its way.
‘Today’s world is too foul a place for fine and noble instincts.” – page 234
Rating:
What would you recommend trying next? A Pale View of Hills, Unconsoled or When We Were Orphans?
Paperback. Publisher:Faber & Faber (Secret & Lies series), 2011; Length: 258 pages; Setting: West Country, South England.Source: Reading Battle Library. Finished reading at: 17th March 2012.
Other views:
Matt@A Guys’s Moleskine notebook: Cleverly put together, the novel reads a dizzying dance and an emotional journey down memory lane.
Steph and tony investigate: The topics addressed may not be as “sexy” and controversial, but this novel is so much richer and far more thoughtful, and ultimately more human. Unquestioningly it deserved the Booker the year it was published, because not only is it one of the best Booker winners I’ve had the pleasure of reading, it’s also simply one of the best books I’ve ever read.
Bookie Mee: As the basic story is not one that is close to my heart, it probably won’t end up as my favorite book of all time. (Maybe it will maybe it won’t. Only time will tell.) But as a novel, it is amazingly accomplished.
My other reviews of the same author: Nocturnes and Never let me go
About the writer (Souce: Wikipedia):
Kazuo Ishiguro OBE (Japanese: カズオ・イシグロ (Kazuo Ishiguro) or 石黒 一雄 (Ishiguro Kazuo); born 8 November 1954) is a Japanese–British novelist. He was born in Nagasaki, Japan, and his family moved to England in 1960. Ishiguro obtained his Bachelor’s degree from University of Kent in 1978 and his Master’s from the University of East Anglia’s creative writing course in 1980. He became a British citizen in 1982. Ishiguro was born in Nagasaki on 8 November 1954, the son of Shizuo Ishiguro, a physical oceanographer, and his wife Shizuko. In 1960 his family, including his two sisters, moved to Guildford, Surrey so that his father could begin research at the National Institute of Oceanography. He attended Stoughton Primary School and then Woking County Grammar School in Surrey. After finishing school he took a ‘gap year’ and travelled through America and Canada, whilst writing a journal and sending demo tapes to record companies.
In 1974 he began at the University of Kent, Canterbury, and he graduated in 1978 with a Bachelor of Arts (honours) in English and Philosophy. After spending a year writing fiction, he resumed his studies at the University of East Anglia where he studied with Malcolm Bradbury and Angela Carter, and gained a Master of Arts in Creative Writing in 1980
Ishiguro is one of the most celebrated contemporary fiction authors in the English-speaking world, having received four Man Booker Prize nominations, and winning the 1989 prize for his novel The Remains of the Day. In 2008, The Times ranked Ishiguro 32nd on their list of “The 50 greatest British writers since 1945”.
Awards
1982: Winifred Holtby Memorial Prize for A Pale View of Hills
1983: Published in the Granta Best Young British Novelists issue
1986: Whitbread Prize for An Artist of the Floating World
1989: Booker Prize for The Remains of the Day
1993: Published in the Granta Best Young British Novelists issue
1995: OBE
1998: Chevalier de l’Ordre des Arts et des Lettres
2005: ‘Time magazine names Never Let Me Go on its list of the 100 greatest English language novels since the magazine formed in 1923.
2008: The Times named Ishiguro among “The 50 greatest British writers since 1945”.
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About: The Remains of the Day (film)
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The Remains of the Day is a 1993 drama film adapted from the Booker Prize-winning 1988 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, Hugh Grant, Ben Chaplin, and Lena Headey in supporting roles.
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http://dbpedia.org/resource/The_Remains_of_the_Day_(film)
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dbo:abstract
بقايا اليوم (بالإنجليزية: The Remains of the Day (film)) هو فيلم دراما تم إنتاجه في المملكة المتحدة والولايات المتحدة وصدر في سنة 1993. (ar)
El que queda del dia (títol original en anglès The Remains of The Day) és una pel·lícula britànica del director James Ivory, adaptació de Ruth Prawer Jhabvala del llibre homònim de Kazuo Ishiguro, estrenada el 1993 i doblada al català. (ca)
Was vom Tage übrig blieb ist ein Spielfilm des US-amerikanischen Regisseurs James Ivory aus dem Jahr 1993. Nach seinen Werken Zimmer mit Aussicht (1986) und Wiedersehen in Howards End (1992) arbeitete Ivory wieder mit Produzent Ismail Merchant und Drehbuchautorin Ruth Prawer Jhabvala zusammen. Die Verfilmung des mit dem Booker-Preis ausgezeichneten Romans Was vom Tage übrigblieb von Kazuo Ishiguro wurde in den Hauptrollen mit den britischen Schauspielern Emma Thompson und Anthony Hopkins besetzt. (de)
The Remains of the Day (euskaraz Egunaren Hondarrak) 1993ko James Ivory estatubatuar zinema zuzendariaren drama filma bat da. 1989ko Kazuo Ishiguro japoniar idazlearen The Remains of the Day eleberrian oinarritua dago. Bertan, Anthony Hopkins, Emma Thompson, , Christopher Reeve, Hugh Grant, Peter Vaughan eta aktoreek anteztu zuten. Zortzi Oscar Sarietarako izendapenak jaso zituen, nahiz eta bat bera ere ez irabazi izan. (eu)
Lo que queda del día (The Remains of the Day) es una película dramática de coproducción británica y estadounidense de 1993 dirigida por James Ivory, con Anthony Hopkins y Emma Thompson como actores principales. El guion, escrito por Ruth Prawer Jhabvala, es una adaptación de la novela homónima de Kazuo Ishiguro. (es)
The Remains of the Day adalah sebuah film drama Inggris-Amerika 1993 yang diadaptasi dari karya Kazuo Ishiguro. Film tersebut disutradarai oleh James Ivory dan diproduksi oleh Ismail Merchant, Mike Nichols dan . Film tersebut dibintangi oleh Anthony Hopkins sebagai Stevens dan Emma Thompson sebagai Miss Kenton bersama dengan , Christopher Reeve, Hugh Grant dan . Film tersebut dinominasikan untuk delapan Academy Award. (in)
Les Vestiges du jour (The Remains of the Day) est un film américano-britannique réalisé par James Ivory sorti en 1993, inspiré du roman du même nom de Kazuo Ishiguro. (fr)
The Remains of the Day is a 1993 drama film adapted from the Booker Prize-winning 1988 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, Hugh Grant, Ben Chaplin, and Lena Headey in supporting roles. The film was a critical and box office success and it was nominated for eight Academy Awards, including Best Picture, Best Actor (Hopkins), Best Actress (Thompson) and Best Adapted Screenplay (Jhabvala). In 1999, the British Film Institute ranked The Remains of the Day the 64th-greatest British film of the 20th century. (en)
Quel che resta del giorno (The Remains of the Day) è un film del 1993 diretto da James Ivory, tratto dal romanzo omonimo di Kazuo Ishiguro (1989). Alla 66ª edizione degli Oscar, venne candidato ad otto premi (tra cui miglior film), non aggiudicandosi però alcuna statuetta. Anthony Hopkins venne premiato con il BAFTA ed il National Board of Review al miglior attore, ricevendo inoltre una nomination agli Oscar. (it)
『日の名残り』（ひのなごり、The Remains of the Day）は、1993年のイギリスの映画。カズオ・イシグロの同名の小説を映画化したものである。アカデミー賞では、主演男優賞、主演女優賞、美術賞、衣装デザイン賞、監督賞、作曲賞、作品賞、脚本賞の8部門にノミネートされた。 (ja)
The Remains of the Day is een Brits-Amerikaanse dramafilm uit 1993 onder regie van James Ivory. Het scenario is gebaseerd op de gelijknamige roman uit 1989 van de Japans-Britse auteur Kazuo Ishiguro. De film werd genomineerd voor acht Oscars. (nl)
《남아있는 나날》(영어: The Remains of the Day)은 1993년 영국과 미국의 드라마 영화로, 영국 작가 가즈오 이시구로의 동명 소설을 원작으로 한다. 제임스 아이보리 감독이 연출했고 앤서니 홉킨스, 에마 톰슨, 제임스 폭스, 크리스토퍼 리브, 휴 그랜트가 출연한다. 아카데미 작품상 후보에 올랐다. (ko)
Okruchy dnia (ang. The Remains of the Day) – amerykańsko-brytyjski film obyczajowy w reżyserii Jamesa Ivory’ego, zrealizowany w 1993 r. na podstawie powieści brytyjskiego autora japońskiego pochodzenia Kazuo Ishiguro, pod tym samym tytułem. Okruchy dnia są ekranizacją trzeciej powieści Ishiguro, wyróżnionej Nagrodą Bookera. Film otrzymał osiem nominacji do Oscara, pięć do nagród Złotego Globu oraz sześć do nagrody BAFTA. (pl)
«Остаток дня» (англ. The Remains Of The Day; другой вариант перевода названия — «На исходе дня») — кинофильм знаменитого тандема Айвори—Мерчант, экранизация одноимённого романа лауреата Нобелевской премии по литературе Кадзуо Исигуро. В главных ролях Энтони Хопкинс и Эмма Томпсон. Картина выдвигалась на восемь «Оскаров», включая приз за лучший фильм года. (ru)
The Remains of the Day (Brasil: Vestígios do Dia / Portugal: Os Despojos do Dia ) é um filme dos Estados Unidos e do Reino Unido de 1993, do gênero drama, realizado por James Ivory, e com roteiro baseado no livro homónimo de Kazuo Ishiguro. (pt)
Återstoden av dagen (engelska: The Remains of the Day) är en brittisk dramafilm från 1993 i regi av James Ivory. Filmen är baserad på Kazuo Ishiguros roman med samma namn från 1989. I huvudrollerna ses Anthony Hopkins och Emma Thompson, med James Fox, Christopher Reeve och Hugh Grant i några av birollerna. År 1999 placerade filmen på 64:e plats på sin lista över de 100 bästa brittiska filmerna genom tiderna. (sv)
«Наприкінці дня» (англ. The Remains of the Day) — британсько-американська мелодрама режисера Джеймса Айворі, що вийшла 1993 року. У головних ролях Ентоні Гопкінс, Емма Томпсон, Джеймс Фокс. Стрічку створено на основі однойменного роману Кадзуо Ісіґуро. Уперше фільм продемонстрували 5 листопада 1993 року у США та Канаді. В Україні у широкому кінопрокаті фільм не показувався. (uk)
《告別有情天》（英語：The Remains of the Day）是一套1993年的英國劇情片，由詹姆士·艾佛利執導，安東尼·鶴健士及愛瑪·湯遜等主演。電影改編自石黑一雄1989年的同名小說，以1930至50年代的英格蘭為背景，描述一間大屋中男管家與女管家之間的感情，籍此帶出英格蘭二戰前後的轉變。 此片於當屆奧斯卡入圍八個獎項，包括最佳男主角、最佳女主角、最佳導演、最佳影片、最佳服裝、最佳原創音樂等，但沒有獲取任何以上獎項。 (zh)
rdfs:comment
بقايا اليوم (بالإنجليزية: The Remains of the Day (film)) هو فيلم دراما تم إنتاجه في المملكة المتحدة والولايات المتحدة وصدر في سنة 1993. (ar)
El que queda del dia (títol original en anglès The Remains of The Day) és una pel·lícula britànica del director James Ivory, adaptació de Ruth Prawer Jhabvala del llibre homònim de Kazuo Ishiguro, estrenada el 1993 i doblada al català. (ca)
Was vom Tage übrig blieb ist ein Spielfilm des US-amerikanischen Regisseurs James Ivory aus dem Jahr 1993. Nach seinen Werken Zimmer mit Aussicht (1986) und Wiedersehen in Howards End (1992) arbeitete Ivory wieder mit Produzent Ismail Merchant und Drehbuchautorin Ruth Prawer Jhabvala zusammen. Die Verfilmung des mit dem Booker-Preis ausgezeichneten Romans Was vom Tage übrigblieb von Kazuo Ishiguro wurde in den Hauptrollen mit den britischen Schauspielern Emma Thompson und Anthony Hopkins besetzt. (de)
The Remains of the Day (euskaraz Egunaren Hondarrak) 1993ko James Ivory estatubatuar zinema zuzendariaren drama filma bat da. 1989ko Kazuo Ishiguro japoniar idazlearen The Remains of the Day eleberrian oinarritua dago. Bertan, Anthony Hopkins, Emma Thompson, , Christopher Reeve, Hugh Grant, Peter Vaughan eta aktoreek anteztu zuten. Zortzi Oscar Sarietarako izendapenak jaso zituen, nahiz eta bat bera ere ez irabazi izan. (eu)
Lo que queda del día (The Remains of the Day) es una película dramática de coproducción británica y estadounidense de 1993 dirigida por James Ivory, con Anthony Hopkins y Emma Thompson como actores principales. El guion, escrito por Ruth Prawer Jhabvala, es una adaptación de la novela homónima de Kazuo Ishiguro. (es)
The Remains of the Day adalah sebuah film drama Inggris-Amerika 1993 yang diadaptasi dari karya Kazuo Ishiguro. Film tersebut disutradarai oleh James Ivory dan diproduksi oleh Ismail Merchant, Mike Nichols dan . Film tersebut dibintangi oleh Anthony Hopkins sebagai Stevens dan Emma Thompson sebagai Miss Kenton bersama dengan , Christopher Reeve, Hugh Grant dan . Film tersebut dinominasikan untuk delapan Academy Award. (in)
Les Vestiges du jour (The Remains of the Day) est un film américano-britannique réalisé par James Ivory sorti en 1993, inspiré du roman du même nom de Kazuo Ishiguro. (fr)
Quel che resta del giorno (The Remains of the Day) è un film del 1993 diretto da James Ivory, tratto dal romanzo omonimo di Kazuo Ishiguro (1989). Alla 66ª edizione degli Oscar, venne candidato ad otto premi (tra cui miglior film), non aggiudicandosi però alcuna statuetta. Anthony Hopkins venne premiato con il BAFTA ed il National Board of Review al miglior attore, ricevendo inoltre una nomination agli Oscar. (it)
『日の名残り』（ひのなごり、The Remains of the Day）は、1993年のイギリスの映画。カズオ・イシグロの同名の小説を映画化したものである。アカデミー賞では、主演男優賞、主演女優賞、美術賞、衣装デザイン賞、監督賞、作曲賞、作品賞、脚本賞の8部門にノミネートされた。 (ja)
The Remains of the Day is een Brits-Amerikaanse dramafilm uit 1993 onder regie van James Ivory. Het scenario is gebaseerd op de gelijknamige roman uit 1989 van de Japans-Britse auteur Kazuo Ishiguro. De film werd genomineerd voor acht Oscars. (nl)
《남아있는 나날》(영어: The Remains of the Day)은 1993년 영국과 미국의 드라마 영화로, 영국 작가 가즈오 이시구로의 동명 소설을 원작으로 한다. 제임스 아이보리 감독이 연출했고 앤서니 홉킨스, 에마 톰슨, 제임스 폭스, 크리스토퍼 리브, 휴 그랜트가 출연한다. 아카데미 작품상 후보에 올랐다. (ko)
Okruchy dnia (ang. The Remains of the Day) – amerykańsko-brytyjski film obyczajowy w reżyserii Jamesa Ivory’ego, zrealizowany w 1993 r. na podstawie powieści brytyjskiego autora japońskiego pochodzenia Kazuo Ishiguro, pod tym samym tytułem. Okruchy dnia są ekranizacją trzeciej powieści Ishiguro, wyróżnionej Nagrodą Bookera. Film otrzymał osiem nominacji do Oscara, pięć do nagród Złotego Globu oraz sześć do nagrody BAFTA. (pl)
«Остаток дня» (англ. The Remains Of The Day; другой вариант перевода названия — «На исходе дня») — кинофильм знаменитого тандема Айвори—Мерчант, экранизация одноимённого романа лауреата Нобелевской премии по литературе Кадзуо Исигуро. В главных ролях Энтони Хопкинс и Эмма Томпсон. Картина выдвигалась на восемь «Оскаров», включая приз за лучший фильм года. (ru)
The Remains of the Day (Brasil: Vestígios do Dia / Portugal: Os Despojos do Dia ) é um filme dos Estados Unidos e do Reino Unido de 1993, do gênero drama, realizado por James Ivory, e com roteiro baseado no livro homónimo de Kazuo Ishiguro. (pt)
Återstoden av dagen (engelska: The Remains of the Day) är en brittisk dramafilm från 1993 i regi av James Ivory. Filmen är baserad på Kazuo Ishiguros roman med samma namn från 1989. I huvudrollerna ses Anthony Hopkins och Emma Thompson, med James Fox, Christopher Reeve och Hugh Grant i några av birollerna. År 1999 placerade filmen på 64:e plats på sin lista över de 100 bästa brittiska filmerna genom tiderna. (sv)
«Наприкінці дня» (англ. The Remains of the Day) — британсько-американська мелодрама режисера Джеймса Айворі, що вийшла 1993 року. У головних ролях Ентоні Гопкінс, Емма Томпсон, Джеймс Фокс. Стрічку створено на основі однойменного роману Кадзуо Ісіґуро. Уперше фільм продемонстрували 5 листопада 1993 року у США та Канаді. В Україні у широкому кінопрокаті фільм не показувався. (uk)
《告別有情天》（英語：The Remains of the Day）是一套1993年的英國劇情片，由詹姆士·艾佛利執導，安東尼·鶴健士及愛瑪·湯遜等主演。電影改編自石黑一雄1989年的同名小說，以1930至50年代的英格蘭為背景，描述一間大屋中男管家與女管家之間的感情，籍此帶出英格蘭二戰前後的轉變。 此片於當屆奧斯卡入圍八個獎項，包括最佳男主角、最佳女主角、最佳導演、最佳影片、最佳服裝、最佳原創音樂等，但沒有獲取任何以上獎項。 (zh)
The Remains of the Day is a 1993 drama film adapted from the Booker Prize-winning 1988 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, Hugh Grant, Ben Chaplin, and Lena Headey in supporting roles. (en)
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Both stories drew on her love for folk tales, particularly those of Eastern Europe and the Yiddish tradition. Margot Zemach also received Caldecott Honor citations for The Judge : An Untrue Tale and...
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Both stories drew on her love for folk tales, particularly those of Eastern Europe and the Yiddish tradition. Margot Zemach also received Caldecott Honor citations for The Judge : An Untrue Tale and It Could Always Be Worse. The Zemachs collaborated on a number of children's books including Duffy and the Devil : A Cornish Tale, a retelling of a Cornish folk tale that won Margot Zemach the Caldecott Award in 1974. The story drew on the Zemachs' experiences in Vienna and their knowledge of the city. Harvey Fichstrom, under the pseudonym Harve Zemach, authored many of the books Margot Zemach illustrated beginning with Small Boy Is Listening in 1959.
Margot Zemach married Harvey Fichstrom in 1957 they had four daughters including Kaethe who would later become an author and illustrator of children's books. She attended various art schools in California and studied on a Fulbright Scholarship at the Vienna Academy of Fine Arts in 1955-1956. Margot Zemach was born Novemin Los Angeles, California.
Heinlein dedicated his 1985 novel The Cat Who Walks Through Walls to Anderson and eight of the other members of the Citizens' Advisory Council on National Space Policy. He was a founding member of the Society for Creative Anachronism. He was a member of the Swordsmen and Sorcerers' Guild of America, a loose-knit group of Heroic Fantasy authors founded in the 1960s, some of whose works were anthologized in Lin Carter's Flashing Swords! anthologies. Anderson was the sixth President of Science Fiction and Fantasy Writers of America, taking office in 1972. They had one daughter, Astrid, who is married to science fiction author Greg Bear. He received numerous awards for his writing, including seven Hugo Awards and three Nebula Awards.Īnderson received a degree in physics from the University of Minnesota in 1948. Anderson also authored several works of fantasy, historical novels, and a prodigious number of short stories.
Poul William Anderson was an American science fiction author who began his career during one of the Golden Ages of the genre and continued to write and remain popular into the 21st century.
And as they team up with the powerful men of London's exclusive Séance Society to solve the mystery, they begin to suspect that they are not merely out to solve a crime, but perhaps entangled in one themselves. With shared determination, the women find companionship that perhaps borders on something more. When Vaudeline is beckoned to England to solve a high-profile murder, Lenna accompanies her as an understudy. Lenna Wickes has come to Paris to find answers about her sister's death, but to do so, she must embrace the unknown and overcome her own logic-driven bias against the occult. Known worldwide for her talent in conjuring the spirits of murder victims to ascertain the identities of the people who killed them, she is highly sought after by widows and investigators alike. At an abandoned château on the outskirts of Paris, a dark séance is about to take place, led by acclaimed spiritualist Vaudeline D'Allaire. From the author of the sensational bestseller The Lost Apothecary comes a spellbinding tale about two daring women who hunt for truth and justice in the perilous art of conjuring the dead.ġ873.
Occasionally his narrator's voice offers comment, speaking from a perspective 700 years in the future, but for the most part he stands back and merely portrays. Druon explores the thoughts and feelings of real people who experienced these events, embellishing only where it serves to fill in the blanks. This is written in the style of my favourite historical fiction, steering close to the actual record. It offers some closure but leaves several balls in the air for the rest of the series to untangle. The story quickly progresses to illicit affairs among the princesses in line for the throne, and the subsequent fallout. Given the preponderance of Templars in fiction, I was happy that they don't long hold the stage. Philip IV of France is putting an end to the Templars, in a bid to grasp their fortune for the crown, and he gets his lineage cursed in the process.
It was still a present-tense existence.” In this retrospective, which examines a decade that most of his readers lived though, Klosterman acknowledges that “there is always a disconnect between the world we seem to remember and the world that actually was.” Throughout the wide-ranging narrative-from technology and the rise of the internet to key trends in music, TV, and film indelible moments in sports and significant political moments-Klosterman takes pains to ensure that references are addressed in relation to their historical context rather than through the foggy and often inaccurate lens of memory. But that deluge of data remained, at the time, ephemeral and unavailable. “Almost every meaningful moment of the nineties was captured on videotape, along with thousands upon thousands of trivial moments that meant nothing at all,” writes the author.
Klosterman returns with an entertaining journey through the last decade of the 20th century.
Their past employer, the Earl of Darlington, has died a broken man, his reputation destroyed by his prewar support of Germany, and his stately country house has been sold to retired US Congressman Jack Lewis. In 1958 postwar Britain, Stevens, the butler of Darlington Hall, receives a letter from the former housekeeper, Miss Kenton. In 1999, the British Film Institute ranked The Remains of the Day the 64th-greatest British film of the 20th century. The film was a critical and box office success and it was nominated for eight Academy Awards, including Best Picture, Best Actor (Hopkins), Best Actress (Thompson) and Best Adapted Screenplay (Jhabvala). It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, Hugh Grant, Ben Chaplin, and Lena Headey in supporting roles.
The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. The Remains of the Day is a 1993 drama film adapted from the Booker Prize-winning 1988 novel of the same name by Kazuo Ishiguro.
Linguists have rigorously analyzed what is called “agrammaticality.” A number of very intense examples can be found in the work of the American poet e.
In all these respects, it has the same force, the same role as an agrammatical formula. Murmured in a soft, flat, and patient voice, it attains to the irremissible, by forming an inarticulate block, a single breath. Its repetition and its insistence render it all the more unusual, entirely so. Certainly it is grammatically correct, syntactically correct, but its abrupt termination, NOT TO, which leaves what it rejects undetermined, confers upon it the character of a radical, a kind of limit-function. But the strangeness of the formula goes beyond the word itself.
The usual formula would instead be I had rather not. We immediately notice a certain mannerism, a certain solemnity: prefer is rarely employed in this sense, and neither Bartleby's boss, the attorney, nor his clerks normally use it (“queer word, I never use it myself”). But in what does the literality of the formula consist? A gaunt and pallid man has uttered the formula that drives everyone crazy. This is the formula of its glory, which every loving reader repeats in turn. And what it says and repeats is I would prefer not to. It is like the novellas of Kleist, Dostoyevsky, Kafka, or Beckett, with which it forms a subterranean and prestigious lineage. It is a violently comical text, and the comical is always literal. “Bartleby” is neither a metaphor for the writer nor the symbol of any thing whatsoever.
The Silk Road website was like eBay for the buying and selling of contraband and forged a new frontier of crime in the digital age.Īs the FBI, DEA, and other agencies began to close in on Ulbricht, the book takes us on a high-stakes cat-and-mouse game, with each side using cunning tactics and advanced technology to gain the upper hand. Because the Silk Road operated on the dark web, it existed on a hidden layer of the internet that is accessible only through a specialized browser (IE - it’s hard to get to and was much harder back in 2011 when it was launched).
The Silk Road was an online black market that evaded law enforcement for years. Ulbricht was responsible for starting and managing the Silk Road website - an underground empire built on illegal drugs, weapons, and other illicit activities. Nick Bilton unravels the double life of Ross Ulbricht, an outwardly unassuming young man who operated online as the notorious Dread Pirate Roberts.
IntroductionĪmerican Kingpin: The Epic Hunt for the Criminal Mastermind Behind the Silk Road is a riveting journey into the darkest corner of the internet known as the Dark Web, where crime and anonymity reign supreme. It’s great narrative nonfiction, but it’s also just a fascinating tale about a young idealistic person who goes way too far.
In the first round, we were still finding our feet, and the new players had only recently joined us. "After the game, it was good to have the win, but our focus was already on the Magic," Jailens said.Īs the competition reaches its midway point, the Bears aim to avenge their previous loss against Broadmeadow Magic in the first round.
I was pleased with the way we controlled the game," Jailens said.ĭespite the triumph, the Bears have wasted no time in shifting their focus to the upcoming fixture against Broadmeadow Magic. In the second half, we came out better and executed the agreed-upon strategies. "I told the boys I wasn't happy with the first half. This result propelled them into second on the table, just two points behind league leaders Charlestown Azzurri.Ĭoach Kew Jaliens provided an honest assessment of the team's performance, particularly emphasizing their improvement in the second half.
The Weston Bears demonstrated their premiership potential with a commanding 3-1 victory over Cooks Hill United last weekend. Rockwell Automation Park, Sunday 21 May, 2:30pm
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The Remains of the Day – Stockroom
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2019-03-19T12:25:33+00:00
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2017 Nobel Prize winner Kazuo Ishiguro’s masterpiece of undeclared love has entranced generations as a novel and a BAFTA-winning Merchant Ivory film. Now breathtakingly re-imagined for the stage, this story of memory and regret receives its world premiere at Royal & Derngate before embarking on an Out of Joint tour.
The fires of the Second World War rage through England. Through the memories of a proud butler, we discover the shocking, morally compromised truth behind the manicured gardens and grand receptions of an English stately home. Years later, faced with a life half-lived, he sets out on a journey to find the friend from his past who might finally offer him redemption and love.
The Remains of the Day is adapted by one of Britain’s most exciting young writers, Barney Norris (Critics’ Circle Award for Most Promising Playwright; Times best-selling novelist), directed by Christopher Haydon (The Caretaker) and designed by Lily Arnold (Rules for Living).
Royal & Derngate, Northampton
Saturday 23 February to Saturday 16 March
Then Touring
Dates to be announced – join our mailing list.
1930s England. Darlington Hall runs like clockwork under one of the last truly great butlers. Reserved and dutiful like his father before him and with the funny and forthright housekeeper Kenton by his side, Stevens faithfully serves his employer. Meanwhile, England stands on a precipice, as fascism builds and boils in Europe.
20 years later, Stevens travels to find an old friend, remembering choices made and not made, journeying to one last chance at happiness.
2017 Nobel Prize winner Kazuo Ishiguro’s novel, which became a beloved Merchant Ivory film, is a story for anyone who has ever been afraid to follow their heart.
Now transformed into an exquisite stage play by one of Britain’s most exciting writers (Barney Norris), it receives its world premiere at Royal & Derngate before embarking on a major national tour.
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https://www.thearticle.com/ruined-lives-in-the-remains-of-the-day
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Ruined lives in ‘The Remains of the Day’
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"Jeffrey Meyers",
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2023-08-20T10:15:00+00:00
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Ruth Prawer Jhabvala’s superb screenplay of The Remains of the Day (1993), based on Kazuo Ishiguro’s novel (1988), an...
|
TheArticle
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https://www.thearticle.com/ruined-lives-in-the-remains-of-the-day
|
Ruth Prawer Jhabvala’s superb screenplay of The Remains of the Day (1993), based on Kazuo Ishiguro’s novel (1988), and directed by James Ivory, captured the complexity of the central characters and the crucial moment in history in which they lived. Jhabvala retained some dialogue and scenes written by her predecessor Harold Pinter, who had bought the rights to the novel. He sold them to Mike Nichols, then wrote the screenplay that Nichols planned to direct. But Nichols sold the rights to Columbia Pictures, and they brought in Ivory, Jhabvala and the producer Ismail Merchant. The film starred Anthony Hopkins as the butler James Stevens, Emma Thompson as the housekeeper Miss Kenton and James Fox as Lord Darlington.
Ivory recalled that Hopkins dearly liked one scene at the end of Pinter’s script that Ivory wisely cut as too obvious and sentimental: “He sits on the pier where he meets another retired butler. He breaks down and weeps with the recognition that his whole life has been in vain, that he has placed his trust and affection in the wrong person.”
Jhabvala realised that the mode of the novel is restraint, and used sparse dialogue to allow the actors to suggest the depth of their feelings. She also developed some minor characters and made the housekeeper’s role more significant. In the book Miss Kenton’s husband is merely mentioned; in the film there are whole scenes between her and a guest’s manservant, Tom Benn. Ishiguro has a Mr. Farraday buy Darlington Hall after the war; Jhabvala improves this by having the American Congressman Jack Lewis (Christopher Reeve), who had given a crucial speech during the prewar banquet, return as master of the stately home. This suggests the increasing American influence on England. Ishiguro was impressed by how much of the novel Jhabvala got into the film.
Ishiguro said in an interview that his evocative title was suggested by the word Tagesreste (day’s residues) that Freud had used in The Interpretation of Dreams (1899) to refer to thoughts and images during sleep. The title has many layers of meaning in the film: the vanishing social order, the memories of pre-war calm and relative youth, lost opportunities in life and love. The action of the film, which takes place in the late 1930s, is framed by the beginning and end of Stevens’ momentous automobile journey 20 years later. He drives west, toward the fading day and last of the light, which evoke the book’s poetic title.
The title also suggests what will remain: war at the end of the 1930s: the deaths of Darlington’s great German friend and of his godson Reginald Cardinal (Hugh Grant) during the war; the disgrace, ruin and death of Darlington, who left no direct heir; Miss Kenton’s unhappy marriage; and the sad end of Stevens’ empty life after the war. In “Ulysses” Tennyson wrote: “The long day wanes. ..’Tis not too late to seek a newer world.” But for Stevens, it is too late.
The name of the ultra-conservative Darlington Hall ironically echoes Dartington Hall, the liberal innovative school founded in Devon in 1926. Lord Darlington is a sentimental idealist devoted to a creed outworn, and his traditional adherence to chivalric values—treating the defeated German enemy decently—proves to be disastrous. He sleeps in a rough camp bed left over from the Great War; and there’s a hint of repressed homosexuality in the celibate lord, who continues to mourn the loss of his German friend, and can’t bring himself to explain sexual relations to his about-to-be married godson. He deputes Stevens to carry out this awkward task, and in a comic scene the butler cannot explain the facts of life any better than Darlington. Reginald Cardinal misunderstands what Stevens is clumsily trying to say and, as a journalist and man of the world, is already quite well informed about this crucial subject.
At the magnificent farewell banquet that follows Darlington’s political conference, perfectly organized by Stevens, an attractive German woman seductively sings “Sei mir gegrüsst” (I greet you) by the Austrian Franz Schubert to extol German culture. But Darlington humiliates Stevens by allowing his friends and guests, including Nazis and some of Oswald Mosley’s Blackshirts, to grill him on complex political and economic questions. Stevens, whose sense of decorum is violated and who cannot possibly solve these abstruse problems, apologetically repeats, “I am sorry, sir, but I am unable to be of assistance in this matter.” The guests arrogantly conclude that ordinary people like the butler do not have the ability to make important decisions. The American Jack Lewis then disrupts the celebration and clashes with these fascist views by warning that Darlington himself has no business meddling in affairs he does not understand: “You are, all of you, amateurs. And international affairs should never be run by gentlemen amateurs. . . . The days when you could just act out of your noble instincts, are over.”
In notable cinematic roles Erich von Stroheim had played the butler of Gloria Swanson in Sunset Boulevard (1950) and Dirk Bogarde the butler of James Fox (in a similar role) in The Servant (1963), written by Pinter. A retired butler gave Hopkins expert advice on how to carry out his duties. Stevens explains what he pretentiously calls his “philosophy” to another servant, Tom Benn: “A man cannot call himself well-contented until he has done all he can to be of service to his employer. Of course, this assumes that one’s employer is a superior person, not only in rank, or wealth, but in moral stature.” He believes that by contributing to an agreeable setting, he also contributes in his own way to contemporary history. The butler, like the aristocrat, is anti-democratic.
Both Darlington and Stevens, the main focus of the film, are devoted to an illusion. Stevens completely identifies with Darlington and becomes his alter-ego. He reads books from his lordship’s library, drinks his vintage wine, inherits his well-fitting suits and drives his old Daimler. His precise and formal speech is like a foreign language he has learned from Darlington. He anticipates his master’s needs, follows his orders and impersonates his social standing on his drive to the West of England. But Stevens does not take moral responsibility for his lordship’s actions or his own behaviour.
Buried alive beneath his glacial reserve, Stevens fears love and expresses Henry James’ great theme of the unlived life. Darlington is a bachelor, there are no children in his stately home and the two young German-Jewish maids are surrogates. Jhabvala herself, born into a German-Jewish family in Cologne, powerfully identified with the potentially fatal position of the maids and might well have been equally vulnerable if she had not escaped with her parents from Nazi Germany. Stevens first senses that something is morally wrong when he’s forced to obey Darlington and dismiss the Jewish maids who might offend his Nazi guests. Since the maids could easily be hidden in the vast house while the guests are visiting, Darlington is actually revealing his own latent anti-Semitism. Stevens, actively participating in his master’s cruel prejudice, knows that without employment in England, the maids will be sent back to their deaths in Germany.
Kenton threatens to resign if Stevens, madly infatuated with Darlington, fires the gentle and fearful, harmless and hardworking maids. In a poignant, self-lacerating scene, she withdraws her threat and shamefully admits: “I am a coward. I’m frightened of leaving and that’s the truth. All I see out in the world is loneliness and it frightens me. That’s all my high principles are worth, Mr. Stevens. I’m ashamed of myself.” Later on, Stevens falsely claims he opposed firing the maids, while Darlington apologises for his mistake and tries in vain to trace them.
In another great scene Kenton invades Stevens’ private quarters, physically forces him into a corner of the room and tries to snatch from his closed fist a book she thinks is “racy”. But she misreads his character. Neither he nor Darlington would possess a racy book, and he explains that he’s been reading it “to develop my command and knowledge of the English language”.
On another occasion she presses him by asking, “Why, Mr. Stevens, why do you always have to hide what you feel?”—feel for her. But he refuses to respond to her taunts and fends her off with: “You know what I am doing, Miss Kenton? I am placing my thoughts elsewhere while you chatter away.” Kenton, both spinsterish and emotional and with no other prospects, is attracted to Stevens, wants to pierce his emotional carapace and allow her to express her own feelings for him.
After the war and with Congressman Jack Lewis now master of Darlington Hall, Stevens drives west hoping to lure Kenton back to her old role as valuable housekeeper. En route, the publican who rents him a room for the night shows him the photo and old uniform of his son, killed in the war and another indirect victim of Darlington’s pro-Nazi appeasement. Stevens convinces the workingmen in the local pub that he’s a gentleman, well-acquainted with high government officials. But the educated doctor who meets him, tipped off by Stevens’ artificial diction and evasive answers, realizes he would not have run out of petrol if he owned the Daimler and gets him to confess that he’d actually been Darlington’s butler.
Stevens’ old father (the masterful Peter Vaughan) had trained him to be a butler and Stevens hires him to work at Darlington Hall. In a fine set piece, father tells the staff at dinner the story of a perfect butler in India, who declares: “I’m very sorry, my lord. There appears to be a tiger in the dining room. Perhaps his lordship will permit use of the twelve bores?” After three gunshots he reappears and announces: “Dinner will be served at the usual time, my lord. And I am pleased to say there will be no discernible traces of the recent occurrence at that time!”
Stevens strives to protect the dignity of his father, who nevertheless suffers two humiliating crises. James Ivory recalled the first mishap:
The elderly butler is serving the guests at a dinner party. A little bubble of snot dribbles out of his nose and into the wine just as he is about to pour it for his lordship. It captures brilliantly both the butler’s mortification and the unstated tension between servant and master. “That was in the book,” Ivory remembers. “I thought how in the world are we going to show a runny nose so that you can really see it? You have to have the camera right up under the tip of the nose. We worked and worked and worked and worked to get just that right drop.”
The father is ignominiously relieved of serving at tables and reduced to cleaning duties with what he calls “me mops and me brooms”. Despite Stevens’ carefully constructed façade, his father’s accent reveals his own working-class origins.
Father also trips on the uneven stones in the outdoor patio, drops his heavily laden tea tray and crashes it onto the ground. This disastrous fall marks a sharp decline in his health and also symbolises the collapse of the English old order before the outbreak of World War Two. When his father is dying in his austere attic room, Stevens, unwilling to be distracted from his duties, remains at his post to supervise the farewell banquet.
Jhabvala coalesces the emotional and political themes at the end of the film. When first interviewed for her position, Kenton agreed with Stevens about the servants’ romantic involvements: “I know from my own experience how the staff is at sixes and sevens when they start marrying each other.” She urges the young maid Lizzie not to throw away her promising career by marrying the footman Charlie. But Kenton ignores her own advice, conveniently marries Tom Benn and leaves her job at Darlington Hall. Lizzie told her that she and Charlie “have no money but we have love,” which is exactly what Stevens and Kenton (whose marriage fails) don’t have. Kenton finally rejects Stevens’ offer of employment, decides to remain near her pregnant daughter and may even return to her estranged husband. As Tennyson wrote in In Memoriam “ ’Tis better to have loved and lost / Than never to have loved at all.”
Pinter’s biographer Michael Billington describes the essential theme of the film: it is “the story of an immaculate English butler who faces up to his repressed passion for a former housekeeper and his denial of his moral obligations in deferring to his aristocratic master’s Fascist sympathies.” But Stevens never quite acknowledges his repression nor fully recognizes the malign effects of Darlington’s fascism. At the end of his life he realizes that he had served and been devoted to a master who, though higher than himself in rank and wealth, was deeply flawed. With the best of intentions, Darlington unwittingly contributed to evil by becoming a Nazi pawn and traitor.
Trained to keep up appearances, maintain dignity and propriety, and correctly perform minutely detailed duties, Stevens also strives to support the old order. He practises various forms of renunciation: of friendship and love, the expression of feeling and individual ideas, moral and political responsibility. His speech, though apparently lucid, is drained of emotion and lacking in spontaneity, designed for evasion and disguise. He gains through Kenton and the perceptive doctor occasional insights into his own lack of perception and grasps glimmers of truth. But after a lifetime of self-deception he can only survive by continuing to deceive himself.
The reviews of the film in the US were enthusiastic. Roger Ebert in the Chicago Sun-Times (November 5, 1993) called it “a subtle, thoughtful movie . . . with emotional upheavals.” Vincent Canby in the New York Times (November 5, 1993) wrote: “It’s a spellbinding new tragi-comedy of a high and most entertaining order.” Nothing Jhabvala and Ivory have done before “has the psychological and political scope and the spare authority of this enchantingly realized film”. Jhabvala’s sympathetic understanding and Ivory’s perfect adaptation of Ishiguro’s novel produced one of the greatest British films of the last century.
Jeffrey Meyers will publish both James Salter: Pilot, Screenwriter, Novelist and Parallel Lives: From Freud and Hitler to Arbus and Plath with Louisiana State University Press in 2024.
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The Remains of the Day (film)
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https://en.wikipedia.org/wiki/The_Remains_of_the_Day_(film)
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1993 drama film directed by James Ivory
The Remains of the DayDirected byJames IvoryScreenplay byBased onThe Remains of the Day
by Kazuo IshiguroProduced byStarringCinematographyTony Pierce-RobertsEdited byAndrew MarcusMusic byRichard RobbinsColor processTechnicolor
Production
company
Distributed byColumbia Pictures
Release dates
Running time
134 minutesCountries
United Kingdom[1]
United States[1]
LanguageEnglishBudget$15 millionBox office$63.9 million[2]
The Remains of the Day is a 1993 drama film adapted from the Booker Prize-winning 1989 novel of the same name by Kazuo Ishiguro. The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala. It stars Anthony Hopkins as James Stevens and Emma Thompson as Miss Kenton, with James Fox, Christopher Reeve, Hugh Grant, Ben Chaplin, and Lena Headey in supporting roles.
The film was a critical and box office success and it was nominated for eight Academy Awards, including Best Picture, Best Actor (Hopkins), Best Actress (Thompson) and Best Adapted Screenplay (Jhabvala). In 1999, the British Film Institute ranked The Remains of the Day the 64th-greatest British film of the 20th century.[3]
Plot
[edit]
In 1958 postwar Britain, Stevens, the butler of Darlington Hall, receives a letter from the former housekeeper, Miss Kenton. Their past employer, the Earl of Darlington, has died a broken man, his reputation destroyed by his pre-Second World War support of Nazi Germany, and his stately country house has been sold to retired US Congressman Jack Lewis. Allowed to borrow the Daimler, Stevens sets off for the West Country to see Miss Kenton for the first time in decades.
A flashback to the 1930s shows Kenton's arrival at Darlington Hall, where the ever-efficient but deeply repressed Stevens derives his entire identity from his profession. He butts heads with the warmer, strong-willed Kenton, particularly when he refuses to acknowledge that his father, now an under-butler, is no longer able to perform his duties.
Displaying total professionalism, Stevens carries on as his father lies dying during Darlington's conference of like-minded fascist-sympathising British and European aristocrats. Also in attendance is Congressman Lewis, who admonishes the "gentleman politicians" as meddling amateurs, advising that "Europe has become the arena of Realpolitik" and warning of impending disaster.
Exposed to Nazi racial laws, Darlington gets Stevens to dismiss two newly appointed refugee German-Jewish maids despite his protest. Kenton threatens to resign but has nowhere to go, and a regretful Darlington is later unable to rehire the maids. Later Stevens is unable to answer an aristocratic guest's questions on global trade and politics, which the aristocrat claims to demonstrate the lower classes' ignorance and inability to govern themselves.
Relations thaw between Stevens and Kenton and she clearly shows her feelings for him, but the outwardly detached Stevens remains dedicated solely to his role as butler. She catches him reading a romance novel, which he explains is to improve his vocabulary, asking her not to invade his privacy again.
Lord Darlington's godson, journalist Reginald Cardinal, arrives on the day of a secret meeting at Darlington Hall between the British Prime Minister, Neville Chamberlain, and the German ambassador, Joachim von Ribbentrop. Appalled by his godfather's role in seeking appeasement for Nazi Germany, Cardinal tells Stevens that Darlington is being used by the Nazis, but Stevens feels it is not his place to judge his employer.
Kenton forms a relationship with former co-worker Tom Benn and accepts his proposal of marriage. She informs Stevens as an ultimatum, but he will not admit his feelings and only offers his congratulations. Finding her crying, his only response is to call her attention to a neglected domestic task, and she leaves Darlington Hall before the start of the Second World War.
En route to meeting Kenton in 1958, Stevens is mistaken for the gentry at a pub. Doctor Carlisle, a local GP, helps him refuel the Daimler and deduces that he is actually a manservant, asking his thoughts about Lord Darlington's actions. Denying having even met him, Stevens later admits to having served and respected him but Darlington confessed that his Nazi sympathies had been misguided and naive.
Stevens declares that, although Lord Darlington was unable to correct his error, he is attempting to correct his own. He meets Kenton, who has separated from her husband and runs a boarding house on the coast. They reminisce that Lord Darlington died from a broken heart after suing a newspaper for libel, losing the suit and his reputation, and Stevens mentions that Cardinal was killed in the war.
Kenton, now Mrs Benn, declines to resume her position at Darlington Hall, wishing to remain near her pregnant daughter and, despite years of unhappiness, thinking about going back to her husband. Stevens supposes they may never meet again and they part fondly but are both quietly upset, Miss Kenton visibly tearful as her bus pulls away.
Stevens returns to Darlington Hall, where Lewis asks if he remembers the old days, and Stevens replies that he was too busy serving. The two men free a pigeon from the house and it flies away, leaving Stevens and Darlington Hall far behind. The image then rises slowly, moving away from the large building, alone in the heart of the vast estate, surrounded by valleys and woods.
Cast
[edit]
Anthony Hopkins as Mr James Stevens
Emma Thompson as Miss Sarah "Sally" Kenton (later Mrs Benn)
James Fox as the Earl of Darlington (Lord Darlington)
Christopher Reeve as Congressman Jack Lewis
Peter Vaughan as Mr William Stevens ("Mr Stevens, Sr")
Hugh Grant as Reginald Cardinal (Lord Darlington's godson)
Tim Pigott-Smith as Mr Tom Benn
John Haycraft as Auctioneer
Michael Lonsdale as Dupont d'Ivry
Jeffry Wickham as Viscount Bigge
Paula Jacobs as Mrs Mortimer
Ben Chaplin as Charlie
Rupert Vansittart as Sir Geoffrey Wren
Patrick Godfrey as Spencer
Peter Halliday as Canon Tufnell
Peter Cellier as Sir Leonard Bax
Frank Shelley as Prime Minister Neville Chamberlain
Peter Eyre as the 3rd Viscount Halifax (Lord Halifax)
Wolf Kahler as Joachim von Ribbentrop
Lena Headey as Lizzie
John Savident as Doctor Meredith
Production
[edit]
A film adaptation of the novel was originally planned to be directed by Mike Nichols from a script by Harold Pinter. Meryl Streep’s then-agent, Sam Cohn, and the director sold her on the plum role of Miss Kenton. Both Meryl and Jeremy Irons read for Nichols, but the filmmaker opted not to cast them in roles later filled by Emma Thompson (ten years Meryl’s junior) and Anthony Hopkins (twenty years Emma’s senior). Cohn, who was also Nichols’s agent, didn’t make it clear to Meryl that she was no longer a candidate for Miss Kenton, she only learned later, after reading about Thompson’s casting. Shortly thereafter Streep made headlines after she fired her long time, east coast agent, signing with rival agent Bryan Lourd at the powerful Creative Artists Agency.[4] Some of Pinter's script was used in the film, but, while Pinter was paid for his work, he asked to have his name removed from the credits, in keeping with his contract.[a] Christopher C. Hudgins observes: "During our 1994 interview, Pinter told [Steven H.] Gale and me that he had learned his lesson after the revisions imposed on his script for The Handmaid's Tale, which he has decided not to publish. When his script for The Remains of the Day was radically revised by the James Ivory–Ismail Merchant partnership, he refused to allow his name to be listed in the credits" (125).[b][c][d] Though no longer the director, Nichols remained associated with the project as one of its producers.
The music was recorded at Windmill Lane Studios in Dublin.
Settings
[edit]
A number of English country estates were used as locations for the film, partly owing to the persuasive power of Ismail Merchant, who was able to cajole permission for the production to borrow houses not normally open to the public. Among them were Dyrham Park for the exterior of the house and the driveway, Powderham Castle (staircase, hall, music room, bedroom; used for the aqua-turquoise stairway scenes), Corsham Court (library and dining room) and Badminton House (servants' quarters, conservatory, entrance hall). Luciana Arrighi, the production designer, scouted most of these locations. Scenes were also shot in Weston-super-Mare, which stood in for Clevedon. The pub where Mr Stevens stays is the Hop Pole in Limpley Stoke; the shop featured is also in Limpley Stoke. The pub where Miss Kenton and Mr Benn meet is The George Inn in Norton St Philip.
Characters
[edit]
The character of Sir Geoffrey Wren is based loosely on that of Sir Oswald Mosley, a British fascist active in the 1930s.[5] Wren is depicted as a strict vegetarian, like Hitler.[6] The 3rd Viscount Halifax (later created the 1st Earl of Halifax) also appears in the film. Lord Darlington tells Stevens that Halifax approved of the polish on the silver, and Lord Halifax himself later appears when Darlington meets secretly with the German Ambassador and his aides at night. Halifax was the chief architect of the British policy of appeasement from 1937 to 1939.[7] Coincidentally, Halifax was born at Powderham Castle (above). The character of Congressman Jack Lewis in the film is a composite of two separate American characters in Kazuo Ishiguro's novel: Senator Lewis (who attends the pre-WW2 conference in Darlington Hall), and Mr Farraday, who succeeds Lord Darlington as master of Darlington Hall.
Release
[edit]
The film had its premiere on 25 October 1993 at the Academy of Motion Picture Arts and Sciences in Los Angeles.[8]
It was the opening night film at the London Film Festival on 4 November 1993 and opened in 94 theatres in the United States on 5 November.[9][10]
Critical reception
[edit]
The film has a 96% rating on Rotten Tomatoes based on 45 reviews, with an average rating of 8.5/10. The consensus states: "Smart, elegant, and blessed with impeccable performances from Anthony Hopkins and Emma Thompson, The Remains of the Day is a Merchant–Ivory classic."[11] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, it received a score of 86 based on 12 reviews.[12] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[13]
Roger Ebert particularly praised the film, calling it "a subtle, thoughtful movie."[14] In his favorable review for The Washington Post, Desson Howe wrote, "Put Anthony Hopkins, Emma Thompson and James Fox together and you can expect sterling performances."[15] Vincent Canby of The New York Times said, in another favorable review, "Here's a film for adults. It's also about time to recognize that Mr. Ivory is one of our finest directors, something that critics tend to overlook because most of his films have been literary adaptations."[16]
The film was named one of the best films of 1993 by over 50 critics, making it the fifth-most-acclaimed film of 1993.[17]
Awards and nominations
[edit]
Award Category Recipient(s) Result 20/20 Awards Best Actor Anthony Hopkins Nominated Best Actress Emma Thompson Nominated Best Adapted Screenplay Ruth Prawer Jhabvala Nominated Best Costume Design Jenny Beavan and John Bright Nominated Best Original Score Richard Robbins Nominated Academy Awards[18] Best Picture John Calley, Mike Nichols and Ismail Merchant Nominated Best Director James Ivory Nominated Best Actor Anthony Hopkins Nominated Best Actress Emma Thompson Nominated Best Screenplay – Based on Material Previously Produced or Published Ruth Prawer Jhabvala Nominated Best Art Direction Art Direction: Luciana Arrighi;
Set Decoration: Ian Whittaker Nominated Best Costume Design Jenny Beavan and John Bright Nominated Best Original Score Richard Robbins Nominated Awards Circuit Community Awards Best Actress in a Leading Role Emma Thompson Nominated Best Costume Design Jenny Beavan and John Bright Nominated Best Production Design Luciana Arrighi and Ian Whittaker Nominated British Academy Film Awards[19] Best Film Ismail Merchant, Mike Nichols, John Calley, and James Ivory Nominated Best Direction James Ivory Nominated Best Actor in a Leading Role Anthony Hopkins Won Best Actress in a Leading Role Emma Thompson Nominated Best Adapted Screenplay Ruth Prawer Jhabvala Nominated Best Cinematography Tony Pierce-Roberts Nominated Chicago Film Critics Association Awards[20] Best Actor Anthony Hopkins Nominated Best Actress Emma Thompson Nominated Best Screenplay Ruth Prawer Jhabvala Nominated Dallas–Fort Worth Film Critics Association Awards Best Film Nominated Best Actor Anthony Hopkins Won David di Donatello Awards Best Foreign Film James Ivory Nominated Best Foreign Actor Anthony Hopkins Won Best Foreign Actress Emma Thompson Won Directors Guild of America Awards[21] Outstanding Directorial Achievement in Motion Pictures James Ivory Nominated Evening Standard British Film Awards Best Actress Emma Thompson (Also for Much Ado About Nothing) Won Golden Globe Awards[22] Best Motion Picture – Drama Nominated Best Actor in a Motion Picture – Drama Anthony Hopkins Nominated Best Actress in a Motion Picture – Drama Emma Thompson Nominated Best Director – Motion Picture James Ivory Nominated Best Screenplay – Motion Picture Ruth Prawer Jhabvala Nominated Goya Awards Best European Film James Ivory Nominated Kansas City Film Critics Circle Awards[23] Best Actor Anthony Hopkins Won Best Actress Emma Thompson Won London Film Critics Circle Awards[24][25] British Film of the Year Won Director of the Year James Ivory Won Actor of the Year Anthony Hopkins Won Los Angeles Film Critics Association Awards[26] Best Actor Anthony Hopkins (Also for Shadowlands) Won Movieguide Awards Best Movie for Mature Audiences Won Nastro d'Argento Best Foreign Director James Ivory Nominated National Board of Review Awards[27] Top Ten Films 3rd Place Best Actor Anthony Hopkins (Also for Shadowlands) Won National Society of Film Critics Awards[28] Best Actor 3rd Place New York Film Critics Circle Awards[29] Best Actor Runner-up Best Actress Emma Thompson (Also for Much Ado About Nothing) Runner-up Producers Guild of America Awards[30] Outstanding Producer of Theatrical Motion Pictures Mike Nichols, John Calley, and Ismail Merchant Nominated Robert Awards Best Foreign Film James Ivory Won Southeastern Film Critics Association Awards[31] Top Ten Films 3rd Place Best Actor Anthony Hopkins (Also for Shadowlands) Won Turkish Film Critics Association Awards Best Foreign Film 7th Place USC Scripter Awards[32] Ruth Prawer Jhabvala (screenwriter); Kazuo Ishiguro (author) Nominated Writers Guild of America Awards[33] Best Screenplay – Based on Material Previously Produced or Published Ruth Prawer Jhabvala Nominated
The film is #64 at the British Film Institute's "Top 100 British films".
The film was also nominated for the American Film Institute's "100 Years...100 Passions" list.[34]
Soundtrack
[edit]
The Remains of the DayFilm score by Released1993Length49:26
Professional ratingsReview scoresSourceRatingEntertainment WeeklyA link
The original score was composed by Richard Robbins. It was nominated for the Academy Award for Best Original Score, but lost to Schindler's List.
Track listing
Opening Titles, Darlington Hall – 7:27
The Keyhole and the Chinaman – 4:14
Tradition and Order – 1:51
The Conference Begins – 1:33
Sei Mir Gegrüsst (Schubert) – 4:13
The Cooks in the Kitchen – 1:34
Sir Geoffrey Wren and Stevens, Sr. – 2:41
You Mean a Great Deal to This House – 2:21
Loss and Separation – 6:19
Blue Moon – 4:57
Sentimental Love Story/Appeasement/In the Rain – 5:22
A Portrait Returns/Darlington Hall/End Credits – 6:54
See also
[edit]
BFI Top 100 British films
Cliveden set
Notes
[edit]
References
[edit]
Bibliography
[edit]
Gale, Steven H. Sharp Cut: Harold Pinter's Screenplays and the Artistic Process. Lexington, Ky.: The University Press of Kentucky, 2003.
Gale, Steven H., ed. The Films of Harold Pinter. Albany: SUNY Press, 2001.
Hudgins, Christopher C. "Harold Pinter's Lolita: 'My Sin, My Soul'." In The Films of Harold Pinter. Steven H. Gale, ed. Albany, N.Y.: SUNY Press, 2001.
Hudgins, Christopher C. "Three Unpublished Harold Pinter Filmscripts: The Handmaid's Tale, The Remains of the Day, Lolita." The Pinter Review: Nobel Prize / Europe Theatre Prize Volume: 2005 – 2008. Francis Gillen with Steven H. Gale, eds. Tampa, Fla.: University of Tampa Press, 2008.
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Duty, Dignity and Denial: The Remains of the Day (1993)
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"The great butlers are great by virtue of their ability to inhabit their professional role and inhabit it to the utmost; they will not be shaken out by external events, however surprising, alarming or vexing. They wear their professionalism as a decent gentleman will wear his suit: he will not let ruffians or circumstance tear…
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Cinematic Scribblings
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https://cinematicscribblings.wordpress.com/2016/04/09/duty-dignity-and-denial-the-remains-of-the-day-1993/
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“The great butlers are great by virtue of their ability to inhabit their professional role and inhabit it to the utmost; they will not be shaken out by external events, however surprising, alarming or vexing. They wear their professionalism as a decent gentleman will wear his suit: he will not let ruffians or circumstance tear it off him in the public gaze; he will discard it when, and only when, he wills to do so, and this will invariably be when he is entirely alone. It is, as I say, a matter of ‘dignity’.”
— Kazuo Ishiguro, The Remains of the Day
Mr. Stevens (Anthony Hopkins) has spent his life striving to become the perfect butler. After decades of faithful service to the late Lord Darlington (James Fox), he’s now — circa 1958 — in the employ of Mr. Lewis (Christopher Reeve), an American millionaire and former congressman who purchased Darlington Hall after the previous owner’s death. With Lewis’s encouragement and the loan of his car, Stevens is about to take his first holiday in years. “Absolutely. Certainly. Take a break. See the world,” Lewis says, then asks, “When did you last see the world, Stevens? Tell me.” Stevens hesitates. “Ah. Well, in the past, the world always used to come to this house, in a manner of speaking, if I may say so, sir.”
However, being the consummate professional that he is, Stevens won’t merely be traveling for pleasure. He’s just received a letter from Mrs. Benn (Emma Thompson), formerly Miss Kenton, Darlington Hall’s onetime housekeeper who left twenty years earlier in order to marry but has now separated from her husband. Because she seems to be at loose ends, Stevens hopes to convince her to return to her old job, thereby solving the house’s current staffing problems. After arranging a meeting with her, he sets off for England’s West Country, where she lives. This journey offers him the rare, precious opportunity to see new sights and meet new people, yet as he goes along, his mind is constantly on the past, on the period in the mid-1930s when Darlington Hall was a hub of international affairs, Miss Kenton was his capable colleague and Stevens himself was at the height of his career. It soon becomes clear, though, that his ostensible glory days weren’t so glorious, as Lord Darlington was hardly the great man Stevens thought he was serving. Moreover, Stevens’s reasons for visiting the former housekeeper may not be quite as professional as he’d like to believe.
The Remains of the Day, directed by James Ivory and released in 1993, is based on a 1988 novel of the same title by Kazuo Ishiguro. Writing for The New York Times Book Review in 1989, Lawrence Graver aptly described the novel as “a dream of a book: a beguiling comedy of manners that evolves almost magically into a profound and heart-rending study of personality, class and culture.” It unfolds gradually, as Stevens — who acts as the narrator — reflects on his present, his past and what it means to be a great butler, inadvertently revealing his deep regrets about his life. Again and again, he takes pains to justify or rationalize his mistakes, and though he addresses these remarks to the reader, it’s evident that he’s really trying to convince himself.
The film, naturally enough, dispenses with this narration. As such, it’s able to present Stevens more objectively and depict scenes he didn’t witness, but it also forfeits some of the humor in his character. Early on in the book, for instance, he spends a great deal of time fretting about his inability to banter, as he thinks that his new employer expects it of him; none of this makes it to the screen. (For the record, the new owner of Darlington Hall is named Mr. Farraday in the book. The Mr. Lewis of the film is an amalgamation of Farrady and a senator named Lewis who attends Lord Darlington’s international conference. Despite their differences, both characters are Americans and thereby offer an outsider’s view of the English traditions embodied by Stevens and Lord Darlington. On a practical level, combining them also gives Christopher Reeve a larger role.)
That said, Stevens’s views on a butler’s proper role do come through, sometimes explicitly through dialogue but often more subtly. As far as he’s concerned, a butler can only achieve true greatness by serving a great man, and in order to do so, he must maintain “dignity in keeping with his profession” — which amounts to obliterating his own identity except in those rare moments when he’s all alone. His job is to support his master, and to express any disagreement with Lord Darlington’s orders and opinions, much less take a stand against him, is unthinkable. This attitude sometimes puts him in comedic situations, like when he agrees to explain the facts of life to Lord Darlington’s decidedly grown-up godson (Hugh Grant), but on the whole, the consequences are far more serious.
Lord Darlington is a complex character, and it’s not difficult to understand why Stevens initially admires him and believes that he’s doing important, noble work in the world. Because a German friend committed suicide due to the economic hardships he faced after World War I, Lord Darlington has devoted himself — mainly from a classic English gentleman’s sense of honor toward a defeated foe — to helping the German people at large. Unfortunately, these fine impulses eventually lead him to become a Nazi sympathizer, playing a key role in Britain’s disastrous appeasement policy. (Another alteration: The flashbacks in the book take place between 1922 and 1936, while the film compresses them into a three or four year period ending in 1938.) He is, it seems, an easily manipulated and misguided man more than a thoroughly bad one. His only major act of anti-Semitism — instructing Stevens to fire two Jewish maids — comes about when he falls under the influence of a fascist organization. He soon regrets his decision and wishes to make amends, but by that point it’s too late to track the maids down. The film further complicates the matter by making the two young women refugees from Germany; in the book, there’s nothing to indicate that they’re not English.
When Miss Kenton learns about Lord Darlington’s decision, she’s horrified, all the more so when she finds that Stevens intends to carry it out. “His lordship has made his decision,” he says. “There is nothing for you and I to discuss.” She argues that to dismiss the maids would be “a sin, as any sin ever was one” and threatens to quit, but to no avail. Later on, after Lord Darlington expresses his regret over the situation, Stevens at last feels free to reveal his own opinion to Miss Kenton:
Stevens: He said it was wrong to dismiss them. I thought you should like to know, because I remember you were as distressed as I was about it.
Miss Kenton: As you were? As I recall, you thought it was only right and proper that they should be sent packing.
Stevens: Now really, Miss Kenton, that is most unfair. Of course I was upset. Very much so. I don’t like to see that sort of thing happening in this house.
Miss Kenton: Well, I wish you’d told me so at the time. It would have helped me a great deal if I’d known you felt the same way as I did. Why, why, Mr. Stevens, why do you always have to hide what you feel?
And yet, for all of Miss Kenton’s high principles, she finds herself crippled by fear, much as Stevens is crippled by his sense of duty. Unlike her eventual husband, Mr. Benn (Tim Pigott-Smith), who leaves his fascist master over his politics and gets out of service altogether, she stays on at Darlington Hall after the firing of the Jewish maids: “I’m not leaving. I’ve nowhere to go. I have no family. I’m a coward. Yes, I am a coward. I’m frightened of leaving, and that’s the truth. All I see out in the world is loneliness, and it frightens me. That’s all my high principles are worth, Mr. Stevens. I’m ashamed of myself.” Stevens responds by assuring her of her importance “to this house”; she seems to be waiting for him to say “to me,” but he immediately returns to the business of running Darlington Hall.
Contentious though their relationship tends to be, the mutual attraction between Stevens and Miss Kenton becomes increasingly obvious as the film goes on, yet neither one is willing or able to acknowledge it. The usually outspoken Miss Kenton’s reticence makes sense, considering that Stevens had complained about “those persons who are simply going from post to post looking for romance” during her job interview, the first day they ever met. In his mind, meanwhile, falling in love with a co-worker would mean failing in his duty as a professional, allowing the personal to take precedence. This is a man who continues working while his father is on his deathbed, who avoids hiring pretty girls and even dislikes having flowers in his pantry because he so fears distraction. In keeping with his ideas about dignity, he can only let his guard down in total privacy, so when Miss Kenton walks into his pantry without warning one day, he desperately tries to hide the book he’s reading. She teases him that it’s probably something racy, but when she finally pries it out of his fingers, she’s surprised. “Oh dear,” she says. “It’s not scandalous at all. It’s just a sentimental old love story.” Of course, Stevens has an explanation at the ready: “I read these books — any books — to develop my command and knowledge of the English language. I read to further my education, Miss Kenton.” The two are never physically closer than in this scene, but unless he finds the courage to be a man and not a butler, their relationship can never be anything other than professional; how appropriate, then, that he’s more often seen looking at her through windows.
Interviewed for a documentary called The Remains of the Day: The Filmmakers’ Journey, Ishiguro said, “I intended the story to be one that could take off quite easily into the metaphorical sphere, so that people could actually apply it to their own lives, wherever they lived, whenever they lived. I wanted it to be a universal, human story.” Stevens’s world may be far removed from that of most viewers or readers, but the lessons he learns during his journey can be useful to anyone — provided that they aren’t learned too late.
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