identifier
stringlengths 1
43
| dataset
stringclasses 3
values | question
stringclasses 4
values | rank
int64 0
99
| url
stringlengths 14
1.88k
| read_more_link
stringclasses 1
value | language
stringclasses 1
value | title
stringlengths 0
200
| top_image
stringlengths 0
125k
| meta_img
stringlengths 0
125k
| images
listlengths 0
18.2k
| movies
listlengths 0
484
| keywords
listlengths 0
0
| meta_keywords
listlengths 1
48.5k
| tags
null | authors
listlengths 0
10
| publish_date
stringlengths 19
32
⌀ | summary
stringclasses 1
value | meta_description
stringlengths 0
258k
| meta_lang
stringclasses 68
values | meta_favicon
stringlengths 0
20.2k
| meta_site_name
stringlengths 0
641
| canonical_link
stringlengths 9
1.88k
⌀ | text
stringlengths 0
100k
|
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
5020
|
dbpedia
|
3
| 66
|
https://news.mit.edu/1994/desai-0615
|
en
|
Desai film to premiere
|
https://news.mit.edu/themes/mit/assets/img/favicon/favicon.ico
|
https://news.mit.edu/themes/mit/assets/img/favicon/favicon.ico
|
[
"https://news.mit.edu/themes/mit/src/img/placeholder/placeholder--frontpage--featured-news.jpg",
"https://news.mit.edu/themes/mit/src/img/placeholder/placeholder--frontpage--featured-news.jpg",
"https://news.mit.edu/themes/mit/src/img/placeholder/placeholder--frontpage--featured-news.jpg",
"https://news.mit.edu/themes/mit/src/img/placeholder/placeholder--frontpage--featured-news.jpg",
"https://news.mit.edu/themes/mit/src/img/placeholder/placeholder--frontpage--featured-news.jpg",
"https://news.mit.edu/themes/mit/src/img/placeholder/placeholder--frontpage--featured-news.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Elizabeth Stark",
"School of Humanities"
] |
1994-06-15T09:00:00+00:00
|
en
|
/themes/mit/assets/img/favicon/favicon.ico
|
MIT News | Massachusetts Institute of Technology
|
https://news.mit.edu/1994/desai-0615
|
In Custody, the movie made from Professor Anita Desai's first screenplay, will open at theaters across the nation in July. The film, which The New York Times called "a lyric appreciation of poetry and a comedy of errors about literary lives," is also the directorial debut of Ismail Merchant, the producing partner of the Merchant-Ivory team that created acclaimed films including Room With a View, Howards End and The Remains of the Day.
The new movie is based on Professor Desai's 1984 novel of the same name, which was on the short list for the Booker Prize, Great Britain's highest literary honor. Her other novels, including Fire on the Mountain, Clear Light of Day and Baumgartner's Bombay, have also been highly praised. She joined MIT in 1993 as professor of creative writing in the Program in Writing and Humanistic Studies of the Department of Humanities and Social Science.
In the film, Deven, a provincial college professor, attempts to preserve India's dying literary language, Urdu, by interviewing one of the last great Indian Urdu poets. During the interviewing process, Deven faces increasingly bewildering circumstances, especially when he encounters the lifestyle of the great poet Nur.
For Mr. Merchant, who was born in Bombay, making the film was a chance to look into India's disappearing traditions. "He has a great feeling for Urdu poetry and also for Indian music, and I think this story gave him the opportunity to really indulge that passion," Professor Desai said. Indeed, Mr. Merchant supplemented her script with examples of actual Urdu poetry drawn from the works of the late Faiz Ahmed Faiz, who is considered among the preeminent Urdu poets of this century.
In Custody, which is in Urdu with English subtitles, features three major stars: Shashi Kapoor (Nur), star of nearly 250 Hindi films, five earlier Merchant-Ivory Productions and numerous international films; and Om Puri (Deven) and Shabana Azmi (Imtiaz Begum), both stars of Hindi and international films, including the 1992 movie City of Joy.
The Boston-area premiere ofIn Custody will take place July 1-7 at the Brattle Theater, 40 Brattle St., Cambridge. For information call 876-6837.
|
|||
5020
|
dbpedia
|
3
| 89
|
https://cards.algoreducation.com/en/content/G6qUDhRs/remains-of-the-day-analysis
|
en
|
"The Remains of the Day" by Kazuo Ishiguro: A Concept Map
|
https://files.algoreducation.com/production-ts/__S3__903e4016-081e-4e5b-9b49-06a2393ef078
|
https://files.algoreducation.com/production-ts/__S3__903e4016-081e-4e5b-9b49-06a2393ef078
|
[
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flogo.76fef6c9.png&w=256&q=75 1x, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flogo.76fef6c9.png&w=384&q=75 2x",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Falgor-loader.ed4a3544.svg&w=256&q=75 1x, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Falgor-loader.ed4a3544.svg&w=640&q=75 2x",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flogo-small-white.5ad9608b.png&w=64&q=75 1x, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flogo-small-white.5ad9608b.png&w=128&q=75 2x",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fmail.5765db7e.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flocation.1e24abbf.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ffacebook.5cf27ee5.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Finstagram.c0d3e06b.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fyoutube.db718e75.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftiktok.f2a6380a.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=640&q=100 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=750&q=100 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=828&q=100 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=1080&q=100 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=1200&q=100 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=1920&q=100 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=2048&q=100 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__74c79395-3189-491c-9549-dec2afbb1f16&w=3840&q=100 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=640&q=100 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=750&q=100 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=828&q=100 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=1080&q=100 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=1200&q=100 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=1920&q=100 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=2048&q=100 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__29b0870d-e0eb-4ee8-8cec-4895e1d729f6&w=3840&q=100 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=640&q=100 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=750&q=100 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=828&q=100 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=1080&q=100 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=1200&q=100 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=1920&q=100 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=2048&q=100 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0c8c0510-4934-4d6a-a2f4-7146b4a61efb&w=3840&q=100 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=640&q=100 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=750&q=100 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=828&q=100 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=1080&q=100 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=1200&q=100 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=1920&q=100 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=2048&q=100 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__b7f9ba0e-318b-4983-8670-b261c6ef057c&w=3840&q=100 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=640&q=100 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=750&q=100 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=828&q=100 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=1080&q=100 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=1200&q=100 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=1920&q=100 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=2048&q=100 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__0a07e96a-292a-4171-9864-48121d18880a&w=3840&q=100 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fplus.656fe5c4.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.88c75640.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fspace.4fbd677b.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles2.e574a79f.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Frectangles.f4b0c0c7.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fcircles.71cf8c18.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftriangles.3ab54cae.png&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4e7fbc8e-2f64-4180-a591-835d27b2baae&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__8361a3a7-7578-4f68-b127-b277ef6ee54f&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__009c75e6-1047-4422-89a8-790433436868&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__675e0ffc-bf21-4a90-93c4-00f2b6c022fd&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__921fdb4f-c99d-4408-8777-47924465df91&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__43e7db31-c3da-4fd9-bdc5-067b68fc70df&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__a92d2540-551d-4e1d-8971-be98e285b13c&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Farrow-right.3ef61dd7.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Falgorino-create.d43011aa.png&w=256&q=75 1x, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Falgorino-create.d43011aa.png&w=384&q=75 2x",
"https://cards.algoreducation.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=640&q=75 640w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=750&q=75 750w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=828&q=75 828w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=1080&q=75 1080w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=1200&q=75 1200w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=1920&q=75 1920w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=2048&q=75 2048w, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Fsearch.c1791073.svg&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fproduction-ts%2F__S3__4b4cd73f-33c0-44ec-8c44-ba35bbc464ea&w=3840&q=75 3840w",
"https://cards.algoreducation.com/_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=640&q=75 640w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=750&q=75 750w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=828&q=75 828w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=1080&q=75 1080w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=1200&q=75 1200w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=1920&q=75 1920w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=2048&q=75 2048w, /_next/image?url=https%3A%2F%2Ffiles.algoreducation.com%2Fcommon-ts%2Fprofile-picture-algor-education.svg&w=3840&q=75 3840w"
] |
[] |
[] |
[
""
] | null |
[] | null |
Discover the essence of regret and dignity in Kazuo Ishiguro's 'The Remains of the Day', a novel exploring memory and loyalty.
|
/favicon.ico
|
https://cards.algoreducation.com/en/content/G6qUDhRs/remains-of-the-day-analysis
|
The novel explores the themes of regret and dignity through the reflective narrative of Stevens, an English butler
The narrative technique of an unreliable narrator allows for an exploration of the fallibility of memory and the influence of personal biases on our recollections
The novel delves into the complexities of social class and devotion through the relationship between Stevens and Lord Darlington
The setting of Darlington Hall symbolizes the fading grandeur of British aristocracy and the changing political climate of the post-World War II era
The novel is set near Oxford, England, which serves as a backdrop for the themes of tradition and change
The novel's protagonist, Stevens, is an English butler whose strict adherence to duty and professionalism shapes his narrative and relationships
Miss Kenton, the housekeeper at Darlington Hall, plays a crucial role in Stevens' emotional journey and the exploration of themes such as sacrifice and unfulfilled desires
|
||||
5020
|
dbpedia
|
3
| 5
|
https://ellenandjim.wordpress.com/2021/02/18/the-remains-of-the-day-ishiguros-novel-merchant-ivory-jhabvala-pinters-film/
|
en
|
Jhabvala (Pinter)’s film – Ellen And Jim Have A Blog, Two
|
[
"https://ellenandjim.wordpress.com/wp-content/uploads/2023/12/cropped-mndpuck.jpg",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/the-remainscoverofbook.jpg?w=188&h=300",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/finalmomentsoffilm.jpg?w=300&h=204",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/alwaysunderstrain.jpg?w=840&h=474",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/misskentonintruding.jpg?w=840&h=568",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/favoritestill.jpg?w=840&h=472",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/emma-thompson-margaretshlegel.jpg?w=840&h=539",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/misskentoninterviewed.jpg?w=840&h=630",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/tryingtogethemantoownup.png?w=840",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/misskentonintruding-1.jpg?w=840&h=568",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/timothypiggotsmithemmathompson.pg_.jpg?w=840&h=704",
"https://ellenandjim.wordpress.com/wp-content/uploads/2021/02/onthebench.jpg?w=840&h=580",
"https://1.gravatar.com/avatar/1d77a4809e37832946e9f5ce719adcffa0dfca915b3effe8cb4d40858b4d33a2?s=42&d=identicon&r=G",
"https://1.gravatar.com/avatar/1d77a4809e37832946e9f5ce719adcffa0dfca915b3effe8cb4d40858b4d33a2?s=49&d=identicon&r=G",
"https://1.gravatar.com/avatar/1d77a4809e37832946e9f5ce719adcffa0dfca915b3effe8cb4d40858b4d33a2?s=42&d=identicon&r=G",
"https://1.gravatar.com/avatar/1d77a4809e37832946e9f5ce719adcffa0dfca915b3effe8cb4d40858b4d33a2?s=42&d=identicon&r=G",
"https://1.gravatar.com/avatar/1d77a4809e37832946e9f5ce719adcffa0dfca915b3effe8cb4d40858b4d33a2?s=128&d=identicon&r=G",
"https://secure.gravatar.com/blavatar/33c4cef6071e8d3a1e6189710edf2a666de1e151f53249d7b60cacbc464b0921?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/33c4cef6071e8d3a1e6189710edf2a666de1e151f53249d7b60cacbc464b0921?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[
"https://www.youtube.com/embed/g1P6c3yomp0?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent"
] |
[] |
[
""
] | null |
[
"Author ellenandjim"
] |
2021-02-18T00:00:00
|
Father (in his sepulchal voice) There was this English butler out in India -- one day he goes into the dining room and what's he see under the table: a tiger. Not turning a hair, he goes to the drawing room-- 'Excuse me, m'lord' -- (gives imitation of slight cough)-- and whispering so as not…
|
en
|
https://secure.gravatar.com/blavatar/33c4cef6071e8d3a1e6189710edf2a666de1e151f53249d7b60cacbc464b0921?s=32
|
Ellen And Jim Have A Blog, Two
|
https://ellenandjim.wordpress.com/2021/02/18/the-remains-of-the-day-ishiguros-novel-merchant-ivory-jhabvala-pinters-film/
|
Father (in his sepulchal voice) There was this English butler out in India — one day he goes into the dining room and what’s he see under the table: a tiger. Not turning a hair, he goes to the drawing room– ‘Excuse me, m’lord’ — (gives imitation of slight cough)– and whispering so as not to upset the ladies: ‘I’m very sorry, m’lord, there appears to be a tiger in the dining room. Perhaps his lordship will permit use of the twelve-bores?’ They go on drinking their tea and then there’s three gunshots. They don’t think nothing of it — this being India where they’re used to anything — and when the butler is back to refresh the teapots, he says, cool as a cucumber: ‘Dinner will be served at the usual time, m’lord, and I am pleased to say there will be no discernable traces left of the recent occurrence by that time’ (shooting script, third draft, scene 22).
Friends and readers,
This not very long novel, The Remains of the Day (1989), with its quiet main story, the happenings along a road Darlington Hall’s long-time butler, Mr Stevens (Anthony Hopkins), encounters as he drives in his master’s Daimler cross-country from southeast to southwest England — is as rich a masterpiece as any overlong super-respected 19th century novel, as richly interesting as the novel Ishiguro said he had in mind as its precursor, E. M. Forster’s Howards End (1910). The film adaptation by Ismail Merchant, James Ivory, and Ruth Prawer Jhabvala (whose script is a not-very-much altered version of one by Harold Pinter, is repeatedly said to be one of their masterpieces. I just finished teaching the book to a lively intelligent group of retired adults, and wish I could better convey the tone and comments on our conversations online (via Zoom), which show how metaphorically connected to our lives is the outlines of the story, now the characters, especially Mr Stevens and Miss Kenton (Emma Thompson) are versions of ourselves from whom we can learn. We talked warmly about things that are important to us, coming out of and returning to the book and its film.
There has been so much said about both books and sets of films (Howards End comes in two forms, the Merchant-Ivory-Jhabvala 1993 version, with again, and not just a coincidence, Hopkins and Emma Thompson in the key roles; and the 2015 HBO version scripted by Kenneth Lonergan, directed by Hettie MacDonald, this time with, as alterego for Margaret Shlegel-Emma, Hayley Atwell, but a somewhat different type from Wilcox-Hopkins, Matthew MacFayden.) What can I add? Here goes.
***************************************************
The Remains of the Day, the book, continually exists on at least two levels: Mr Stevens is both a realistic character and a symbolic one. On a psychological level, he is a super-sensitive man, afraid of life’s emotions and hard realities (like possibly even getting fired), status insecure, and hides under the habit of the archetypal butler. We gradually learn to feel for him, grieve for his unlived life (as he finally does at the end of novel and film); on a symbolic level, he stands for the person who opts out of responsibility, will facilitate the doing of the most horrible aims (Nazism, fascism, flourishing and extended out of Lord Darlington’s conferences), an instrument for evil to work with. In his interview online, Ishiguro says he chose an archetypal figure for his allegory, made a man who fears the arena of emotions, emotional engagement, who at the same time is us because we too are removed from real power, do a little job as best we can, without being able to control how our contribution will be used. In a democratic culture we don’t get to choose among the out of our control decisions that affect vast numbers of people. He is Us.
Here he is always under strain
Miss Kenton intruding on Mr Stevens’s refuge in sentimental romance (a self-reflexive scene, since what is this novel but a sentimental romance?)
Ishiguro wants Mr Stevens’s idea of dignity to be completely challenged by the end of the book. I saw saw Mr Stevens’s definition of preserving self-guarded control, an attempt at a veneer which would save him from mockery, ridicule, scorn (in the book when Lord Darlington’s rich powerful guests question Mr Stevens we see how easy it is to humiliate him nonetheless). The true servant is the man who gives good advice, trustworthily, tells the master what he or she (the mistress) needs to hear to do well — as Kent does in the first act of King Lear, for which the king, I admit, banishes him.
Miss Kenton is Everywoman in the guise of a type seen in traditional English novels: she is pro-active, strong, competent in housekeeping (no small task to run such a house), with perception, integrity, and prudent self-control. She will act according to her conscience, as when she is horrified that Mr Stevens goes along with Lord Darlington’s orders they fire two Jewish maids (thus threatening their lives, as without jobs, they might be returned to Germany), she wants to quit; but she stays because she needs this job to live, because she enjoys her status in this awesome house, is deeply pleased by its order, beauty, and diurnal routine peace. She is a sister to Elinor Dashwood, to Margaret Schegel; that’s why the same actress, Emma Thompson, is perfect for all three characters.
as Elinor Dashwood writing to her mother (1995 Miramax Sense and Sensibility, scripted by Thompson too)
as careful Margaret Shlegel (M-I, 1993)
Miss Kenton interviewed (presumably in book and film, spring 1922)
She defends herself against Mr Stevens’s frequent nervous hypercriticism (his father “incorrectly situated [the china] Chinamen”). She says of another maid when she choses to marry over staying on in such a celibate position, “she will be disappointed,” but it not long afterward he begins to date Mr Been (Timothy Piggot-Smith). She wants both: the career, the marriage and her sad ending choosing to stay with Mr Been, so she can be near a coming grandchild and live through it, is not atypical. The letter (over-voice) with which the film opens, is brought back at the end, to show us that she had longed to return to Darlington Hall and this butler for whom she had venerating respect. Her grief at loss of a dream of happiness (it does not seem that they could have been happy together) is unbearably moving as she waves goodbye as her bus pulls off. Their hands had touched, and she leaves him and us weeping too. How many of my woman readers recognize themselves in her life and this ending? He could not reach out to her, and ridiculed him in a petty revenge among her last scenes in the house together.
Looking to the large issues: the unsettling of the old order, with a new one struggling to be born (Gramsci) pathological symptoms emerge. This is an unobtrusive condition of England novel — there are auctions in the movies made from both novels. Young Mr Cardinal (Hugh Grant) belongs here: he knows what is happening, his father persuaded to work for Nazi fascists, and in his newspaper he will try to expose his uncle — to stop him. The scene where he (like Miss Kenton) prods Mr Stevens to let go, open up to the reality of what he is working so hard for and is rebuffed is one of the books’ several climaxes.
Grant pushing Mr Stevens to own (up) to what has been going on at Darlington Hall this 1936/37
And in a throwaway line, when Mr Stevens and Mrs Been discuss Lord Darlington’s estrangement from England after he was shamed by his own libel case (he did entertain Nazis), she says how perhaps his nephew prevented too profound a loneliness, only to be told oh he died in the war. The good man in potentia and actually thrown away.
I love that the book is a beautiful patterning of art in itself. The story (the woof) contains three time skeins, with indeterminate time in-between. We begin (this is the third letter of the book). 1922 when Miss Kenton is hired, 1923 their earliest struggles – over who will have more power demonstrably, over his father too old for the job, his father’s death (where his face is suffused with tears which he wants no one to notice), seems around that time to want to visit the town the school the new schoolmaster (me) he is. Then 1936/37 – the conferences and also when Miss Kenton begins to date, tries to approach Mr Stevens is rebuffed, –- when Darlington tells Mr Stevens to fill his nephew in on Facts of life (sexual facts or more sinister, real politick). 1956 – when the trip happens – 20 years later, the time it became apparent during the Suez Canal incident (why should Egypt allow Britain to use its natural resources) that England no longer the world power she thought she still was. Three theads)
The trip itself has wonderful incidents, and juxtapositions intermingled, juxtaposed to long skeins of Mr Stevens’s remembering the past (the warp of the tapestry), to wit:
There’s a prologue and six days. The prologue and first day contain Mr Stevens’ memories of being in groups of servants like himself in “the old days” (so pre-1922/23, a time when grat houses were flourishing and had extensive staff) discussing what makes a great butler, with Mr Stevens telling anecdotes of his father or Mr Graham, whom he so admired, enacting dignity – in the face of absurdities (a tiger under a table) and active derision in a car trip (something to do with a music hall routine I could not discover). In the present Mr Stevens’ invited to take this trip (“take my car, the gas on me”), and dressing himself in the suits of his Lordship, with a comical allusion to the old (delightful, filled with real photographs of the places and an imagined trip through them) county books (Vol III of Mrs Symons’s Wonders of England). This is the first trip Mr Stevens has ever let himself take, and from Mr Farraday’s banter in the book, drawn out by his longing to renew a relationship he has brooded on for twenty years with cherished memories of Miss Kenton.
By Day Two, “Morning Salisbury” (evoking the cathedral with its embodiments of time across centuries), as Mr Stevens truly gets going on his trip (woof), Mrs Been’s (poor Miss Kenton that was) letter yearning to return, for her youth, for finding some purpose in life; with over-voice of Emma Thompson (the first spoken material of the movie) set against the house, saved from being sold as cement. His memories (the warp) more or less start at the beginning of their relationship (1922, the interview) and climax at the end of Day Three, Moscombe, near Tavistock, Devon, when Miss Kenton roused by seeing her protegee leave to marry, herself begins to date, and, with Mr Stevens refusing to show any anxiety and even when she tries to say their evening talks are getting in her way, swiftly (spitefully as she can be) bringing an end to them, over her protests. Then her acceptance of a marriage proposal from Mr Been, juxtaposed to Mr Cardinal trying to persuade Mr Stevens to admit what’s going on. Neither can crack his facade.
In Devon too, the evening, we get a climactic dialogue of Mr Stevens with a Mr Smith in the Taylor’s house, which seem to serve as a tavern, with the neighbors all around, and Mr Smith who reflects morally on the another meaning of dignity for all of us (equality), with the corollary what they fought for in WW2 was liberty, not to be slaves of others, the right to exercise one’s will and make a view felt. Alas this time Mr Stevens hurries off because he has presented himself falsely as a Lord who knew powerful people (we cannot too much criticize him as Mr Smith’s desire to speak to him comes from this misapprehension) and hurries away because a physician he fears might expose him has entered “the fray.” It is against this scene that the upper class people at Darlington Hall humiliating use of Mr Stevens’s lack of an educated man’s knowledge in special areas is juxtaposed: it supposedly shows how he is not capable of making serious decisions about his or anyone else’s life. The “lower” people were so respectful and kind and asking him to identify with them. We get Lord Darlington’s half-apologies to Mr Stevens, and discover (to our dismay) the next morning not only did Dr Carlisle guess Mr Stevens to be a servant, but despises, dismisses the conversation of Mr Smith.
In the movie the final scene between Mrs (now) Been and Mr Stevens in the hotel restaurant is in present time; in the book, there is again evasion and we are privy to the scene only through Mr Stevens remembering it afterwards. All thrown into the immediate past, including their last scene standing in the rain waiting for her bus. And then, at last present time), his sitting on the bench breaking into talk with another older retired man –- tears streaming down his face. The man feeling for him urges him to look forwards, the evening or our lives are the best, and as ever polite and self-erasing Mr Stevens agrees, and vows to himself to do better once again, perhaps try to learn what this bantering is all about.
There are many juxtapositions that are “merely” suggestive: in Day two, Morning Salisbury, Mr Stevens swerves not to flatten a hen who just happens to be in the middle of the road and a farm girl comes out to thank him. It shows Mr Stevens’ good nature (perhaps in Ishiguro’s mind the cat that Charles Wilcox so carelessly “flattens”), and she tells him of a beautiful view nearby I worried she was thief, thinking Mr Stevens (like Lord Darlington) a naif, an amateur at life (as Mr Lewis says in the memories that come on the next day).
There are a number of reviews which do justice to the book, Laurence Graver of the New York Times; Peter Beech of The Guardian will have to do. Neither of them, though, dwell at the length they should on the characters of Miss Kenton and the young Mr Cardinal or Lord Darlington.
***************************************************
Miss Kenton, unable to break through Mr Stevens’s carapace, tries to see what he reads privately — a sentimental romance (surely a self-reflexive joke)
The Merchant-Ivory-Jhabvala movie, whose script is close to Harold Pinter’s screenplay is rightly regarded as one of the team’s supreme achievements. For my part I attribute this to the brilliance of the book caught up through its most intensely aware (on the part of the implied author) scenes realized by a brilliant group of actors and director. In the book Miss Kenton is seen through the memories of Mr Stevens and so not viscerally there in the way she is in every scene of the movie. To my mind, very few of the reviews come near the rave one I would write were I a professional reviewer. Vincent Canby of the New York Times comes closest; Rita Kempley of The Washington Post; and some of the thematic kinds of publications: in Spirituality and Practice, ignore what Frederick and Mary Brussat say the film is about. I know I burst into tears the first time I saw the concluding scene of our thwarted lovers holding our their hands and not quite touching as her bus takes Mrs Been away from Mr Stevens forever. I took it as about the agony of self-reproach we feel as we look back at our unlived lives, our failures at not wasting our existence.
It is fair and accurate to remark that one of the people in the class remarked that Mr Stevens and Miss Kenton would have been very unhappy with one another had they married, and that often the scenes skirt a demented kind of comedy
Timothy Piggot-Smith as Mr Been kissing Miss Kenton after a couple of dates
They wait for Mrs Been’s bus together
In her review of Ishiguro’s first three books, Hermione Lee speaks of “the deep sadness, the boundless melancholy that opens out, like the ‘deserts of vast eternity’ his characters are reluctantly contemplating, under the immaculate [I’d call it intensely tremblingly controlled) surface of the book. They’ve caught this in the movie as well as the stretches of absurd comedy, open anguish and daily ordinary life. James Ivory writes more than adequately and in detail about the scenes that matter so effectively in James Ivory in Conversation with Robert Emmet Long (pp 226-238).Ivory says he kept in mind a Satyajit Ray movie where an unfaithful husband and wife hesitantly reach out to one another and fail to make contact, also that it’s insufficiently appreciated how all the scenes upstairs are seen from the point of view of a servant passingly there and hardly take any of the screen time. I’d say as in the M-I movies set in southeastern England, do not underestimate the effect of the soul-gratifying orderly green landscapes (see the intelligent picture book, John Pym’s Merchant Ivory’s English Landscape: Rooms, Views and Anglo-Saxon Attitudes).
I’ll leave my reader to watch the film again and listen to Ishiguro talking of what he meant to do in his book and how he felt the movie related to it and should be approached.
Ellen
|
||||
5020
|
dbpedia
|
3
| 27
|
https://worldofokonomy.wordpress.com/2013/05/02/may-02-2013-the-remains-of-the-day/
|
en
|
May 02, 2013: “The Remains of the Day”
|
[
"https://s2.wp.com/wp-content/themes/pub/neat/images/h1.gif",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2013/05/stevenskenton.jpg?w=450&h=242",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2013/05/rotd-kazuo-ishiguro.jpg?w=94&h=151",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2013/05/anthony-hopkins-stevens.jpg?w=300&h=180",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2013/05/remains_servantstable.jpg?w=300&h=166",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2013/05/darlingtonhall.jpg?w=210&h=118",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2013/05/christopher-reeves.jpg?w=204&h=137",
"https://0.gravatar.com/avatar/6f5800f5cb380521be8245baa39a7a4639c0450aa7240118971b0e9f1c509187?s=32&d=identicon&r=G",
"https://s2.wp.com/wp-content/themes/pub/neat/images/comment_arr.gif",
"https://2.gravatar.com/avatar/827710e090869408de95d1a953cd80656c84cebb002a124864dca402b639a51f?s=32&d=identicon&r=G",
"https://s2.wp.com/wp-content/themes/pub/neat/images/comment_arr.gif",
"https://2.gravatar.com/avatar/2e78155bc19187690bb0bf37a4c501ca07d74000cba7a323c956be4f937733d6?s=32&d=identicon&r=G",
"https://s2.wp.com/wp-content/themes/pub/neat/images/comment_arr.gif",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sv-culinary-arts-promo.jpg?w=100",
"https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-okon-sushi.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-gunkan.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-maki.jpg?w=158",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-california.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-shrimpt.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-cu-maki.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-nigiri.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-unagi.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-yellowtail.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-tako.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-cu-nigiri.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-inside-out.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-temaki.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-shrimp-karroke.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-hors-doevres.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-yuzu-duck.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-shittake-soup.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/04/sb-crab-gratin.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-teriyaki-steak.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-seafood-soup.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-plum-cocktail.jpg?w=150",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-lobster-mayowas.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-scallop-gratin.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-squid-balls.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/sb-grtea-brulee.jpg",
"https://1.gravatar.com/avatar/71ce7c8af2f5782f28159d6a6a0f6f0f68f9e7215ec0ae62b6ad749435336935?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/63e5be89a90214dc5d1aad96713a8e63664f5f8868794ad31d8ec38ded90ec53?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/bf28a82f00fd7845a1b50a285795880dc01b06b58ae9739ab0b034ff6207f6a0?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/a2e8ecd0d5392af5df0ee2dabe42438c04b30157ca2c044e5433f9b16acec251?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/827710e090869408de95d1a953cd80656c84cebb002a124864dca402b639a51f?s=48&d=identicon&r=G",
"https://graph.facebook.com/v2.2/1011032842253079/picture?type=large&_md5=ad86e027c048b7cd80e0b1f3e07102e5",
"https://2.gravatar.com/avatar/2e78155bc19187690bb0bf37a4c501ca07d74000cba7a323c956be4f937733d6?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/db00bc5988c03a740c4b4885dfb90cab8131cc9dfd47385f0482cf05e989bb4b?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/db00bc5988c03a740c4b4885dfb90cab8131cc9dfd47385f0482cf05e989bb4b?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/6e5b678f2434a09293912db5c85cb4ccfd03cb52ebdc84320ccc98a9a84b0d10?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/666dd45a3b43ff58585147379c0d3b9ab968675caf35c46ecc0a5982c29c0554?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/2e78155bc19187690bb0bf37a4c501ca07d74000cba7a323c956be4f937733d6?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/827710e090869408de95d1a953cd80656c84cebb002a124864dca402b639a51f?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/6e5b678f2434a09293912db5c85cb4ccfd03cb52ebdc84320ccc98a9a84b0d10?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/6e5b678f2434a09293912db5c85cb4ccfd03cb52ebdc84320ccc98a9a84b0d10?s=48&d=identicon&r=G",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/yoshiolobsterv1.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/yoshio-dips1.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/hashi-wrong.jpg",
"https://worldofokonomy.wordpress.com/wp-content/uploads/2010/03/hashi-2ndpos.jpg",
"https://secure.gravatar.com/blavatar/26d720308bf79d2443214661c550f87f4064ed8bd65afd9809994d77600d831d?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/26d720308bf79d2443214661c550f87f4064ed8bd65afd9809994d77600d831d?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2013-05-02T00:00:00
|
[I remember liking the film "The Remains of the Day" (1991) when it first came out and revisiting it recently, I found that I liked it even better the second time around. For me, this is the Merchant/Ivory film. This viewing, I noticed that the novel the film is based on, was written by an Japanese…
|
en
|
https://secure.gravatar.com/blavatar/26d720308bf79d2443214661c550f87f4064ed8bd65afd9809994d77600d831d?s=32
|
World of Okonomy's Blog
|
https://worldofokonomy.wordpress.com/2013/05/02/may-02-2013-the-remains-of-the-day/
|
[I remember liking the film “The Remains of the Day” (1991) when it first came out and revisiting it recently, I found that I liked it even better the second time around. For me, this is the Merchant/Ivory film. This viewing, I noticed that the novel the film is based on, was written by an Japanese author Kazuo Ishiguro. Smelling an “East-meets-West” story, I took out Ishiguro’s book, which has been one of the best novels I have read in some time.
Having written the blog for some time now, it is amusing to see certain themes pop up, particularly when they sometimes run contrary to the overall East-meets-West theme of the blog. My interest in English butlers can be found in my article “Timbale de Riz Epinard “and the idea of tying oneself to a worthy, and moral master can be found in “Good Masters All“]
Head-butler at Darlington Hall for more than twenty years, Jack Stevens has been lately practicing his “bantering.” Not through any real interest of his own, however. It’s just that Stevens has observed his relatively new American employer seems to enjoy this “bantering” and diligent as ever, Stevens seeks ever to please. He’s just not that good at it yet. In Stevens’ mind his repartees are well thought out and meticulously crafted. But, despite his best efforts, Stevens’ “banterings” seem to go right over the American’s head.
Stevens is about to embark upon which amount to him a very rare “expedition.” He is soon to travel a couple of counties away to visit the former housekeeper of Darlington Hall from twenty years ago. Stevens has been noticing that, in small ways to be sure but very evident to himself, tiny mistakes he is making now on a daily basis. Mistakes that worry him. Ever diligent to be the best butler he can be, his only solution is to try to convince Miss Kenton (now Mrs. Benn) who he esteems as no other in his profession, to return to Darlington Hall.
So Stevens tells himself. Stevens however, as usual, is not perceiving the full picture.
As he travels, Stevens reflects on his memories from the time of Miss Kenton’s first arrival. Miss Kenton is everything Stevens is not. Where Stevens is polite, Miss Kenton is provoking. Where he is remote, she is passionate. He-respectful, she-caring. He-the pit, she-the fruit. He is ice, she is fire. Both consummate professionals, both at the pinnacle of their respective jobs, we soon see (as viewers/readers) as well as everyone else (with the possible exception of Stevens) sees: that Stevens and Kenton are made for each other.
Perhaps it is that he is such the stickler for the rules and the big one being “no romances in Darlington Hall” that prevents Stevens from realizing just how good Miss Kenton would be for him. His performing his every action “by the book” while certainly professional, constantly removes Stevens from the more human aspects of his occupation. His goal of being a “great” butler somehow makes him…constantly, a diminished person. He continually acts as if he just fell to earth from another planet. Human motives and actions seem to just confuse him. Indeed, Stevens represents many aspects of Aspergers, highly functioning at his job, but oblivious to emotions…including his own at times.
It doesn’t help matters for Stevens that he has tied his cart to the wrong horse. The Lord of Darlington Hall is heading down a dangerous path. Although a good and honorable (to a fault) man, Lord Darlington, in the early 1930’s, advocates appeasement to Germany, which allows a Nazi foothold in England when she can least afford it. As Stevens is privy to every communication that takes place in Darlington Hall, this makes Stevens a kind of accomplice to the ultimate evils of this very bad path. The worst is when Darlington hires two Jewish girls as staff, reconsiders, then sends the girls back to Germany…to almost certain death. Stevens is instructed by Darlington to fire the girls, and Stevens, and once more following the book, and much to the consternation of Miss Kenton, does so. Darlington later regrets this decision, but it is far too late. He has pulled everyone at Darlington Hall into a net of guilt by this wrong act and all are punished for it.
Aside from such dark moments, both book and movie are riddled with scenes of humor, also. When his godson visits, Lord Darlington feels impelled to finally “inform” the young man of the “fact of life” prior to his upcoming wedding. Feigning a busy schedule (but most likely because he is uncomfortable…and perhaps, just because he can) he sends Stevens to do the chore!
[From the book:] …The young gentleman reached down into the attaché case at his feet and brought out a notebook and pencil. “Fire away, Stevens.”
I coughed again and set my voice into as impersonal a tone as I could manage.
“Sir David wishes you to know, sir, that ladies and gentlemen differ in several key respects.”
I must have paused a little to form my next phrase, for Mr Cardinal gave a sigh and said: “I’m only too aware of that, Stevens. Would you mind coming to the point?”
“You are aware, sir?”
“Father is perpetually underestimating me. I’ve done extensive reading and background work on this whole area.”
“Is that so, sir?”
“I’ve thought about virtually nothing else for the past month.”
“Really, sir. In that case, perhaps my message is rather redundant.”
“You can assure Father I’m very well briefed indeed. This attaché case” – he nudged it with his foot – “is chock-full of notes on every possible angle one can imagine.”
“Is that so, sir?”
“I really think I’ve thought through every permutation the human mind is capable of. I wish you’d reassure Father of that.”
“I will, sir.” Mr Cardinal seemed to relax a little. He prodded once more his attaché case – which I felt inclined to keep my eyes averted from – and said:
“I suppose you’ve been wondering why I never let go of this case. Well, now you know. Imagine if the wrong person opened it.”
“That would be most awkward, sir.”…
[It was this passage that cased some concern at work. Finding me in convulsions (of laughter…but that was not immediately evident) some kind people were a little anxious of my well-being. A quick “thumbs-up” and I was able to return to my reading…and laughter. It is never exactly clear what is supposed to be in the briefcase, but Ishiguro later has young master Cardinal say that he …”knows everything about fish…” so one could surmise that the briefcase contains his valued catalogs of fish!]
In his journey and with his remembrances, we come to see that Stevens has come to sacrifice everything of true value to his ideal of service: family, personal honor, self-worth, conscience, and love. At the end, Stevens is heartbroken, disillusioned, regretful, and feeling that his life has been wasted. Sitting on a bench at a pier, where just a short time ago, he spent his last moments with Miss Kenton, he is not quite alone. On an adjoining bench there is man who strikes up a conversation with Stevens. It turns out that this man has also been a butler, but in smaller household than Darlington. In one of those rare magic gifts, fate has delivered to Stevens exactly what he needs most: a complete stranger who just happens to understand all that he has been through. A little too late, Stevens begins to open up to the stranger who, in return, offers Stevens a ready ear, good advice and a slightly used hankie (Stevens is unaware that he has begun to weep.)
After, Stevens waits for the pier lights to come on at dusk and to marvel in the constant effect that this event has upon the crowd: they “ooo” and “aaah” and draw together in conversation. Observing those young people closest to him, whom he assumes are close friends, Stevens is amazed to discover that they were strangers only a moment ago. In a kind of way, the physical light has engendered another kind of light. Stevens attributes this automatic bonding to the skill of their “bantering” and resolves to improve his own bantering-skills during the return trip. Sadly, once more, Stevens has missed the mark. One could well imagine him making these awkward, baby-steps towards a full person for the rest of his life. However, it is the effort that counts most of all, and there are worse goals for Stevens…and for the rest of us, in the remains of the day, than to just keep reaching towards the light.
[Ishiguro has gone on record to say that he endeavored to write a universal story of a wasted life. I cannot imagine that his background in both Japan and his adopted England, each (to an American perspective) with its own, unique societal reservations, did not inform the story. Be that as it may, both movie and book are a joy. I suggest watching the movie first, and if you like it, move on to the book, which has (as most books do) much more detail.
The movie, as I have said, is the finest of Merchant/Ivory. Beautifully photographed, magnificently staged and wonderfully acted. Anthony Hopkins has said that there is no chemistry in acting, but I see it in spades with he and Emma Thompson. Their obvious affection for one another in real life is reflected in their roles. The “book” scene between them I consider not only one of the best acted scene in cinema, but also one of the most erotic (despite the characters being fully clothed and hardly even touching!) A young Hugh Grant as master Cardinal is both humorous and touching. The film is worth a watch if only to see Christopher Reeve, not only alive but walking, as Senator Lewis. The 2001 version of “Remains…” has a couple of documentaries, a good commentary and deleted scenes, including the ending from the book (above) which was acted to perfection by Hopkins, but not used in the film.]
|
||||
5020
|
dbpedia
|
2
| 10
|
https://www.tcm.com/tcmdb/title/18880/the-remains-of-the-day/
|
en
|
Not Available
|
[
"https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif",
"https://prod-images.tcm.com/img/global/logo-TCM_white.png",
"https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
|
en
|
/themes/custom/bogart/favicon.ico
|
Watch TCM
|
http://prod.tcm.com/unavailable/
|
Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH.
Watchlist and resume progress features have been disabled.
ACCEPT
|
||||
5020
|
dbpedia
|
1
| 12
|
https://community.articulate.com/discussions/articulate-storyline/watch-deadpool-3-2024-fullmovie-freeonline-on-english
|
en
|
Learning Heroes Community
|
[
"https://community.articulate.com/assets/banners/banner-home-d8a45bcb0a4dc33c4d0d431bb0f19eedc52403607fb7564bfca33167c332bcd4.png",
"https://community.articulate.com/assets/banners/mobile/banner-home-mobile-a8b1e480c523a880e79e7600a42029781810444eace77c3cfc4540a06e457c32.png",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|abc50e50-b37e-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|5a8eecf0-bc38-0131-f1d8-22000b5e9066?size=micro",
"https://api.articulate.com/id/v1/avatars/aid|4d1494a7-efe4-43b4-8288-e79dbad4d443?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|abc50e50-b37e-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|55ff0860-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|df76d790-fbeb-0131-1cab-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|879e0080-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|df76d790-fbeb-0131-1cab-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|0d3742d0-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|879e0080-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|55ff0860-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|0d3742d0-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|879e0080-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/aid|6bd01b8e-fa9a-4677-b20d-c32d0d4de8ca?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|55ff0860-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/aid|dfdc5271-ca74-4994-8581-51f2446ba95f?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|879e0080-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|593b9acf903ba224a326ee1b?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|55ff0860-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|879e0080-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|215bfb90-b37f-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/aid|3eb6d0c8-3336-4189-962f-6c3cdfc93dc4?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|879e0080-b37d-0131-2ee8-22000b2f96a1?size=micro",
"https://api.articulate.com/id/v1/avatars/auth0|df76d790-fbeb-0131-1cab-22000b2f96a1?size=micro"
] |
[] |
[] |
[
""
] | null |
[] | null |
Articulate's E-Learning Heroes is the #1 community for e-learning creators. Get free downloads and examples and connect with thousands of e-learning pros.
|
/assets/favicon-360-7d62cd83f6c4155fdcd901e00d556aaae2614bc7efed122e3c21fb9f556fcd79.ico
|
https://community.articulate.com/
|
How to Create Online Courses
Everything You Need to Know to Get Started
This week, your challenge is to share an e-learning game inspired by popular TV quiz shows.
This week’s challenge asked course designers to share a detailed and functional model of their game show interaction....
Check out these pro tips from Julie Dirksen for practical ways you can encourage your learners to pay attention.
Featured Downloads
In this video, you'll learn how to use activity reports to answer questions like: What are the completion rates for a...
E‑Learning Jobs
Find your next gig and post open opportunities for free on our job board
This week, your challenge is to share a fully developed version of the game that incorporates all designed elements, ...
Published on June 25, 2024 Hello E-Learning Heroes community members! It’s Jesse Taber, Director of Eng...
These four approaches make it easy to blend different kinds of images together in a polished way.
Here are some helpful tips to reach learners who are dealing with slow (or no) internet.
Discover 13 ways course designers create interactive prototypes for e-learning games.
From Quick Tips: Episode 99. Some community members asked for templates of this popular demo course. In this tutoria...
Learn how to create a progress bar in Storyline 360, build onboarding training in Rise 360, and more.
Discover 13 ways course designers present design concepts and storyboards for e-learning games.
From Quick Tips: Episode 105 Recently I've seen a few questions in the community about using media in Rise 360, so I...
Discover 20+ ways course designers use drag-and-drop interactions in e-learning.
Find out what to expect when testing your e-learning with this assistive technology.
From Quick Tips: Episode 98. It's easy to lose track of the character sizing when going from one screen to the next....
Jarrod Hogan of Intermountain Health reveals how changing the way he shared training helped him reach learners faster...
See why our customers love using our frictionless LMS for training distribution.
This week’s challenge asked course designers to show how 360° images can transform static visuals into interactive, e...
From Quick Tips: Episode 97. This quick tip comes from a community member who asked how to create a drag and drop in...
When it comes to creating engaging, relevant e-learning, video is a great way to capture content and your learners’ a...
Discover 13 ways course designers rework e-learning projects to meet accessibility guidelines.
Ensure your course quality is top-notch no matter what language your learner speaks.
Discover new creative ways to use this handy e-learning feature.
From Quick Tips: Episode 95. This quick tip comes from a community member who was using the interactive markers with...
Learn how the basics of Bloom’s Taxonomy will help you write clear learning objectives and design effective e-learnin...
Discover how course designers convert classroom training materials into engaging e-learning interactions.
They say two heads are better than one. That may be true, but they also say that too many cooks in the kitchen spoils...
|
||||||
5020
|
dbpedia
|
1
| 7
|
https://www.thearticle.com/ruined-lives-in-the-remains-of-the-day
|
en
|
Ruined lives in ‘The Remains of the Day’
|
[
"https://certify.alexametrics.com/atrk.gif?account=YKHHt1FYxz20cv",
"https://www.facebook.com/tr?id=303025330596251&ev=PageView&noscript=1",
"https://www.thearticle.com/{{ item.image }}",
"https://www.thearticle.com/{{ item.image }}",
"https://www.thearticle.com/{{ item.image }}",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/authors/255/detail_iu-1.jpeg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/5216/cover_desktop_ruined-lives-in-the-remains-of-the-day.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/3403/listing_desktop_without-bullying-prevention-initiatives-private-schools-do-a-great-disservi.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/229/listing_desktop_Boisdale-231116_mayfair_211.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/2887/listing_desktop_the-transformation-of-the-lia-is-firmly-underway-but-the-next-step-we-take-.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/1020/listing_desktop_if-you-want-to-recruit-unpaid-sperm-donors-then-play-into-masculine-stereot.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/3403/listing_desktop_without-bullying-prevention-initiatives-private-schools-do-a-great-disservi.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/229/listing_desktop_Boisdale-231116_mayfair_211.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/2887/listing_desktop_the-transformation-of-the-lia-is-firmly-underway-but-the-next-step-we-take-.jpg",
"https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/1020/listing_desktop_if-you-want-to-recruit-unpaid-sperm-donors-then-play-into-masculine-stereot.jpg",
"https://pixel.quantserve.com/pixel/p-9LX76t3TaEYn4.gif"
] |
[] |
[] |
[
"The Remains of the Day (film)"
] | null |
[
"Jeffrey Meyers",
"Dr Sameer Hinduja",
"Dr Ali Mahmoud",
"Cass Business School",
"Katrina Allen",
"David Herman",
"Laszlo Solymar"
] |
2023-08-20T10:15:00+00:00
|
Ruth Prawer Jhabvala’s superb screenplay of The Remains of the Day (1993), based on Kazuo Ishiguro’s novel (1988), an...
|
TheArticle
|
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.
A Message from TheArticle
We are the only publication that’s committed to covering every angle. We have an important contribution to make, one that’s needed now more than ever, and we need your help to continue publishing throughout these hard economic times. So please, make a donation.
|
||||||
5020
|
dbpedia
|
3
| 32
|
https://www.imdb.com/title/tt0107943/
|
en
|
Was vom Tage übrig blieb (1993)
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-5442644-3041369:M69G51CHHTFB790MWW3S$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DM69G51CHHTFB790MWW3S:0",
"https://m.media-amazon.com/images/M/MV5BOWY5MTFkMmEtNDE2Zi00NzU4LWE2OWMtZGE4ZWY1NmIzN2I0XkEyXkFqcGc@._V1_QL75_UX190_CR0,1,190,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BM2YyMmIzYjktNTUzZS00ZWEwLWI5MjgtZmEyZjg4MmFlN2Q1XkEyXkFqcGdeQWRpZWdtb25n._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BM2YyMmIzYjktNTUzZS00ZWEwLWI5MjgtZmEyZjg4MmFlN2Q1XkEyXkFqcGdeQWRpZWdtb25n._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQ3YTYxNTQtZGQ1Yy00ZWUwLWIxOGYtNDBhMjM4NGM0MDFhXkEyXkFqcGdeQTNwaW5nZXN0._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGZhMzJmMDctNWE4ZC00MGNiLWI2YTYtMWRiZDE0MTA4YTJkXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BYmNjZDgzM2QtOWUxMS00YmJiLWFiZDUtODZiNTcwMGZmNTcyXkEyXkFqcGdeQXVyMTQyMTMwOTk0._V1_QL75_UX162_.jpg",
"https://m.media-amazon.com/images/M/MV5BYmMwYjgyZmItNjE1MC00ZTMwLWE2ODItM2I5ZWUxYmEyYTM2XkEyXkFqcGdeQXVyODIyOTEyMzY@._V1_QL75_UX145_.jpg",
"https://m.media-amazon.com/images/M/MV5BZWY2MjQxYWQtOTA2NC00OTZhLTgxYzItYzIwNTc0MjllYzM3XkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UX150_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjNhNTVhNDYtNDQ0Ny00NTQ2LWFiYjgtNDc3NWI0MTNlOWFmXkEyXkFqcGc@._V1_QL75_UX139_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTg3MzI0Mzk5Ml5BMl5BanBnXkFtZTcwMTMxNjk5Mw@@._V1_QL75_UX133_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU5MjY2NDQ4NF5BMl5BanBnXkFtZTYwMTAyNTg4._V1_QL75_UX152_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjUwNzc4MTY2Ml5BMl5BanBnXkFtZTYwNzE0MDk4._V1_QL75_UX121_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTc3MjczNTgzN15BMl5BanBnXkFtZTYwMjg3Njk4._V1_QL75_UX136_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTIwNDAwMTIwMl5BMl5BanBnXkFtZTYwMjk4MDI5._V1_QL75_UX72_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTg5ODk1NTc5Ml5BMl5BanBnXkFtZTYwMjAwOTI4._V1_QL75_UX140_CR0,5,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTMwNTAyOTg0MF5BMl5BanBnXkFtZTcwNTg0MzY1Mw@@._V1_QL75_UX140_CR0,2,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjE1MDYwNjQxMF5BMl5BanBnXkFtZTcwNDE4NzU3MQ@@._V1_QL75_UX140_CR0,13,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjE0NDIzNDg1M15BMl5BanBnXkFtZTgwOTY5ODMzMjE@._V1_QL75_UY140_CR55,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjI4NDY4MzI5NV5BMl5BanBnXkFtZTcwMTk0ODg5NA@@._V1_QL75_UY140_CR35,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU4Mzk2MDk3OF5BMl5BanBnXkFtZTYwNzgwNDc0._V1_QL75_UX140_CR0,6,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjExMzI5Mjc3MV5BMl5BanBnXkFtZTcwMzQxODAzMQ@@._V1_QL75_UX140_CR0,12,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY5ODkzMjMwNl5BMl5BanBnXkFtZTcwMzkwMTExOA@@._V1_QL75_UX140_CR0,15,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQwNzU0MTUxMl5BMl5BanBnXkFtZTcwNjc4OTkwOA@@._V1_QL75_UX140_CR0,23,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BNmIxNDU5YWYtZWJmNS00YjA2LWEzNDAtYjQ5YzE3MzUxNjMyXkEyXkFqcGdeQXVyMTk4MDgwNA@@._V1_QL75_UX140_CR0,32,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BZjBiYTk5YjAtZjEwMy00NjkzLThiZmYtZWVhN2VkNDkzN2RiL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMzI2MDEwNA@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTc4MTgxOTk2Ml5BMl5BanBnXkFtZTcwNzMwMjYwMw@@._V1_QL75_UX140_CR0,1,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTUyNDM5MjE1NF5BMl5BanBnXkFtZTcwNzEyNTM0OA@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BOGU4ZGE0M2EtNDhiYS00NGZlLWI3OWEtYWMxZDcyZTRkMTljXkEyXkFqcGdeQXVyNTM3MDMyMDQ@._V1_QL75_UY140_CR24,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTk3MDY3NDc2NF5BMl5BanBnXkFtZTgwODcwNjgzOTE@._V1_QL75_UY207_CR1,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNTVkMWQ1NTItNTM0Zi00MzY2LTgzYmQtNjNjMDIyYWI0MjdiXkEyXkFqcGdeQXVyNjkwOTQ4MDE@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BODg5NmZkOGQtMmZjYi00M2I0LWI2MzMtMzg5NTZkZDgzMjAzXkEyXkFqcGc@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYTEyYmE0M2MtZDQ1OC00MGUxLWI4OGMtM2M1ZjIyNDI0Y2Q4XkEyXkFqcGdeQXVyNjQ2MjQ5NzM@._V1_QL75_UX140_CR0,2,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzFkYjQzZjUtY2NjNi00ZDFkLWI4M2MtN2RjODQ0NDJkMWM0XkEyXkFqcGc@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZTNlZTM4Y2EtMzA1MC00ODZjLWIxN2MtZWEzNWZkOWRmOTMwXkEyXkFqcGc@._V1_QL75_UY207_CR19,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMWVkNzg3NDktOTFmMi00YjU2LTk0MzMtYTVjZjRiYTliZDkzXkEyXkFqcGdeQXVyMTAwMzUyOTc@._V1_QL75_UX140_CR0,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BOTkxZTdkNTQtM2QwOS00NzRlLWEyMGItYTcxOTE4NTgyNGVhXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_QL75_UX140_CR0,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZTEwYzhiOWQtMjZlOS00NWViLTkxNGItNmZjYzcwNDQ5MDNkXkEyXkFqcGc@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGZiZDVjNzYtZWM4ZC00MzVkLThhNDEtMDJlOTBhYzVjMmNhXkEyXkFqcGc@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMDdjMGYwOTgtMGYwMi00N2M4LWEyOTYtNjMxNmJiNTExODJlXkEyXkFqcGdeQXVyODc0OTEyNDU@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTYyOTY1MjI2MV5BMl5BanBnXkFtZTYwMzI1NzY4._V1_QL75_UX140_CR0,5,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWY5MTFkMmEtNDE2Zi00NzU4LWE2OWMtZGE4ZWY1NmIzN2I0XkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-5442644-3041369:M69G51CHHTFB790MWW3S$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DM69G51CHHTFB790MWW3S:0"
] |
[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
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
|
https://www.imdb.com/title/tt0107943/
|
Ishiguro's story of duty finds career butler Mr Stevens preparing to meet Miss Kenton, once the head maid in his household. They have not seen each other for 15 years and once had an unspoken love. As he journeys down to meet her he remembers a lifetime spent in quiet, honourable service.
I don't like period pieces. Merchant-Ivory stuff usually feels very false and stifled to me. Here I didn't know what to expect but I was blown away from start to finish. To say the story is about a romance isn't the whole picture, to say it's about British-German politics pre-WW2 is not the full story. In fact the film is about it all - but the focus is Mr Stevens. He serves dinner while his father dies in an upstairs room, he puts his own opinions so far back that he doesn't have any, he is so focused on the proper way to serve that he never finds his own life. To describe in like this makes it sound very dull, and to some people it may be, but trust me - the story is beautifully observed and has so much going on in the background that it'll keep you interested. The main reason it works is a faultless central performance by Hopkins.
Hopkins drives the whole film. His face and his speech reveal more about his inner feelings than anything else. It can be frustrating to see him always put on a brave face and bury his emotions, but once you get his character (a man of quiet honour, dignity and respect - any wonder he seems otherworldly by modern standards) it's fine. He is fantastic - I cannot say it enough. His lot in life is moving, but what is incredibly moving is that he seems content to let his life slide by. The scene where Thompson's Miss Kenton confronts him about the book he is quietly reading is beautiful, truly beautiful - revealing their closeness and the depth of Stevens' heart. Thompson is also excellent in her role but doesn't have as much screen time as Hopkins. Fox, Reeves and Chaplin are all excellent in their roles.
If the film has a weakness it is that it doesn't judge the rich - even the Nazi sympathisers. It almost seems to revere the elite - I know they are not the focus but Merchant-Ivory always seems to be obsessed with how the other half live (or maybe they are part of the other half!). The ending is also a little disappointing because it's quite low-key, but it's very, very touching.
Overall this is excellent - I didn't think it would be that good, but it totally blew me away. Sit down and let this story unfold before you, let the characters develop and ensnare you. I guarantee you will be deeply moved by Hopkins. The rather crude message of `seize the day' is beautifully told in a rich tapestry of one man's life.
|
|||||
5020
|
dbpedia
|
3
| 65
|
https://www.britannica.com/topic/The-Remains-of-the-Day
|
en
|
The Remains of the Day | film by Ivory [1993]
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/73/124073-131-EA3EACC6/Tug-of-war-US-Naval-Academy-Maryland-Annapolis-2005.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/41/166941-131-E27FD3A6/Yingxiu-school-China-Sichuan-earthquake-May-2008.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/58/105358-131-083D7290/Battle-of-Gettysburg-Picketts-Charge-attempts-South-3-1863.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/71/196471-131-8FEA8DDD/Daily-Police-Bulletin-Elizabeth-Short-Black-Dahlia-January-1947.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/91/223091-131-A986B08A/relief-Zoroastrian-god-Ahura-Mazda-Persepolis-Iran.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/69/8569-050-231D9E5E/Japanese-novelist-Kazuo-Ishiguro-2017.jpg?w=300",
"https://cdn.britannica.com/09/226709-050-4B14CEC1/German-born-American-author-Ruth-Prawer-Jhabvala-1987.jpg?w=300",
"https://cdn.britannica.com/31/68031-050-4F642C80/Anthony-Hopkins.jpg?w=300",
"https://cdn.britannica.com/40/205240-050-31BB8996/Emma-Thompson-2013.jpg?w=300"
] |
[] |
[] |
[
"The Remains of the Day",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[] | null |
Other articles where The Remains of the Day is discussed: Merchant and Ivory: By the time The Remains of the Day was released in 1993, the filmmaking team was well established. The movie, an adaptation of Ishiguro’s novel, received an Oscar nomination for best picture, and Ivory was nominated a third time for his directing. Their 1996 film, Surviving Picasso, continued…
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/The-Remains-of-the-Day
|
The Remains of the Day
film by Ivory [1993]
Learn about this topic in these articles:
Assorted References
Merchant and Ivory
In Merchant and Ivory
By the time The Remains of the Day was released in 1993, the filmmaking team was well established. The movie, an adaptation of Ishiguro’s novel, received an Oscar nomination for best picture, and Ivory was nominated a third time for his directing. Their 1996 film, Surviving Picasso, continued…
Read More
novel by Ishiguro
In The Remains of the Day
…as a Merchant and Ivory film released in 1993 starring Anthony Hopkins and Emma Thompson. It was also adapted as a stage play in 2019.
Read More
screenplay by Jhabvala
In Ruth Prawer Jhabvala
…adapted screenplay, and Kazuo Ishiguro’s The Remains of the Day (1993), which earned Jhabvala her third Oscar nomination. Her other scripts for Merchant and Ivory included Shakespeare Wallah (1965), Heat and Dust (1983), Mr. & Mrs. Bridge (1990), Jefferson in Paris (1995), and adaptations of Henry James’s The European
Read More
role of
Hopkins
In Anthony Hopkins: Hannibal Lecter, Richard M. Nixon, and John Quincy Adams
…as a duty-bound butler in Remains of the Day (1993), as the 37th U.S. president in Nixon (1995), and as Adams in Amistad (1997). Other notable roles in the 1990s included 20th-century patriarchs in Howards End (1992), Legends of the Fall (1994), and Meet Joe Black (1998) as well as…
Read More
Thompson
In Emma Thompson
…played a 1930s housekeeper in The Remains of the Day.
Read More
|
||||
5020
|
dbpedia
|
3
| 6
|
https://www.merchantivory.com/film/theremainsoftheday
|
en
|
Merchant Ivory Productions
|
https://www.merchantivory.com/favicon.ico
|
https://www.merchantivory.com/favicon.ico
|
[
"https://www.merchantivory.com/image/film/id/38",
"https://www.merchantivory.com/image/film-photo/id/38/photo/285/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/292/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/286/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/287/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/288/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/289/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/319/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/285/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/292/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/286/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/287/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/288/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/289/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/319/class/small"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/favicon.ico
| null |
In the entracte between world wars, Stevens (Anthony Hopkins) is the perfect English butler at the estate of the politically-inclined Lord Darlington (James Fox). Stevens's obsessively dutiful, thoroughly unsentimental way of life is challenged with the arrival of the new housekeeper Miss Kenton (Emma Thompson), who is as spirited as she is capable. Stevens's myopic worldview, his unequivocal loyalty to his master, comes to blows with Miss Kenton's sense of moral outrage as Lord Darlington is made an unwitting Nazi pawn. While England wavers between "peace in our time" appeasement and war against Hitler, Darlington Hall becomes the fulcrum upon which the fate of the continent rests and Stevens, who has spent his adult life more concerned with attending to his master than with attending to his own personal happiness, begins to awaken to the possibility of a relationship with Miss Kenton.
Based on the 1989 Booker Prize winning novel by Kazuo Ishiguro. The Remains of the Day is told in a series of flashbacks as Stevens, near the end of his life, makes a trip across the English countryside for a meeting that he hopes might reconcile his past mistakes.
Hopkins received an Academy Award nomination for his subtle and penetrating portrayal of Stevens: in his tight shoulders and breathy hesitations, Hopkins discovers a deep humanity in a man who would leave his father's deathbed to wait on his master at a dinner gathering. His rapport with Thompson, who also received an Oscar nomination, creates some of the most iconic and psychologically charged romantic tension in recent film history. The supporting cast includes Hugh Grant as Lord Darlington's nephew, the enterprising journalist Cardinal; and Christopher Reeve as the American politician who tries to open the eyes of the English aristocracy to the imminent Nazi threat.
Ruth Prawer Jhabvala received an Oscar nomination for her transformation of Ishiguro's first-person narrative into a drama that preserves the ironies of Stevens's interior landscape while expanding the socio-political world he inhabits. Impeccably photographed by Tony Pierce-Roberts on location in four great English houses (principally at Badminton House in Avon and Powderham Castle in Devon), the film's lavash interiors are not only a visual flourish but a dramatic element: as the fate of the world is decided in its rooms, Darlington Hall becomes a catalogue of all European civilization, which hangs in the balance of the Nazi threat.
The senior reviewer of The New York Times called The Remains of the Day the "deepest, most heartbreakingly real of the many extraordinary films directed by James Ivory." Ivory won Director's Guild of America, Golden Globe, and Oscar nominations for his work. The film is pervaded with the air of something lost, both in the England of Stevens's road trip -- in pub chatter, in bedside photographs of the war dead -- and in the butler's missed opportunities. In an often--quoted scene, Stevens refuses to reveal to Miss Kenton the title of the book he is reading; persistent, she eventually peels his fingers away to find a sentimental love story. Stevens can only bring himself to say that he is reading it to increase his vocabulary. It is one of the cinema's most affecting portraits of solitude, regret, and the tragedy of what might have been.
|
||||
5020
|
dbpedia
|
3
| 73
|
https://www.commonsensemedia.org/movie-reviews/the-remains-of-the-day
|
en
|
The Remains of the Day Movie Review
|
[
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_xlarge.png 338w,/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_small.png 100w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_medium.png 583w,/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_medium.png 583w,/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_medium.png 583w,/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_medium.png 583w,/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w"
] |
[] |
[] |
[
""
] | null |
[
"Alistair Lawrence"
] |
2019-11-08T00:00:00
|
Classic period drama tackles issues of gender and class. Read Common Sense Media's The Remains of the Day review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/the-remains-of-the-day
|
A stellar cast -- led by Hopkins and Thompson -- delivers a masterfully restrained story that resonates with human themes and historical significance. Much of this may be lost on younger viewers, but, even on its surface, The Remains of the Day is deftly acted and unfolds to show both the horror of WWII in a nongraphic way and how rigid power structures and working conditions cause people to act in a way they later regret.
The characters are all sympathetic, even when they're in conflict with one another -- their humanity and goodwill toward each other is what drives the story forward, rather than a specific "goal" that needs to be achieved. This is a study of the resolution of a relationship between two former colleagues who are unsure about how to act on their feelings for each other. It's a timeless tale with a nostalgic rather than depressing tone. Fans of Downton Abbey will find much to enjoy in this British classic.
|
||||
5020
|
dbpedia
|
3
| 24
|
https://www.postcolonialweb.org/uk/ishiguro/gg4.html
|
en
|
The Remains of the Day Translated into Film
|
[
"https://www.postcolonialweb.org/uk/icons/uktop.gif",
"https://www.postcolonialweb.org/uk/icons/ukpost2.gif",
"https://www.postcolonialweb.org/uk/icons/ukpoi2.gif",
"https://www.postcolonialweb.org/uk/icons/ishiguro2.gif",
"https://www.postcolonialweb.org/uk/icons/remains2.gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
Gregory Gipson '98, English 27, 1997
The Remains of the Day: Translation
The film, as most do, differs from the book. From the perspective I have established on the book, however, it does so with considerable risk; some of the political success of the novel is lost in the effort by the filmmakers to create a love story, a more acceptable plotline, perhaps, for a mainstream film.
The film version stars Anthony Hopkins and Emma Thompson, and one suspects immediately that the alterations were made that we might see a powerful chemistry between two fine and well-respected actors. Chemistry is, indeed, present, but not so much postimperialism.
In the film, the relationship between Miss Kenton, the housekeeper for most of the period of Stevens' reminiscences, and Stevens as head butler, is the central point; the political wheelings and dealings are present but their significance is altered. No longer do Mr. Harry Smith's comments that "If Hitler had had things his way, we'd just be slaves now. The whole world would be a few masters and millions upon millions of slaves" (186) hold an implicit assault on the colonial system, because he does not make that speech. He discourses to Stevens at the bar about politics, as in the novel, but he does not manage to use those words. Furthermore, Stevens' new employer is one Mr. Lewis, the American senator who was present at the conference, who described Lord Darlington as not only an old-fashioned gentleman but also as "an amateur,"(102) not qualified to be meddling in political affairs. This situation, just as in the novel, emphasizes the shift in international power to America over Europe, but the loss of Stevens' voice as narrator loses also his struggle with hegemony which underlies the entire novel.
That conflict, is, indeed, the central conflict of the novel, and, nominally, of the film, but the film's alterations occasionally lose track of that. In the novel Stevens can spend the entire first chapter discoursing on his notions of professional dignity, and make repeated and pointed references to his belief that "our professional duty is not to our own foibles and sentiments, but to the wishes of our employer" (149), but in the film, Stevens' narrative voice is quite lost. Instead, Miss Kenton reads on camera to provide the viewer with some relevant information. It is true, of course, that in the film Mr. Stevens repeats those words, but, lacking entirely his discourse on professional dignity and proper discharge of butlerian duties, the struggle to rationalize that noble hegemony is seriously undercut.
I do not wish to imply, however, that the movie is a failure; simply that it de-emphasizes certain of the political dimensions of the book. When Stevens in the novel meets Harry Smith and hears him speak of Winston Churchill, one of the staunchest defenders of colonialism (again, historical context), saying that he (Mr. Smith) does not "agree with many things Mr. Churchill says, but. . .he's a great man," (188) the reader perceives the fading hegemony of hierarchy in Smith's words, though Stevens seems not to. In the film, somehow, indefinably, with those and other words missing, one is left with a criticism of the fascist leanings of the British nobility prior to World War II, but there is little feeling of the critique of imperialism and Stevens' struggles with the hegemony that has controlled his life. Somehow, speaking the same words, he mourns two separate losses in the book and the film: the waste of his life, and/or his failure to love Miss Kenton [perhaps because he says them to two different people between media]:
Lord Darlington wasn't a bad man. He wasn't a bad man at all. And at least he had the privilege of being able to say at the end of his life that he made his own mistakes. His lordship was a courageous man. He chose a certain path in life, it proved to be a misguided one, but there, he chose it, he can say that at least. As for myself, I cannot even claim that. You see, I trusted. I trusted in his lordship's wisdom. 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? (243)
Stevens has here perhaps limned the difference between postcolonialism and postimperialism: the latter is a specifically rejecting perspective, a self-criticism and atonement, just as Stevens' odyssey is both personal and political.
|
||||||||
5020
|
dbpedia
|
2
| 13
|
https://larsenonfilm.com/the-remains-of-the-day
|
en
|
The Remains of the Day
|
[
"https://larsenonfilm.com/wp-content/uploads/2017/06/larsen-logo.png",
"https://larsenonfilm.com/wp-content/uploads/2017/06/posteritati-ad.jpeg",
"https://larsenonfilm.com/wp-content/uploads/2017/11/filmspotting-300x250Nov17.png",
"https://larsenonfilm.com/wp-content/uploads/2018/06/cultivate-logo-ad.png",
"https://larsenonfilm.com/wp-content/uploads/2017/12/cultivate-brands-logo.png"
] |
[] |
[] |
[
""
] | null |
[
"josh"
] |
2021-02-15T22:17:49+00:00
|
The Remains of the Day is a movie governed by twin regrets.
|
en
|
Larsen On Film | Current and archived movie reviews by Chicago-based film critic Josh Larsen.
|
https://larsenonfilm.com/the-remains-of-the-day
|
A movie governed by twin regrets, The Remains of the Day stars Anthony Hopkins as an aging butler at a faded British estate who quietly bemoans two things from decades earlier: his failure to open his heart to a former housekeeper (Emma Thompson) and his willful ignorance toward his onetime employer’s Nazi sympathies. One has entombed Stevens, the butler, in a life of loneliness, the other in shame.
A Merchant-Ivory production (Ismail Merchant producing, James Ivory directing, and Ruth Prawer Jhabvala adapting the Kazuo Ishiguro novel into the screenplay), Remains is among their most visually rich efforts. To bridge the two eras of Darlington Hall—1958 and pre-World War II—there are moments when servants from the 1930s fade away, like ghosts, as they walk down the halls. Another motif involves point-of-view shots through keyholes and peepholes, as Stevens’ all-seeing eye monitors every movement on the estate—but always discreetly, from a distance.
Discretion is Stevens’ motto in both his professional and personal life, eventually to his despair. He loves his work—whistling while measuring the silverware placement for a dinner—yet that’s as much emotion as he’ll allow himself to show. He even saves his chuckles for private responses to his own thoughts, as he can’t imagine expressing such openness to anyone else. One of the many shattering moments demonstrating the extent of his repression comes when Stevens’ much older father, whom he’s hired at Darlington Hall, suffers a stroke while sweeping. Upon seeing his father on his knees, one hand still grasping his cleaning cart, Stevens allows a shudder of terror to cross his face, then quickly erases it so that he can tend to the matter as professionally as possible.
Then there is his relationship with Thompson’s Miss Kenton, a kind soul who sees enough goodness in Stevens to develop affection for him and possibly save him from himself. Stevens will have none of it, of course, even if somewhere beneath that prim uniform he cares deeply for her. Consider the layers of loss and longing Hopkins gives to this line, offered as an aside when a visitor praises Miss Kenton’s housekeeping: “I’d be lost without her.”
|
|||||
5020
|
dbpedia
|
1
| 11
|
https://www.britannica.com/topic/The-Remains-of-the-Day
|
en
|
The Remains of the Day | film by Ivory [1993]
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/47/190947-131-FCF3F960/Olympic-torch-illustration-sports-summer-games.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/70/62770-131-C97CD1F7/Black-widow-spider.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/51/190751-131-B431C216/soccer-ball-goal.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/62/192062-131-96B933EF/mug-shot-Colombia-control-agency-Medellin.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/45/209245-131-C6D09B32/gray-squirrel-acorn.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/69/8569-050-231D9E5E/Japanese-novelist-Kazuo-Ishiguro-2017.jpg?w=300",
"https://cdn.britannica.com/09/226709-050-4B14CEC1/German-born-American-author-Ruth-Prawer-Jhabvala-1987.jpg?w=300",
"https://cdn.britannica.com/31/68031-050-4F642C80/Anthony-Hopkins.jpg?w=300",
"https://cdn.britannica.com/40/205240-050-31BB8996/Emma-Thompson-2013.jpg?w=300"
] |
[] |
[] |
[
"The Remains of the Day",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[] | null |
Other articles where The Remains of the Day is discussed: Merchant and Ivory: By the time The Remains of the Day was released in 1993, the filmmaking team was well established. The movie, an adaptation of Ishiguro’s novel, received an Oscar nomination for best picture, and Ivory was nominated a third time for his directing. Their 1996 film, Surviving Picasso, continued…
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/The-Remains-of-the-Day
|
The Remains of the Day
film by Ivory [1993]
Learn about this topic in these articles:
Assorted References
Merchant and Ivory
In Merchant and Ivory
By the time The Remains of the Day was released in 1993, the filmmaking team was well established. The movie, an adaptation of Ishiguro’s novel, received an Oscar nomination for best picture, and Ivory was nominated a third time for his directing. Their 1996 film, Surviving Picasso, continued…
Read More
novel by Ishiguro
In The Remains of the Day
…as a Merchant and Ivory film released in 1993 starring Anthony Hopkins and Emma Thompson. It was also adapted as a stage play in 2019.
Read More
screenplay by Jhabvala
In Ruth Prawer Jhabvala
…adapted screenplay, and Kazuo Ishiguro’s The Remains of the Day (1993), which earned Jhabvala her third Oscar nomination. Her other scripts for Merchant and Ivory included Shakespeare Wallah (1965), Heat and Dust (1983), Mr. & Mrs. Bridge (1990), Jefferson in Paris (1995), and adaptations of Henry James’s The European
Read More
role of
Hopkins
In Anthony Hopkins: Hannibal Lecter, Richard M. Nixon, and John Quincy Adams
…as a duty-bound butler in Remains of the Day (1993), as the 37th U.S. president in Nixon (1995), and as Adams in Amistad (1997). Other notable roles in the 1990s included 20th-century patriarchs in Howards End (1992), Legends of the Fall (1994), and Meet Joe Black (1998) as well as…
Read More
Thompson
In Emma Thompson
…played a 1930s housekeeper in The Remains of the Day.
Read More
|
||||
5020
|
dbpedia
|
1
| 4
|
https://www.chrisreevehomepage.com/m-remains.html
|
en
|
Movie Reviews (Christopher Reeve Homepage)
|
[
"https://www.chrisreevehomepage.com/reeve-main-title.gif",
"https://www.chrisreevehomepage.com/buttons-nav/news.gif",
"https://www.chrisreevehomepage.com/buttons-nav/tributes.gif",
"https://www.chrisreevehomepage.com/buttons-nav/bio.gif",
"https://www.chrisreevehomepage.com/buttons-nav/fund.gif",
"https://www.chrisreevehomepage.com/buttons-nav/shop.gif",
"https://www.chrisreevehomepage.com/buttons-nav/movie.gif",
"https://www.chrisreevehomepage.com/buttons-nav/autobio.gif",
"https://www.chrisreevehomepage.com/buttons-nav/contact.gif",
"https://www.chrisreevehomepage.com/buttons-nav/yoursay.gif",
"https://www.chrisreevehomepage.com/buttons-nav/gallery.gif",
"https://www.chrisreevehomepage.com/buttons-nav/lyrics.gif",
"https://www.chrisreevehomepage.com/buttons-nav/transcripts.gif",
"https://www.chrisreevehomepage.com/buttons-nav/maillist.gif",
"https://www.chrisreevehomepage.com/buttons-nav/interview.gif",
"https://www.chrisreevehomepage.com/buttons-nav/websites.gif",
"https://www.chrisreevehomepage.com/buttons-nav/search.gif",
"https://www.chrisreevehomepage.com/images/i-imbd_ticket.gif",
"https://www.chrisreevehomepage.com/images/remains/i-remainsday.jpg",
"https://www.chrisreevehomepage.com/images/remains/t24.jpg",
"https://www.chrisreevehomepage.com/images/remains/reev2a.jpg",
"https://www.chrisreevehomepage.com/images/remains/remains-reeve.jpg",
"https://www.chrisreevehomepage.com/buttons-nav/home-button.gif"
] |
[] |
[] |
[
"Christopher Reeve",
"Chris",
"Superman",
"Man of Steel",
"Spinal",
"Injury",
"Biography",
"News",
"Horse Riding",
"SCI",
"Wheel Chair",
"Paralysis",
"Somewhere in Time",
"Movies",
"Fundraising",
"Dana",
"Still Me",
"Books",
"Videos",
"APA",
"Rear Window",
"Accident",
"Neck",
"Spine",
"Clark Kent",
"Equestrian"
] | null |
[] | 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.
Back to the top
News Reports | Biography | Fundraising | Online Shop | Autobiography
Movie Reviews | Contact Info | Have Your Say | Photo Gallery | Song Lyrics
Transcripts | Mailing Lists | Interviews | Other Websites | About Us | Search
This page is Copyright © 1999-2005, Steven Younis. All Rights Reserved
|
|||||||
5020
|
dbpedia
|
3
| 69
|
https://www.byarcadia.org/post/the-butler-a-representation-of-englishness-in-the-remains-of-the-day
|
en
|
The Butler: A Representation of Englishness in 'The Remains of the Day'
|
[
"https://static.wixstatic.com/media/1da99f_c6d61d02a07e4e32967a6fe0e98bbdf8~mv2.png/v1/fill/w_76,h_96,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/1da99f_c6d61d02a07e4e32967a6fe0e98bbdf8~mv2.png",
"https://static.wixstatic.com/media/156fb0_736238945cb54fac80fee74e20c0f0e3~mv2.png/v1/fill/w_44,h_40,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/Arcadia%20_%20Logo_rose_edited.png",
"https://static.wixstatic.com/media/7766e4_d8c402cc8d9140eeac2a7e1297f4923b~mv2.png/v1/fill/w_63,h_42,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/7766e4_d8c402cc8d9140eeac2a7e1297f4923b~mv2.png",
"https://static.wixstatic.com/media/373bf8_3c448e86849c41789603a5b15a688919~mv2.jpg/v1/fill/w_91,h_136,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/373bf8_3c448e86849c41789603a5b15a688919~mv2.jpg",
"https://static.wixstatic.com/media/373bf8_75cb0e3ec4f1442e915a9dee7a9f013e~mv2.jpg/v1/fill/w_115,h_65,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/373bf8_75cb0e3ec4f1442e915a9dee7a9f013e~mv2.jpg",
"https://static.wixstatic.com/media/1bf8c6_c4cc92e71c26419c932fc249f47b2603%7Emv2.png",
"https://static.wixstatic.com/media/1da99f_12d0b09401184db087488b8b39065a16~mv2.png/v1/crop/x_0,y_41,w_1418,h_1337/fill/w_216,h_206,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/Arcadia%20_%20Logo.png"
] |
[] |
[] |
[
""
] | null |
[
"Maialen De Carlos"
] |
2022-06-20T11:37:00.452000+00:00
|
Englishness is a term with a vague definition. This article will clarify this notion with the aid of the novel The Remains of the Day.
|
en
|
Arcadia
|
https://www.byarcadia.org/post/the-butler-a-representation-of-englishness-in-the-remains-of-the-day
|
The word ‘England’ brings many different ideas to mind. Some people think of tea, while others picture the Beatles, pubs, the Queen, etc. The English people are identified in many different ways, but it is difficult to define what 'Englishness' truly means. Not even the English people or their academics are able to provide an exact definition of this term. The professor of drama at De Montfort University, Simon Featherston, explains the complications of this term: “the English who read about being English also like to be told how hard it is to say who they are...[this] suggest[s] the continued relevance of an English national identity to the English and the difficulty of its definition and expression” (2009, p.2). 'Englishness' encompasses all that it means to be 'English' -from their mannerisms and rules of etiquette to their longstanding history - and is such an important topic to the country's people that it is one of the grander themes in their art. One such work of art is the novel The Remains of the Day by Kazuo Ishiguro.
The story is told from the perspective of Mr Stevens, a butler at Darlington Hall. It takes place during the first half of the 20th century, a time when England was in the spotlight as part of many historical events, such as the first and second world wars. The novel is written in the form of a diary that Mr Stevens writes while travelling through the countryside to visit an old colleague. His diary revisits moments of his time at Darlington Hall when the manor was in its glorious years. The Remains of the Day could be considered a ‘country house novel,’ a literary genre meant to represent the greatness of England, especially during the time in which the novel is set, as it reminisces about the greatness that was slowly fading away. As the doctorKatherine C. Henderson states: “Images of the country house were used to contest, as well as create, the exclusive national identity cohering around these provincial spaces” (2015, pp. 94-95). The fact that this story focuses on the butler augments this idea of England's archaic greatness as this position represents the old aristocracy. The novel suggests that this position is now seen as a collector’s itemfor younger and richer countries as in the time the story takes place, Mr Stevens is working for an American who does not see the importance of the house or the English traditions. As mentioned before, the novel is set at a time when the greatness of England was fading away. The author also uses the concept of 'gentlemen' to represent that change, as Mr Stevens, a true gentleman, is the only one who remains as a reminder of the house's former greatness. The reader can see the transformation through Steven´s image in the novel.
The Remains of the Day tells the story of the greatness and downfall of Darlington Hall and reflects the breakdown of English ‘greatness,’ an idea that can be understood in many ways. One such way would be to consider English greatness in connection to the concept of the 'gentleman.' Novelist Christine Berberichstates regarding the word:
"When we hear the term, we might think of Englishness; of class; of masculinity; of elegant fashions; of manners and morals. But we might also think of hypocrisy; of repression; of outdated behaviour befitting the characters of a Victorian novel, but which no longer holds any value in today’s society." ( 2007, p.3)
As Berberich explains, Englishness (as the novel's characters understood it) is no longer alive. Ishiguro represents the 'gentleman' behaviour through the characters, primarily through the protagonist, Mr Stevens. He represents in one way or another what it means to be a true gentleman. Mr Stevens, as a butler, is fully aware of how he must behave. He bases his actions on dignity, a quality related to the concept of being a gentleman. Mr Stevens finds his dignity in being the perfect butler, but he takes this idea to the extreme, as he dedicates his entire life to serving others. Professor Zuzana Fonioková explains that dignity is so essential to Mr Stevens that it becomes his priority in life: “The profession of a butler then includes repression of all wishes, emotions and opinions that – according to Stevens – do not fit in with the profession. He calls such repression of oneself ‘dignity’” (2006, p. 90). The key moment when this notion is displayed in the novel is when his father is about to die, yet Mr Stevens refuses to leave his work position as he was serving at an important event for Lord Darlington. At the end of the night, his father dies, but still, he feels proud of himself: “whenever I recall that evening today, I find I do so with a large sense of triumph” (Ishiguro, 1993, p. 110). Mr Stevens uses the word ‘triumph’ to describe that night as he feels he fulfilled his duties by doing the best he could in his work, even though it was an emotional situation.
In this story, Kazuo Ishiguro condenses all these relevant ideas for England and shows the changes it experienced in the last century. He offers a perspective into a time period which now seems far away, all through the vision of a butler who is uncertain of what is right or wrong but still tries to do his best. As mentioned before, the Englishness presented through Mr Stevens' actions has become outdated, but this concept is important for understanding English culture as it is part of their history. Stevens came from a generation that believed it essential to look presentable at all costs and ignore heavy emotions. Still, as the reader sees in the novel, this makes him lose a loving relationship with his father. His entire identity was in being a butler; that was all he thought he needed to be.
Bibliographical References
Berberich, C. (2007). The image of the English gentleman in twentieth-century literature. Ashgate.
Featherstone, S. (2009). Englishness: Twentieth-Century popular culture and the forming of English identity. Edinburgh University Press.
Fonioková, Z. (2006). The butler's suspicious dignity: Unreliable narration in Kazuo Ishiguro's The Remains of the Day. Brno Studies in English. 55. 87-98.
Henderson, K. C. (2015). Claims of heritage: Restoring the English country house in Wide Sargasso Sea. Journal of Modern Literature, 38(4), 93–109.
Ishiguro, K. (1993). The Remains of the Day. Faber & Faber.
Visual Sources
Figure 1:[Dyrham Park where the movie “The Remains of the Day” was recorded]. (n.d.). Movie-Locations. http://movie-locations.com/movies/r/Remains-Of-The-Day.php
Figure 2: The Remains of the Day (1993). [Movie poster]. IMBD. https://www.imdb.com/title/tt0107943/
Figure 3: Author Kazuo Ishiguro (2017). [Photograph]. BBC. https://www.bbc.com/mundo/noticias-41510740
|
|||||
5020
|
dbpedia
|
3
| 90
|
https://www.eyeforfilm.co.uk/review/the-remains-of-the-day-film-review-by-james-benefield
|
en
|
The Remains Of The Day (1993) Movie Review from Eye for Film
|
https://www.eyeforfilm.co.uk/images/favicon.ico
|
https://www.eyeforfilm.co.uk/images/favicon.ico
|
[
"https://www.eyeforfilm.co.uk/images/weblogo.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v0.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v1.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v2.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v3.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v4.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v5.png",
"https://www.eyeforfilm.co.uk/images/navbarh0v7.png",
"https://www.eyeforfilm.co.uk/images/design/fullstar.gif",
"https://www.eyeforfilm.co.uk/images/design/fullstar.gif",
"https://www.eyeforfilm.co.uk/images/design/fullstar.gif",
"https://www.eyeforfilm.co.uk/images/design/fullstar.gif",
"https://www.eyeforfilm.co.uk/images/design/halfstar.gif",
"https://www.eyeforfilm.co.uk/images/newsite/remains_600.jpg",
"https://www.eyeforfilm.co.uk/images/stills/r/remains_of_the_day_1993_1.jpg",
"https://www.eyeforfilm.co.uk/images/design/delicious.png",
"https://www.eyeforfilm.co.uk/images/design/digg.png",
"https://www.eyeforfilm.co.uk/images/design/facebook.png",
"https://www.eyeforfilm.co.uk/images/design/reddit.png",
"https://www.eyeforfilm.co.uk/images/design/stumbleupon.png",
"https://www.eyeforfilm.co.uk/images/stills/r/remains_of_the_day_1993_poster.jpg",
"https://www.eyeforfilm.co.uk/images/design/buy-from-amazon.gif",
"https://www.eyeforfilm.co.uk/images/design/U.gif",
"https://www.eyeforfilm.co.uk/images/design/MRQE.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/images/favicon.ico
| null |
Based on Kazuo Ishiguro’s Booker prize-winning novel of the same name, The Remains Of The Day is arguably the finest hour of period drama super director and producer team Merchant Ivory.
The story of Anthony Hopkins’ head butler Mr Stevens is a heartbreaking one. Stevens presides over the staff at Darlington Hall, the residence of Lord Darlington (James Fox). The lord is something of a misguided figure; during the interwar years he has an increasing sympathy for the German situation. Over time, the important leaders and politicians who meet at and visit the English country pile grow somewhat more selective.
Yet, Stevens carries on regardless. It’s hard to say whether he is bothered by this; even at an important function in which his under butler father (played by Peter Vaughn) is dying in an upstairs room, Stevens remains devoted and emotionally detached.
It becomes clear, however, that Stevens’ romantic feelings are harder to keep in check. The butler grows fond of the young housekeeper Miss Kenton (Emma Thompson). Unfortunately, his flirting only goes as far as presenting attention seeking fronts of stubbornness. Years go by, Miss Kenton leaves, and American millionaire Jack Lewis (Christopher Reeve) takes over the property. Yet, Stevens remains. And, after many many years, Stevens and Miss Kenton start sending each other letters.
Central to the film are ideas concerning what is right, what is proper. The implication is that social climates can be formed, and ideas can be implanted in people’s heads, ideas which are completely divorced from any kind of emotional sincerity and truth. Yet these ideas and trappings are as fundamental to their world as ideas of truth and sincerity. Even if you have an idea of problems with the system, you are member of your culture first, and a free-thinking agent second. It’s telling that this film discusses Nazi politics.
This is a thread that applies to both of the tale’s main strands: the relationship between Thompson's and Hopkins’ characters, and the film’s more political aspects. James Fox’s lord projects some far right views, yet is quick to take children in to his care. He’s not, in any clear-cut sense, a ‘monster’. Likewise, Stevens says what he says, and doesn’t say, partly to keep the affairs of the house smooth and unproblematic. It’s something demonstrated by the episode of his father’s death, and also his response to Miss Kenton’s resignation threats over the sacking of two Jewish members of staff.
The ideas are presented in a crisp, unfussy way by James Ivory. He’s working with an intelligent script by Ruth Prawer Jhabvala, and two impeccable central performances by Hopkins and Thompson. Hopkins is particularly fine. There’s one scene, towards the end, in which Miss Kenton confronts Stevens over a book he is reading in his private quarters. The result is devastatingly sad, and, helped by the last, lonely shot of Hopkins backed into a corner, ranks with some of the Nineties' greatest screen moments.
Yet, in the film’s climax, you realise that these are people struggling for redemption, both political and personal (not to say that the two are not interlinked). It’s an entirely appropriate ending for a quiet, reflective and incredibly moving film.
Reviewed on: 14 Jan 2010
|
||||
5020
|
dbpedia
|
3
| 28
|
https://www.amazon.com/Remains-Day-Novel-Kazuo-Ishiguro/dp/0345809327
|
en
|
Amazon.com
|
[
"https://images-na.ssl-images-amazon.com/captcha/cucusdhr/Captcha_vkhugqyvjg.jpg",
"https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=AHZXEWBAHBR8N71PM3VK&js=0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
|
|||||||
5020
|
dbpedia
|
1
| 8
|
https://www.npr.org/2023/03/06/1161482211/kazuo-ishiguro-living-ikiru-oscars
|
en
|
How should we be 'Living'? Kurosawa and Ishiguro tackle the question, 70 years apart
|
[
"https://media.npr.org/chrome_svg/npr-logo.svg",
"https://media.npr.org/chrome/programs/logos/morning-edition.jpg",
"https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesat_sq-cbde87a2fa31b01047441e6f34d2769b0287bcd4-s100-c85.png",
"https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesun_sq-4a03b35e7e5adfa446aec374523a578d54dc9bf5-s100-c85.png",
"https://media.npr.org/chrome/programs/logos/all-things-considered.png",
"https://media.npr.org/chrome/programs/logos/fresh-air.png",
"https://media.npr.org/chrome/programs/logos/up-first.jpg?version=2",
"https://media.npr.org/assets/img/2024/01/11/podcast-politics_2023_update1_sq-be7ef464dd058fe663d9e4cfe836fb9309ad0a4d-s100-c100.jpg",
"https://media.npr.org/assets/img/2024/05/15/throughline_tile-art_sq-b72bcfb6d8705d7761d4f421f0be3047631b709c-s100-c100.jpg",
"https://media.npr.org/assets/img/2023/11/10/trumps-trial_tile-art_small_sq-71cfb7f3a96f3029db4ca7230c5704c61a351b81-s100-c100.jpg",
"https://media.npr.org/assets/img/2024/04/19/tile-wild-card-with-rachel-martin_sq-c9e842a167bab21c50f45fbde9d7d33776e87eda-s100-c100.jpg",
"https://media.npr.org/chrome_svg/music-logo-dark.svg",
"https://media.npr.org/chrome_svg/music-logo-light.svg",
"https://media.npr.org/assets/img/2023/03/07/ap23044725746714_custom-8932abf0942aa7265b3fb89c41a99391e2a44e8d.jpg?s=1100&c=85&f=jpeg",
"https://media.npr.org/assets/img/2023/01/03/1-1-_sq-212f1d6f321293c39acd342c148d5d2ea5cb1c19.jpg?s=100&c=15&f=jpeg",
"https://media.npr.org/assets/img/2023/03/07/ikiruimage_custom-9cf3a55fd659ac5420be5971c01a986fefce1749.jpg?s=1100&c=50&f=jpeg",
"https://media.npr.org/assets/img/2023/03/07/livingstill1_custom-4736b8e9a7ab75a1415a3d23e84cf50d6b729d5e.jpg?s=1100&c=50&f=jpeg",
"https://media.npr.org/assets/img/2017/10/13/gettyimages-502547197_sq-a1d3ab6b5c474ad5fdf8d2cc8353f0f35d2d869f.jpg?s=100&c=15&f=jpeg",
"https://media.npr.org/assets/img/2021/03/17/ishiguro.photo.2020_sq-5dfc054ac4914a4e43c254b732b46285ab9fe24b.jpg?s=100&c=15&f=jpeg",
"https://media.npr.org/assets/img/2010/09/15/ishigurogetty_sq-6c4e0c01504b18ca44872980f45a870ca7379327.jpg?s=100&c=15&f=jpeg",
"https://media.npr.org/assets/img/2015/02/27/--jeff-cottenden_sq-c52af41649b1d1f0f58f105465ff5abb70f5dbb4.jpg?s=100&c=15&f=jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Bilal Qureshi"
] |
2023-03-06T00:00:00
|
As a kid, Kazuo Ishiguro saw Akira Kurosawa's 1952 film Ikiru. "It made a terrific impact on me," the Nobel prize-winner recalls. His film Living is nominated for an Oscar for best adapted screenplay.
|
en
|
NPR
|
https://www.npr.org/2023/03/06/1161482211/kazuo-ishiguro-living-ikiru-oscars
|
Kazuo Ishiguro was born in Nagasaki, Japan in 1954 but moved with his family to Britain when he was 5 years old. He, of course, grew up to become one of the world's most renowned writers in the English language, winning the Booker Prize, the Nobel Prize in Literature, and a Knighthood.
But one of his earliest and most enduring artistic influences was a late-night television broadcast of a black and white Japanese film by Akira Kurosawa called Ikiru.
Shot in Japan in the early 1950s, it's an existential and philosophical film about an aging Tokyo bureaucrat who receives a terminal cancer diagnosis. The illness sets off an internal journey as the film's central character examines the choices he's made and decides to live more fully. What was for Kurosawa in part a critique of postwar Japanese bureaucracy and workaholism became for Kazuo Ishiguro a formative guide to living.
"One of the things about the original Japanese film that really appealed to me," he explains, "it emphasizes the fact that you can't rely on the applause of the wider world to tell you whether you've lived well or not. Public acclaim may be nice to have, but ultimately, it's not worth very much. It's treacherous, fickle, it's usually wrong... you've got to take a lonely private view of what is success and failure for you. I think that is what it's saying. You've got to try and find a meaning that's within yourself, and I found that quite inspiring."
Ishiguro says his most widely-read novels, The Remains of the Day and Never Let Me Go were each influenced in part by Ikiru, as his fictional characters are jolted awake, suddenly attuned to the limits of time and their mortality.
Now seventy years after Ikiru was released, Ishiguro has earned his first Oscar nomination for Best Adapted Screenplay for his new film Living.
Instead of a remake, Living transplants the story of Ikiru from postwar Tokyo to 1950s London where the writer himself arrived as a young boy – a city of top hats, public bureaucrats, and chilling emotional reserve, recreated as a lush cinematic universe by director Oliver Hermanus. The central character is an aging government employee named Mr. Williams, played by the acclaimed British actor Bill Nighy. Just as in Ikiru, Williams receives a terminal diagnosis that sets off both a crisis and a deeply moving journey to catharsis. Nighy's performance, with its fragile balance of pathos and kindness also earned him an Oscar nomination for Best Actor.
The British writer and critic Pico Iyer, who lives in Japan, and wrote the Criterion companion essay to Ikiru, says Living is a remarkable example of how Ishiguro's art bridges his many cultural identities to create work that is deeply universal. What may seem on the surface to be a simple costume drama, is infused with the spirit and the message of Kurosawa's original film, and a poignant Japanese concern with the temporary nature of things.
"I've been following Ish's work ever since it first came out 40 years ago. Famously, whenever he sets a book in Japan, it's the perfect description of the Britain of the past...whenever he sets a book like The Remains of the Day in the the Britain of the 1930s, it's a precise evocation of the Japan that's all around me" says Iyer. "I think what he's done ... is almost explode ideas of East and West, and give us something universal. In fact, I think his Living is more universal than Kurosawa's Ikiru, because it's not concerned particularly with English society or Japanese society, but much more with universal mortality."
Ishiguro says he takes heart from the idea that he is free to express his identity and his heritage not only by literally "telling stories about Japanese people who come to Britain, and do X, Y, Z... It just comes out in a certain kind of way. I have influences that come from Japanese culture, particularly Japanese cinema, that just go into the stories I tell even if on the surfaces there are no Japanese characters. Our movie Living is indeed a very Japanese film, I think in many ways, but it's also a very English film."
In what is already a landmark year for Asian actors and Asian-American nominees at the Academy Awards, Ishiguro says he is honored to be part of a robust conversation about the possibilities and the boundaries of cinema. He says unlike literary prizes, which are often singular achievements for a finished work, film awards highlight where cinema is going.
"I think basically what the award season is, is the film industry people having a discussion," he says, "about what are the values they should take forward in their work, what kinds of films should they be making, which kind of people should be exalted." He says he welcomes the range of films nominated in the Best Adapted Screenplay category at the Oscars, from the intimate story at the heart of Living to the spectacle of Top Gun: Maverick.
"What's important is... are the stories being told well, are they being told honestly, do they resort to emotional manipulation or do they actually contain something you could call some version of the truth about the way we live."
|
|||||
5020
|
dbpedia
|
3
| 12
|
https://medium.com/curious/the-hollow-i-in-kazuo-ishiguro-s-the-remains-of-the-day-67509c7a7983
|
en
|
The “Hollow” ‘I’ in Kazuo Ishiguro’s “The Remains of the Day”
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*VTtTsTQIazSNofCQ
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*VTtTsTQIazSNofCQ
|
[
"https://miro.medium.com/v2/resize:fill:64:64/1*dmbNkD5D-u45r44go_cf0g.png",
"https://miro.medium.com/v2/resize:fill:88:88/1*9myrfIi3h7VgvYyTU1H78g@2x.jpeg",
"https://miro.medium.com/v2/resize:fill:48:48/1*6TW9hBJPRKlTmuDPxiL10g.jpeg",
"https://miro.medium.com/v2/resize:fill:144:144/1*9myrfIi3h7VgvYyTU1H78g@2x.jpeg",
"https://miro.medium.com/v2/resize:fill:64:64/1*6TW9hBJPRKlTmuDPxiL10g.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Malinee Kaewnetr",
"medium.com"
] |
2020-11-01T11:40:47.531000+00:00
|
In the Nobel-prize winning Kazuo Ishiguro’s “The Remains of the Day,” the writer narrates the story through the point of view of ‘I,’ Mr. Stevens, the dignified butler of Darlington Hall. He’s the…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/curious/the-hollow-i-in-kazuo-ishiguro-s-the-remains-of-the-day-67509c7a7983
|
In the Nobel-prize winning Kazuo Ishiguro’s “The Remains of the Day,” the writer narrates the story through the point of view of ‘I,’ Mr. Stevens, the dignified butler of Darlington Hall. He’s the protagonist of the story, yet he’s an unreliable character. You cannot trust his point of view because it doesn’t belong to him. It reflects the satires of many values the author wants to make in British society.
Mr. William Stevens is a kind of butler who dedicates his life to his profession. He considers himself good and professional with what he calls ‘dignity.’ But later in the movie, we see Mr. Stevens betrays his faith and his loyalty many times.
Had the author used the third-person narrative or an omniscient point of view, his criticism wouldn’t hit home. The first-person narrative makes his communication with the readers closer and more intimate. Nothing comes between the character and the readers. Supposedly, the readers know the character better than the author or third-person narrator describes.
However, most ironically, being close and intimate to him doesn’t allow the readers to know him better at all because his character is a hollow husk, empty inside. He is cold, formal, proper and impersonal. He has no idea of his own whatsoever. At this point, Kazuo Ishiguro emphasizes how class and the institution of butler can wreak havoc to our humanity. It dehumanizes Mr. Williams in many ways. The British aristocracy enjoys their convenience at the expense of the humanity of other human beings.
Also, the reader must beware that ‘I’ is a character, not the author. ‘I’ possesses a character of his own, both good and bad, just like a real human being. Here ‘I’ or Mr.Stevens whose first name is William is addressed as Mr. Stevens all the time because he wants to keep his relationship with other characters distant and impersonal.
The novel is heartbreaking, like Nadine Gordimer, another Nobel-prize winner from South Africa commented. It is a tragedy of someone who dedicates his whole life serving others with a false cause.Mr. Stevens thinks his boss has a higher moral stature, but as a matter of fact, Lord Darlington is quite naive and gullible. He lets the Germans use him as their pawn during Nazism.
The story of Mr. Stevens, the good butler of Darlington Hall, is an example of a wasted life and a wasted potential. Most tragic, he seems to be trapped in that hollow role all his life.
At the end of the movie, a stray pigeon flies into Darlington Hall. He is saved by the new owner of the mansion and let him fly into the broad sky with freedom. His flight is contrasted against the background picture of Mr. Stevens closing the French window looking like a prison door behind him.
Of course, Mr. Stevens will be trapped inside Darlington Hall dedicating his life to the service of the British elites all his life.Too bad, he doesn't know any other kinds of life.
His case is a self-imposed imprisonment. There’s nothing sadder than someone who loses the chance to do something for himself, to be himself and to speak for himself. He has no self-identity. He is hollow to the core.
This beautiful novel is narrated in a flash-back style. It starts at the end of the novel when the former owner of Darlington Hall who takes side with the Nazi died. Funny, Mr. Stevens always says the good and professional butler must possess dignity. Later in the novel, we see Mr. Stevens betrays himself when he refuses to acknowledge that he is the butler of the scandalous Lord Darlington.
The novel starts after the disaster is over. Lord Darlington passes away, heart-broken. Mr. Lewis, the American Congressman bought Lord Darlington’s mansion. Mr. Lewis is kind enough to let Mr. Stevens take a vacation as a reward for his hard-working service. Meanwhile, Mr. Stevens receives a letter from Miss Kenton, the former housekeeper, who is now Mrs. Benn reminiscing about her best days at Darlington Hall. In the letter, she seems to complain about her bad marriage and hints she might want to come back to work as a housekeeper at Darlington Hall again.
Mr. Stevens takes this trip to meet Miss Kenton or Mrs. Benn in the hope that he might persuade her to come back to work with him at Darlington Hall again. However, the novel is full of irony. It turns out Mrs. Benn is still in love with her husband and the couple look forward to the arrival of their first grandchild. No. She doesn’t want to go back with Mr. Stevens again. It hurts and disappoints Mr. Stevens deeply. Perhaps this is belatedly the first time he becomes most human in his vulnerability.
Any profession disregarding a filial love cannot be a good one. One of the most elegiac scene of the novel is the dying of Mr. Stevens seniors while Mr. Stevens chooses his butler duty over his father’s death. He’s done his best waiting the table leaving his own father on his deathbed. When he’s through with his duty, it’s over and too late. His father already passes away. His duty as a butler delays him from many ordinary but important things in life such as being with a dying loved one, falling in love.
Mr. Stevens is a ventriloquist. What comes out of his mouth doesn’t belong to him but to the elites he serves. Mr. Stevens’s life is an imitation and a sham. He deceives himself he is doing the right thing. He thinks he serves someone who has a higher moral standard than he. He’s doing his little part he’s proud of. So, the novel is at its most tragic irony when his master’s higher moral standard turns out to be a part of a crime against humanity. And Mr. Stevens unknowingly conspires with him to commit this atrocious crime. He expels two good Jewish maids from Darlington Hall.
What Mr. Stevens does and says is just a regurgitation of the elites’ words and manners. When someone seriously asks him what he thinks about certain important political issues, he goes blank. We cannot take his first-person point of view seriously because what he says doesn’t come from him and doesn't mean a thing. In creating an unreliable character like Mr. Stevens, Kazuo Ishiguro succeeds in making a bitter satire against the ideology of the British elites.
Their ideology and institution dehumanise Mr. Stevens and make him empty inside. He is so good a butler he is deprived of all human emotions. He and Mrs. Benn were in love while they worked together at Darlington Hall. But his duty hardens him against the gentle feeling of love. Mr. Stevens misses the best opportunity of his life. So does Miss Kenton.However, she survives and find another love, though it’s not as passionate as her first love with Mr. Stevens.
In conclusion, the two versions of “The Remains of the Day,” the novel and the movie are equally good. The novel version describes best the unreliability of ‘I’ because we, the readers can delve deep into his psyche. We see the naïveté and the misconception of Mr. Stevens. While the movie version capitalizes on the film language. The beauty of the scenery, the formality of the dialogue and the butler’s rigid manner intensify the author’s satire and hit home his message. I enjoy both versions very much, especially, the superb performance of Anthony Hopkins as Mr. Stevens.
You can’t end this essay without talking about the title of the novel/movie. It is quite appropriate. It can equally mean the rest of Mr. Stevens’s life as a butler or it can mean Mr. Stevens’s life as a left-over of the good old life.
Mr. Stevens’s life is a missed opportunity, a wasted potential. Even his love is an unrequited one. This is an example of an unreliable character who narrates the saddest story ever told.
|
||
5020
|
dbpedia
|
0
| 10
|
https://www.blu-ray.com/movies/The-Remains-of-the-Day-Blu-ray/159384/
|
en
|
The Remains of the Day Blu
|
[
"https://images.static-bluray.com/search.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/flags/global-transparent.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/UK.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CA.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/AU.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/DE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/FR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/ES.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/IT.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/AR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/AT.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/BE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/BR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/BG.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CL.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CN.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CO.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CY.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CZ.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/EE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/DK.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/FI.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/GR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/HK.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/HU.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/IS.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/ID.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/IE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/IL.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/IN.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/JP.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/LV.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/LT.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/MY.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/MX.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/NL.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/NZ.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/NO.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/PH.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/PL.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/PT.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/RO.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/RU.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/SG.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/ZA.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/KR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/SE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CH.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/TW.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/TH.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/TR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/UA.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/AE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://www.blu-ray.com/images/icons/moon.png",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/flags/ALL.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/UK.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/CA.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/DE.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/FR.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/ES.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/IT.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/AU.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/NL.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/JP.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/MX.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/movies/covers/362983_small.jpg",
"https://images.static-bluray.com/movies/covers/274684_small.jpg",
"https://images.static-bluray.com/movies/covers/309056_small.jpg",
"https://images.static-bluray.com/movies/covers/367963_small.jpg",
"https://images.static-bluray.com/movies/covers/361426_small.jpg",
"https://images.static-bluray.com/movies/covers/364413_small.jpg",
"https://images.static-bluray.com/movies/covers/367738_small.jpg",
"https://images.static-bluray.com/movies/covers/344355_small.jpg",
"https://images.static-bluray.com/movies/covers/360195_small.jpg",
"https://images.static-bluray.com/movies/covers/366778_small.jpg",
"https://images.static-bluray.com/movies/covers/362982_small.jpg",
"https://images.static-bluray.com/movies/covers/364581_small.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/AU.png",
"https://images.static-bluray.com/movies/covers/159384_medium.jpg?t=1468230427",
"https://images.static-bluray.com/buttons/moreinfo.gif",
"https://images.static-bluray.com/ebay-logo.png",
"https://images.static-bluray.com/amazon-logo.png",
"https://images.static-bluray.com/sites/imdb.gif",
"https://images.static-bluray.com/sites/rottentomatoes.png",
"https://images.static-bluray.com/rating/b9.jpg",
"https://images.static-bluray.com/rating/b7.jpg",
"https://images.static-bluray.com/rating/b7.jpg",
"https://images.static-bluray.com/rating/b9.jpg",
"https://images.static-bluray.com/rating/b9.jpg",
"https://images.static-bluray.com/rating/b6.jpg",
"https://images.static-bluray.com/rating/b8.jpg",
"https://images.static-bluray.com/rating/b8.jpg",
"https://images.static-bluray.com/rating/b6.jpg",
"https://images.static-bluray.com/rating/b7.jpg",
"https://images.static-bluray.com/rating/b7.jpg",
"https://images.static-bluray.com/reviews/14065_6_tn.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/reviews/14065_7_tn.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/reviews/14065_8_tn.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/reviews/14065_9_tn.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/reviews/14065_1.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/rating/b9.jpg",
"https://images.static-bluray.com/reviews/14065_2.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/rating/b9.jpg",
"https://images.static-bluray.com/reviews/14065_3.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/rating/b6.jpg",
"https://images.static-bluray.com/reviews/14065_4.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/rating/b8.jpg",
"https://images.static-bluray.com/reviews/14065_5.jpg",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/tooltip_lightbulb.png",
"https://images.static-bluray.com/movies/covers/172602_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/118023_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/204610_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/64746_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/8203_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/26666_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/66091_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/260387_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/35991_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/147855_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/70033_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/280941_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/244394_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/97361_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/323525_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/movies/covers/291768_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/36884_4_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/12331_1_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/2157_1_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/441_2_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/2720_1_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/62_1_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/54259_1_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/products/20/47388_3_medium.jpg",
"https://images.static-bluray.com/icons/thumbsup.png",
"https://images.static-bluray.com/icons/thumbsdown.png",
"https://images.static-bluray.com/flags/UK.png",
"https://images.static-bluray.com/white.gif",
"https://images.static-bluray.com/white.gif",
"https://images.static-bluray.com/androidapp.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/iphoneapp2.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/androidapp.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/iphoneapp2.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/sale.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/star2.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/movies/covers/362004_medium.jpg",
"https://images.static-bluray.com/movies/covers/363327_medium.jpg",
"https://images.static-bluray.com/movies/covers/361848_medium.jpg",
"https://images.static-bluray.com/movies/covers/241752_medium.jpg",
"https://images.static-bluray.com/movies/covers/254499_medium.jpg",
"https://images.static-bluray.com/movies/covers/153254_medium.jpg",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/flags/US.png",
"https://images.static-bluray.com/movies/covers/362983_small.jpg",
"https://images.static-bluray.com/buttons/buynow.gif",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/movies/covers/274684_small.jpg",
"https://images.static-bluray.com/buttons/buynow.gif",
"https://images.static-bluray.com/transparent.gif",
"https://images.static-bluray.com/movies/covers/309056_small.jpg",
"https://images.static-bluray.com/buttons/buynow.gif",
"https://images.static-bluray.com/transparent.gif"
] |
[] |
[] |
[
"The Remains of the Day Blu-ray"
] | null |
[] | null |
The Remains of the Day Blu-ray Release Date September 7, 2016. Blu-ray reviews, news, specs, ratings, screenshots. Cheap Blu-ray movies and deals.
|
https://www.blu-ray.com/favicon.ico
|
Blu-ray.com
|
https://www.blu-ray.com/movies/The-Remains-of-the-Day-Blu-ray/159384/
|
Deals
Best deals
New deals
Lowest prices
Reviews
New reviews
Browse reviews
Search reviews
Releases
Release calendar
Now available
New releases
Coming soon
Recently listed
New pre-orders
Top lists
Top sellers
Top pre-orders
Top movies
Top collected
Top rated
Database
Search movies
Blu-ray movies
Blu-ray box sets
TV on Blu-ray
4K movies
3D movies
Community
Latest reviews
Top reviewers
Top contributors
New packaging
By genre
Action (114684)
Adventure (87935)
Animation (22049)
Anime (22961)
Biography (12939)
Comedy (83847)
Comic book (28175)
Coming of age (6463)
Crime (54213)
Dark humor (12348)
Documentary (13156)
Drama (132511)
Epic (13062)
Erotic (5465)
Family (31338)
Fantasy (55027)
Film-Noir (4049)
Foreign (69083)
Heist (4157)
History (15484)
Holiday (3837)
Horror (51779)
Imaginary (2108)
Martial arts (10955)
Melodrama (5534)
Music (41503)
Musical (10081)
Mystery (34797)
Nature (2878)
Other (1028)
Period (20395)
Psychological thriller (9002)
Romance (43145)
Sci-Fi (60152)
Short (1850)
Sport (7149)
Supernatural (16340)
Surreal (5146)
Teen (10029)
Thriller (92037)
War (14586)
Western (7415)
By studio
20th Century Fox
Criterion
Disney / Buena Vista
DreamWorks
Lionsgate Films
Metro-Goldwyn-Mayer
New Line
Paramount Pictures
Sony Pictures
Studio Canal
Universal Studios
Warner Bros.
Show all studios
About
Blu-ray movies
Blu-ray studios
The Remains of the Day Blu-ray
Via Vision Entertainment | 1993 | 134 min | Rated G | Sep 07, 2016
Large:
Drama
Romance
Period
Video
Codec: MPEG-4 AVC
Resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
Audio
English: DTS-HD Master Audio 5.1
English: DTS-HD Master Audio 5.1
(less)
Subtitles
English SDH
English SDH (less)
Discs
Blu-ray Disc
Single disc (1 BD-50)
Playback
2K Blu-ray: Region free
Price
List price: AU$25.71
Not currently available,
check back for updates
Price
Buy on:
We may earn a commission from purchases made using our links. Thanks for your support!
Movie rating
8.0
210
ratings.
My rating:
0
(Delete)
Blu-ray rating
Video 4.2Audio 3.6Extras 3.2
Based on 2 user reviews
Blu-ray review
Movie 4.5 Video 4.5 Audio 4.5 Extras 3.0 Overall 4.0
Blu-ray user rating
Video 4.0 Audio 2.8 Extras 3.5 Overall 3.2
Based on 2 user ratings
14%
popularity
Overview Blu-ray review Screenshots (26) Packaging User reviews (2)Region coding News Forum
The Remains of the Day
(1993)
The Remains of the Day Blu-ray delivers stunning video and 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. Svet Atanasov on September 13, 2016 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. Svet Atanasov, September 13, 2016
Winner of BAFTA Award for Best Actor, James Ivory's "The Remains of the Day" (1993) arrives on Blu-ray courtesy of Australian label Via Vision Entertainment. The supplemental features on the disc includes three archival featurettes and a gallery of deleted scenes with optional commentary by the American director. In English, with optional English SDH subtitles for the main feature. Region-Free.
Mr. Stevens
The film begins in the present, but the bulk of the story it tells actually takes place in the past. There are a few episodes where the past and present quickly overlap, but it is very easy to follow the chronology of the events and the progression of the relationships between the main characters.
Anthony Hopkins is perfectly cast as Mr. Stevens, an aging butler who has spent most of his life working for the wealthy Lord Darlington (James Fox, The Servant). Now Stevens is the most important man in Darlington Hall -- in addition to overseeing a large team of servants, he makes sure that life has a consistent rhythm there, the type that Lord Darlington prefers.
But when Lord Darlington hires a new housekeeper, Miss Kenton (Emma Thompson, Sense and Sensibility, Mr. Stevens suddenly discovers that he is not immune to romantic attraction. Initially the discovery annoys Mr. Stevens, but later on it forces him to slowly begin reevaluating his seemingly perfectly organized life.
Meanwhile, sensing that Mr. Stevens is struggling to hide his feelings behind the mask he has been wearing for years, Miss Kenton attempts to get closer to him. But her kindness is misinterpreted and then promptly rejected with a personal warning.
Around the same time, Darlington Hall welcomes high-ranking local and foreign political leaders and they begin debating the future of Europe. Some vow to support Germany's efforts to rebuild its economy and reclaim its spot amongst the traditional European powers, while others warn that Hitler and his party are not to be trusted.
Based on Kazuo Ishiguro's novel, The Remains of the Day is one of the finest period films to be produced by the Merchant-Ivory team. As far as this reviewer is concerned, it is also the most powerful one from the team's terrific roster. It was directed by James Ivory, written by Ruth Prawer Jhabvala, and produced by Ismail Merchant.
The film tells two different stories. The first is about the aging butler who discovers true love but instead of embracing it allows it to slip away. In the process he undergoes a massive character transformation, but it is many years later that he finally comes to terms with the fact that he has made a terrible mistake. The story may sound familiar, but it is infused with a very unique quiet intensity that actually produces all sorts of different surprises.
The second story is slightly less effective. A few years before WWII, the old-fashioned Lord Darlington becomes involved in a complicated political game which also forces him to reevaluate his life. Unlike the butler, however, he never recovers from his terrible mistake.
There is classic British eloquence and elegance in this film that nowadays seem completely lost. Bold producers still finance period films, but the sincerity and wit that define the Merchant-Ivory productions have not been recreated. It takes a team of visionaries to do it, and since Ivory, Jhabvala and Merchant, at best there have been only a few decent imitators.
Hopkins is incredible as the aging butler. In fact, he is so good that it is impossible to imagine that the film would have been even remotely as effective as it is without him. Thompson is wonderful as the object of his affection. Fox also does not disappoint as the overly ambitious Lord Darlington. There are memorable cameos by Ben Chaplin, Hugh Grant, and the late Christopher Reeve.
The film was lensed by cinematographer Tony Pierce-Roberts, who earned two Oscar nominations for his contribution to two other Merchant-Ivory productions, A Room with a View and Howards End.
The Remains of the Day Blu-ray, Video Quality
Presented in its original aspect ratio of 2.39:1, encoded with MPEG-4 AVC and granted a 1080p transfer, James Ivory's The Remains of the Day arrives on Blu-ray courtesy of Australian label Via Vision Entertainment.
The release has been sourced from the same 4K master that Sony Pictures used for the British release of the film. I like this master a lot. In fact, my one and only very minor complaint is the presence of some extremely light sharpening that pops up in a couple of outdoor panoramic shots (see screencapture #21). The rest of the presentation is truly outstanding. Detail and clarity are excellent and fluidity is as good as one can expect it to be. Depth is equally pleasing, though there are a few segments where minor fluctuations exist. However, these fluctuations are introduced by the unique ways in which light is captured by the camera (see indoor shots with restricted light). There are no traces of problematic degraining corrections. Colors are very healthy and wonderful saturated. Finally, there are no stability or transition issues to report. (Note: This is a Region-Free Blu-ray release. Therefore, you will be able to play it on your player regardless of your geographical location).
The Remains of the Day Blu-ray, Audio Quality
There is only one standard audio track on this Blu-ray release: English DTS-HD Master Audio 5.1. Optional English SDH subtitles are provided for the main feature. When turned on, they appear inside the image frame. (To access the subtitles, you need to use your remote control).
The dynamic intensity is unlikely to impress those of you who enjoy the aggressive sound designs of big-budget blockbusters, but there are various sounds and noises that are reproduced with striking precision. Overall balance is also very good. The dialog is crystal clear, clean, stable, and very easy to follow.
The Remains of the Day Blu-ray, Special Features and Extras
The Filmmakers' Journey - in this archival featurette, novelist Kazuo Ishiguro discusses the original story that inspired the film while James Ivory explains precisely how it was adapted. Also included are clips from interviews with producers Ismail Merchant and John Calley, Anthony Hopkins, and Emma Thompson, amongst others. In English, with optional English subtitles. (30 min).
Blind Loyalty, Hollow Honor: England's Fatal Flaw - this archival featurette focuses on the political overtones in the film. Included in it are clips from interviews with novelist Kazuo Ishiguro, Anthony Hopkins, Emma Thompson, and James Ivory, amongst others. In English, with optional English subtitles. (15 min).
Love and Loyalty: The Making of The Remains of the Day - in this archival featurette, Anthony Hopkins, Emma Thompson, James, Ivory, and producer Ismail Merchant discuss the production history of The Remains of the Day, its period atmosphere, the fascinating relationship between Miss Kenton and James Stevens, etc. Also included are clips from archival interviews with other cast and crew members. In English, with optional English subtitles. (29 min).
Deleted Scenes - a collection of deleted scenes with optional commentary commentary by director James Ivory. In English, with optional English subtitles. (12 min).
1. Photo Opportunity
2. Argument
3. A Message
4. "Democracy is Finished"
5. A Different Life
6. On the Pier
The Remains of the Day Blu-ray, Overall Score and Recommendation
I have now seen a couple of different releases from Australian label Via Vision Entertainment -- including some exclusive new releases that are currently available only in Australia -- and I have to say that I am quite impressed. Indeed, the technical presentation is always either very good or excellent. The new release of James Ivory's The Remains of the Day is sourced from Sony's 4K master and rather predictably the film looks lovely in high-definition. Australians need to support Via Vision Entertainment because I can tell that the label will be bringing some fantastic releases in the future. RECOMMENDED.
Similar titles you might also like
What is this?
Use the thumbs up and thumbs down icons to agree or disagree that the title is similar to The Remains of the Day. You can also suggest completely new similar titles to The Remains of the Day in the search box below.
Show more titles »« Show less titles
Similar titles suggested by members
+1 +1 +1 +1 +1 +1 +1 +1
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
4K Ultra HD
Topic
Replies
Last post
• The Remains of the Day 4K UHD (1993) (
Official Thread
)109Jul 17, 2024
North America Blu-ray Discussions
Topic
Replies
Last post
• The Remains of the Day (1993) - April 14, 2015 (
Official Thread
)108Sep 13, 2018 • The Remains of the Day (1993) (
Official Thread
)22May 08, 2020
International Blu-ray Discussions
Topic
Replies
Last post
• The Remains Of The Day - 7th October 2013 (
Official Thread
)63Oct 10, 2017
The Remains of the Day Blu-ray Screenshots
Back to The Remains of the Day Blu-ray »
|
|||||
5020
|
dbpedia
|
3
| 45
|
https://christopherbellew.com/the-remains-of-the-day/
|
en
|
The Remains of the Day
|
[
"https://secure.gravatar.com/avatar/a3100b598a9a7c3a8e1fc58cae9d82ef?s=60&d=mm&r=g",
"https://secure.gravatar.com/avatar/932407ca5bb05dfa5db5818710c747a4?s=60&d=mm&r=g",
"https://secure.gravatar.com/avatar/f1b936cc59e4a8b6769fe863b1fe440f?s=60&d=mm&r=g"
] |
[
"https://www.youtube.com/embed/n_ap4Czeo4Y?feature=oembed"
] |
[] |
[
""
] | null |
[
"Christopher"
] |
2022-04-19T12:05:20+00:00
|
Young Mungo may be cathartic but it is an unedifying book. I turned for relief to another Booker winner (in 1989). When I read The Remains of Day about thirty years ago, I was confused. How could Kazuo Ishiguro, born in Nagasaki in 1954, write so sensitively and accurately about “upstairs, downstairs” in a novel set in… Continue reading The Remains of the Day
|
en
|
Blog Bellew
|
https://christopherbellew.com/the-remains-of-the-day/
|
Young Mungo may be cathartic but it is an unedifying book. I turned for relief to another Booker winner (in 1989).
When I read The Remains of Day about thirty years ago, I was confused. How could Kazuo Ishiguro, born in Nagasaki in 1954, write so sensitively and accurately about “upstairs, downstairs” in a novel set in an English country house before and after the Second World War? I will re-read it but yesterday evening I re-watched the film version. It is even better than I remembered with almost as many layers as a mille-feuille. You will remember the central strand is the relationship between the butler (Anthony Hopkins) and the housekeeper (Emma Thompson) at Lord Darlington’s (James Fox) seat, Darlington Hall; unrequited love.
The novel was hailed as a change of direction for Ishiguro. His first two novels are set in Japan. I’m not so sure. The butler’s unswerving loyalty to Lord Darlington, an arch appeaser before the war and a broken man after the war, is an evocation of the attitude of the Japanese towards their emperor. Darlington Hall represents Japan and Lord Darlington the emperor. Mr Stevens (the butler) has no capacity to disagree or criticise; he is entirely devoted to running the Hall and serving his employer. He enforces a strict hierarchy; subservient to his “betters” but enjoying the privileges of his place in the caste system. In the film he has a well appointed sitting room where he retires to enjoy whisky and cigars.
When Darlington Hall is bought by an American, Stevens seamlessly shifts his allegiance to his new employer. In the film there is a ping-pong table in the room where there had been a Chinese statue. It is satisfying to look beneath the epidermis of a book or film while enjoying the superficial plot lines.
|
|||||
5020
|
dbpedia
|
2
| 3
|
https://en.wikipedia.org/wiki/The_Remains_of_the_Day
|
en
|
The Remains of the Day
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/c/c7/KazuoIshiguro_TheRemainsOfTheDay.jpg/220px-KazuoIshiguro_TheRemainsOfTheDay.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Books-aj.svg_aj_ashton_01.svg/21px-Books-aj.svg_aj_ashton_01.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Nuvola_apps_bookcase.svg/19px-Nuvola_apps_bookcase.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2002-10-25T03:09:14+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/The_Remains_of_the_Day
|
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
[edit]
|
||||||
5020
|
dbpedia
|
2
| 2
|
https://www.merchantivory.com/film/theremainsoftheday
|
en
|
Merchant Ivory Productions
|
https://www.merchantivory.com/favicon.ico
|
https://www.merchantivory.com/favicon.ico
|
[
"https://www.merchantivory.com/image/film/id/38",
"https://www.merchantivory.com/image/film-photo/id/38/photo/285/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/292/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/286/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/287/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/288/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/289/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/319/class/slider",
"https://www.merchantivory.com/image/film-photo/id/38/photo/285/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/292/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/286/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/287/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/288/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/289/class/small",
"https://www.merchantivory.com/image/film-photo/id/38/photo/319/class/small"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/favicon.ico
| null |
In the entracte between world wars, Stevens (Anthony Hopkins) is the perfect English butler at the estate of the politically-inclined Lord Darlington (James Fox). Stevens's obsessively dutiful, thoroughly unsentimental way of life is challenged with the arrival of the new housekeeper Miss Kenton (Emma Thompson), who is as spirited as she is capable. Stevens's myopic worldview, his unequivocal loyalty to his master, comes to blows with Miss Kenton's sense of moral outrage as Lord Darlington is made an unwitting Nazi pawn. While England wavers between "peace in our time" appeasement and war against Hitler, Darlington Hall becomes the fulcrum upon which the fate of the continent rests and Stevens, who has spent his adult life more concerned with attending to his master than with attending to his own personal happiness, begins to awaken to the possibility of a relationship with Miss Kenton.
Based on the 1989 Booker Prize winning novel by Kazuo Ishiguro. The Remains of the Day is told in a series of flashbacks as Stevens, near the end of his life, makes a trip across the English countryside for a meeting that he hopes might reconcile his past mistakes.
Hopkins received an Academy Award nomination for his subtle and penetrating portrayal of Stevens: in his tight shoulders and breathy hesitations, Hopkins discovers a deep humanity in a man who would leave his father's deathbed to wait on his master at a dinner gathering. His rapport with Thompson, who also received an Oscar nomination, creates some of the most iconic and psychologically charged romantic tension in recent film history. The supporting cast includes Hugh Grant as Lord Darlington's nephew, the enterprising journalist Cardinal; and Christopher Reeve as the American politician who tries to open the eyes of the English aristocracy to the imminent Nazi threat.
Ruth Prawer Jhabvala received an Oscar nomination for her transformation of Ishiguro's first-person narrative into a drama that preserves the ironies of Stevens's interior landscape while expanding the socio-political world he inhabits. Impeccably photographed by Tony Pierce-Roberts on location in four great English houses (principally at Badminton House in Avon and Powderham Castle in Devon), the film's lavash interiors are not only a visual flourish but a dramatic element: as the fate of the world is decided in its rooms, Darlington Hall becomes a catalogue of all European civilization, which hangs in the balance of the Nazi threat.
The senior reviewer of The New York Times called The Remains of the Day the "deepest, most heartbreakingly real of the many extraordinary films directed by James Ivory." Ivory won Director's Guild of America, Golden Globe, and Oscar nominations for his work. The film is pervaded with the air of something lost, both in the England of Stevens's road trip -- in pub chatter, in bedside photographs of the war dead -- and in the butler's missed opportunities. In an often--quoted scene, Stevens refuses to reveal to Miss Kenton the title of the book he is reading; persistent, she eventually peels his fingers away to find a sentimental love story. Stevens can only bring himself to say that he is reading it to increase his vocabulary. It is one of the cinema's most affecting portraits of solitude, regret, and the tragedy of what might have been.
|
||||
5020
|
dbpedia
|
0
| 11
|
https://www.alamy.com/stock-photo/the-remains-of-the-day-1993.html
|
en
|
res stock photography and images
|
[
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/assets/latest/footer/mastercard.svg",
"https://s.alamy.com/assets/latest/footer/visa.svg",
"https://s.alamy.com/assets/latest/footer/amex.svg",
"https://s.alamy.com/assets/latest/footer/paypal.svg",
"https://s.alamy.com/assets/latest/footer/apple-pay.svg",
"https://s.alamy.com/assets/latest/footer/google-pay.svg"
] |
[] |
[] |
[
""
] | null |
[
"Alamy Limited"
] | null |
Find the perfect the remains of the day 1993 stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
|
en
|
Alamy
|
https://www.alamy.com/stock-photo/the-remains-of-the-day-1993.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 15/08/2024 Alamy Ltd. All rights reserved.
|
|||||
5020
|
dbpedia
|
1
| 9
|
https://www.datalounge.com/thread/31873942-the-remains-of-the-day-1993-
|
en
|
The Remains of the Day (1993)
|
[
"https://www.datalounge.com/dl-header-logo@2x.png"
] |
[] |
[] |
[
"Gay",
"Celebrity",
"Gossip",
"Politics",
"Health",
"Gay Celebrity Gossip",
"Gay Politics",
"Gay News",
"Gay Rights",
"Gay Photos",
"Gay Videos",
"Gossip",
"Outing",
"Gay Health",
"Gay Travel"
] | null |
[] | null |
Let's discuss my favorite film of all time. I looked and could not find a recent thread that was not marked out.In 1958, while on a cross country trip to visit his old colleague Ms. Kenton, James ...
|
en
|
the DataLounge
|
https://www.datalounge.com/thread/31873942-the-remains-of-the-day-1993-
|
There is a point where Darlington tries to dismiss Stevens after the second question he fails to answer, but the condescending twat keeps him back for a third, and Darlington accedes to his guest. I took it that Darlington was a little uncomfortable at the scene but ultimately not enough to stand in the way of what he thought he ought to do as host.
Ultimately it's a fascist scene - the guest is arguing against the principles of democracy, and Darlington, despite his unease, is going along with it.
What's also interesting is that the one character who properly stands up to these landed gentlemen with their nazi sympathies is Mr Benn, Miss Kenton's eventual husband: but their life together is portrayed as a disaster and we are given to believe that Miss Kenton would have gotten along much better if she had stayed in service to the landed nobility at Darlington Hall like Stephens did, rather than strike out on her own with a husband trying to make something of himself.
R148 Well, I'm basing a lot of it on Miss Kenton and her eventual husband, Mr Benn.
Mr Benn is the opposite of Stevens. Firstly, he doesn't take the 'Master knows best' attitude. He condemns 'Sir Geoffrey and his Blackshirts' and eventually leaves his employment, believing in his own right to stand up for himself and speak his beliefs 'If I don't like something, I want to be in a position to stay "Stuff it!"'. There is if I remember correctly a key scene between Benn and Stevens in which Stevens tells Benn that his greatest satisfaction is of being good service to his employer, which Benn demurs at. Later, Benn and Kenton agree that Stevens is wrong to say 'Look after the house and the rest will look after itself' (my quotes won't be precise here). Secondly, Benn actually has the balls to ask Kenton to marry him. Thirdly, he wants to become a self-made man and set up a boarding house together with her. What happens? The boarding house is a disaster, their marriage collapses, and Benn is reduced to crawling to Sally (Kenton) begging her to agree to go together to visit their daughter with him. We are left with the strong implication that she ends up staying with him because she has nothing else she can do. She acknowledges at the end that she has made 'a terrible waste of her life' by deciding to leave Darlington Hall and marry him. Why did the small business plan and the being master of your own life dream collapse for them? We are meant to feel that, but for the tragedy of circumstance and her daughter's pregnancy at the end, she would have been better off back in employment and serving the upper-classes with Stevens, but it's too late to turn the clock back.
Secondly more for cinematographic reasons. Consider the bright, sharp colours, the activity and energy, the thriving house and the handsome young servants (Chaplin, Headley, etc), even funny Mr Cardinal in the 1930s scenes. The montage that follows Stevens' claim that 'in England, order and tradition still prevail'. Now contrast that with the 1950s scenes. Darlington Hall has been saved and has a new master, Mr Lewis. Yet the colour palette is washed-out and depressing, it all seems darker and dingier, there are endless scenes of the house covered in dust protectors looking well past its best, the magic isn't coming back. Mr Lewis is a decent chap but he's a rich, somewhat vulgar American, haute bourgeoisie/nouveau riche rather than aristocracy, he has different values ('the professionals'), and he'll never seem in his right place in the house like Lord Darlington did. Stevens' new housekeeper (a matron at a boys' preparatory school) sounds smart and competent but she'll never replace Miss Kenton. The war cost England too much and it will never recapture its former glory. The pigeon which flies away at the end symbolises a lost love but also the glory of a lost era.
I do think R125 is right to note that the film points up the flaws of the old English values of decency, honesty etc and how they led 'gullible' Lord Darlington to be taken in by the Nazis (again in contrast to the book where I'm told he is portrayed as much more enthusiastically a Nazi himself) but nevertheless that doesn't preclude the film essentially being a work of nostalgia, longing for a world which it nonetheless recognises could not survive modernity, but which will always be a lot better than that which replaced it.
Here's where I would slightly differ: just because Mr. Benn and Miss. Kenton end up in a failed marriage does not therefore imply that staying with Stevens/old world would have been better. I think the film has a profoundly bleak outlook - the whole world of Stevens and Darlington was a moral failure and ends in ruin. But the life of commoners in postwar Britain was no joy either - remember that the modern day scenes of Miss Kenton and Mr. Benn are essentially contemporaneous with the emerging John Osborne/British kitchen sink drama era. And let's of course not forget that Miss Kenton chooses Mr. Benn because he is decisive in his desire for her - not because she was so madly in love with him. But that he had acted where Mr. Stevens could not because of his repression. By the time her loveless marriage has fallen apart, she is ready to go back into service, longing for those days of yore, and yes perhaps the comfort/nostalgia of this vanishing upper class world. But it's too late - her daughter is pregnant and she decides she needs to stay in the unhappy life she chose. But, again, I don't think the film is suggesting at all that she should have - or would have been happier - if she'd stayed at Darlington Hall. At least she has a family, a daughter, and grandchild on the way. Whereas Stevens is left, in the end, with absolutely nothing.
Well, the tone of the movie has to be one of "failure."
Whichever "side" you're on, Britain was a poor, broke country at the end of WW2. The movie portrayed it as such. There was a link drawn between people who *prolonged* the inevitable conflict by collaborating with the Nazis.
Churchill was correct. If we had bombed Germany after its invasion of the Rhineland in 1936, they would not have had to strength to conquer all of Europe. So the movie was more a condemnation of people who believe in false ideals. Mr Stevens believing in service at any cost, and Lord Darlington believing in the Nazis.
The pigeon to me was more a sign of hope. The end of the movie was extremely depressing. I was glad to escape the house on the "wings of a pigeon" as it were, to get away from that atmosphere of death and loss.
|
|||||
5020
|
dbpedia
|
3
| 29
|
https://blog.prodigalpaul.com/2019/06/04/book-review-the-remains-of-the-day-by-kazuo-ishiguro/
|
en
|
BOOK REVIEW: “The Remains of the Day” by Kazuo Ishiguro
|
[
"https://i0.wp.com/assets.allenandunwin.com.s3.amazonaws.com/images/original/9780571258246.jpg",
"https://prodigalpaul.com/wp-content/uploads/2015/08/cashtag.png?w=197&h=56",
"https://assets.pinterest.com/images/pidgets/pinit_fg_en_rect_gray_20.png",
"https://0.gravatar.com/avatar/8f750fdc13756bf5250296dd0e1d1beb?s=320",
"https://prodigalpaul.com/i/rss/orange-medium.png",
"https://i0.wp.com/i.creativecommons.org/l/by-nc-nd/3.0/80x15.png",
"https://prodigalpaul.com/wp-content/uploads/2015/08/cashtag.png?w=150",
"https://paulburkhart.files.wordpress.com/2019/10/bgbg_150_150.png",
"https://secure.gravatar.com/blavatar/243c23fb00df4d7383e2e5bdc03b45305450fed0f3b90a251c3ef84b052150e5?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/243c23fb00df4d7383e2e5bdc03b45305450fed0f3b90a251c3ef84b052150e5?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[
"Paul Burkhart"
] |
2019-06-04T00:00:00
|
The Remains of the Day Kazuo Ishiguro Vintage Int'l, 1989 (Amazon Link) Kazuo Ishiguro's The Remains of the Day is, as the Amazon product page calls it, "universally acclaimed". It won the Booker prize the year of its release, and no less a pedigree than Anthony Hopkins and Emma Thompson graced the screen in its film…
|
en
|
https://secure.gravatar.com/blavatar/243c23fb00df4d7383e2e5bdc03b45305450fed0f3b90a251c3ef84b052150e5?s=32
|
the long way home
|
https://prodigalpaul.com/2019/06/04/book-review-the-remains-of-the-day-by-kazuo-ishiguro/
|
The Remains of the Day
Kazuo Ishiguro Vintage Int’l, 1989
(Amazon Link)
Kazuo Ishiguro’s The Remains of the Day is, as the Amazon product page calls it, “universally acclaimed”. It won the Booker prize the year of its release, and no less a pedigree than Anthony Hopkins and Emma Thompson graced the screen in its film adaptation. I personally received recommendations for this book from people that both know me well and whom I greatly respect for their taste in literature.
Imagine my surprise, and the depth of my self-doubt and questioning of my own aesthetic inventory, when I read this book and really, really despised it.
At its core, The Remains of the Day is a story of a quirky, socially impaired butler as he takes a well-deserved vacation through the English countryside to see a female coworker from his past. As he makes his way on this solitary road trip, we are served his musings and stories of life history between the Wars as experienced by him, a butler in the house of an influential British gentleman.
The problems with the book begin at the level its very structure. This narrative device–in which the story unfolds in memories leading to the present–is one which has been successfully executed by many authors to great effect. But here, it is fairly pointless; the framing serves no narrative or thematic purpose and makes little sense for how the protagonist’s recollections unfold.
Not only are his recollections all (conveniently) chronological, but his stories are entirely disconnected from what’s going on around him on the road trip. It is not the case that he sees a bird and thinks, “that reminds of the time I saw a similar bird at my employer’s house,” for example. Further, there’s no reason why it would take six days for him to think of and share with us the story of his former employer’s ruin and disrepute at the onset of WWII.
It would be one thing to have fairly arbitrary framing and structure within which compelling and riveting characters or plot happen. But alas, this is not to be. The main character feels like a caricature of a type–the socially-awkward, romantically oblivious man bounded by the constraints of “duty”–yet not even after spending hundreds in his head does he feel any more like a real human.
I think he’s supposed to be endearing to us and somewhat tragic, and yet he is none of these things. This single dimension character does not grow, does not learn, and does not reflect. He is so over-the-top in all his weaknesses and tropes, I began wondering if Ishiguro was actually trying (unsuccessfully) to write the kind of novel that takes us into the thought processes of someone on the autism spectrum.
Regarding plot, I found many of the historical details fascinating. I enjoyed how the political tension leading to Hitler’s rise and his co-opting of the English elite to that end was unspooled and pieced together through fragments offered in the butler’s recollections of characters around him. (Yet once again, it is incredibly irritating that even with far less information than the main character himself, we always feel that we know more than he does and understand his circumstances better than him.)
Yet do not confuse this for an historical novel. No, the story lingering in the background of the road trip, the memories, and the history is this butler’s–what word should we call it?–“relationship” with a female coworker of his from his past. What the novel attempts to do is build the tension between these two, seeing how she has loved our butler for years and he hasn’t yet seen it, how they missed and hurt each other over and over again with time and circumstance never being on their side. And only now, at the end of their lives, they just may be able to love each other once he sees her again at the end of this road trip.
Even much lesser novels are able to successfully lay the groundwork for this. In this, however, I feel Ishiguro fails entirely. The book’s final “reveal” that she has loved him throughout their life together sounds more like dysfunction on her part than wistful romance of what could be. The supposed romantic “tension” here is absurd because there is no reason why any other human would want to be with this man.
He’s the kind of man a woman loves, not for any positive qualities he posses, but for the blank slate he offers upon which she can project her own hopes and dreams; and then in a moment of clarity she realizes she’s being silly and falling into bad emotional patterns she did in her 20s and then moves on to better and healthier patterns, realizing she actually don’t like this guy much at all.
At my most charitable, I suppose the book is meant to be a witness to the loss of innocence and sense of propriety and “dignity” (a word/theme brought up with little subtlety throughout) as England moved into its post-empire, post-war self. It tries to vividly portray the anemia that stuffy platitudes of “duty” and piety have in the face of hard-nosed realism.
The butler maintaining his poise at the expense of love is meant to parallel England’s lost glory through its policy of appeasement with Hitler. It wants us to see the naivete of the “old ways” and mourn the savagery of realism and “growing up” to human nature on the world stage.
These are beautiful, profound ideas–ideas that could be of great use to us today–and yet, the book, its narrator, its structure, its language, and its “romance” fail to make this hit home. Perhaps it is all the more frustrating then, that many of the raw materials for such a compelling book are found within these pages. Unfortunately, though, it is not the book we have before us.
|
||||
5020
|
dbpedia
|
0
| 0
|
https://en.wikipedia.org/wiki/The_Remains_of_the_Day_(film)
|
en
|
The Remains of the Day (film)
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/9e/Remains_of_the_day.jpg/220px-Remains_of_the_day.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/70/Powderham_Castle_Music_Room_02.jpg/250px-Powderham_Castle_Music_Room_02.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/19px-Video-x-generic.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2005-03-06T23:26:15+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/The_Remains_of_the_Day_(film)
|
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.
|
||||||
5020
|
dbpedia
|
3
| 91
|
https://www.ourgoldenage.com.au/film/the-remains-of-the-day
|
en
|
The Remains of the Day – Golden Age Cinema and Bar
|
[
"https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1920x1080/436b6d5661/remains-of-the-day_01.jpeg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1920x810/8155f63d6c/remains-of-the-day_02.jpeg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1920x803/90ed6e1ade/remains-of-the-day_04.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/775cc1423b/film-trivia-01.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/f3be37f8bc/the-conversation-01.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/ee9846a971/daisies-01.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1800x1012/f793375018/autumn-sonata.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/2696x1748/4b0d13b52c/jackass_01.jpeg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1800x1012/bff69cda3e/the-parallax-view_3.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1800x1012/062d3ca8ef/the-chaser_gac-2.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/1800x1012/c69619f73c/citizen-above_01.jpg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/3c2884d07c/vampires-bram-stokers-dracula-01.jpeg/m/3840x0/filters:quality(80) 3840w",
"https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/256x0/filters:quality(80) 256w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/384x0/filters:quality(80) 384w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/640x0/filters:quality(80) 640w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/750x0/filters:quality(80) 750w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/828x0/filters:quality(80) 828w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/1080x0/filters:quality(80) 1080w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/1200x0/filters:quality(80) 1200w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/1920x0/filters:quality(80) 1920w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/2048x0/filters:quality(80) 2048w, https://a.storyblok.com/f/255799/4e61c6ae4d/possession-01.jpg/m/3840x0/filters:quality(80) 3840w"
] |
[] |
[] |
[
""
] | null |
[] | null |
Emma Thompson and Anthony Hopkins star in this deeply affecting study of longing and regret, based on the Booker Prize-winning novel by Kazuo Ishiguro
|
en
|
/favicon.png
|
Golden Age Cinema and Bar
| null |
Sorry we couldn’t find any sessions for this event.
If you think this might be a mistake please contact us.
Adapted from the Booker Prize-winning novel by Kazuo Ishiguro, The Remains of the Day is a deeply affecting study in nostalgia, regret and repressed sensation set against the political tensions of interwar Britain. Stevens (Anthony Hopkins), the longtime butler of Darlington Hall, lives according to a strict code of service until the arrival of charmingly headstrong new housekeeper Miss Kenton (Emma Thompson) disrupts his routine. Their fragile accord and the equilibrium of the house is threatened as their employer displays a frightening enthusiasm for the growing tide of fascism among the aristocracy, forcing the staff to decide where their loyalties lie and what they will endure in the name of duty.
Hopkins delivers possibly the best work of his career as the upright butler Stevens, a complex man determined to push down any troublesome romantic and moral feelings that might interfere with the execution of his role, balanced wonderfully by Thompson's warmth and humour. They were both nominated for Academy Awards, two of eight (!) nominations forThe Remains of the Day— unfortunately in the same competition year as Schindler's List, The Piano and Philadelphia (settle down, 1996 Oscars). Merchant & Ivory are sometimes unfairly typecast as making stuffy costume cinema, but their refined precision combines here with the elegant restraint of Ishiguro's prose to create a tightly wound masterpiece thrumming with suppressed tension and longing.
|
||||
5020
|
dbpedia
|
3
| 87
|
https://journals.openedition.org/ces/9265
|
en
|
The Treatment of Background in Kazuo Ishiguro’s The Remains of the Day
|
[
"https://journals.openedition.org/ces/custom/sitename.png",
"https://static.openedition.org/images/cc/cc-by-nc-nd.png",
"https://journals.openedition.org/ces/images/social-icons/rss.png",
"https://journals.openedition.org/ces/docannexe/image/503/SEPC-small120.jpg",
"https://journals.openedition.org/ces/docannexe/image/467/logo_343-342_colorized-small120.jpg",
"https://journals.openedition.org/ces/docannexe/image/12500/thalim-small120.png",
"https://journals.openedition.org/ces/images/logo-oej.png"
] |
[] |
[] |
[
""
] | null |
[] |
2007-09-01T00:00:00+02:00
|
Literary criticism has long established the fact that the meaning of a text, in particular in the case of discursive genres such as the novel, depends largely on the writer’s ability to exploit the common frames of reference he shares with the average reader so as to build up a credible world which can give the illusion of existing on its own beyond the surface of the written page. This aspect is all the more important where Kazuo Ishiguro’s The Remains of the Day is concerned as the novel’s signification would appear to rest almost entirely on the considerable gap tacitly assumed to exist between the “real” world so abundantly visible to the implied reader and the idealised and ultimately misguided vision of reality entertained by the main protagonist, the butler Stevens. In this article I will seek to show to what extent this implicit reliance on a consensual view of recent history enables the author to present an illusion of reality resting on a number of carefully selected, yet highly allusive, historical references. In contrast, the text’s meticulous and largely underestimated recreation of Stevens’s habitat via the life and history of the English country house appears to disappear somewhat paradoxically into insignificance. By riding the tide of the post-war onslaught on “grand narratives”, many of which – as indicated by Edward Said’s “contrapuntal” reading of Jane Austen – were predicated on the invisibility of historical forces, Ishiguro can uncover the illusive nature of Stevens’s anachronistic worldview by an unashamed use of the codes of literary realism, while at the same time placing his novel, with minimal recourse to literary experimentation, within the framework of postmodernism.
|
en
|
http://journals.openedition.org/ces/9265
|
1One of the main difficulties in discussing Kazuo Ishiguro’s novel, The Remains of the Day is that it has been the object of so many studies since its publication in 1989 that it may appear somewhat problematic, at first sight, to add anything new to what has already been said. The interest aroused by the book can be attributed to the fact that it won the Booker Prize and was then made into an internationally successful film directed by James Ivory. However, I have always been struck by what appears as a gap existing between the attention, albeit often brilliant and informative, awarded to the novel’s signification and to its historical and literary dimensions, and the relatively scant time devoted to exploring the actual setting of a story dominated by the all-pervading presence of an English country house and those associated with it. This background thus seems to be reduced to nothing more than symbolic bric-a-brac for a novel whose main purpose is to provide a representation of the human condition itself or, more specifically, of the tensions generated by the challenge to English identity entailed by the collapse of the British Empire.
2The first reading has been largely encouraged by Ishiguro himself with his remark that the novel’s protagonist, the butler Stevens, is representative of all ordinary humans living routine lives in a world whose ultimate purpose is largely incomprehensible and over whose forces they have no control. In his own words: “I chose the figure deliberately because that’s what I think I am, and I think most of us are: we’re just butlers” (J. Viviès, 1997, 79). It might be worth mentioning, from this point of view, that both Sartre and Barthes use the image of the waiter or servant as metaphors for the alienated condition of modern man. In L’Etre et le néant the waiter’s ritualised gestures are thus analysed in terms of the social codes which hide the authenticity of the individual man beneath (Sartre, 95). Barthes, for his part, defines myth, in the sense of the conventional, culturally created meanings which hide the social and historical realities of life from ordinary humans, in the guise of an “ideal domestic” whose service is so professionally performed that the master simply fails to see the sheer extent of the labour and training which go into the achievement of such smooth, seamless perfection (1957, 225). This exclusively metaphorical use of the figure does indeed have clear echoes in Ishiguro’s text, as in the famous incident of the butler in India discreetly dispatching a tiger which had distractedly strayed into his owner’s house and then calmly announcing to his master that “all discernible traces … of the recent occurrence” had been removed (2005 [1989], 37).
3The second, or “postcolonial”, reading is partly connected with Ishiguro’s own status as a second generation immigrant, even though Japan has never been part of the British Empire, but also, quite logically, by the novel’s sometimes scattered allusions to the arrival of political independence, the Suez crisis and the decline of the great houses whose prosperity once incarnated the prestige and prosperity of the United Kingdom. While sharing this perspective, I wish to show how the tendency to concentrate on the novel’s overall signification has led to an emphasis on its allegorical dimension, which ultimately obliterates the actual universe inhabited by the butler Stevens – in other words, the very buildings, functions, and people which constitute the stuff of his daily life – thereby pushing this aspect to the sidelines and reducing Stevens’s existential habitat to a mere collection of symbolic props without any ontological status of their own.
4Without going so far as to say that The Remains of the Day has anything to do, generically speaking, with the encyclopaedic novel as exemplified by Melville’s Moby Dick, it does nevertheless constitute, despite the somewhat generally allusive nature of Ishiguro’s manner, an extremely painstaking reconstitution of the architecture, daily organisation and history of the country house itself. Certainly, Ishiguro refrains from the meticulous, and to some readers, interminable listing of information provided by Melville in his book about the great whale. Nevertheless, the fact remains that his novel is literally saturated with historical and architectural details which would appear to indicate that the author has undertaken considerable research into what is usually considered as a somewhat specialist field.
5There is thus a need to rehabilitate this aspect of the novel. At the same time, however, I wish to place it within the problematic of a narrative strategy forced on the author by his awareness of a certain gratuitousness, or at least, facility, in his use of other background material, notably that relating to the novel’s more ostensibly historical references. From this point of view I was struck a few years ago by a remark made by Ishiguro himself at an unpublished conference he gave at the Sorbonne concerning his fears that his novel might be accused of a certain artificial weightiness. In saying this he seemed to be referring to the innumerable, yet somewhat superficial, references made in the work to a number of major historical events occurring in the period running from the 1920s to the 1950s. Taken together, these events – which cluster around the issue of German reparations in the wake of the Treaty of Versailles, the rise of Hitler and the collapse of Empire – read like a Reader’s Digest version of A.J.P. Taylor’s monumental English History 1914-45 (1965).
6The somewhat insubstantial and diffusive nature of these nevertheless easily identifiable references is of course due largely to the symbolic logic of a narrative whose aim is to illustrate Stevens’s inability, or refusal, to address any matter which falls outside his immediate professional sphere. The reader may nevertheless be uncomfortably aware of the discrepancy which exists between the magnitude and gravity of the monumental happenings thus evoked from afar and the manner in which they impinge so little on the events which, within the novel’s actual economy, shape the life and feelings of the central protagonist. From this point of view, one may be tempted to read The Remains of the Day as a form of “contrapuntal” reading (to use Edward Said’s famous phrase, 1993, 78) of another famous “country-house” novel, Mansfield Park. Like her protagonists, it would seem that Jane Austen, whose Hertfordshire settings (as has been pointed out) coincide with the area where Stevens’s father has worked all his life (39), has little time to spend on the macrocosmic historical events (British policy in the Caribbean) which provide the Bertram family with the economic means (sugar) whereby they can indulge in their microcosmic love affairs. Being a postcolonial writer – I use the phrase a little provocatively – Ishiguro, with hindsight, is able, on the contrary, to insist heavily on the great mass of historical matter which Stevens refuses to acknowledge, thereby contributing to the highly sceptical readings of grand narratives which constitute one of the characteristics of postmodernist and postcolonial literature.
7This scepticism is clearly aided by the fact that Ishiguro is writing in an intellectual climate in which re-examinations of earlier works give considerable visibility to the fundamental importance of the way historical perspectives shape communal perceptions of reality. Although it would be rash to make symmetrical comparisons between postcolonial and postmodern developments in contemporary literature, there is a critical consensus around the fact that the need to re-examine earlier works – culminating in the huge number of explicit rewritings of these pointed out by Steven Connor (1995, 166sqq) – is related in Britain with the need to come to terms with the simultaneous collapse of the Empire and the breakdown of the canonical nineteenth century novel which, according to Connor himself (44), and to Timothy Brennan (1990, 49), contributed so much to the imaginative construction of Britain’s national greatness and identity.
8By situating the main action of his novel in July 1956, the month which saw the beginning of the Suez crisis, Ishiguro thus appears to be exploiting an intellectual climate highly conducive to the transmission of his own representation of Britain’s decline. The climate I am referring to thus corresponds to that state of complicity between writer and addressee which manifests itself textually via what Roland Barthes in S/Z has called the narrative’s “cultural code” (1970, 27). This consists largely of that string of intratextual and usually easily recognisable, and by definition common, extratextual references to the world beyond the text whereby the writer seeks to establish a consensual frame of reference with his addressee so as to ensure that the latter is receptive to the meaning he wishes to communicate. In The Remains of the Day, this complicity clearly works against Stevens whose status as a victim is linked precisely to his inability to read or understand history. There is a sense, however, when this presumed complicity can be taken so far that it reflects negatively on the credibility of the symbolic scheme being used in the text. The symptom of this - and maybe one of the reasons for Ishiguro’s aforementioned reservations concerning the artificial “weightiness” of his historical references - may be seen in the way one single background reference, in this case, the mere mention of “July 1956”, i.e. the beginning of the Suez crisis, is made to carry what appears to me as an over-abundance of symbolic weight whose signification is provided less by the text itself than by the emblematic importance of this date in the nation’s collective imagination. Bombastically represented in nineteenth century imperialist rhetoric as the “lifeline”, the “windpipe”, the “vital artery” and the “jugular vein” of the British Empire, the Suez canal became, as this anatomical vocabulary suggests, such an embodiment of British life, identity and importance that its loss, in the words of Sir Pierson Dixon (the British Ambassador to the U.N.), “reduced (Britain) from a first-class to a third-class power” (A. Sked and C. Cook, 1979, 153), thereby launching the process whereby the British people, according to the historians Alan Sked and Chris Cook, “began to question the nature of their world role” (1979, 154). This date, strategically placed at the very beginning of the novel, thus acts as a solitary signifier whose abundant signifieds then proceed to cannibalise the entire text, thereby allowing Ishiguro to make his point with a considerable economy of means. Stevens’s actual journey is then easily transformed into a symbolic depiction of post-imperial Britain’s demise.
9It is no doubt to counteract this imbalance, which runs the risk of reducing his novel to yet another somewhat thin and one-dimensional variation on “the condition of England” question, that Ishiguro seeks to invest his main setting, Darlington Hall, with a thickness and depth which, in its own terms, fully recreates the symbolic importance of the country house as a central ideological feature in the constitution of British history and identity. Though (to my knowledge) an invented location the Hall thus comes across as a careful reconstitution of each of the principal phases of English history as evoked by a number of authoritative studies devoted to the English country house. In a sense also, this well documented evolution of English life adds a certain consistency to the symbolic role assumed by Stevens. Instead of appearing as a shallow illustration of pre-designed attitudes and viewpoints, a mere mouthpiece for expressing outdated views, his constant interaction with the décor itself makes of him the very incarnation of a certain conception of history whose thickness does justice to the sheer power exercised by ideologies on people’s lives.
10Darlington Hall itself probably goes back to the mid-eighteenth century, as we are informed that the Darlington family’s title was obtained “two centuries” (6) before the time of a story whose central action, as just seen, takes place in 1956. The Darlingtons may thus be considered as typical products of a period when the Hanoverian kings, George III in particular, sought to consolidate their influence by creating a new nobility whose wealth, estimated at at least £20,000 in annual revenue, was derived mainly from commercial profits which were then invested in the acquisition of land (Plumb 165). This was the time when England was dominated by the likes of Robert Walpole, Chancellor of the Exchequer from 1721 to 1742, whose country house at Houghton, modelled on what Mark Girouard refers to as the great “power houses” of the feudal period (1978, 2), became the scene of a number of political “congresses” (as they were then called) held to discuss government policy (1978, 231).
11The symbolic connection with the medieval period, characterised also by the principle of power-sharing between the king and a powerful ruling class, is established very concretely by the huge banqueting halls which became one of the central features of these houses. The one at Darlington Hall, described as “vast” and “magnificent” by Stevens (102), is capable of seating at least fifty people (75). However, the diversity of the rooms described in the novel points to the growing complexity of social stratifications in the post-medieval period. For example, the introduction of dining rooms (37) reflects in itself the breakdown of a feudal society in which all social levels, tacitly respectful of each other’s status, would eat in the same chamber (1978, 203).
12Another illustration of this new complexity was the introduction of the “drawing room” in the Renaissance period. Etymologically “withdrawing room”, this chamber originally permitted informal gatherings of small groups before becoming, from 1720 onwards, the place where women could retire to after meals, a custom apparently specific to Great Britain. On this point Mark Girouard (1978, 204) refers to a remark made by a Lady Lyttelton to her architect in 1752 concerning the nature of men’s conversation at the dinner table as “too boorish” to be listened to all the time. These rooms were also used in the Renaissance period as “morning rooms” for welcoming visitors, although such visits were later transferred to the afternoon, in particular from the 1840s on when tea drinking, stimulated by British conquests in India, became a passion (1978, 293). Incidentally, this custom is perpetuated by the Hall’s new owner, the American businessman Farraday (13), but what is particularly striking here is the historical sense shown by both Lord Darlington and Stevens in their respective attitudes to these rooms. Though he is sometimes presented as a sort of ignoramus, Stevens’s historical sensitivity is apparent when he underlines the “feminine” nature of the drawing room (95). On a different level, Darlington’s tactical use of the room as a place for informal political discussion (95) perpetuates an habitual eighteenth century practice alluded to by the historian of architecture, Robert Adam, in 1778 (1978, 205).
13Darlington’s historical sense, as noted by Stevens, is also apparent in the way he adapts the existing rooms so as to underline, metonymically, the characteristics he considers as most suitable to his status. The presence of both a library (3, 57, 87) and a study (63) not only reflects the house’s size, but also reveals also the importance given to literacy and learning by the nobility as from the seventeenth century. The study in particular is symptomatic of a post-Reformation evolution which saw education and power pass simultaneously from the Church to a new secular aristocracy (1978, 101). In contrast to Farraday, who has the books replaced by ornaments (63), Darlington significantly keeps his books in the entrance hall (63) as if to underline the intellectual influence of his caste. Conscious also of the prestige once granted to the physical prowess of the nobility, whether on the battlefield or the playing field - much the same thing if we are to believe Lord Wellington - Lord Darlington exhibits a number of sports trophies in his billiard room (59), a place introduced into some English homes as early as the eighteenth century. The library also contains the Darlington family portraits (3), thus continuing a tradition initiated at the beginning of the sixteenth century by the Tudor nobility in its bid to consolidate its new-found status (1978, 103). Significantly, the novel opens on a scene in which Stevens describes himself as diligently dusting these symbols of dynastic grandeur.
14The dominant eighteenth century flavour of Darlington Hall is, however, indicated by a number of architectural features which are given a certain prominence by Stevens’s evocations. The large first floor windows (97), so much admired by the housekeeper Miss Kenton, with their commanding view over the surrounding countryside, the French windows on the ground floor opening directly onto the grounds (66), the presence of a summerhouse (66) in place of the more traditional conservatory, and of a gardener’s lodge (93): all these point both to the mid-eighteenth century nature cult made fashionable by Rousseau’s ideas as well as to the mid-seventeenth-century power shift from the court to the country revelatory of the rising influence of the country squire as best symbolised by Oliver Cromwell. What is most striking, however, in Stevens’s evocation of the Hall is the manner in which the very disposition of the main rooms is arranged in such a way as to reflect, consciously, the continuities of English social life, or at least the attempts made to paper over the discontinuities. This is particularly apparent in the way the five major ground-floor rooms converge around the huge entrance hall (58) which is itself surmounted by what Stevens refers to as the “great staircase” (58). The importance of the ground floor in effect underlines an early eighteenth century reaction to a Renaissance tendency to push the great house’s centre of gravity away from the medieval courtyard to the upper echelons of the building, as if mirroring, in a patent, visible manner, the new Tudor and Jacobean nobility’s desire to ground their new-found status on a clear break with what came before. The reinstatement of the ground floor occurs at the precise moment when the commercial classes (including the Darlingtons) basking in their wealth and in the political prestige granted them quite officially by the Glorious Revolution and the Bill of Rights, now seek to re-establish a form of symbolic contact with the great feudal lords of the pre-Renaissance period. In architectural terms this translates into a taste for vast vertical structures disappearing into the skies like the Piranasian staircases of William Beckford’s neo-Gothic fantasy Vathek. This feature is best illustrated in the novel by what Stevens refers to as the “high and magnificent” ceiling of the banqueting hall (75), a style actually realised by Gothic novelists like Horace Walpole in his residence Strawberry Hill and which anticipates the mid-nineteenth century Gothic revival initiated by John Ruskin and the architects John Nash and Pugin (1978, 180, 226).
15The novel’s reconstitution of political history is thus made visible in the very texture of the house’s architecture. But the latter, seen strictly in terms of its formal disposition, also acts as a reflection of the social changes occurring in Britain over the years. This is apparent, for example, in the way the servants’ quarters at Darlington Hall are pushed as far as possible to the margins of the building. Hence the presence of the minor servants’ quarters on the fourth floor, as illustrated by Stevens’s father’s “attic bedroom” situated just under the roof tiles and the guttering (67). Stevens’s pantry is actually beneath ground level as is indicated by the fact that he can hear cars arriving “somewhere above (his) head” (89). This physical distancing of servants (1978, 23, 138), which was taken even further in the nineteenth century when the construction of wings and outhouses announced the actual removal of domestics from the main building, is the consequence of a long process occurring in the wake of the gradual breakdown of the feudal ideals guiding the notion of service as a whole. As illustrated by a number of medieval and Renaissance “household regulations” or treatises (1978, 82sqq), for example the fifteenth century Babees Book laying down the rules governing the service of young pages from the nobility (1978, 17), the notion of service was considered at that time as by no means socially degrading. Specialisation in the form of remunerated service only came in much later after the disappearance of the former criteria.
16These factors must also be borne in mind when considering what may appear to a contemporary reader as somewhat eccentric behaviour on Stevens’s part. For example, his questioning of Miss Kenton’s right as housekeeper to call his father by his first name (55) remains largely incomprehensible unless one understands his profound awareness of the complex hierarchy which reigns in the servant world. But here again we are witnessing the consequences of a long process of social change whose developments go back at least to the eighteenth century. Prior to the introduction of remunerated servants, important domestic tasks were conferred to senior yeomen who, though outside the nobility, nevertheless enjoyed considerable social prestige in terms of rank. Among these the butler, as the etymology of the word indicates, had as his privileged duty to look after the lord’s wine, just as the panter looked after the bread and the ewer after the washing (1978, 22). Though Ishiguro makes several references to the butler’s traditional function of fetching bottles as an essential aspect of Stevens’ duties, he also alludes to the manner in which this category of servant gradually emerged as the senior domestic whose prestige was reinforced by his assumption of administrative responsibilities formerly reserved to the clerks and stewards in charge of running the great estates. This explains the importance given in the novel to Stevens’s duties as the Darlington household’s accountant and manager (54, 89) in charge of a house thirty or so employees (7) of which make of it the equivalent of a small or medium-sized company. Significantly, the house plans of several of the great houses illustrated in Mark Girouard’s book indicate the central importance of the butler’s pantry; the location of which was strategically placed between the servants’ quarters and the long back corridor connecting this to the rest of the house. Stevens is thus not exaggerating when he speaks of his pantry, in military terms, as a headquarters (173).
17In a sense, Stevens’s motivation – so often reduced, as seen, to a mere incapacity to understand larger historical forces – remains incomprehensible if disassociated from his keen awareness of the tensions surrounding his own status as the butler of a former great house. Within his limits Stevens sees the futility of the Hayes Society’s attempt to establish the myth of a natural aristocracy (32), thereby tacitly recognising the historical fact that the nobility has always been formed by a constant process of social recycling based on the acquisition of wealth. At the same time, his emphasis on moral virtue as a distinctive sign of nobility is fully in keeping with Girouard’s analysis of the attempts made by the landed aristocracy to compensate for its economic decline after 1880 (in the face of cheap corn imports from the US) by incarnating the virtues of Victorian domesticity. This ideal was also valued by the new business aristocracy of the early twentieth century in its quest for respectability and status (1978, 300) and marks a distinct contrast with the more ribald tradition illustrated by the likes of Squire Western in Tom Jones or the cynical Lord Henry Wotton of Dorian Gray.
18It is largely against this background that one can best understand the nature of both the professional rivalry and the sexual tensions which characterise Steven’s relations with the housekeeper, Miss Kenton. In professional terms, Miss Kenton’s challenge to Stevens’s status is the consequence of a seventeenth-century development which saw a massive rise in the number of women servants corresponding, as seen earlier, to the spread of remunerated, as opposed to feudal, service. Miss Kenton is in effect Stevens’s second-in command in a complex pyramid which the novel once again takes great pains to evoke in detail. Beginning at the bottom with the “second footman” (166), a survival from the day certain servants would accompany their masters everywhere on foot, the novel goes up the scale respectively taking in the first footman (94), the under-butler (53), the valet (“aspiring to the position of butler”, 31), the valet-butler (19) and, finally, the butler himself. In sexual terms, Stevens’s inability to respond to Miss Kenton’s advances may quite legitimately be explained, over and above the sometimes ingenious psychoanalytical theories which abound in the studies of this novel, by his no doubt exaggerated need to support his master’s tendency to equate social status with morality.
19It may of course be said that Ishiguro’s very insistence on the details of country house life and organisation is a symptom of the need to revive a world whose existence is taken for granted - and hence less scrupulously described – in the novels of an earlier period.Yet this thickness of detail, though clearly distinct from the lengthy photographic evocations of nineteenth century realism, gives the novel a dimension which, though very much present in James Ivory’s film, tends to be overlooked in many of the allegorical readings mentioned above. This is the human or psychological aspect of a character whose desperate attempt to cling to a world with which he can identify comes across with a certain poignancy in his constant appeals to an imagined “you” (perhaps a projection of himself) whose assumed familiarity with the world of the country house contrasts dramatically with the novel’s assumed addressee, in other words the fore-mentioned sceptic whose vision is shaped by a post-Suez view of Britain.
20Not only does Stevens’s bewilderment give the novel an unexpected emotional depth, it also shows, from the inside as it were, to what extent ideology, far from being a set of abstract ideas, corresponds (in the words of Leonard Meyer) to a set of “beliefs and attitudes which are not naturally arrived at but which nevertheless channel our perceptions and cognitions – in short, our understanding of ourselves and the world” (1970, 69). For all his postmodern foregrounding of postcolonial ambiguity, and in spectacular contrast to the narrative experimentation rendered fashionable by the school of Salman Rushdie, Ishiguro achieves this representation of the workings of ideology by merging Stevens fully into his social and cultural background, thus re-employing the codes which commentators like Raymond Williams consider as one of the defining features of literary realism (1977, 30). This is not the least of the paradoxes brought to the fore by The Remains of the Day.
|
||||||
5020
|
dbpedia
|
3
| 68
|
https://www.imdb.com/title/tt0107943/plotsummary/
|
en
|
Was vom Tage übrig blieb (1993)
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:146-7603903-7102739:WARWPC19FYB9NQG1HM4P$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DWARWPC19FYB9NQG1HM4P:0",
"https://m.media-amazon.com/images/M/MV5BNDYwOThlMDAtYWUwMS00MjY5LTliMGUtZWFiYTA5MjYwZDAyXkEyXkFqcGdeQXVyNjY1NTQ0NDg@._V1_QL75_UX90_CR0,0,90,133_.jpg",
"https://m.media-amazon.com/images/M/MV5BNDYwOThlMDAtYWUwMS00MjY5LTliMGUtZWFiYTA5MjYwZDAyXkEyXkFqcGdeQXVyNjY1NTQ0NDg@._V1_QL75_UX90_CR0,0,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:146-7603903-7102739:WARWPC19FYB9NQG1HM4P$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DWARWPC19FYB9NQG1HM4P:0"
] |
[] |
[] |
[
"Movie Plot",
"Plot Summary",
"Plot Synopsis"
] | null |
[] | null |
Was vom Tage übrig blieb (1993) - Plot summary, synopsis, and more...
|
en
|
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).
|
|||||
5020
|
dbpedia
|
3
| 48
|
https://www.rottentomatoes.com/m/remains_of_the_day
|
en
|
The Remains of the Day
|
[
"https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png",
"https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png",
"https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png",
"https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png",
"https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png",
"https://resizing.flixster.com/mRgriroIqHSpQIbuIxDzVFXy9L8=/fit-in/128x128/v2/http://resizing.flixster.com/ZutMJ16o6I3pVtgoapoxTy3VHTs=/128x128/v1.YzszNjQ4O2o7MTk5ODA7MjA0ODszMDA7MzAw",
"https://resizing.flixster.com/u4BW3kHUlFR4jEF5wG36QCO5GO8=/fit-in/128x128/v2/http://resizing.flixster.com/DQpCLCff9bpjyvv0V-81YbUwlcQ=/120x120/v1.YzsyMjk4O2c7MTk5ODA7MjA0ODsxMjA7MTIw",
"https://resizing.flixster.com/LuKfUQM3wbxi3HAvdDn-F54yAO8=/fit-in/128x128/v2/http://resizing.flixster.com/3s6XFciAz4yUNEMV9uWsB9A3pNA=/128x128/v1.YzsxMDAwMDAzMDM3O2o7MTk5ODk7MjA0ODsyNjg7MzQ2",
"https://resizing.flixster.com/TE68l09CfDvBrYaB31jeyvIIDkI=/fit-in/128x128/v2/http://resizing.flixster.com/MTG3am6FtvlbKM82-EokqZdtLZc=/128x128/v1.YzszNDIxO2o7MTk5ODA7MjA0ODszMDA7MzAw",
"https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg",
"https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg"
] |
[] |
[] |
[
""
] | null |
[] |
1993-11-05T00:00:00
|
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.
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/m/remains_of_the_day
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
Rotten Tomatoes Podcast
Media News + More
Sign me up No thanks
|
||||
5020
|
dbpedia
|
1
| 10
|
https://catalog.afi.com/Catalog/moviedetails/59638
|
en
|
Catalog
|
[
"https://catalog.afi.com/Content/Images/afi_Logo.png",
"https://catalog.afi.com/Content/Images/afi_Logo.png",
"https://catalog.afi.com/Content/Images/afi_Logo.png",
"https://catalog.afi.com/Content/Images/Icon/search.png",
"https://catalog.afi.com/Content/Images/Icon/white_search.png",
"https://catalog.afi.com/Content/Images/Icon/search_close.png",
"https://catalog.afi.com/Content/Images/Icon/search_small_icon.png",
"https://catalog.afi.com/Content/Images/Icon/toggle.png",
"https://catalog.afi.com/Content/Images/Icon/white_toggle.png",
"https://catalog.afi.com/Content/Images/Icon/search_close.png",
"https://catalog.afi.com/Content/Images/Viewed-AFI.svg",
"https://catalog.afi.com/Content/Images/Viewed-AFI.svg",
"https://catalog.afi.com/Content/Images/Partially-view.svg",
"https://catalog.afi.com/Content/Images/Offscreen-Credit.svg",
"https://catalog.afi.com/Content/Images/Name-Occurs-B4-Title.svg",
"https://catalog.afi.com/Content/Images/Achievement-Award.svg",
"https://catalog.afi.com/Content/Images/Icon/top.png"
] |
[] |
[] |
[
"The Remains of the Day",
"James Ivory",
"Chris Newman",
"Simon Moseley",
"Bernard Bellew",
"Ismail Merchant",
"Mike Nichols",
"John Calley",
"Donald Rosenfeld",
"Paul Bradley",
"Ruth Prawer Jhabvala",
"Anthony Hopkins",
"Emma Thompson",
"James Fox",
"Christopher Reeve",
"Peter Vaughan",
"Hugh Grant",
"Michael Lonsdale",
"Tim Pigott-Smith",
"Patrick Godfrey",
"Peter Cellier",
"Ben Chaplin",
"Paul Copley",
"Peter Eyre",
"Lena Headey",
"Brigitte Kahn",
"Ian Redford",
"Pip Torrens",
"Rupert Vansittart",
"John Haycraft",
"Caroline Hunt",
"Paula Jacobs",
"Steve Dibben",
"Abigail Harrison",
"Peter Halliday",
"Terence Bayler",
"Jeffry Wickham",
"Hugh Sweetman",
"John Savident",
"Tony Aitken",
"Emma Lewis",
"Joanna Joseph",
"Christopher Brown",
"Jo Kendall",
"Steven Beard",
"Frank Shelley",
"Jestyn Phillips",
"Wolf Kahler",
"Frank Höltje",
"Andreas Töns",
"Roger McKern",
"Angela Newmarch"
] | null |
[] | null |
In 1950s England, James Stevens has spent the better part of his life as butler at Darlington Hall. He receives a letter from former housekeeper Mrs. Sarah Benn, who now lives in Clevedon. She discloses that she has left her husband for the second time and often thinks of her years at Darlington Hall as the happiest of her life. In need of a new housekeeper, Stevens decides to visit Mrs. Benn, hoping to persuade her to return to her old job. With the permission of his employer, Jack Lewis, an American who recently bought Darlington Hall, Stevens goes on holiday to Clevedon. En route, he recalls some twenty years ago when he interviewed Sarah Benn, who went by her maiden name of Miss Kenton: a stickler for propriety, Stevens warns Miss Kenton against romantic entanglements with other staff members, as the former housekeeper and under-butler just ran off together. Miss Kenton is hired, and Stevens brings in his elderly father, William Stevens, to replace the under-butler. One day, Miss K
|
en
|
/favicon.ico
|
https://catalog.afi.com/Catalog/moviedetails/59638
|
Writer Harold Pinter optioned film rights to Kazuo Ishiguro’s novel, The Remains of the Day, before it was published in 1989, according to a 14 Nov 1993 NYT article. Despite the novel’s critical and commercial success in the U.K., it remained “virtually unknown” in the U.S., as stated in a 6 Aug 1991 HR item. Pinter’s film adaptation was acquired by The Guber-Peters Company, for John Calley to produce and Mike Nichols to direct, as stated in the 28 May 1992 DV. Columbia Pictures was set to finance and distribute, and the production was budgeted at $26 million, according to a 24 Jan 1993 NYT article.
The 28 Jun 1991 Screen International announced that Jeremy Irons would play “James Stevens.” Mike Nichols reportedly auditioned Meryl Streep, Glenn Close, Anjelica Huston, and Emma Thompson for the role of “Miss Kenton.” Nichols eventually left the project as director, but stayed on as producer. Following his departure, the 20 Apr 1992 Var noted that director Christopher Menaul was briefly attached before Columbia brought the project to James Ivory, who had been interested in Ishiguro’s novel since reading it on the set of his 1990 film, Mr. and Mrs. Bridge (see entry). When Ivory agreed to direct, his and Ismail Merchant’s Merchant/Ivory Productions came on board to produce.
The 28 May 1992 DV announced the project had received a green light from Columbia Pictures, with Anthony Hopkins cast in the lead role. James Ivory considered Anjelica Huston and Juliet Stevenson for Miss Kenton, before casting Emma Thompson, who recently co-starred with Anthony Hopkins in Merchant/Ivory’s 1992 film, Howard’s End.
Filming was slated to begin in Sep 1992, in England or Ireland. According to an item in the 21 Sep 1992 DV, the production budget had been reduced from $26 million to $11.5 million, but still represented Merchant/Ivory’s costliest production, to date.
Merchant and Ivory brought in frequent collaborator Ruth Prawer Jhabvala to rewrite Harold Pinter’s script. Although Pinter was sent Jhabvala’s rewrite and offered a co-writing credit, he declined. In the 14 Nov 1993 NYT, Mike Nichols was quoted as saying, “Pinter’s approach was more austere and had more mystery,” while Jhabvala’s version was “clearer and more accessible.” Jhabvala’s script included the following departures from the novel: the film’s “Jack Lewis” is a composite of two characters; “Lord Darlington’s” Nazi sympathies are revealed earlier in the film’s narrative; and the role of Miss Kenton, described in the 14 Nov 1993 NYT as a “shadowy figure” in the novel, was expanded.
Technical advisor Cyril Dickman served as the palace steward at Buckingham Palace for fifteen years, and spent a total of fifty years in service, as noted in a 23 Nov 1993 Chicago Tribune article. Dickman worked closely with Anthony Hopkins, teaching him how to move in and out of rooms, how to address employers, and how to perform minute tasks such as ironing the morning paper. The retired butler reportedly appears in the background of one of the film’s final scenes, but is not credited as a cast member.
Principal photography began 21 Sep 1992, according to the 29 Sep 1992 HR production chart. The fictional “Darlington Hall” was filmed at four English residences: Dyrham Park near Bath, which doubled as Darlington’s front entrance; Corsham Court in Wiltshire, where several interiors were filmed; Powderham Castle in Devon, which provided a staircase hall; and Badminton House, the Duke of Beaufort’s residence in Avon, where servants’ quarters were filmed. The 27 Nov 1992 Screen International stated that filming concluded on 1 Dec 1992.
A 1 Sep 1993 LADN brief reported that trailers for the film sparked a renewed interest in the novel, prompting Vintage Books to order a printing of 100,000 copies.
The Los Angeles, CA, benefit premiere took place on 25 Oct 1993 at the AMPAS theater, as stated in a 27 Oct 1993 LAT item, raising over $100,000 for the nonprofit organization, Education First! The film went on to gross roughly $20 million, according to The Globe and Mail [Toronto, Canada], and was well received by critics.
The Remains of the Day was nominated for the following Academy Awards: Actor in a Leading Role (Anthony Hopkins); Actress in a Leading Role (Emma Thompson); Art Direction; Costume Design; Directing; Music (Original Score); Writing (Screenplay Based on Material Previously Produced or Published); and Best Picture.
End credits include: “The makers of this film gratefully thank: The Duke of Beaufort; Badminton House, Avon, and the Beaufort Hunt; The Earl of Devon; Powderham Castle, Devon; The Lord Methuen; Corsham Court, Avon; The National Trust; Dyrham Park, Avon; Arthur Sanderson and Sons, Ltd.; Garrard, The Crown Jewellers.
Less
In 1950s England, James Stevens has spent the better part of his life as butler at Darlington Hall. He receives a letter from former housekeeper Mrs. Sarah Benn, who now lives in Clevedon. She discloses that she has left her husband for the second time and often thinks of her years at Darlington Hall as the happiest of her life. In need of a new housekeeper, Stevens decides to visit Mrs. Benn, hoping to persuade her to return to her old job. With the permission of his employer, Jack Lewis, an American who recently bought Darlington Hall, Stevens goes on holiday to Clevedon. En route, he recalls some twenty years ago when he interviewed Sarah Benn, who went by her maiden name of Miss Kenton: a stickler for propriety, Stevens warns Miss Kenton against romantic entanglements with other staff members, as the former housekeeper and under-butler just ran off together. Miss Kenton is hired, and Stevens brings in his elderly father, William Stevens, to replace the under-butler. One day, Miss Kenton attempts to liven up Stevens’s quarters with a bouquet of flowers. The butler insists he likes things as they are, and reprimands her for addressing his father as “William” instead of “Mr. Stevens, Sr.” Miss Kenton argues that she is his father’s superior, but Stevens maintains she should call the elderly man by his surname out of respect. Rattled by Stevens’s pedantry, Miss Kenton leaves in a huff. That night, at dinner with the other servants, William Stevens tells an amusing story about a butler who was forced to shoot a tiger inside his employer’s home in India. He is called upstairs to sweep, but absentmindedly leaves the broom and dustpan on a landing. Miss Kenton sees the broom and informs Stevens, who removes it just as their employer, Lord Darlington, descends the stairs. Miss Kenton warns Stevens that his father has been given too much responsibility, but he dismisses her complaint. Shortly after, William Stevens trips and falls on his way to deliver tea to Lord Darlington and his guests. Lord Darlington, a kindly but misguided Nazi sympathizer, is planning an “international conference” to promote peace between England, France, and Nazi Germany, and fears the under-butler might cause a similar scene. Darlington instructs Stevens to reduce his father’s duties, and the butler complies. During the conference, Stevens prioritizes his job, even when his father falls seriously ill. On the final night of the conference, visiting American congressman Jack Lewis speaks out against “amateurs” like Lord Darlington and his guests taking it upon themselves to decide international affairs, and recommends leaving such negotiations to professional politicians. Darlington fires back just as Stevens gets word that his father has passed away. When he finally makes it to his father’s quarters, Stevens sends the doctor to the room of a visiting Frenchman who is complaining of sore feet. Miss Kenton offers her condolences to the detached butler. In need of new housemaids, she hires two German refugees, but Darlington discovers they are Jews and asks Stevens to fire them. When Stevens carries out the orders, Miss Kenton threatens to leave. However, she stays, and hires a new housemaid named Lizzie. She later admits to Stevens that she is a coward and fears the loneliness of the outside world. He assures her she means a great deal to the house, and Miss Kenton is touched. Back in the present, Stevens’s car runs out of gas on the way to Clevedon. At a boardinghouse, patrons mistake him for a wealthy gentleman, and Stevens encourages the confusion by claiming to know Winston Churchill. The conversation leads him to reflect on a time when one of Lord Darlington’s guests ridiculed him for his lack of worldly knowledge. In the morning, a man named Richard Carlisle drives Stevens to buy gasoline, and drops him off at his car. Carlisle guesses that Stevens is a butler, and Stevens admits he lied by omission. Learning that he works at Darlington Hall, Carlisle asks about the late Lord Darlington, who came to be known as a traitor. Ever loyal to his employer, Stevens defends Lord Darlington as a good man who ultimately regretted having been “taken in” by Nazi rhetoric. Continuing on his way to Clevedon, he thinks back to another time with Miss Kenton: she flirtatiously approaches him in his quarters and demands to know what book he is reading. Although she encroaches on his personal space and pries his fingers from the novel, he remains frigid, insisting that he only reads to better his command of the English language. Lizzie, the housemaid, informs Miss Kenton that she and another servant, Charlie, are leaving to get married. Miss Kenton warns Lizzie that living poor is not easy, but Lizzie claims she only needs Charlie. At her nightly meeting with Stevens, Miss Kenton refuses to talk about work and is frustrated by his formality. Having developed an emotional attachment to him, she begins to weep. To her dismay, he suggests discontinuing their meetings. Miss Kenton begins to spend time with former co-worker Thomas Benn on her days off, and eventually agrees to marry him. When she delivers news of her engagement, Stevens maintains his cool demeanor. Miss Kenton tries to provoke him by saying that she and Benn laugh about him behind his back. Later, Stevens overhears Miss Kenton sobbing in her quarters. He interrupts her, but only to tell her about an area of the house that needs dusting. Back in the present, Miss Kenton – now Mrs. Sarah Benn – sees her estranged husband, Thomas, who reveals that their daughter, Catherine, is pregnant, and urges her to come back to him. Afterward, she meets Stevens for tea, and tells him she can no longer take the job at Darlington Hall as she is expecting a grandchild. They reminisce about days past. Mrs. Benn laments her occasionally unhappy marriage and admits she often regrets leaving Darlington Hall. They walk to the pier. As the sun goes down, Mrs. Benn comments that most people look forward to evening as the best part of the day. She asks Stevens what he looks forward to. He answers: getting back to Darlington Hall and hiring new staff. Before they part, Stevens urges her to find happiness with her husband. He apologizes for being so personal, but says they may never meet again. Mrs. Benn cries as she waves to him from the bus. Back at Darlington Hall, Stevens prepares for the arrival of Jack Lewis’s family. A pigeon flies in through the chimney, and he helps Lewis shoo the bird outside.
Less
|
|||||
5020
|
dbpedia
|
2
| 12
|
https://musicboxtheatre.com/films-and-events/the-remains-of-the-day
|
en
|
The Remains of the Day
|
https://musicboxtheatre.com/themes/custom/mb_theatre/favicon.ico
|
https://musicboxtheatre.com/themes/custom/mb_theatre/favicon.ico
|
[
"https://musicboxtheatre.com/sites/default/files/styles/large/public/promo-poster/the-remains-of-the-day-poster.jpeg?itok=p7i0IC1J",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/the-remains-of-the-day-still-1.jpg?itok=nkpV-Qau",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/the-remains-of-the-day-still-2.jpg?itok=QSpl_EFz",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/reday-stl-12-h.jpg?itok=AEMwjwb2",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/reday-stl-18-h.jpg?itok=NcpbFNvo",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/the-remains-of-the-day-still-1.jpg?itok=nkpV-Qau",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/the-remains-of-the-day-still-2.jpg?itok=QSpl_EFz",
"https://musicboxtheatre.com/themes/custom/mb_theatre/images/decoration/mbt-neon.png",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/4234_D_FP_000041715640302.jpg?itok=w0VfspJD",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/series-images/processed-6F0D0E7D-ADB5-41B8-B3C2-054D694F8CB8.jpeg?itok=Vb_C7s1y",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/barbarella3.jpg?itok=6a9Ws9KD",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/babyjane1.jpg?itok=lSSTfWFQ",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/series-images/MUBI-FEST_2024_US.jpg?itok=hp7h6YaJ",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/Looking%20for%20a%20thrill.png?itok=4DP8qQPB",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/all-that-jazz-still-1.jpg?itok=md_PRo_d",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/Mubi_16.jpg?itok=H6kcsWkt",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/5406_01869.JPG?itok=G0zmS6DE",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/Ryuichi%20Sakamoto%20-%20Coda%20Still%201.jpg?itok=kpSM6ZKY",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/MBT%20Trivia%20Poster.png?itok=tHjGMQqx",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/Suffer%20Little%20Children%20Still%201.jpg?itok=ONxHGyEN",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/Open%20Mic%201.jpg?itok=Flrf0Uzp",
"https://musicboxtheatre.com/sites/default/files/styles/page_images/public/film-images/T-Blockers%20Still%201.jpeg?itok=s1tm2mWX",
"https://musicboxtheatre.com/themes/custom/mb_theatre/images/footer/logo/mb-horiz-wordmark.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
70mm Blowup with Magnetic Sound from Sony Pictures RepertoryAdapted from Kazuo Ishiguro's novel, Merchant-Ivory's exquisite follow-up to HOWARDS END reunites Emma Thompson and Anthony Hopkins in another understated and adult romance. A tale of compromise and complicity in interwar England, THE REMAINS OF THE DAY follows housekeeper Miss Kenton (Thompson) as she waits for unflappable head butler Stevens (Hopkins) to think above his station and express his feelings while their employer Lord Darlington (James Fox) pursues a separate peace with Nazi Germany. The only Merchant-Ivory production to receive a 70mm release, REMAINS OF THE DAY shows the team's typical attention to costume design, set decoration, and period detail to its best advantage in this lovely blowup.
|
en
|
/themes/custom/mb_theatre/favicon.ico
|
Music Box Theatre
|
https://musicboxtheatre.com/films-and-events/the-remains-of-the-day
|
70mm Blowup with Magnetic Sound from Sony Pictures Repertory
Adapted from Kazuo Ishiguro's novel, Merchant-Ivory's exquisite follow-up to HOWARDS END reunites Emma Thompson and Anthony Hopkins in another understated and adult romance. A tale of compromise and complicity in interwar England, THE REMAINS OF THE DAY follows housekeeper Miss Kenton (Thompson) as she waits for unflappable head butler Stevens (Hopkins) to think above his station and express his feelings while their employer Lord Darlington (James Fox) pursues a separate peace with Nazi Germany. The only Merchant-Ivory production to receive a 70mm release, REMAINS OF THE DAY shows the team's typical attention to costume design, set decoration, and period detail to its best advantage in this lovely blowup.
|
||
5020
|
dbpedia
|
3
| 25
|
https://anglozine.com/remains-of-the-day-film-adaptation-flaws/
|
en
|
Remains of the Day: Film Adaptation Flaws
|
[
"https://anglozine.com/wp-content/uploads/2021/07/cropped-Anglozine-Logo-New.png",
"https://secure.gravatar.com/avatar/3a66e73321bcd5a816853c118c6ec2b1?s=30&d=monsterid&r=g",
"http://anglozine.com/wp-content/uploads/2013/06/remains-of-the-day.jpg",
"https://static.hupso.com/share/buttons/share-small.png",
"https://anglozine.com/wp-content/uploads/gravatar/photo0994.jpg",
"https://anglozine.com/wp-content/uploads/gravatar/photo0994.jpg",
"https://secure.gravatar.com/avatar/3a66e73321bcd5a816853c118c6ec2b1?s=75&d=monsterid&r=g",
"https://anglozine.com/wp-content/uploads/2013/06/cugat-150x150.jpeg",
"https://secure.gravatar.com/avatar/58f62d74264770290645649eae9dad08?s=30&d=monsterid&r=g",
"https://secure.gravatar.com/avatar/58f62d74264770290645649eae9dad08?s=30&d=monsterid&r=g",
"https://secure.gravatar.com/avatar/58f62d74264770290645649eae9dad08?s=30&d=monsterid&r=g",
"https://secure.gravatar.com/avatar/58f62d74264770290645649eae9dad08?s=30&d=monsterid&r=g",
"https://anglozine.com/wp-content/uploads/2024/03/Before-Sunrise-3.jpg",
"https://anglozine.com/wp-content/uploads/2022/05/Literary-travellogue-cover.jpg",
"https://anglozine.com/wp-content/uploads/2021/10/Yaa-Gyasi-cover.jpg",
"https://anglozine.com/wp-content/uploads/2021/04/retro-microphone-with-old-magazine-wooden-table_39665-153.jpg",
"https://anglozine.com/wp-content/uploads/2020/10/pexels-pixabay-33688.jpg",
"https://anglozine.com/wp-content/uploads/2020/06/final-back-and-front.jpg",
"https://anglozine.com/wp-content/uploads/2020/05/350f7d5692ff04393cc8782ec2243b3b-horz.jpg",
"https://anglozine.com/wp-content/plugins/wpforms-lite/assets/images/submit-spin.svg"
] |
[] |
[] |
[
""
] | null |
[
"Milica"
] |
2013-06-19T10:44:10+02:00
|
One of the most acclaimed novels by Kazuo Ishiguro “The Remains of the Day” is definitely one of the best works of English postmodernist literature. Therefore, it is not surprising that I have been looking forward to watching its film adaptation starring Anthony Hopkins and Emma Thomson. Unfortunately, the film failed to impress me the way the book had done. In my opinion, there are some unpardonable mistakes, which is what led me to write this brief film review.
|
en
|
Anglozine - All things literary
|
https://anglozine.com/remains-of-the-day-film-adaptation-flaws/
|
One of the most acclaimed novels by Kazuo Ishiguro The Remains of the Day is definitely one of the best works of English postmodernist literature. Therefore, it is not surprising that I have been looking forward to watching its film adaptation starring Anthony Hopkins and Emma Thomson. Unfortunately, the film failed to impress me the way the book had done. In my opinion, there are some unpardonable mistakes, which is what led me to write this brief film review. It is worth mentioning that if I watched the film without previously reading the book, some things would certainly not strike me as being unpardonable mistakes. My intention is to point to some discrepancies between the book and the film, which I consider important.
Playing with the names
Firstly, why would anyone change the name of the new owner of the Darlington Hall? In the Remains of the Day book, the owner is Mr. Farradey; in the film, it is Mr. Lewis, an American senator. It may seem as a matter of trifling importance, but I firmly believe that there was no need to do that. This “mistake” leaves me with an impression that the book was not even read.
Mr. Stevens Senior vs. Mr. Stivens Junior
I have something to say about the portrayal of Stivens’ father also. His father was carrying a tray while serving and he fell in front of Mr. Darlington, which causes Mr. Darlington to tell Stevens to reconsider his father’s duties. It was done in a very formal way, without betraying any traits of emotion on Stevens’ part. However, it appeared to me that his father was greatly upset. Now, you are thinking, “What is wrong with that”? The answer to this question is the fact that Ishiguro wrote there was still no trace of emotion discernible in his (Stevens’ father’s) expression, and his hands on the back of the chair appeared perfectly relaxed.
Stevens had looked up to his father his whole life. When it comes to the betraying sings of emotion, they were the same- they perfectly embody the emotional restraint of the traditional English butlers. The scene is crucial when it comes to the portrayals of both Mr. Stevens Senior and Mr. Stevens Junior. Furthermore, in a deathbed scene in the Remains of the Day film version, I was under the impression that Stevens’ father was rude to him, even though it is clearly stated in the book that his father was remorseful, telling Stevens I hope I have been a good father to you. I suppose I haven’t. It is the first time we find his father in a truly emotional state, which is not depicted the right way in the film.
The Irredeemable Dreams
Last but not the least is the scene when Miss Kenton is crying. In the book, we find Stevens behind her door in a state of indecisiveness whether to enter or not. In the film, he enters the room; in the book, he does not. He could not bring himself to do that which is a reflection of his emotional inhibition, as one of his main characteristics. That he did not open the door is the main point of the novel. This indecisiveness rendered whole dreams forever irredeemable, when it comes to the relationship between Stevens and Miss Kenton.
For some people, I admit, these “mistakes” are insignificant. But, for me, they are important. If there were not for these discrepancies, some things would be clearer when it comes to the interpretation of the film. On the other hand, maybe I just had “great expectations”, when it comes to this film. It just proves one thing: reading a book is a far better than watching a film adaptation only.
More reviews of Ishiguro’s books:
|
|||||
5020
|
dbpedia
|
0
| 27
|
https://issuu.com/premiersplans/docs/2016_catalogue
|
en
|
Catalogue Premiers Plans 2016
|
[
"https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png",
"https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg",
"https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png",
"https://photo.isu.pub/premiersplans/photo_large.jpg",
"https://image.isu.pub/200109223644-e96ae8d4e8b87c1659c0025293bce737/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/190116220416-4e60b7676e5fb4f4c844107a27b15a64/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/190114231141-6b24c2699405fff28b25d24c310c260f/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180107141443-f49f55487df6fbc0fdb27edc35365207/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180103190615-c7b1d0f921608ff0a777c88faf18b89a/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/170113004744-9f4d791dc3d3ca6da3b8406ffa7d9279/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/170111235832-8b5240e5564b180828755b28654cec97/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/160113180118-39dba6be1f54a2271aca773c377b3287/jpg/page_1_thumb_large.jpg",
"https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2016-01-17T13:14:50+00:00
|
Le catalogue de la 28e édition du Festival des premiers films européens (Angers - France) / The catalog of the 28th edition of the European Fist Fi...
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/premiersplans/docs/2016_catalogue
|
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.
|
||||
5020
|
dbpedia
|
3
| 72
|
https://www.douxreviews.com/2024/04/remains-of-day.html
|
en
|
Doux Reviews: The Remains of the Day
|
[
"https://4.bp.blogspot.com/-mQxqSs8av5I/Upudwz9XbTI/AAAAAAAAJuw/KezODo-symQ/s1600/douxtop.png",
"https://farm1.staticflickr.com/639/22473091096_3074dc783b_o.png",
"https://farm1.staticflickr.com/607/22499087335_43b18891ef_o.png",
"https://farm6.staticflickr.com/5732/21877982603_a18fde5f22_o.png",
"https://farm1.staticflickr.com/613/22311483588_0da9df0e26_o.png",
"https://farm6.staticflickr.com/5758/22499173765_c1ac986cdb_o.png",
"https://farm1.staticflickr.com/721/22311235040_441a022002_o.png",
"https://farm6.staticflickr.com/5796/22311482188_596c1d2659_o.png",
"https://farm6.staticflickr.com/5739/21877980313_e628a3f161_o.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCLlIrRJ_MKi28nScYfS5y5om5NV6b9x1agRJaHsEFoq0SRWnW10HbP4PxZ4Iu9cJ07nYhuyGbNmjUvJRLcbW-Nace-7e3JQB2x45Ryn7cGVvW4nB8jii_rVPX5PucDy-eXeiQiJ3haVDkcEdGQnFOvgOs61lR0QlvMSJAvClfGd2PY_rmKB_Nhw/w320-h213/remains.jpg",
"https://3.bp.blogspot.com/-nKDX1CHb1-w/ZfXaco2hDkI/AAAAAAAAAu0/amvjIRESASUC-yheZlbaRzl6peQE6cPNwCK4BGAYYCw/s35/SR%252520Selfie%252520TreeCitybrick.jpg",
"https://farm6.staticflickr.com/5589/14228149630_1cfd9b4d88_o.png",
"https://farm6.staticflickr.com/5640/21726095640_57bd6cb519_o.png",
"https://farm8.staticflickr.com/7915/47216285142_93c348db90_o.png",
"https://farm2.staticflickr.com/1442/25752749575_75cee06432_o.png",
"https://farm1.staticflickr.com/632/21727280599_97d49ba292_o.png",
"https://farm6.staticflickr.com/5640/21726095640_57bd6cb519_o.png",
"https://farm8.staticflickr.com/7915/47216285142_93c348db90_o.png",
"https://farm2.staticflickr.com/1442/25752749575_75cee06432_o.png",
"https://farm1.staticflickr.com/632/21727280599_97d49ba292_o.png",
"https://resources.blogblog.com/img/widgets/arrow_dropdown.gif",
"https://resources.blogblog.com/img/icon_feed12.png",
"https://resources.blogblog.com/img/widgets/subscribe-netvibes.png",
"https://resources.blogblog.com/img/widgets/subscribe-yahoo.png",
"https://resources.blogblog.com/img/icon_feed12.png",
"https://resources.blogblog.com/img/widgets/arrow_dropdown.gif",
"https://resources.blogblog.com/img/icon_feed12.png",
"https://resources.blogblog.com/img/widgets/arrow_dropdown.gif",
"https://resources.blogblog.com/img/icon_feed12.png",
"https://resources.blogblog.com/img/widgets/subscribe-netvibes.png",
"https://resources.blogblog.com/img/widgets/subscribe-yahoo.png",
"https://resources.blogblog.com/img/icon_feed12.png",
"https://resources.blogblog.com/img/widgets/arrow_dropdown.gif",
"https://resources.blogblog.com/img/icon_feed12.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
ChrisB compares the 1989 book 'The Remains of the Day' to its 1993 movie adaptation.
|
https://www.douxreviews.com/favicon.ico
|
https://www.douxreviews.com/2024/04/remains-of-day.html
| |||||||
5020
|
dbpedia
|
3
| 7
|
https://www.coursehero.com/lit/The-Remains-of-the-Day/things-you-didnt-know/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
5020
|
dbpedia
|
0
| 31
|
https://epdf.pub/english-filming-english-writing.html
|
en
|
English Filming, English Writing
|
[
"https://epdf.tips/assets/img/epdf_logo.png",
"https://epdf.tips/img/300x300/writing-english-in-context_5a99ef97b7d7bc33080409bd.jpg",
"https://epdf.tips/img/300x300/writing-mathematical-papers-in-english_5b979b6fb7d7bcfa7032587c.jpg",
"https://epdf.tips/img/300x300/essay-writing-for-english-tests_5b48fb68b7d7bcc57c212a78.jpg",
"https://epdf.tips/img/300x300/english-for-writing-research-papers_5b946891b7d7bcd77636686b.jpg",
"https://epdf.tips/img/300x300/english-is-not-english_5b9a4b84b7d7bca81d097ef5.jpg",
"https://epdf.tips/img/300x300/english-lingala-lingala-english-dictionary_5b99a379b7d7bccf494d78be.jpg",
"https://epdf.tips/img/300x300/twentieth-century-autobiography-writing-wales-in-e_5a99ef9bb7d7bc320817b1b7.jpg",
"https://epdf.tips/img/300x300/english-for-pharmacy-writing-and-oral-communicatio_5a8a14ffb7d7bcd24ae839be.jpg",
"https://epdf.tips/img/300x300/the-plain-english-approach-to-business-writing_5b2e34cfb7d7bcc80bba08f9.jpg",
"https://epdf.tips/img/300x300/writing-teachers-manual-english-in-context_5b8cbe73b7d7bcdd18fe28ed.jpg",
"https://epdf.tips/img/300x300/postcolonialism-revisited-welsh-writing-in-english_5b34dfd6b7d7bcd4639347be.jpg",
"https://epdf.tips/img/300x300/english-tahitian-tahitian-english-dictionary_5ab6dadbb7d7bcb31a4fc6fb.jpg",
"https://epdf.tips/img/300x300/singapore-english-dialects-of-english_5af0de93b7d7bcf14e2898ef.jpg",
"https://epdf.tips/img/300x300/academic-writing-course-study-skills-in-english_5a866766b7d7bc1371d47dc0.jpg",
"https://epdf.tips/img/300x300/singapore-english-dialects-of-english_5b701447b7d7bca0247f0052.jpg",
"https://epdf.tips/img/300x300/indian-english-dialects-of-english_5ea6c821097c4700418b738b.jpg",
"https://epdf.tips/img/300x300/english-lao-lao-english-dictionary_5af21fbab7d7bc795a67ef32.jpg",
"https://epdf.tips/img/300x300/academic-writing-course-study-skills-in-english_5b7d0d56b7d7bc17488fa669.jpg",
"https://epdf.tips/img/300x300/english-for-pharmacy-writing-and-oral-communicatio_5a8a14f0b7d7bcd24ae839bd.jpg",
"https://epdf.tips/img/300x300/russian-english-in-writing-_5b774a6bb7d7bc8a142607ec.jpg",
"https://epdf.tips/img/300x300/technical-english-writing-reading-and-speaking_5a99f30db7d7bc37083098c8.jpg",
"https://epdf.tips/img/300x300/english-academic-writing-for-students-and-research_5aaafa30b7d7bc3679d15c3f.jpg",
"https://epdf.tips/img/300x300/medical-writing-in-early-modern-english_5a879f87b7d7bcbf05646d58.jpg",
"https://epdf.tips/img/300x300/indian-english-dialects-of-english_5ba47400b7d7bc4606120840.jpg",
"https://epdf.tips/img/300x300/writing-matters-writing-skills-and-strategies-for-_5a99f133b7d7bc33080409d5.jpg",
"https://epdf.tips/img/300x300/concise-swahili-and-english-dictionary-swahili-eng_5ab6d4bfb7d7bcaf1a0f8532.jpg",
"https://epdf.tips/img/300x300/modern-english-yiddish-yiddish-english-dictionary-_5b036512b7d7bc766941ca33.jpg",
"https://epdf.tips/img/300x300/english-words_5b9718fab7d7bc1e3f1a877e.jpg",
"https://epdf.tips/img/300x300/english-traits_5bea975fb7d7bcf41f4f921a.jpg",
"https://epdf.tips/img/300x300/english-passengers_5b761aceb7d7bc3f2f46baef.jpg",
"https://epdf.tips/img/60x80/writing-english-in-context_5a99ef97b7d7bc33080409bd.jpg",
"https://epdf.tips/img/60x80/writing-mathematical-papers-in-english_5b979b6fb7d7bcfa7032587c.jpg",
"https://epdf.tips/img/60x80/essay-writing-for-english-tests_5b48fb68b7d7bcc57c212a78.jpg",
"https://epdf.tips/img/60x80/english-for-writing-research-papers_5b946891b7d7bcd77636686b.jpg",
"https://epdf.tips/img/60x80/english-is-not-english_5b9a4b84b7d7bca81d097ef5.jpg",
"https://epdf.tips/img/60x80/english-lingala-lingala-english-dictionary_5b99a379b7d7bccf494d78be.jpg",
"https://epdf.tips/img/60x80/twentieth-century-autobiography-writing-wales-in-e_5a99ef9bb7d7bc320817b1b7.jpg",
"https://epdf.tips/img/60x80/english-for-pharmacy-writing-and-oral-communicatio_5a8a14ffb7d7bcd24ae839be.jpg",
"https://epdf.tips/img/60x80/the-plain-english-approach-to-business-writing_5b2e34cfb7d7bcc80bba08f9.jpg",
"https://epdf.tips/img/60x80/writing-teachers-manual-english-in-context_5b8cbe73b7d7bcdd18fe28ed.jpg"
] |
[
"/pdfviewer/web/viewer.html?file=https%3A%2F%2Fepdf.tips%2Fdownload%2Fenglish-filming-english-writing.html%3Freader%3D1"
] |
[] |
[
""
] | null |
[
"Guest"
] | null |
E N G LI S H F I LM I N G , E N G LI S H W R ITI N G ENGLISH Jefferson HunterIndiana University Press Bloomington &...
|
en
|
epdf.tips
|
https://epdf.tips/english-filming-english-writing.html
|
E N G LI S H F I LM I N G , E N G LI S H W R ITI N G
ENGLISH Jefferson Hunter
Indiana University Press Bloomington & Indianapolis
F I LM I N G W R ITI N G
This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA www.iupress.indiana.edu Telephone orders 800-842- 6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2010 by Jefferson Hunter All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. > The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America Library of Congress Cataloging-inPublication Data Hunter, Jefferson, dateEnglish fi lming, English writing / Jefferson Hunter. p. cm. Includes bibliographical references and index. ISBN 978-0-253-35443-3 (cloth : alk. paper) — ISBN 978-0-253-22177-3 (pbk. : alk. paper) 1. Film adaptations— History and criticism. 2. Television adaptations—History and criticism. 3. English literature—Film and video adaptations. 4. Motion pictures—Great Britain—History. 5. Motion pictures and literature. I. Title. PN1997.85.H86 2010 791.430942—dc22 2009033652 1 2 3 4 5 15 14 13 12 11 10
Contents
·
Preface · vii
Introduction By Way of Hanif Kureishi and Stephen Frears · 1 one
Wartime Pageantry · 19 The Archers on Pilgrimage · 22 Screen Processions and Village Pageants · 50 The Documentary Pageant: Jennings’s Listen to Britain · 68
two
American Gangsters, English Crime Films, and Dennis Potter · 96 George Orwell versus James Hadley Chase · 99 Contending with America · 108 In Search of an English Crime Film · 118 The Singing Detective as Summa Criminologica · 132
three
Two Texts to Screen · 157 How to Adapt Dickens, and How Not to Do It · 162 Ishiguro and Merchant-Ivory, Upstairs and Downstairs · 184
four
The Strange Potencies of Music · 205 Rawsthorne and Rachmaninoff · 212 Rolling Out the Barrel, Looking Up and Laughing · 221 Distant Voices, Lip-Synched Lives · 242
Conclusion
· ·
By Way of Tony Harrison and Alan Bennett · 279 Notes · 311 Index · 339
Preface
This is a book about English fi lms and television dramas, as works of art of compelling interest in themselves, and as works related to the larger culture of England in the twentieth century, especially its literary culture. Hence the book’s title, which is meant to suggest not so much a double subject as a double approach to one subject—the expression, whether on the page or the screen, of certain significant themes, of certain ways of seeing and understanding. I have used the term “English” rather than “British” in the title partly because we still usually speak of English rather than British literature, but mostly because the screen works I consider, along with the literary works influencing or influenced by them, were in fact produced in England rather than in Scotland or Wales. A great many screen works are mentioned in the following pages; I examine a dozen or so at length, from Gracie Fields’s Look Up and Laugh in 1935 to Alan Bennett’s The History Boys in 2006. That examination, I have found, is obliged to take literary connections into account, some of the connections being obvious (The History Boys was a stage play before it was a fi lm), some not (Look Up and Laugh derives stylistic cues, as well as its screenplay, from the novelist J. B. Priestley). For all the distinctiveness of its visual and auditory operations, its purely cinematic qualities, English fi lming turns out to have a great deal to do with writing, especially English filming in the period of its greatest achievement. Michael Powell, a very literary filmmaker indeed, signaled as much with his 1944 fantasia A Canterbury Tale, a film with a Chaucerian title and vii
viii
·
P r e fac e
a Kiplingesque village setting, with lettered signs in a bombed street, portentous inscriptions by a doorway, repeated close-ups of books on a study table. Readers of this book should be aware that it is a kind of close-up itself, a look at films sometimes shot by shot, or sound by sound. Many pages are devoted to careful formalist analysis, to the end of achieving a detailed understanding of what filmed sequences mean and how that meaning is conveyed—to the end, that is, of doing justice to works which have been written, photographed, and edited with a detailed genius—and ultimately to the end of gaining the greatest possible pleasure from them. I urge readers to compare my analyses against their own viewings of the sequences in question, just as they would read and think about quoted passages if this were a book on the twentiethcentury English novel. Neither literary contextualizing nor formalist analysis is particularly the method of film studies as currently practiced in the academy (though both are the methods of serious film reviewing), and for that reason I begin the book with a brief introduction setting forth arguments for proceeding in the way I do, taking as examples for analysis My Beautiful Laundrette and Sammy and Rosie Get Laid, two films with script by Hanif Kureishi and direction by Stephen Frears. I would never contend that mine is the only way to approach English screen works, only that it is a valid way, and I believe a rewarding way, given some oddities of the development of fi lm studies as a discipline, and given the richness of screen works which have received nothing like the attention due them. The Third Man has been analyzed to a fare-thee-well, but other ganglord-on-the-run fi lms, for example John Mackenzie’s The Long Good Friday, have not. Two of the works I focus on are not films at all, but television series written by Dennis Potter, Pennies from Heaven and The Singing Detective. My rationale for considering television together with film, in spite of the manifest differences (industrial, technical, budgetary) between the two media, is also given in the introduction. After the introduction, in a chapter largely historical in orientation, I look at two films from World War II, A Canterbury Tale and Humphrey Jennings’s avant-garde documentary Listen to Britain, both selected for their representative as well as their idiosyncratic quali-
P r e fac e
·
ix
ties. These are what-we-are-fighting-for works, only to be fully comprehended in a broader context of patriotic films and writings, as also in the pleasingly eccentric context of village pageants and wartime political shows, and finally in two seemingly opposed literary contexts, Kipling’s nostalgia and T. S. Eliot’s Modernism. The third chapter, focusing on genre, examines crime fi lms, chiefly because crime as a subject is linked so inextricably with a nation’s understanding of itself, its countenancing of certain kinds of violence and its insistence on certain forms of morality. I concentrate on a limited number of examples—among them No Orchids for Miss Blandish, Stormy Monday, The Long Good Friday, and Get Carter—particularly in their relation, imitative or combative, to American models. The main writer involved here is George Orwell, author of two important 1940s essays about crime, and the screen work considered at greatest length is The Singing Detective, in my view the culmination of a distinctively English tradition of domestic crime dramas. Following that, the fourth chapter considers literary adaptation— the most obvious sort of involvement of fi lm with writing. This is a topic much analyzed theoretically, but perhaps narrowly, with regard only to the transition from page to screen, its success or failure, its fidelity to or betrayal of an original. I am just as interested in the influence of screen on page, or more generally the intellectual entanglement of the two kinds of storytelling, and I examine that entanglement in the Merchant-Ivory Remains of the Day and in the 1985 BBC television serialization of Dickens’s Bleak House. The latter version stands as an exemplary visualization—a more exemplary visualization, in my view, than the BBC Bleak House of 2005—of Dickens’s fog-soaked images and as an enactment of his dark characterizations. The next chapter considers a technique—music in screen works. Here my examples are orchestral scores in older works like the famous Brief Encounter and the almost unknown The Captive Heart; upbeat production numbers in Look Up and Laugh; jazz in Look Back in Anger; popular songs in Pennies from Heaven and other Potter works; and a mixture of popular and classical music in two art-house fi lms by Terence Davies, Distant Voices, Still Lives and The Long Day Closes. What all these filmed performances have in common is summed up in a line from Noël Coward about the strange potency of cheap music—a
x
·
P r e fac e
much repeated cliché that finally has more to convey about the strangeness of musical effects than about their cheapness. In a conclusion, I follow the history of involvement between English writing and filming out to its late twentieth- and early twentyfirst-century culmination in the work of the poet Tony Harrison and the playwright Alan Bennett. Harrison’s “fi lm/poems,” like Prometheus or Crossings, a remake of the 1936 documentary Night Mail, merge writing and fi lming into what Harrison considers a thematic (and even rhythmic) hybrid form, while Bennett’s The History Boys, if demonstrating a more modest sort of hybridity, is nevertheless developed from an extraordinary range of dramatic, fi lmed, and televised productions. Twentieth-century English playwrights have routinely undertaken screen work (Coward, Tom Stoppard, Harold Pinter), but Bennett has done more than most, and been more influenced by the cinema and television—and for that reason he seems representative of where the national culture stands at this moment in its history. Dates given for English screen works are those of initial exhibition or broadcast in England; when possible, these have been taken from Denis Gifford’s British Film Catalogue, third edition (London and Chicago: Fitzroy Dearborn, 2001). Dates of American or other screen works are as given in the Internet Movie Database (www.imdb.com). Quotations from dialogue are taken directly from soundtracks, not from published screenplays, unless otherwise specified. Bibliographical information for critical and biographical publications which I have consulted is given in the endnotes. Any American writing about modern English culture, in the form of its fi lms and television programs, ought to feel a decent sense of trepidation. I certainly do. No doubt I have misconstrued actions or phrases which English viewers would instantly comprehend, belabored the obvious, missed jokes, erred about a tone or two; in short, gotten things wrong. My rationale for proceeding anyway is that sometimes approaches from afar may be useful precisely because they come from afar, not from within. They engage with a subject freshly and curiously, are drawn to interesting details but also willing to generalize, with an outsider’s daringness. Joseph Losey (born La Crosse, Wisconsin) saw the English class system from afar and so was able to direct an extraor-
P r e fac e
·
xi
dinarily perceptive film about it, The Servant, admittedly with Robin Maugham’s novel and Harold Pinter’s screenplay to guide him. I have not emulated Losey’s creative achievement, of course, but at least been encouraged by his example. Such understanding of English screen culture as I have, I owe in part to my good fortune in being able to do research in England, particularly in the National Film Library at the British Film Institute in London, and in the BFI’s viewing facilities, where works from the National Film and Television Archive, otherwise unavailable, can be seen. I am grateful to many librarians and to staff at the BFI, Janet Moule and Kathleen Dickinson in particular, for their help. Smith College funded more than one research trip to London and made possible the writing of much of this book with the granting of a year’s leave from teaching. For that help, and for generosities extended by the associate provost, Charles Staelin, I am very thankful. Librarians at Neilson and Josten Libraries at Smith were unfailingly energetic in answering queries, obtaining books, and suggesting research tactics. It is a pleasure to thank them: Pamela Skinner, Robin Kinder, Sika Berger, Bruce Sadjak, Janet Spongberg. My Smith colleagues William Oram, Michael Gorra, Luc Gilleman, and Michael Thurston read portions of the text in draft and made helpful suggestions for revision, as did John C. Elder of Middlebury College. They were an ideal audience, the sort of readership every writer would wish to have—generous, encouraging, usefully finicky. My son Andrew Hunter gave last-minute research help. Pamela C. Hunter gave such spousal support and encouragement as made the long labor of writing a book tolerable. Finally, I am indebted to my Smith research assistants, especially Mia Cabana and Jill Testerman, and to the Smith students to whom I have taught British fi lm and television over a number of years. Naa-Adei Kotey, Noelle Lundgren, and Dawn Thornton in particular had good ideas and asked hard questions about the subject. This book is meant to give better, or at least more developed, answers than I was able to deliver on the spot. Lines from W. H. Auden, “Night Mail,” © 1938 by W. H. Auden, from Collected Poems, reprinted by permission of Random House, Inc., and by Faber & Faber Limited.
xii
·
P r e fac e
Lines from Noël Coward, “Twentieth Century Blues,” from Cavalcade, and “Play Something Light,” from Shadow Play, published in Coward, Plays: Three (London: Methuen, 1979), reprinted by kind permission of NC Aventales AG, successor in title to the Estate of Noël Coward, and by A & C Black Publishers. Lines from T. S. Eliot, “Defense of the Islands,” published in Collected Poems 1909–1962 by T. S. Eliot, © 1936 by Harcourt, Inc., and renewed 1964 by T. S. Eliot, reprinted by permission of Houghton Mifflin Harcourt Publishing Company and Faber & Faber Limited. Lines from Philip Larkin, “For Sidney Bechet” and “The Whitsun Weddings,” published in Larkin, Collected Poems (NY and London: Farrar, Straus and Giroux, 1988, 1989), copyright © 2003 by the Estate of Philip Larkin, reprinted by permission of Farrar, Straus and Giroux, LLC and Faber & Faber Limited. Lines from Dylan Thomas, “Our Eunuch Dreams,” published in The Poems of Dylan Thomas (NY: New Directions, 1957 and London: J. M. Dent, 1954), © 1953 by Dylan Thomas, reprinted by permission of New Directions Publishing Corp., and David Higham Associates.
E N G LI S H F I LM I N G , E N G LI S H W R ITI N G
Introduction BY WAY OF HANIF KUREISHI AND STEPHEN FREARS
It is routine for a certain kind of contemporary scholarship to refer to the films it deals with as texts, that is, as sign-systems comparable in their operation to poems, novels, plays, reality programs on television, rock videos, advertising slogans, newscasts, or any of the other expressions of our culture which this scholarship has, for its own generalizing and theorizing purposes, lumped together. If I resist calling screen works texts, however useful the term might be to others, it is because doing so would seem to me to obscure the ways in which films actually work—not textually, in the ordinary sense of the word, or not textually in the main, but rather with images, with sounds, with simultaneity of image and sound, with rapid transitions from image to image and from sound to sound, with (usually) spoken dramatic dialogue and visible gestures, with the enactment of action, with a host of conventions we have learned to interpret in the century of moving pictures’ existence; in short, with a language distinctive to itself. I can see why Dennis Potter once referred to his Pennies from Heaven as a “novel for television,” but without wanting to take anything away from that work’s ambitious scale and seriousness of purpose, or its fiction-like, ample characterizations, I would insist on noticing all the qualities that make it in fact what it is, a multi-part television series. It is, precisely, televisual—or cinematic even, though less cinematic than Potter’s other major screen work, The Singing Detective, for reasons to be explained in a later chapter.
2
·
English Filming, English Writing
In one obvious sense, of course, films do resemble texts. They are interpretable, and complex films are interpretable in the same way as complex texts. They invite an attentiveness to detail and require an ability to arrange details into whole impressions, and then they grant a complex pleasure. This pleasure is partly intellectual, that of successful comprehending, of following the convolutions (and the straightaways) of a discourse, but in my experience it is also aesthetic, the pleasure of following the convolutions (and the straightaways) of a carefully shaped work, one given coherence by its artfulness. Explicated, analyzed formally, taken apart into their constituent elements, as poems by Donne or Marvell used to be taken apart in the heyday of New Criticism in the 1950s and 1960s, screen works paradoxically seem more whole than ever. At least, that is the critical position which I take, and which has governed the chapters that follow. Unlike a deconstructionist (such as Catherine Belsey: the “object of the critic is to seek not the unity of the work, but the multiplicity and diversity of its possible meanings”), I am or attempt to be an assembler of parts into wholes. It is precisely the unity of a film or television series, even perhaps of a screen genre, which I am looking for. In a later chapter of this book, for example, I propose a single category (“domestic crime drama”) for many screen works, They Made Me a Fugitive and It Always Rains on Sunday, Traffik and Get Carter among them. Throughout the book, in discussions of individual fi lms, I seek to identify unifying themes and, especially, formal consistencies—the relations of one part to another and to the whole, the sense of proportion among parts, and the management of tone throughout. Formal consistency is not always fully achieved, of course; no one could turn They Made Me a Fugitive into an objet d’art as perfectly realized as the best poems of Donne or Marvell, and in the following pages I have had to acknowledge formal shortcomings when they are there on the screen to be seen. Nor is full-scale analysis always the way to get at formal consistency when it is achieved, especially when analysis marches straight through an entire film, scene by scene or shot by shot. I have avoided that kind of relentlessness, dealing more with sequences than with whole works. Serious criticism of the cinema in England has been practiced for seventy years or so (I am thinking of Charles Davy’s Footnotes to the Film, from 1938, as a starting point, followed shortly by Roger Man-
I n t roduc t io n
·
3
vell’s work in the 1940s), and in that time it might have been expected to give every significant screen work its aesthetic due, but that has not in fact happened. There is a backlog of works awaiting formalist appreciation. The reason is that such an appreciation requires seeing films carefully and repeatedly, in a way that was rarely possible until the spread of videocassette technology in the 1970s and 1980s, and which has now in the era of the DVD become even easier. But by the 1970s, film scholarship had begun to discount aesthetics and emphasize other matters. Its projects became highly theoretical, poststructuralist interrogations (films as sign-systems, fi lms as social codes), inquiries into industrial organization or cinema buildings or audience responses to fi lm, histories of genres, gender studies and queer studies, examinations of stardom, and above all the political contextualizing of film, the assessment of the cinema’s resistance to or acquiescence in, say, Tory policy under Margaret Thatcher. In other words, just when it became possible to watch the screen more closely than ever before, criticism tended to turn aside from close watching; away from a formalist interest in what exactly was happening on the screen, and away from the sorts of judgment—this film is worth watching, that one not—which generally accompany formalist criticism. This situation may now be beginning to change, for example with the arrival on the publishing scene of two different series of short critical books on individual films, several of which have an admirable care for aesthetic matters. Still, Peter Wollen, the British film critic and scholar prominent since the publication of his groundbreaking book Signs and Meaning in the Cinema in 1969, has recently counseled a rethinking of the aims of film criticism: As I read through copious new accounts of British studios or genres or periods or representations of gender or national identity, I begin to wonder where aesthetics fits into the agenda of research and rediscovery. Perhaps the point has come when we need to step back for a moment and make some broad judgements about British cinema, to look at it again as an art form. Which are the fi lms that really count, the fi lms we wouldn’t mind seeing again and again?
This appeal, especially coming from a figure like Wollen, seems worth paying attention to. I have tried to pay attention to it throughout this book.
4
·
English Filming, English Writing
Among “the films that really count” for many scholars (and ordinary viewers) is My Beautiful Laundrette, directed by Stephen Frears, written by Hanif Kureishi, and produced by Tim Bevan and Sarah Radclyffe. It was released in November, 1985, after two festival screenings. My Beautiful Laundrette excited interest for many reasons. Its frank sex scenes between the two main characters, the ex-punk Johnny and his boyhood friend Omar, a young Anglo-Pakistani, drew admiration from gays and alarmed vigilance from would-be censors. The fi lm depicts an arresting London, full of money and decay, with hustling Pakistani businessmen on one side and feckless white skinheads on the other. That is, it reconceives urban Englishness as a racially mixed, erotically charged, and economically determined state of being; as a condition of painful ambivalence (“this damned country, which we hate and love” says one immigrant); as a mode of life encompassing both violence and toleration, both cynicism and heartfelt commitment to “the new enterprise culture.” My Beautiful Laundrette thus lent itself to a wide variety of political or historical interpretations, with “The Empire strikes back” being the usual formulation of its politics. It was the first screenplay for Kureishi, who in 1985 was getting to be well known as a playwright (while revising My Beautiful Laundrette he was adapting Mother Courage for the Royal Shakespeare Company), and only the third featurelength directorial assignment, after Gumshoe and The Hit, for Frears, who had first served as assistant director for Lindsay Anderson, then established a considerable reputation in television. Let us take a look at a one short sequence from the fi lm, as an example of the treatment of many fi lm sequences in the pages to follow, and thus an introduction to the general critical method of the book. I will touch on theme, on the politics arising from theme, on fi lm history, and above all on aesthetics—fi lm “as an art form,” as Wollen says. After the close reading, and only after it, we will be able to move on to other considerations, such as the larger cultural context to which Kureishi and Frears’s film belongs. Almost at the end of My Beautiful Laundrette a young woman named Tania makes her exit from the plot. Tania is a highly modern and secularized Anglo-Pakistani, the daughter of Omar’s uncle Nasser and his aunt Bilquis, and so Omar’s cousin. In the view of the older generation, especially Omar’s vodka-soaked and despairing father, she ought by decent
I n t roduc t io n
·
5
family tradition to become his son’s wife. Omar drunkenly proposes to her, but he has committed himself fully to Johnny, as Tania has the intelligence to see, and besides Tania is attracted to Johnny, if she is attracted to any man. At the spiff y new laundrette she issues Johnny a teasing invitation (“I’m going, to live my life. You can come”), followed by a warning (her family will swallow him up “like a little kebab”), then strides out. A few moments of screen time later she departs for parts unknown by train, befitting the sense of restless movement—Pakistani travelers arriving from Heathrow with smuggled drugs, cars moving through dangerous, skinhead-infested construction sites, Johnny climbing in and out of squats, London visibly on its way to becoming something else—with which My Beautiful Laundrette is filled. Tania’s train station is visible from the meager balcony of Omar’s papa’s flat, a significant setting, in that it so much recalls the favorite mise-en-scène of 1950s or 1960s English films, domesticity linked with a tired industrialism, factory chimneys looming behind shabby rowhouses. The sky is gray (Frears liked shooting in February because in that month “England looked especially unpleasant”), and the grayness gives the balcony a monochrome dreariness. The balcony also looks cramped. Frears puts Papa and his successful brother Nasser in each other’s faces, framing them tightly, and allows their opening dialogue exchanges to be a little drowned out by train noises. In sum, the effect of the setting is to create a momentary pastiche of, and then show differences from, an older kind of filmmaking, namely the kitchen-sink realism of a Tony Richardson or a Karel Reisz. My Beautiful Laundrette is, let us say, a Saturday Night and Sunday Morning in which a wayward youth is finally not trapped into conformity by marriage with a beautiful young woman. (The filmmakers may have wanted to acknowledge this. In Karel Reisz’s 1960 fi lm, the young wife is played by Shirley Anne Field, who twenty-five years later played Rachel, Nasser’s English mistress, in My Beautiful Laundrette.) As Kureishi originally conceived it, Tania’s departure was to be conventionally filmed: A train is approaching, rushing towards Nasser. Suddenly it is passing him and for a moment, if this is technically possible, he sees Tania sitting reading in the train, her bag beside her. He cries out, but he is drowned out by the train.
6
·
English Filming, English Writing
If it is not possible for him to see her, then we go into the train with her and perhaps from her POV in the train look at the balcony, the two figures, at the back view of the flat passing by.
In the scene as actually shot, however, the handling is quite different. We glimpse Tania in a point-of-view shot from Papa and Nasser; she is standing with her suitcase on the distant station platform, wearing a chic and rebellious red scarf. Nasser calls out in surprise, but Tania fails to hear him, already being in departure mode. An Intercity express goes by fast in one direction, blocking his view of her, then another train equally fast in the other direction. Neither train stops or slows, but when the second has passed we see that Tania has vanished, as if by magic— gone off on her journey, presumably, but not in any way that makes realistic sense, not in any way that might have been photographed for Saturday Night and Sunday Morning. How do we explain this odd set-up? In production, it presumably saved money and time, but it also belongs to an overall conception. It seems to involve magic; so do other parts of the story—in keeping with “the tradition of magic realism associated with postcolonial literatures,” the jealous Bilquis gathers herbs, mutters arcanely over them, and so from afar gives her husband’s mistress Rachel a painful skin rash. Furthermore, Tania’s disappearance is cinematically cheeky, a way for the director to “say” something like “you know and I know that all we’re doing here is removing the character from the scene, so let’s not bother with a slowing train and a halt for passengers, etc., let’s just remove her as expeditiously as possible”; cheekiness runs all the way through My Beautiful Laundrette. As Leonard Quart has noted, the film disrupts our sense of order and affirms the value of spontaneity. As Christine Geraghty has noted, it conveys throughout a “sense of cinema as a place for the unexpected,” and it drew reviewers’ praise for being “entertaining, zany, fresh and quirky.” It is playful, allusive (a Bollywood poster stuck on a wall next to a Some Like It Hot poster), and provokingly mixed in tone: brutal violence comes out of nowhere, then suddenly stops, and seriousness gives way to farce, as when earlier in the film Tania bares her breasts at a party, to tease Omar, while “Rule, Britannia” in a back-beat version sounds on the house stereo system. In My Beautiful Laundrette a drug-dealer commands no more attention than a “fluff-drying spin-drier,” as Kureishi puts it in the screenplay. Both
I n t roduc t io n
·
7
writer and director obviously wanted their fi lm to amuse, to employ the “modern mode” of irony in order to comment on “bleakness and cruelty without falling into dourness and didacticism.” It is a sad irony, admittedly, which caps Tania’s exit. Just before she appears on the platform Papa has said something wistful about his son’s marriage and asked if Tania is a possibility, to which Nasser nods yes, enthusiastically and unconvincingly; but then her sudden and total disappearance makes her an obvious impossibility, and sends Papa glumly back to the bottle. By exiting, Papa ends the scene, after having begun it with his entrance onto the balcony, though the first thing we actually see is the window beside the balcony door: a match to the laundrette window through which the immediately preceding shot has been framed. A few seconds after the entrance, Frears—or the film’s editor, Mick Audsley— matches shots in the direction of Tania’s train station with reverse shots in the direction of Nasser’s disbelieving face; both perspectives include out-of-focus, fast-moving trains, in the foreground and in the background respectively. The spatial organization of the scene is in fact a little hard to read, a little disorienting, but the fi lmmakers seem to have accepted disorientation as the price of filling this minute of screen time with balanced visuals and symmetrical movements (all told, we see six trains in motion, three from left to right, three from right to left). In other words the scene has a careful design of its own, something tidy and predictable to set against the strangeness of Tania’s unaccountable disappearance. This design is unobtrusive. It does not get in the way of the natural-looking staging (train sounds make Nasser and Papa turn their heads toward the tracks, the camera follows the turn in a gentle pan and then continues on to what they are seeing) or of the dialogue. It does not fully compensate for the unpleasantness of February and the shabbiness of the setting. But the design is there in the sequence. To a film which after all has the word “beautiful” in the title it contributes a touch of pleasing orderliness, a modest cinematic beauty. The funds to make My Beautiful Laundrette came from television, the Channel 4 program Film on Four. Shot inexpensively on 16mm film and originally intended for broadcast, Frears’s and Kureishi’s film was only later released theatrically, after its success at the Edinburgh Festival. Film on Four financing was essential to many other successful
8
·
English Filming, English Writing
films; in the early 1980s alone it produced such works as Prick Up Your Ears, Experience Preferred, But Not Essential, The Ploughman’s Lunch, Dance with a Stranger, A Private Function, and Letter to Brezhnev. And the involvement of television with independent filmmaking has not been merely financial. Filmmakers and scriptwriters have been profoundly influenced by work seen on the small screen. Kureishi specifically acknowledged his indebtedness to television writers like Alan Bennett, Dennis Potter, Alan Plater, and David Mercer, most of them authors of scripts for the famous BBC series Play for Today. Stephen Frears, who got his directorial start with Film on Four, was no less indebted to the medium. These are all reasons why in this book I have followed an emerging trend in current academic criticism and written about television together with film—the practice, for example, of the gathering of essays in The Cambridge Companion to Literature on Screen, edited by Deborah Cartmell and Imelda Whelehan. To older analysts, the differences between the industrial organizations of the two media (or between their budgetary resources, or their technical capacities) were paramount. Even so fine and generous-minded a critic as Penelope Houston, writing in 1984, felt a sharp sense of these differences. She approved of Channel 4 financing projects but thought there were still distinctions to be made between television and the “movie movie,” which enjoyed “not only a wider vitality but the power to probe more deeply . . . there are crucial aesthetic differences, as well as differences in the quality of the experience . . .” To me, however, the commonalities of the two media seem much more striking, their aesthetic ambitions and achievements—especially in the years since 1984—fully comparable, and accordingly I have discussed them as related components of a national screen culture. Did it matter to viewers in the 1980s if they saw My Beautiful Laundrette on a cinema screen or a television screen? Is there any significant difference, artistically speaking, between Tania’s disappearance in the Frears-Kureishi film and an equally magic disappearance which figures, as we will see, in one of the scenes of Dennis Potter’s television series The Singing Detective—two coal-miners in a working men’s club, at first firmly in place and looking enigmatically at the protagonist, then a second later not there at all? Is there any significant difference between the tricks played with windows and mirrors, the coinciding of images or dis-
I n t roduc t io n
·
9
solving of face into face, which feature prominently in both My Beautiful Laundrette and A Question of Attribution, Alan Bennett’s television drama of 1992? It seems to me that answers to questions like these should be sought not generally or theoretically, but in the kind of analysis that looks closely at particular films and television dramas, and at films and television dramas comparatively. At any rate that is how I have sought answers. In doing so, the one attitude toward television drama which I have flatly rejected, and which I hope all serious critics would reject, is simple snobbery: the disdain for the broadcast medium perfectly captured in the comment (by a literary agent): “What do you expect, darling? After all, small screens, small minds . . .” Film studies has tended from the start to disregard involvements of another sort, not of cinema with television, but of cinema with literature. As the distinguished cultural critic Raymond Williams observed in 1983, the young discipline wanted to draw “a hard line around the separated subject of fi lm,” defiantly rejecting the idea that theatre or literature could have anything significant to do with it, or claiming indeed that theatre and literature, if admitted to consideration, might have “diluted or destroyed the pure essence of ‘Film’ . . . then not a name for a body of actual practice and works but an idealized projection of supposedly pure and inherent properties.” A prominent current practitioner from within the field, Andrew Higson, has sketched the same history: film studies “established itself as a distinct discipline precisely by breaking away from respectable middle-class English literary culture, by celebrating the central texts of political modernism, by exploring what was seen as the specifically filmic, and by embracing popular culture.” This sort of intellectual exclusivity is an understandable phenomenon, part of the process which new disciplines invariably undergo as they circumscribe their subject areas and define their methods rigorously, ruthlessly even, against those of older and rival disciplines. And it has in some ways been a beneficial phenomenon. To learn how screen works are “specifically filmic” has been no mean or unimportant task. But intellectual exclusivity in the study of film has by now become a serious limitation in approach and a distortion of the subject, especially when, having trickled downward to the level of reviewing, it produces prejudicial misjudgments—say, condemnations of this or that English
10
·
English Filming, English Writing
film, or possibly even the whole of the English cinema, for being worddriven, “literate,” derived from some written source which allegedly has left its anti-visual (and “elitist”) traces on the screen. Here too, as with aesthetic concerns, attitudes in fi lm studies are changing. In recent years a less purist, more comparative approach has arisen, producing, for example, discussions (by Wendy Everett) of the influence of T. S. Eliot’s poetry on the cinema of Terence Davies; of analogies between seventeenth-century revenge drama and Mike Hodges’ gangster film Get Carter, with the hard man Carter viewed as an avatar of the malcontents of those dramas (Steve Chibnall); of stylistic resemblances between Michael Powell and Emeric Pressburger’s 1946 melodrama A Matter of Life and Death and the Jacobean court masque, two forms of spectacle comparable in the way they combine “verse drama, dance, music, scenery and costume” (Ian Christie); of the pastoral elements shared between Powell and Pressburger’s A Canterbury Tale and Georgian poets like Rupert Brooke and Edward Thomas (Andrew Moor). In the case of A Matter of Life and Death, the yawning historical gap between World War II and Renaissance dramatic poetry might seem too great for even ingenious scholarship to bridge, but the fact is that Powell and Pressburger do some bridging of cinema and literature themselves. Consider the way their films often feature autocratic, action-provoking, visually creative, waywardly brilliant characters—in short, director figures, versions of Michael Powell; there is a particularly complex example in A Canterbury Tale, as we will see. Early on in A Matter of Life and Death, one of these directorial types, a famous consulting neurologist named Reeves, goes to his specially constructed camera obscura and in the oval mirror of its darkened chamber observes street life in his village, musing aloud about what he sees. In doing this, he is visibly acting like a filmmaker, perhaps a documentarian like Humphrey Jennings. After all, what is a filmmaker but a watcher of life through a mechanooptical apparatus, a connoisseur of moving images and a commentator on the meaning of those images? In his mirror Doctor Reeves watches June, a pretty American radio operator, approach, and if a Jacobean court masque does not come to his mind at this moment, Byron’s love poetry does. He murmurs “She walks in beauty, like the night . . .” in appreciation. Conversation ensues:
I n t roduc t io n
·
11
June Surveying your kingdom? Reeves A village doctor has to know everything. You’d be surprised how many diagnoses I’ve formed up here. June I love looking at the village from here. Looks so different! Reeves (Laughs) That’s because you see it all clearly and at once, as in a poet’s eye . . .
From camera obscura operator to fi lmmaker to poet: there is a straight line connecting all these creators, as Powell and Pressburger would have us believe. What this moment of A Matter of Life and Death hints at, what critics like Everett, Chibnall, Christie, and Moor are responding to in their various ways, and what in this book I have undertaken to examine, are elemental qualities of English culture—its distinctive regard for the past, the pleasure it takes in continuities and reworkings, its resistance to creative specializations, its talent for collaborations, and especially the complex interrelatedness, in the twentieth century, of its major forms of expression. A Matter of Life and Death and A Canterbury Tale could not have been produced without the English books which furnished Michael Powell’s and Emeric Pressburger’s imaginations. To that extent, these two filmmakers are poets, or readers of poetry at least. Nor could The Singing Detective have been produced without books. Potter’s television drama is the fusion of Raymond Chandler detective novels with Joycean verbal pyrotechnics and with the biblical description of Eden. One may also come at the interrelatedness in the other direction. Philip Larkin’s poem “Faith Healing,” a meditation on sufferers from disease who file forward at a revival meeting to be blessed, could not have been written without the film documentary which put those sufferers before Larkin’s skeptical gaze. Nor could Larkin’s even betterknown “The Whitsun Weddings” have been written without a film. In this 1958 poem about just-married provincial couples taking the train into London for the start of their lives together, the poet derived the extraordinary image of his last stanza, We slowed again, And as the tightened brakes took hold, there swelled A sense of falling, like an arrow-shower Sent out of sight, somewhere becoming rain,
12
·
English Filming, English Writing
from the arrows launched into the sky in the Agincourt scene of Laurence Olivier’s filmed Henry V. In an act of the imagination which no one could have predicted, precisely, but which nevertheless seems fully understandable, the sturdy combativeness of English yeomen becomes, centuries later, the poet’s cautious hope for renewal and regeneration. For Larkin, it is a plain matter of fact that the English cultural landscape includes film as well as literature, just as the literal landscapes—such as are scanned through the train windows by the bridal couples in “The Whitsun Weddings”—include cinemas along with other emblems of Englishness: A dozen marriages got under way. They watched the landscape, sitting side by side —An Odeon went past, a cooling tower, And someone running up to bowl . . .
A whole history of direct influences from English film to literature and from English literature to film might be written, and to accompany it a history of other kinds of indirect involvement, such as the collaboration of writers and filmmakers, the employment of analogous themes or styles, and the straying of apparently purely literary types into the film world. Rudyard Kipling was one such type. His short story “Mrs. Bathurst” (1904) marks the entrance of the newly invented “cinematograph” into serious English fiction, the cinematograph here, projected on to the “big magic lantern sheet” of a variety program, capturing the arrival of the Western Mail in Paddington Station: First we saw the platform empty an’ the porters standin’ by. Then the engine come in, head on, an’ the women in the front row jumped: she headed so straight. Then the doors opened and the passengers came out and the porters got the luggage—just like life. Only—only when any one came down too far towards us that was watchin’, they walked right out o’ the picture, so to speak. I was ’ighly interested, I can tell you.
Two decades later Kipling got into the business himself, to the extent of co-writing the original scenario for a documentary called One Family, the first venture of the Empire Marketing Board into filmmaking. Some of Kipling’s literary successors would be much more involved in the film world, creating, for example, a whole subgenre of satirical novels on the movie business. There are examples by Anthony Powell (At Lady
I n t roduc t io n
·
13
Molly’s), John Mortimer (Charade), Christopher Isherwood (Prater Violet), and J. B. Priestley (Bright Day)—novels in some cases penned immediately after their authors had themselves strayed into film-studio work and based on the painful or enlightening experience gained there. For his part, the film director Bryan Forbes, who in the 1960s made Whistle Down the Wind, The L-Shaped Room, and Séance on a Wet Afternoon, strayed into literature with his 1972 novel The Distant Laughter, about an embittered 1960s director of films. If the English cinema has for long been engaged in a back-and-forth with English literature, it is so in part because of the bookish twentiethcentury society the cinema reflects. The tokens of bookishness are often enough to be seen in fi lms’ mises-en-scène—volumes lying on a study table, or being read by weary Londoners in wartime documentaries, or for sale in one of the market stalls of Gracie Fields’s musical Look Up and Laugh, a film which, incidentally, could scarcely have been made without the prior example of J. B. Priestley’s novel The Good Companions. In the Merchant-Ivory The Remains of the Day (itself, of course, the film adaptation of a novel), Stevens the butler reads an old-fashioned romance novel and then, when the woman he secretly loves walks in, clutches the book to his heart. Neatly ranged books line the walls of the “library,” the fireplace-lighted, middle-class room to which Laura Jesson and her husband Fred retreat in the most iconic English film of all, David Lean’s Brief Encounter, the screen version, it will be remembered, of a Noël Coward play. Brief Encounter captures suburban England at the precise moment of its cultural history when its inhabitants feel equally devoted to the old medium of books and the new medium of films. Laura regularly visits the cinema. After a lunch with her intriguing new friend Alec Harvey, she goes with him there for a matinee: Laura We have two choices—The Loves of Cardinal Richelieu at the Palace, or Love in a Mist at the Palladium. Alec You’re very knowledgeable . . .
They watch Love in a Mist, preceded by the trailer for the laughably exotic Flames of Passion, then a week later Flames of Passion itself, or part of it, walking out in disgust at its absurdity. However, in the midst of all this film-going Laura is apparently no less regular in her visits to the
14
·
English Filming, English Writing
lending library at Boots. The critic Richard Dyer has written about the women’s fiction someone like Laura might be expected to borrow there, and about parallels between that fiction and Brief Encounter. Back in the book-lined library of their home, when Fred is doing the crossword and asks Laura (“You’re a poetry addict”) to supply the missing word in the verse line “Huge cloudy symbols of a high . . . ,” she knows her Keats well enough to say, with a puzzled frown, “romance,” and to refer him to The Oxford Book of English Verse. Cinema-going and book-reading feature no less prominently in the cultural background of The Third Man, made two years after Brief Encounter. In Carol Reed’s fi lm, with its script by the novelist Graham Greene, Holly Martins and Anna Schmidt hide from police pursuit in a movie theatre—taking to a melodramatic extreme, one might say, the escapism offered by such places. Later, the English military policemen of the story discuss Martins’s cheap novelettes, Death at Double X Ranch, The Lone Rider of Santa Fe. Sergeant Paine likes a good Western, while Major Calloway in his tough urban way despises them, for their outworn sentiments, for their belief in lone-riding kinds of justice. Five decades after these two films, one of Mike Leigh’s melancholy comedies, Career Girls, examines a very different cultural world, one where books now seem to matter less than rock groups and are useful only in solacing a character’s loneliness. But in a scene or two even Career Girls showcases one book, Wuthering Heights, consulted as an oracle by the main characters in their scruff y undergraduate digs. “Ms. Brontë, Ms. Brontë, will I find a fellow soon?” they ask ritualistically, then in a bedsit version of the Sortes Virgilianae they open the novel at random for an answer, investing the old Penguin Classics paperback with a lingering magic value. That Wuthering Heights occupies some sort of niche in contemporary culture might seem anomalous enough, but consider the presence of an equally classic text in a fi lm made exactly a decade before Career Girls, Sammy and Rosie Get Laid, the second of the Kureishi-Frears collaborations. This text is T. S. Eliot’s The Waste Land, neatly inscribed in black letters on the white-painted side of a caravan parked under a west London motorway—pages of the poem enlarged and published as it were in twentieth-century broadside form. To the caravan the black man Danny and the married white social worker Rosie repair, intent
I n t roduc t io n
·
15
on sex. They enter, passing Eliot’s solemn Tarot-deck-reading mumbojumbo (“I do not find / The Hanged Man”), and make passionate love, while outside, strolling musicians, the “Ghetto-lites,” serenade the union with a dance routine and a miming of Otis Redding’s 1965 hit “My Girl.” This is the notorious moment of cinematic ecstasy in Sammy and Rosie Get Laid when not just Danny and Rosie but the other interracial and passionate couples of the film, Anna and Sammy, Rafi and Alice, make love, with the screen momentarily splitting into three horizontal segments to accommodate their simultaneous climaxes. Under that motorway, Danny’s caravan is parked in an encampment of anarchists moving about in free-spirited dress, a tutu worn with combat boots, an academic get-up complete with mortarboard, several ostentatiously befrogged military jackets. There are also a roving jazz band and a chess game played with oversized, abstract-art pieces. In short, we are shown a visual farrago, as is true of the fi lm generally. Earlier, a poster of Virginia Woolf depicts the novelist gazing sadly at a London coming apart into social violence—riots in the street, police crackdowns, crazies in the Tube, homeless people huddled in their cardboard shelters—not to mention into aesthetic chaos: Sammy eats fast food while snorting cocaine and simultaneously listening to Schubert’s “Erlkönig” on his headphones. In all of this, The Waste Land might be thought only one more random element, a meaningless bit of high-toned décor, and yet on the screen it seems meaningful, more than a token of superannuated literariness. The film insists on our noticing the poem, and even on our reading it; the quotations on the caravan are invitingly clear. Is it Hanif Kurieshi who is doing the inviting? He is certainly a literary kind of screenwriter, well educated, well read, the author of plays and prose journalism as well as film scripts. It is significant that he saw to the publication in book form of the scripts for both My Beautiful Laundrette and Sammy and Rosie Get Laid, together with an introduction for the first and a production diary for the second. So published, these texts beg for comparison with other texts. They assume a place in a recognized category of fictions, both reportorial and autobiographical, about London immigrants and London anger—novels by Doris Lessing in the 1960s (The Golden Notebook), by Margaret Drabble in the 1980s (The Middle Ground), by Zadie Smith and Monica Ali in the first decade
16
·
English Filming, English Writing
of the twenty-first century (White Teeth, Brick Lane). A more direct contribution to this category would be Kureishi’s 1990 novel The Buddha of Suburbia, later to be adapted in its turn for a 1993 BBC miniseries. In other words, Kureishi purposely aligns himself with fellow authors. The “best screenplays,” he has said, “are not written by people who call themselves screenwriters, but by good writers, writers who excel in other forms. . . . the substance of a decent screenplay, character, story, mood, pace, can only come from a cultivated imagination.” It is such a cultivated imagination which puts into the published screenplay for Sammy and Rosie one allusion to Dickens’s Miss Havisham, a second to Flaubert’s Sentimental Education, from which Kureishi concedes he has lifted a scene involving an older woman’s letting down her white hair. Apropos of a lesbian kiss in the film, Kureishi, no less poetryminded than Doctor Reeves in A Matter of Life and Death, quotes Byron’s Don Juan, Each kiss a heart-quake,—for a kiss’s strength I think it must be reckon’d by its length,
and he writes dialogue which if not Byronic and poetic is at least epigrammatic and literary. As for that anarchist encampment, the published screenplay renders its disorder in a collage style belonging as much to prose-poetry as to stage direction: Next to one fire, on a crate, is a huge TV which the kids watch. On TV a headless man reads the news. . . . Nearby, two cars are half buried in the mud, as if they plunged over the rim of the motorway and nose-dived into the ground. A huge red Indian totem pole sticks up into the sky. A swing hangs down from under the motorway. A kid swings in it.
Throughout the screenplay Kureishi calls the encampment “waste ground”—but otherwise he makes no reference to Eliot or the quotations from The Waste Land. The caravan texts might not in fact have originated with Kureishi, but been the contribution of the art director David McHenry or the improvisation of a set dresser. Whatever their actual origin, they seem ultimately to come from the whole social and aesthetic world which the film creates. It is a particular 1987 London milieu, full of intellection and dismay, which Sammy and Rosie reproduces, and within this milieu dwell cultivated, ironic, bookish, and occasionally
I n t roduc t io n
·
17
despairing characters not unlike Kureishi himself. Danny keeps a row or two of books in the caravan (the published screenplay pictures him as lying naked on his bed, reading a paperback, under pictures of Gandhi, Tolstoy, and Martin Luther King), but as London goes up in flames outside, the books do not appear to help him decide between angry rioting and standing peaceably by. The discontented Alice is described as having Jane Austen novels beside her bed. Meanwhile, many shelves of paperbacks are visible in Sammy and Rosie’s flat, and a tattered copy of Raymond Chandler’s The Long Goodbye appears in close-up as husband and wife dispute which of them owns what volumes. Sammy and Rosie like to chaff each other about authors: “If you had to choose between sleeping with George Eliot or Virginia Woolf, who would you choose?” “Virginia,” Sammy says, “on looks alone,” then asks Rosie to make a similar choice between De Gaulle or Churchill. In a montage of intellectual London activities—this is an homage to Woody Allen as montagiste of Manhattan—Sammy speaks of going to special bookstores to buy novels written by women, of attending plays at the Royal Court if they have been well reviewed by the Guardian, or sitting in on evening seminars on semiotics. Some of this intellectual activity may be satirized in the film (Sammy is ironic as he voices the montage), but it is undeniably a part of Kureishi’s overall conception, referred to constantly in the dialogue and made visible in the furnishings of the mise-en-scène. And in this conception, T. S. Eliot and The Waste Land have parts to play—so much so that a full discussion of Sammy and Rosie Get Laid, fuller than I can give here, would have to address the allusion in all its complexity. I can at least sketch the outline of an interpretation. Eliot would seem to be a looming presence in the film, an outsider whose acculturation to England, like Kureishi’s, involves both the sense of belonging and the sense of detachment. Quoted on the side of Danny’s caravan, lines from Eliot’s great poem serve to recollect an earlier period of English intellection and dismay, just as the dour prophets quoted in The Waste Land itself give monitory lessons about the past to a 1922 full of confusion. Surreal touches, sudden transformations and shock cuts, high-toned speeches next to popular songs, ironies in the “modern mode,” a society shown to be sick with competing ideologies, sexual longing combined with sexual malaise, traditions broken or defaced but
18
·
English Filming, English Writing
somehow vestigially there and rebuking the present—what does this description of Sammy and Rosie sound like but The Waste Land? In the film, there is a threatening ghost; specters also haunt the poem. Both works touch on the playing of a game of chess. Anna the photographer is planning an exhibition to be called “Images of a Decaying Europe,” which would have served Eliot well as a subtitle. Rafi brings an Asian perspective to bear on contemporary London, along with some lines of Punjabi; Eliot looks east for moral principles (Datta, Dayadhvam, Damyata) expressed in Sanskrit. In Kureishi’s city, violence seems to be coming from the periphery to the center, ever closer, ever more threateningly; so too with Eliot’s nightmarish view of “hooded hordes swarming / Over endless plains” towards a city of angry voices and falling towers. Coincidentally, it is even possible, as Hugh Kenner suggested, that those hooded hordes derive from crowds which Eliot saw in World War I newsreels: films influence a poem which in turn influences a film. . . . In the end, there would be a good deal to say about two parallel visions of urban life, that of The Waste Land and that of Sammy and Rosie Get Laid; something to say as well about the subject I will address throughout this book, the significance of context, the forming of a common culture, the contiguities of English fi lming and English writing. If finally I do not think screen works should be called texts, I believe absolutely that screen works and texts have to be discussed together.
one WARTIME PAGEANTRY
This late afternoon I sit & think of you & hear for you the sounds of English summer: the buzz of the fly against the window pane—the bees in the sun—the curious whine of the Spitfire high up in the blue—the children shouting away down the valley. Humphrey Jennings
Three-quarters of the way through Michael Powell and Emeric Pressburger’s 1944 film A Canterbury Tale, the main characters find themselves on top of a windswept hill. Six centuries before, it was a vantage point on the Pilgrim’s Way and gave travelers their first glimpse of Canterbury and its cathedral in the distance. Now, towards the end of the Second World War, it affords these new pilgrims equally sweeping views. Back and down to the Kentish countryside where the characters have been plotting and counter-plotting, ahead to the city or up to the sky: at Powell’s direction the camera turns every which way, sometimes getting right down next to the characters beside the blackberry bushes or in the long grass, sometimes taking them in from afar, to emphasize their littleness against the landscape. With each point-of-view shot or pan, the film comprehends more of the country. With its restless energy and its commanding if vague sense of uplift, this scene belongs precisely to the historical moment in which it was created, and contributes to the public rhetoric of that moment. It offers
20
·
English Filming, English Writing
as a visible prize the metaphorical landscape which Winston Churchill had promised in the most famous of all his wartime orations: The whole fury and might of the enemy must very soon be turned on us. Hitler knows that he will have to break us in this Island or lose the war. If we can stand up to him, all Europe may be free and the life of the world may move forward into broad, sunlit uplands.
But the scene also looks forward to what would become a cliché in postwar English filmmaking—namely, the pastoral escape, when characters go for a walk up the local hill, gain some distance on whatever slum or bourgeois semi-detached existence is entrapping them, and then scan the view with their understandings temporarily liberated (there is a particularly clear example in Tony Richardson’s A Taste of Honey, from 1961). Equally, the hilltop scene looks backward to the elevated panoramas of early twentieth-century English writing. That is, Powell and Pressburger replicate in their film the overviews imagined in Thomas Hardy’s epic poem The Dynasts, or the airborne surveys made from a primitive flying machine in H. G. Wells’s novel Tono-Bungay. Or the moment in E. M. Forster’s Howards End when the novelist turns essayist and displays his country from a hilltop: If one wanted to show a foreigner England, perhaps the wisest course would be to take him to the fi nal section of the Purbeck Hills, and stand him on their summit, a few miles to the east of Corfe. Then system after system of our island would roll together under his feet. Beneath him is the valley of the Frome, and all the wild lands that come tossing down from Dorchester . . . the Stour, sliding out of fat fields, to marry the Avon beneath the tower of Christchurch. . . . Salisbury Plain itself . . . Nor is Suburbia absent. Bournemouth’s ignoble coast cowers to the right . . . red houses and the Stock Exchange . . . Southampton, hostess to the nations . . . How many villages appear in this view! How many castles! How many churches, vanished or triumphant! . . . What incredible variety of men working beneath that lucent sky to what final end!
Forster inspects vastly more territory than Powell and Pressburger do, and advances the forthright opinions (“ignoble,” “cowers”) which the film medium can convey only by indirection. Still, the writer and the filmmakers are working beneath the same lucent sky and noticing the
Wa rt i m e Pag e a n t ry
·
21
same details: a river valley, fat fields, a cathedral enacting the part of church triumphant. And the writer and the filmmakers are working to approximately the same end. At this key moment of their fictions they are presenting England visually, as an imagined whole, so that it may be properly valued, and thereafter inherited by those who seem best stewards of it (Howards End) or who are most willing to join in its traditions (A Canterbury Tale). A Canterbury Tale is a film of audacious, screen-fi lling images— “cast your eye on that noble prospect,” says the American sergeant in it, pointing to Canterbury Cathedral standing in the distance, surrounded by barrage balloons—and of some silly plot turns. It solves a series of minor crimes but leaves greater mysteries intact. In dramatizing a communal, allied-for-the-duration theme it recalls a number of other English wartime fi lms, but also stands deliberately apart from them; it takes chances, makes mistakes, improvises solutions. The critics who saw it on its release treated it with cautious respect that turned quickly into bafflement (“remarkable . . . authentic . . . odd . . . untidy . . . queer . . . bewildering”), and in spite of recent critical rehabilitations it still raises questions. In other words, it is like the England of Forster’s passage, seen from afar; it stands in need of proper valuing. What does that valuing entail? In the first place, finding a place for A Canterbury Tale in the cinematic culture of the 1940s, the sum total of fi lms seen and screenplays read by Powell and Pressburger. Throughout their distinguished seventeen-year collaboration, these two filmmakers—“the Archers”—indisputably regarded themselves as being in and of this culture. The cinema shaped their understanding and ambition and gave them successes to imitate or failures to learn from (films in both categories were to hand for the shaping of A Canterbury Tale). The cinema also schooled them in what could be communicated to filmgoers by photography and a soundtrack: Canterbury glimpsed through a curtain of waving grass blades on the hillside, the laughter of a fourteenth-century pilgrimage suddenly sounding in an astonished land girl’s ear, and much else in A Canterbury Tale which, as we will find, requires a close examination, if only to do justice to its makers’ specifically cinematic workmanship. But Powell and Pressburger also created films within a larger culture. Their filmmaking was profoundly influenced by a sensibility formed by
22
·
English Filming, English Writing
books, as the similarity of the hilltop scenes in Howards End and A Canterbury Tale suggests. As it happened, neither filmmaker ever declared an affi liation with Forster, but about other literary inspirations Powell in particular was emphatic. “Bunyan and Kipling have conducted me all my life, and they will conduct me into the other world, or that part of it reserved for me.” Early in life, he was devoted to contemporary fiction: “every penny went on little editions of G. K. Chesterton, Hilaire Belloc and H. G. Wells, who, excitingly, was a fellow inhabitant of Hythe and could be seen cycling through the lanes of Romney Marsh, perhaps to call on Henry James at Rye, or on Joseph Conrad at his farmhouse.” Later, the film business seemed to Powell no different from “ordinary story telling or writing plays”; one reason for his liking Kipling was that a Kipling character declared that “all art is one.” If we are to make any real sense of A Canterbury Tale, we will have to examine this aspect of it too: its unusual bookishness, its tendency to focus (sometimes in a strictly literal way) on texts of all sorts, of which Chaucer’s Canterbury Tales is only the most obvious example. Making sense of the film will, in turn, lead to an awareness of how it belongs to a wider national context, how it is accompanied along the way to its hopeful and eccentric conclusion by a whole panoply of cultural productions which attempted to define Englishness and make Englishness seem worth defending in wartime. Constituting this panoply are pamphlets and narratives, anthologies and George Orwell essays, historical-political pageants put on by villages, and especially Humphrey Jennings’s film documentary Listen to Britain, A Canterbury Tale’s only real rival in cinematic bookishness and sophistication.
The Archers on Pilgrimage The Archers famously insisted that their work be seen as fully collaborative. “Written, Produced, and Directed by Michael Powell and Emeric Pressburger,” the final line in the credits always ran, and there is much evidence of extensive consultation between them before and during production. One of the best wartime film critics, Richard Winnington, thought their collaboration made possible the “only consistent unification of script, production and direction in British films.” In actual prac-
Wa rt i m e Pag e a n t ry
·
23
tice, however, Powell was clearly responsible for directing, Pressburger for scriptwriting, or more exactly for writing a basic draft which would be rewritten by both collaborators, alternately or together. As Pressburger remembered it, A Canterbury Tale was conceived, prosaically enough, in a car, where he and Powell had escaped to gain some privacy during the shooting of their 1942 behind-the-enemy-lines thriller One of Our Aircraft Is Missing. They started chatting: “I said to Michael, ‘There is so much talk about the country and the people, about protecting the women and children, but who is going to think about the human values—the values that we are fighting for?’ And we sat there and Michael said: ‘That should be our next film.’” From the start, then, A Canterbury Tale was meant to stand somewhat apart from the war and its propaganda, including the cinematic propaganda of such prior Archers productions as the The Lion Has Wings (1939), the fiveminute short An Airman’s Letter to his Mother (1941), and the Nazihunting thriller 49th Parallel (1941). A Canterbury Tale would also depart from the scale, and the color cinematography, to which the Archers were committed in the film which actually came next after One of Our Aircraft Is Missing—The Life and Death of Colonel Blimp (1943), a historical saga bringing David Low’s famous cartoon figure to the screen, involving him with an eternal-feminine character played by Deborah Kerr, and putting him into semi-comical conflict with the urgencies of modern Total War. A Canterbury Tale, like the Archers’ Highlands romance I Know Where I’m Going (1945), with which it has a great deal in common, would be intimate, photographed in black-and-white, in a “less combative register,” and far more localized. Though not propaganda, A Canterbury Tale could contribute to an important category of cultural work by teaching traditions, and so confirm everyone’s sense of nationhood at the moment it was undergoing attack. This work, the discursive equivalent of panoramic views from hilltops, took many different forms in the 1940s, including the publication of histories like Arthur Bryant’s English Saga (1941), Sir Ernest Barker’s Britain and the British People (1942), and G. M. Trevelyan’s English Social History (1944), or of more specialized studies like the illustrated volumes in the Britain in Pictures series (1941–1945)—British Education, British Ships and British Seamen, The Englishwoman, and so on.
24
·
English Filming, English Writing
T. S. Eliot contributed to the cause an unusually straightforward and patriotic poem, “Defense of the Islands,” asking that “memorials of built stone” and “music’s enduring instrument” be enlisted to say to . . . the past and the future generations of our kin and of our speech, that we took up our positions . . .
Falling into a considerably odder, more Archers-like category is Francis Brett Young’s The Island (1944), another history of the nation begun in the “distressful days” of 1939, “when the very existence of Britain was imperiled,” but this time a book-length history in verse, with changing poetic modes to describe different eras of the past: alliterative lines for the Anglo-Saxons, a poetic drama for the Renaissance, and so on. Young’s historical sweep and nearly hysterical patriotism allow him to figure RAF pilots as having in their blood the valor of Drake and Hawkins, or The fierce ancestral strains Of Caradoc’s charioteers, who never quailed Before Rome’s armoured legions . . .
Patriotic anthologies were even more characteristic of and copiously produced in the period, some examples being J. B. Priestley’s Our Nation’s Heritage (1939), Collie Knox’s For Ever England (1943), and Clemence Dane’s quintessential period piece The Shelter Book (“A gathering of tales, poems, essays, notes and notions for use in shelters, tubes, basements and cellars”; 1940). The new Archers fi lm would work in comradely solidarity with all these publications but still have to be a fictional narrative, not historical discourse or a compilation. What about a Shakespeare film? Powell and Dane had met in early 1941 to talk about a possible script, but nothing came of this. Or a screen version of The Pilgrim’s Progress? In spite of Powell’s veneration of Bunyan, Pressburger ultimately doubted the “filmic potential” of Christian allegory and decided on a story of his own, more up to date but still historically minded; current events seen in the long perspective of time. In later years Pressburger thought A Canterbury Tale the Archers film that was most his own, but it was Powell who led him to a setting
Wa rt i m e Pag e a n t ry
·
25
for the story in East Kent, where the director had been born. The village of Chilham, a few miles west from Canterbury, would with other Kentish villages become the “Chillingbourne” of the film, and since Powell had walked the nearby Pilgrim’s Way many times, it was easy for him to conceive that the story should involve modern-day versions of medieval pilgrims. According to his later account, these updated pilgrims “crowded in on us, insisting to be used”: There was a loony English squire, who was so anxious to preserve Britain’s traditional virtues that he poured glue on girls’ hair when they went out at night with soldiers. This traditionalist had to be given a good old English name, and we called him Thomas Colpepper. [In the fi lm, spelled “Colpeper.”] The modern pilgrims to Canterbury were three: a young British soldier, in civilian life a cinema organist, a virtuoso on the Wurlitzer, who combined ruthless materialism with sensitive musicianship; an observant young American soldier from a lumber town in Oregon; a young land-girl, one of the Women’s Corps mobilised to take over fighting men’s jobs on the farm, and who is trying to forget a tragic love affair. . . . For different reasons they have all alighted from the train in the dark at the little village of Chillingbourne. The English soldier is training there, Allison [the land girl, spelled “Alison” in the fi lm] is going to work at a farm there, and the American thought it was Canterbury. They all chase the Glueman, but he escapes and they decide to spend the weekend hunting him down. . . . essentially the fi lm is a morality play in which three modern pilgrims to Canterbury receive their blessings.
In the parts of the loony squire and land girl Powell wanted to use the leading actors from Colonel Blimp, Roger Livesey and Deborah Kerr. But Kerr, with whom he had been romantically involved, went out of his life and off to Hollywood, and in the event Powell cast Eric Portman as the squire and the then unknown Sheila Sim as the girl. The equally unknown Dennis Price became the English soldier-organist Peter Gibbs, while an amateur actor from the American Army, Bob Sweet, whom Powell had seen in a performance of a play called The Eve of St. Mark, became the film’s American sergeant Bob Johnson. Powell unhesitatingly named two other non-Englishmen to key positions on the crew, both of them UFA-trained German émigrés with whom he had worked before, Erwin Hillier as his lighting cameraman, and Alfred Junge as the designer.
26
·
English Filming, English Writing
Production of A Canterbury Tale took place in the summer and autumn of 1943, half of the time on location in Kent—to which, in an irony which would have to be resolutely excluded from the finished work, Emeric Pressburger, then still technically an enemy alien, was denied access on the orders of the Chief Constable. Powell was present from the start, of course, and while in Kent spent his evenings doing research by reading a thick volume he remembered as The History of British Civilization. Presumably this was Esmé Wingfield-Stratford’s standard work of 1930, and in spite of its snobbish dismissal of films (“the indiscrimination of a twentieth century mob, debauched by cinema . . . monstrously divorced from sense and reality”) the filmmaker may have found it useful for historical background. During the day his first task was to scout locations. At the tiny village of Shottenden near Chilham he found two brothers, a blacksmith and a wheelwright, whose forge and shop (“a prop man’s dream”) would provide a center for Chillingbourne’s traditional life. Shooting of exterior scenes took place in both villages, while scenes in Canterbury were photographed in the streets and among the blitzed ruins of the city. The Cathedral itself, however, the destined blessing-place for all the characters, could not be used, the Dean and Chapter having denied the Archers’ request for fi lming, and in any case it was in a wartime state (organ dismantled, stained-glass taken out) unsuitable for filming. For interior sequences, Junge had to create a nave on the soundstage at Denham, where Olivier’s Henry V, a historical drama of a different but equally patriotic sort, was concurrently being shot. Powell wanted to open and close A Canterbury Tale with a tracking shot through pealing bells, and because this could not be accomplished in the real bellchamber at Canterbury, Junge made miniature bells out of fiberglass, which a team of real bellringers operated with tiny ropes as they listened to prerecorded ringing: “the kind of lark the Archers were always getting up to in those days.” The film produced by these efforts begins, after those pealing bells, with a prologue which we will have to examine later, in considerable detail. The main plot gets under way with the arrival of Powell’s three modern pilgrims at a station so dark that they can barely be seen. (What other filmmakers, the critic Chris Wicking has asked, would have dared to keep the stars’ faces invisible for the first twelve minutes of a film?)
Wa rt i m e Pag e a n t ry
·
27
As the trio walk into Chillingbourne, a shadowy figure wearing a uniform comes out of nowhere to pour glue on Alison’s hair. The land girl and the two sergeants pursue the assailant to the village hall, where he disappears. Having gotten much of the mess out of her hair, and learned that she is the eleventh girl to have been attacked by the mysterious Glueman, Alison goes upstairs to report to Colpeper, whose farm she has been sent to work on. He expresses disdain for the help she, a young woman, could provide—or perhaps it is a fatherly concern for her virtue. Does she not know about the threat to chastity posed by the soldiers encamped nearby? Colpeper chats with Bob Johnson too, and when the American and the land girl confer later they realize that certain clues they have noticed—a hastily closed blackout curtain, a Home Guard uniform hanging in the closet—hint strongly that Colpeper is the Glueman. (Wartime viewers would not have been unduly shocked by such a revelation: two years previously, in Alberto Cavalcanti’s Went the Day Well?, they had seen another authority figure, in this case, a Nazisympathizing squire, preying on his own village.) Predictably, Alison and Bob decide to make a few inquiries into the goings-on at Chillingbourne, and in this effort they are joined the next day by the English sergeant Peter Gibbs. (Collaboration is thus emphasized in a film produced by the collaborating Archers.) Over the course of the August weekend, Alison talks to other victims of the attacks. Bob, working his American charm hard and dispensing quarters right and left, finds some local boys playing at war games, enlists them in the antiColpeper cause, and through them is eventually able to trace purchases of glue back to the magistrate. For his part, Peter pays a call on Colpeper and surreptitiously takes away the latter’s fire-watching rota, which when examined reveals that the Glueman only strikes when the magistrate is on duty. Meanwhile the three amateur detectives have together attended one of the slide-illustrated lectures on local history which Colpeper likes to give to soldiers. The lecture aids the plot by suggesting a motive for the attacks—if girls are afraid of getting glue in their hair, then they will refuse to walk out with the soldiers, who in turn will fill up the long empty evenings learning history from Colpeper—but also allows listeners, the fictive ones in the lecture hall and the real ones in the cinema theatre, to begin to find the loony Colpeper faintly likable, to discover that his antiquarianism is genuine and infectious.
28
·
English Filming, English Writing
Powell and Pressburger present all the detecting with efficiency but not single-mindedness, since almost from the start their film takes as much interest in the investigators’ personal problems as in their pursuit of the Glueman. The multiple and carefully paralleled plot lines (another constant feature of wartime cinema) developed about the three characters are at the heart of A Canterbury Tale. Alison, we learn in the course of several tight-lipped admissions, visited Chillingbourne before the war. She spent an idyllic summer camping in a caravan with her fiancé Geoffrey, an archeologist excavating a part of the nearby Pilgrim’s Way, and would have married him, except for his family’s opposition to the match; now Geoff rey is in the RAF and missing in action. Bob also has a love problem, since his girl back in Oregon has not written to him in months. Peter is more generally dissatisfied with life. His “sensitive musicianship,” as Powell’s description has it, would seem to qualify him for a place behind a church organ, but in Civvy Street he has merely been playing the Wurlitzer in a cinema palace and growing more and more cynical about everything. During the hilltop scene already glanced at, Alison tells the story of her lost love to the now sympathetic and apologetic Colpeper, and these two, withdrawing into the grass, watch Bob and Peter approach, then overhear them talking. The two soldiers know that Colpeper is the Glueman but simultaneously admit to liking the man. The various truths of the film now being out, and Canterbury looming in the distance, all is prepared for a final confrontation. This takes place when the three amateur detectives and Colpeper leave Chillingbourne for the city. Like a pilgrim making her way to the shrine of the martyr Thomas à Becket (the film makes the analogy possible without ever stating it directly), Alison is going to the garage where she has stored the caravan, the venerated relic of her summer on the Pilgrim’s Way. Bob plans to meet another American soldier at the cathedral; Peter will attend a soldiers’ service there before shipping out. In the carriage of the Canterbury train, challenged by the stares of three young people seated across from him, the magistrate implicitly confesses to his misdeeds and quite candidly speaks of the motives behind them: not only did he intend to attract an audience to his lectures, he wanted to help keep local girls faithful to their husbands and boyfriends overseas. But why attack the girls?, Alison sensibly asks. Why not simply invite the girls to the lectures too?
Wa rt i m e Pag e a n t ry
·
29
Colpeper fails to respond, possibly strengthening Peter’s resolve—the other two are in favor of forgiveness—to report the Glueman to the police in Canterbury. The last twenty minutes of the film follow these individual purposes to conclusions which seem, and are contrived to seem (for example, by special-effect lighting or abrupt appearances and disappearances), miraculous. Alison attends the caravan, weeping over all the dust which has settled on the homely items inside, but then is told by the garage-owner that her fiancé’s father has been trying to reach her with news: Geoffrey is alive after all, safe in Gibraltar. Bob’s army friend delivers the missing letters from his girl: they have been delayed because they have had to come all the way from Australia, where she is serving with the WACs. Finally, Peter the church-organist-manqué encounters a stray sheet of music in the cathedral. It flutters down the organ-loft staircase toward him as magically and invitingly as the theater program fluttering out of the sky at the opening of that other Denham-produced feature of 1944, Henry V. Peter follows the sheet-music’s lead upwards to the great instrument of the cathedral, where the friendly old organist engages him in conversation. We hear the voices of choristers rehearsing somewhere in the distance, and at the moment when Peter sits down at the console of the organ they modulate into the ethereal theme which has been associated all along with the miracles of the fi lm. He plays the Bach Toccata and Fugue in d minor, followed by “Onward Christian Soldiers” as the troops parade in; any remaining thought of a visit to the police is lost in the thundering chords. Bob wonders admiringly at the cathedral’s architecture; Geoffrey’s father puts a protective arm around Alison as he leads her into the service; and Colpeper stands solemnly and silently by, presiding in some unspecified way, his declaration, made on the hilltop, that “miracles still happen,” proved true in the end. Released early in 1944, A Canterbury Tale was unsuccessful at the box-office, the first real failure in the Archers’ career. An older Michael Powell blamed the timing (“the centre of interest had shifted to the Continent”) or the complication of Pressburger’s plot ideas, which, he decided, he should have insisted on simplifying. Meanwhile, in 1949, in an attempt to make the film a hit in the States, the Archers recut it and gave it a new narrative frame. After the war, Bob Johnson and his new bride
30
·
English Filming, English Writing
look down on Fift h Avenue from the top of Rockefeller Center, and he recalls his adventures in Chillingbourne in an extended flashback. This version too was unsuccessful. Complicated (and original, and tricky to make sense of) A Canterbury Tale may be, but its original audiences would have found in it one thing as unmistakable as Sergeant John Sweet’s country-boy accent on the soundtrack: the wartime theme of Anglo-American cooperation. If an American soldier and two English people can work effectively together on the small scale of village crime-solving, then the Allies ought to be able to do the same on the large scale of a war; so the logic of the film runs. To make the idea of a successful alliance of equal partners as clear as possible, Powell repeatedly pairs the two sergeants, always in uniform, in tight two-shots. Standing shoulder to shoulder, they puzzle out the timing of the attacks or the business of Colpeper’s glue purchases. On top of the hill, they amiably dispute the benefits of tea-drinking, eat blackberries, then race each other back to the village. One or two critics particularly approved of the fact that the Archers’ American soldier was played by a real GI—Edgar Anstey thought Sweet “the best piece of propaganda for America which has yet reached our screens”—as if authenticity somehow had predictive value, and Anglo-American collaboration in a film cast could give promise of the two armies’ successful collaboration in the fighting to come. The idea of Anglo-American solidarity was scarcely original in itself, of course. A Canterbury Tale was one among many 1940s proalliance fi lms. Some of these were imports, like Paramount’s One Night in Lisbon (1941), directed by Edward H. Griffith, which concocts a whirlwind London romance between an English ATS driver and an American pilot, then sets the pair improbably to defying Nazis and unmasking traitors in Portugal. One Night in Lisbon earned a savage rebuke from George Orwell, in one of the fi lm reviews the journalist produced (quickly, for the money) for Time and Tide in 1940–41: “What rot it all is! What sickly, enervating rubbish! How dare anyone present the war in these colours when thousands of tanks are battling on the plains of Poland and tired aircraft workers are slinking into the tobacconist’s to plead humbly for a small Woodbine?” With characteristic honesty Orwell went on to modify this political judgment on aesthetic grounds: “And yet as current films go this is a good fi lm. It moves easily, there are
Wa rt i m e Pag e a n t ry
·
31
no gaps or longueurs in it, and the photography is adequate. Its only fault is to be twenty years behind the times in outlook, and since that is almost general in fi lms likely to have a wide appeal, I suppose one ought not to grumble.” Other pro-alliance films were home-grown, like the quasi-documentary San Demetrio, London (1943), with its shipload of British merchant sailors and one American crewmate, or British National’s Welcome, Mr. Washington, directed by Leslie Hiscott, which entertained the same 1944 audience as A Canterbury Tale with the story of an American lieutenant who copes manfully with the prejudices of English villagers, falls for the local landowner, and eventually calls in his men to bring home the harvest. The next year would see a much more considerable fi lm, Anthony Asquith’s The Way to the Stars, a generally realistic depiction of USAAF and RAF flying crews sharing an English airbase. Here, an initial display of national stereotypes (the Americans are brash and loud, the English stuff y and reserved) yields to the development of camaraderie, and at last to a merging of identities (the Americans grow sensitive, the English discover baseball) in the common cause. Finally, just after the war, with A Matter of Life and Death, Powell and Pressburger brought to the screen their own most ambitious treatment of the theme. Developing the film from its simple-minded origin in public relations (the Ministry of Information “wanted it laid down as to why we were all one family”), they showed Americans and English working companionably together—for example, staging a performance of A Midsummer Night’s Dream—but also having their cultural disagreements. Indeed, with typical Archers bravado they transformed the disagreements into a dreamy midsummer playlet of their own: the English pilot of their story, saved from death by a mistake in the divine bureaucratic machinery, falls in love with a beautiful American radio operator, then has to stand trial in heaven to justify his continued existence, which means countering the attacks of a rabidly anglophobe Yankee prosecutor. The national insults fly back and forth, focusing on the boring incomprehensibility of English cricket and the vulgarity of American jazz, until the pilot’s and radio operator’s selfless love finally ends the conflict. For all its imaginativeness, in other words, A Matter of Life and Death is built around the familiar idea of an Anglo-American romance. This cinematic cliché and others A Canterbury Tale resolutely avoids.
32
·
English Filming, English Writing
No one is seen to fall in love with anyone else. Bob Johnson stays devoted to his girl at home, and the English, innocent of baseball to the last, stay firmly English. Such cultural disagreements as the villagers have with America are kept at a low-key, plausible, non-dramatic level: continued and irritated amazement that Bob’s sergeant’s stripes are turned the wrong way round on his uniform sleeve, mild resentment at his too bright GI flashlight. In outward demeanor the sergeant stays correspondingly American. He is invariably naïve, outgoing, impressed in an aw-shucks way by the quaintness of the village, and in one of the film’s brief slapstick scenes comically frustrated by the arcane workings of Button A and Button B on the inn’s public telephone. Inwardly, however, certain changes do take place in Bob and the other major characters—personal changes, not adjustments of nationality. Thanks to the ministrations of Chillingbourne, they are led to discover qualities in themselves which they have forgotten, and the importance of that process to A Canterbury Tale sharply differentiates it from films like One Night in Lisbon or Welcome, Mr. Washington. In roundabout ways which would have been highly unsuited to propaganda the Archers set out to examine the spiritual damage which modernity has done to Americans and Englishmen alike. The allies of the film really do battle not with Nazis but “materialism,” to use Pressburger’s all-purpose term for the enemy. To take Bob Johnson’s experience first, during the early scene with Colpeper at the village hall, the American admits to a liking for the movies. “It’s a great thing to sit back in an armchair and watch the world go by in front of you,” he says, to which Colpeper responds: “people may get used to looking at the world in a sitting position . . . then when they really do pass through it they don’t see anything.” It seems a pity to the Englishman that Bob should make a pilgrimage to Canterbury and only go to a cinema. The next day the American has apparently taken the warning about a sitting position to heart. As he wanders around the village, noticing things and commenting amiably on them, he strolls at random past the blacksmith’s forge and into the wheelwright’s shop. There he notices some timber (“lumber,” he insists) being stored and, remembering his father’s sawmill business at home, pleasurably exchanges wood talk with the English workman. Their shared knowledge
Wa rt i m e Pag e a n t ry
·
33
that “You can’t hurry an elm” in the process of seasoning identifies them as fellows in the same craft, and an invitation to dinner with the wheelwright’s family soon follows. In other words, the village accepts him, his American lingo notwithstanding. Moreover, rural England redeems the sergeant’s rootless, movie-corrupted existence by making him feel at home abroad. In Canterbury, Bob visits the cathedral, as he promised his mother he would, and so takes another modest step toward being freed of cultural superficiality, of materialism. Wandering about once again, this time to the accompaniment of the Bach which Peter is playing on the organ, the American looks reverently about him; the camera, in a beautifully timed slow tracking shot, goes along with him through the organ screen and into the choir. The stone vaulting shown far overhead in the apse—the one real interior view of the cathedral we get, shot surreptitiously by a crew member, as Ian Christie has noted—makes Bob murmur about the wooden Baptist church his grandfather built in Oregon in 1887. “Well, that was a good job too,” he says loyally. This is the same grandfather, we learn from a scrap of dialogue, who visited Canterbury before him. Bob has simultaneously found beauty and repossessed his origin. It takes no great leap of the imagination to link this fiction about following the right cultural cues, being accepted, getting to share a meal at the wheelwright’s, to Emeric Pressburger’s personal history. The scriptwriter could only have invented these warmhearted sequences in A Canterbury Tale in the course of recollecting and interpreting his own immigrant experience, no doubt with a certain wistfulness, as his biographer suggests. Pressburger arrived in England in 1935 by way of the German UFA studios and then Paris, a Hungarian Jew exiled from his homeland and looking for a new national identity. By 1944 he had not quite found it. “England is a very, very difficult country for foreigners to come to,” he noted, and after all he was still being excluded from the coastal zone in Kent. But Pressburger could well imagine or hope what the experience of acceptance would be like, and he shaped Bob Johnson’s experience accordingly. In later screenplays he continued to meditate on the theme, sometimes denying acceptance to his characters (the European nuns in Black Narcissus, for example, who never succeed in finding a place in their Himalayan community), sometimes allowing
34
·
English Filming, English Writing
them to earn acceptance (as in I Know Where I’m Going, where the English heroine is cured of a fatal modern waywardness when she falls in love with an impecunious laird and devotes herself to their settled life in the Highlands). When he retired, with these fictions of outsidersmoving-in behind him, Pressburger could confidently deem himself fully accepted, and on his own terms. To the end he kept up a few Continental mannerisms (and his Hungarian accent: like Bob Johnson, he was always marked on the tongue) but settled comfortably into the life of a Suffolk village even smaller than Chillingbourne, and there filled his cottage bookshelves with the works of Charles Dickens and Winston Churchill. As for Michael Powell, that member of the partnership had his own influence on the theme of an American coming to England if, as appears likely, he brought his devotion to Rudyard Kipling to bear on the script of A Canterbury Tale. Kipling came home to England from afar (India, travel through the Empire, a temporary sojourn in America) and once settled in Sussex produced a series of remarkable fictions about village life, local customs, and national history; some of these are transparent allegories of his own experience in rediscovering an English heritage. One Kipling story in particular, though never acknowledged as a source for the film (the Archers may have thought one allusion to English literature in the title was enough), seems nevertheless to have been just that. “An Habitation Enforced,” the lead story in Actions and Reactions (1909), describes a married couple, moneyed Americans wandering about Europe as peevish tourists, who purchase a neglected English estate and bring it and themselves back to life. They wish to modernize, of course, but are taught lessons in patience and age-old traditions by their tenants. Wood lore features here as in A Canterbury Tale, a crucial lesson being that bridges ought to be built from long-seasoned oak. In the end, the Americans realize that in coming to Sussex they have only come home, so complete has their re-identification as country landowners been; their adopted village even turns out to be the place from which the wife’s family left for the New World. They have repossessed their origin, like Bob Johnson. Kipling liked to print companion verses immediately before or after his stories, and those following “An Habitation Enforced” memorably sum up its sentiments:
Wa rt i m e Pag e a n t ry
·
35
I am the land of their fathers. In me the virtue stays. I will bring back my children, After certain days. Under their feet in the grasses My clinging magic runs.
This poem, “The Recall,” could appropriately be delivered by Colpeper in his role as mystagogue, though even Colpeper might well demur at its last two lines—“They shall return as strangers, They shall remain as sons”—knowing as he does that visitors to Chillingbourne or Canterbury are not literally coming to settle there, but merely to recover their own pasts, then move on. In this sense A Canterbury Tale is marginally more realistic than “The Recall” or “An Habitation Enforced.” It is also more up-to-date and evenhanded, since it regards materialism as a problem, and cultural recovery as an obligation, for the English, not just the Americans. Alison Smith and Peter Gibbs, a shop assistant and a cinema organist, Londoners both, are initially as dispossessed as Bob Johnson of the things which Chillingbourne represents. (To make Peter’s alienation from the village visible for the screen, Powell puts him in an armored Bren Gun carrier and sends him careening about the country lanes; the vehicle almost collides with Alison’s horsedrawn farmcart.) The English characters have lessons to learn, and then to teach. They pay quiet attention at Colpeper’s lecture; Peter slips briefly into the lecturer’s mode himself when he points out the local river from the hilltop and informs his fellow sergeant “you’ll be happy to tell your folks you’ve seen the River Stour.” Admittedly, Peter follows this with the casual remark that in London he likes to spend his Sundays playing cards with the boys and waiting for the pubs to open. Powell and Pressburger have no illusions about this sergeant’s cultural education happening overnight. However much or little Peter and Alison may learn about their national heritage in a public lecture, the crucial lessons for them are private ones. They have to be encouraged to seek out their own redemptive pasts, and their mentor is again Colpeper. Asked at the lecture “What have we got to do with this old road and the people who traveled along it six hundred years ago?” the magistrate replies
36
·
English Filming, English Writing
There are more ways than one of getting close to your ancestors. Follow the old road, and as you walk, think of them and of the old England. They climbed Chillingbourne Hill just as you did. They sweated and paused for breath just as you did today. And when you see the bluebells in the spring and the wild thyme and the b
|
|||||
5020
|
dbpedia
|
3
| 64
|
https://www.gradesaver.com/the-remains-of-the-day
|
en
|
The Remains of the Day Study Guide
|
[
"https://www.gradesaver.com/assets/logos/head-39d3d4f4e80fb364ecbffd1884663226a1a58efa38367c551694c88c40330163.svg",
"https://www.gradesaver.com/assets/ads/lit-essays-bd63021b362793d416a01a926ffdfc592f66054137bea15c1fbc73b5f0e02a69.png",
"https://www.gradesaver.com/assets/ads/cae-essays-9380d592ed8bd235b6d58dd2a888f45017f79c05c6269b39eae7796e8a02518e.png",
"https://www.gradesaver.com/assets/ads/grad-essays-5d054937541cacd598bb0a80f390e4ae8f06c38f776b23cb50ebb836f3225c90.png",
"https://www.gradesaver.com/assets/ads/community-notes-378752dd93780ab2449fe4cb658406dc3b8b011a8cdc281f9844d1e9f9f1336a.png",
"https://www.gradesaver.com/assets/ads/textbooks-2662a55f35c430934b864956be9953f16b3fb0eeaaf69488ab3baac5e8fdbe1e.png",
"https://www.gradesaver.com/assets/footer/ios-841136218c39bf917a6b5e4999fac197ac36b0d709778128bf05a7a7050b8808.png",
"https://www.gradesaver.com/assets/footer/facebook-beb8875d903a5a5d32d7d55667361d763ad2f0fb1c533b86afa19056eb4cbbf8.png",
"https://www.gradesaver.com/assets/footer/twitter-3faa0aba2392a78fa3a8b52deed56ba637a29ac568c78a52bac4c209ad4c5694.png",
"https://www.gradesaver.com/assets/footer/instagram-5f2a9299b361d579bb4bbefc3af4983c5af9ebfcd2696c34233619a1eaed2ee8.png",
"https://www.gradesaver.com/assets/footer/youtube-f30b53377ea2058834c84df1ca15696232282846cb47ab7c635c2dccb7ce4e40.png",
"https://www.gradesaver.com/assets/footer/books-c7dac18934e0bad9c1787ba8a7686bc7e6371dcc4443be965459fc78b6c86954.jpg",
"https://pixel.quantserve.com/pixel/p-test123.gif",
"https://b.scorecardresearch.com/p?c1=2&c2=10014778&cv=2.0&cj=1"
] |
[] |
[] |
[
""
] | null |
[
"Kazuo Ishiguro"
] |
2024-01-31T15:03:21+00:00
|
The Remains of the Day study guide contains a biography of Kazuo Ishiguro, quiz questions, major themes, characters, and a full summary and analysis.
|
en
|
https://www.gradesaver.com/the-remains-of-the-day
|
Remains of the Day, published in 1989 is the third novel by Kazuo Ishiguro after A Pale View of Hills and An Artist of the Floating World. Remains of the Day has since become a modern classic after it won not only the Man Booker Prize in 1989, but also was turned into an 1993 film by James Ivory and Ismail Merchant, starring Anthony Hopkins and Emma Thompson, which went on to win a slew of major international awards.
Ishiguro had already developed a penchant for first-person narration, which Remains of the Day epitomizes through its stream-of-conscious writing. Indeed, Remains of the Day seems similar to epistolary novels, comprised of letters, in that it renders clearly the thoughts of a hero with no objective reporting from the outside world to verify or disprove given assumptions. Though Remains of the Day was faithful to this first-person trend in Ishiguro's work, it departed in that it was not based in Japan or involved a Japanese main character.
Historical context is a key aspect of Remains of the Day, and in this case, the novel takes place during the years leading up to World War II. Indeed, major sections of the novel consider Lord Darlington's response to various climaxes of the war - specifically the Treaty of Versailles, which he felt unfairly punished Germany and set out to ruin the country economically. The purpose of this historical context is to suggest that the main character had a front seat to major goings-on during this crisis in international affairs, while also symbolizing the deterioration of 'old Britain.' Most crucially, it is important to note that Stevens' employer - Lord Darlington - seems to be a sympathizer of Hitler, adding more burdens to Stevens as an employee who must cast off his boss' political allegiances. At the same time, the novel's title - The Remains of the Day - serves to highlight the decline of British aristocracy, linked specifically to an act of parliament in the early 20th century which levied large inheritance taxes to break up the manorial estates which had become a major source of accumulated wealth.
Ultimately, Remains of the Day doesn't necessarily reflect Ishiguro casting negative aspersions or nostalgia upon a time in Britain's history when the aristocracy ruled so dominantly. That said, Stevens' deep examination of the aristocracy's place in England suggests that the novel is less a critique of imperialism and more a struggle to evaluate its legacy.
|
||||||
5020
|
dbpedia
|
3
| 33
|
https://www.vaia.com/en-us/explanations/english-literature/novelists/the-remains-of-the-day/
|
en
|
The Remains of the Day: Book, Theme & Summary
|
[
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/logos/vaia.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/subject-other.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/book-closed.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/flashcard.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/ai.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/note.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/calendar.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/folder-plus.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/file-question-02.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/Flashcards-Image.jpg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/Study-Set-Image.jpg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/Notes-Image.jpg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/Study-Plan-Image.jpg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/book-open-01.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/briefcase-01.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/phone-01.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/Magazine-Image.jpg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/Our-App-Image.jpg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/subject-other.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/book-closed.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/flashcard.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/ai.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/note.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/calendar.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/folder-plus.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/file-question-02.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/book-open-01.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/briefcase-01.svg",
"https://website-cdn.studysmarter.de/sites/21/2024/07/phone-01.svg",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-laptop.png",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-mobile.png",
"https://www.vaia.com/app/themes/studypress-core-theme//dist/assets/images/ai-flashcards.svg",
"https://www.vaia.com/app/themes/studypress-core-theme//dist/assets/images/ai-summarize.svg",
"https://www.vaia.com/app/themes/studypress-core-theme//dist/assets/images/ai-flashcards.svg",
"https://s3.eu-central-1.amazonaws.com/studysmarter-mediafiles/media/1865576/summary_images/The_Remains_of_the_Day_by_Kazuo_Ishiguro_1.webp?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA4OLDUDE42UZHAIET%2F20240828%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Date=20240828T180920Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=06ea61dc3df4639c0ff99a074b1f1d23c1ab7a4c8b7de519f97377a1bb2b00b0",
"https://s3.eu-central-1.amazonaws.com/studysmarter-mediafiles/media/1865576/summary_images/england-69582_1920.jpg?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA4OLDUDE42UZHAIET%2F20240828%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Date=20240828T180920Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=7e08bbb3fcdc4f63c2d527eb1eb14f3c5076e4525fc91064abba2b0a143b8f4b",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-listx2.png",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-list-mobile.png",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/about.webp",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/about-logo.png",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/sidebar-logo.webp",
"https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/tbs/cta-desktop@1x.png",
"https://website-cdn.studysmarter.de/sites/21/2024/03/Vaia_Logo_Single-Colour-1.svg",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/us-flag.png",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/en-flag.png",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/es-flag.png",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/de-flag.png",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/fr-flag.png",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/it-flag.png",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2021/12/LKVIUFzH-0t5upqTu-app-store.svg",
"https://website-cdn.studysmarter.de//sites/5/sites/5/2021/12/hiXi9mY6-jhXhbghR-google-play.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
The Remains of the Day: ✓ Book ✓ Themes ✓ Quotes ✓ Characters ✓ Summary ✓ Kazuo Ishiguro ✓ Vaia Original
|
en
|
Vaia
|
https://www.vaia.com/en-us/explanations/english-literature/novelists/the-remains-of-the-day/
|
The Remains of the Day: book
Overview: The Remains of the DayAuthor of The Remains of the DayKazuo IshiguroPublished1989GenreHistorical fiction, romance novelBrief summary of The Remains of the Day
The novel follows the life of an English butler, Stevens, as he reflects on his past and his career serving at Darlington Hall. The novel is set in the years leading up to World War II and is told from Stevens' point of view.
List of main charactersStevens, Miss Kenton, Lord Darlington, Mr Farraday, and Mr CardinalThemesClass, loyalty, remorse, the cost of sacrifice, and nobilitySettingDarlington Hall near Oxford, England. The narrative is set in 1956 but the narrator reminisces on events in the 1920s-30s.AnalysisThrough Stevens' introspection, the novel raises questions about what it means to lead a fulfilling life and whether one can truly find meaning and purpose in work alone.
The Remains of the Day (1989) is the third novel written by British-Japanese author Kazuo Ishiguro, it was published in 1989. The book marked something of a departure for Ishiguro as it was the first of his novels not to be set in the Japan of his childhood. The story is told in the first-person narrative from the perspective of a butler named Stevens. The book is largely Stevens looking back on his 34 years of service at Darlington Hall.
The novel is set in 1956, a year after the death of Stevens' previous employer Lord Darlington. The story is told in a series of flashbacks from Stevens, who could be seen as an unreliable narrator. During a six-day holiday, Stevens reflects on his life in service. Slowly, the reader learns more about both Lord Darlington and Steven's character and his reserved affection for housekeeper Miss Kenton.
The unreliable narrator is a technique used by writers to have a storyteller, usually in the first person, who cannot be trusted. This could be through the storyteller being misinformed or deliberately withholding information.
The novel uses techniques familiar to Ishiguro readers, from the first-person narrative to the unreliable narration. Stevens' character and his stifling repression make his narration untrustworthy. Ishiguro often explores the delicate nature of memory and the novel is no different. Kazuo Ishiguro's novel was immensely popular upon release and is still highly regarded today. The Remains of the Day won the Booker prize for fiction in 1989. The book was adapted into a film in 1993 which was nominated for eight Academy Awards.
The Remains of the Day: Kazuo Ishiguro
Kazuo Ishiguro is a British Japanese author born on 8th November 1954 in Nagasaki, Japan. In 1960, aged 6, Ishiguro and his family immigrated to Great Britain. His father had taken a post at the national institute for oceanography and the family moved to Guildford, Surrey. Ishiguro would not return to Japan for almost thirty years. His displacement gave Ishiguro a different perspective from his fellow British authors.
Ishiguro attended local schools and originally took an interest in music. Before going to university he spent three months in the United States in an attempt to seek fame as a singer-songwriter. Ishiguro found little success in America and soon returned to the United Kingdom to attend university in Kent. After graduating, Ishiguro continued to study in a creative writing course at the University of East Anglia.
His course in creative writing proved useful with Ishiguro's thesis becoming his first novel, A Pale View of Hills (1982). Like his second novel, An Artist in the Floating (1986), the stories are set in the Japan of Ishiguro's youth. After his first two novels, Ishiguro decided to cease writing about a Japan he no longer knew. The next novel was to be set in England, that novel turned out to be The Remains of the Day. The book firmly established Ishiguro in the literary scene, winning accolades from critics and readers alike.
Kazuo Ishiguro's fourth novel The Unconsoled (1995) was less well-received but he continued to experiment with genre in fiction, sometimes writing science fiction like Never Let Me Go (2005) and detective fiction as in When We Were Orphans (2000). All of Ishiguro's novels are told in the first-person narrative with the exception of The Buried Giant (2015). In 2017 Kazuo Ishiguro was awarded the Nobel Prize for Literature and he continues to write today.
The Remains of the Day: summary
Stevens, long-serving butler at Darlington Hall, has decided to take a six-day road trip on the insistence of his new employer, Mr Farraday. The purpose of his trip is to visit former housekeeper Miss Kenton, who left Darlington Hall twenty years prior. Stevens received a letter from Miss Kenton that suggests she is unhappy. Stevens is hoping to reinstate Miss Kenton as housekeeper.
The story is then told through a series of flashbacks to Stevens' time as butler to the departed Lord Darlington. It is slowly revealed that during the pre-war years Lord Darlington spent a large amount of his time entertaining either Nazi sympathisers or even Nazis themselves.
Lord Darlington would go as far as brokering talks between the Nazis and their British counterparts and insisting on the dismissal of two Jewish members of staff. Despite these questionable actions, Stevens is devoted to Lord Darlington, believing him misguided rather than malevolent.
The heart of the story is in the relationship between Stevens and Miss Kenton. Stevens recounts stories of their disputes at work but it soon becomes apparent that he has feelings for her.
The novel's climax comes when Stevens reunites with Miss Kenton. As the pair talk, Miss Kenton reveals that she regrets not marrying Stevens instead of her current husband. This is heartbreaking for Stevens given his romantic feelings toward her. Stevens, however, with his repressed sense of gentlemanly conduct, cannot bring himself to say anything.
The Remains of the Day: characters
A brief look at some of the main characters in the novel The Remains of the Day.
Stevens
Stevens is the novel's protagonist and the long-serving head butler at Darlington Hall, he is also the story's narrator. Stevens has a strong belief in the value of dignity and is fiercely loyal to Lord Darlington. These qualities that Stevens prizes have also given him cause for regret. He has regretted not questioning his master's actions and not allowing himself to act on his feelings for Miss Kenton.
Miss Kenton
Miss Kenton is the housekeeper at Darlington Hall and Stevens' romantic interest. She is highly efficient and intelligent, and she often counters Stevens' priggish dignity with her strong-willed emotion. The two often confront each other with regard to matters in the household even if these only mask their affection for each other. Although Miss Kenton eventually marries Mr Benn, it is Stevens who she wishes to be with.
Lord Darlington
In the story's present time, Lord Darlington is the deceased former owner of Darlington Hall. Darlington represents the old-fashioned nobility. Through Stevens' eyes, Lord Darlington is presented as a well-meaning if a misguided man. His obliging nature towards either Nazis or Nazi sympathisers means that in the story's present-day he is negatively thought of. This gives Stevens an immense feeling of regret as his loyalty prevented him from truly serving his employer.
Other characters in the novel include:
CharactersRoleMr FarradayThe American owner of Darlington Hall in 1956Mr CardinalA fellow butler and colleague of Stevens at Darlington HallSir David and Lady CarolineFriends of Lord Darlington and frequent guests at Darlington HallMr and Mrs TaylorThe current housekeepers at Darlington Hall in 1956
The Remains of the Day: themes
The character and ideals of Stevens drive the themes of The Remains of the Day: remorse and nobility. Here we will look at how Kazuo Ishiguro incorporates those themes into his novel.
Remorse
Remorse could be considered the central theme of Ishiguro's novel. The premise of an old man looking back on his lengthy career and life lends itself to the theme. Stevens is remorseful about his relationships with both Miss Kenton and Lord Darlington. Miss Kenton herself expresses remorse over her choice of husband.
But it is Stevens' remorse that is the central feature of the novel. He regrets allowing his professionalism to prevent him from intervening with Lord Darlington as he unwisely meddles with the politics leading to World War II.
Stevens is unconditionally supportive of his master. It is not so much Stevens' actions that make him remorseful but rather his inaction. This is particularly felt in his relationship with Miss Kenton. Miss Kenton is the only character who Stevens achieves intimacy with, yet he cannot bring himself to let her know his true feelings.
Nobility
Nobility can have a dual meaning; it can mean being part of the gentry or aristocracy, but it can also describe the act of being noble. Both definitions are appropriate thematically. Stevens's role as butler to Lord Darlington is an example of old-fashioned nobility. The fact that Darlington is a lord and has the country's best intentions at heart is particularly archaic. Stevens takes his job incredibly seriously and places more importance on his work than his personal life.
Stevens places great esteem in being noble and having dignity and feels it is these qualities that make a good butler. He refuses to allow his personal feelings to get in the way of his professionalism. When Lord Darlington increasingly invites questionable characters to the hall, Stevens does not let his personal feelings or beliefs interfere.
His resistance to allowing his personality into his professional life affects his personal well-being. As a result, Stevens rarely allows himself to be intimate with others.
The Remains of the Day: quotes
Here we will take a look at some quotes from the novel and explore how they support the novel's themes.
The great butlers are great by virtue of their ability to inhabit their professional role and inhabit it to the utmost. -Stevens, Day Three: Evening.
Stevens here tells his staff what he feels makes a great butler and his own professional ideal. This devotion to his professionalism would later cause Stevens remorse, particularly in his relationships with Lord Darlington and Miss Kenton.
The days when you could act out of your noble instincts are over. Except of course, you here in Europe don’t yet seem to know it. -Mr Lewis, Day Two: Morning
Mr Lewis, an American delegate, is telling an audience of English, French and German dignitaries that the days of old politics of nobility are over. He is anxious because Lord Darlington and his French counterpart are sympathetic to the Germans, and feels these actions could lead to war.
All those years I served him, I trusted I was doing something worthwhile. -Stevens, Day Six: Evening
In this quote, Stevens begins to express his remorse for not interfering with Lord Darlington's politics. For many of his years in service, Stevens trusted Lord Darlington almost blindly. Despite the protestations of others around him, he held firm his belief that Lord Darlington was morally unquestionable.
The Remains of the Day - Key takeaways
The Remains of the Day (1989) is the third novel written by British Japanese author Kazuo Ishiguro.
The Remains of the Day won the Booker prize for fiction in 1989.
Kazuo Ishiguro is a British Japanese author born on 8th November 1954 in Nagasaki, Japan.
The character and ideals of Stevens drive the themes of The Remains of the Day: remorse and nobility.
The heart of the story is in the relationship between Stevens and Miss Kenton.
References
Fig. 1 - The Remains of the Day by Kazuo Ishiguro (https://commons.wikimedia.org/wiki/File:The_Remains_of_the_Day_by_Kazuo_Ishiguro.jpg) by Libreravi (https://commons.wikimedia.org/wiki/User:Libreravi) is licensed by CC BY- SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/deed.en)
|
|||||
5020
|
dbpedia
|
3
| 38
|
https://philredbeard.wordpress.com/2005/05/18/remains-of-the-day-and-a-comparison-and-contrast-of-stevens-as-presented-in-the-film-and-book-by-kazuo-ishiguro/
|
en
|
Remains of the Day and a Comparison and Contrast of Stevens as Presented in the Film and Book by Kazuo Ishiguro – down the dusty road
|
[
"https://philredbeard.wordpress.com/wp-content/uploads/2019/11/img_1714.jpeg?w=272",
"https://philredbeard.wordpress.com/wp-content/uploads/2019/11/tall-me.jpg?w=649",
"https://2.gravatar.com/avatar/2de3590d9c62c994135a068b14a7bf1ff0c8525bdc24432b7948b1496607006a?s=56&d=identicon&r=G",
"https://1.gravatar.com/avatar/d917ae42e918f5ad51bb16431b0b0c3629aa7570daad4a9c9b92b5a7f9f67700?s=56&d=identicon&r=G",
"https://philredbeard.wordpress.com/wp-content/uploads/2019/11/cropped-img_1714.jpeg?w=50",
"https://philredbeard.wordpress.com/wp-content/uploads/2019/11/cropped-img_1714.jpeg?w=50",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[
"Phil RedBeard",
"Author Phil RedBeard"
] |
2005-05-18T00:00:00
|
In my opinion, Remains of the Day should never have been made into a movie. Since it has been, the character of Stevens has been so distorted so as to not even resemble the intricate character created by Kazuo Ishiguro. Remains of the Day is a powerful story of a truly British butler and the…
|
en
|
down the dusty road
|
https://philredbeard.wordpress.com/2005/05/18/remains-of-the-day-and-a-comparison-and-contrast-of-stevens-as-presented-in-the-film-and-book-by-kazuo-ishiguro/
|
In my opinion, Remains of the Day should never have been made into a movie. Since it has been, the character of Stevens has been so distorted so as to not even resemble the intricate character created by Kazuo Ishiguro.
Remains of the Day is a powerful story of a truly British butler and the struggle he undergoes to realize his passion of being a “Great butler”, and to discern the positions his master took in pre-WW2 British politics, and whether or not he served a man worth the service. Stevens embarks on a car trip across Britain to visit a former housekeeper. While he does, he reflects on his years of service and his life. Much time is spent in the recounting of stories that have bearing on his life long ambitions. Everything related or discussed in the book is for a reason and enhances or furthers the story. The film adaptation seems to have misinterpreted many scenes, and used them to tell a different story. The movie also contains some inaccuracies, and bases its story and conclusions on these. One of which is Stevens’ current employer. The book records him serving a Mr. Farraday; the film, a Mr. Lewis, the same who attended meetings Lord Darlington (Stevens’ previous employer) held. The filmmakers use this to “color” the relationship between Stevens and his employer, and to enhance their view of Stevens. The film also makes a habit of presenting, or interpreting, things in different ways. These will be further discussed as they relate to the comparison and contrast of Stevens in each medium.
Stevens’ father was a butler for many years, and who instilled in his son the dream of being a “Great” butler. Paired with “Greatness” is pristine “Dignity”. “Dignity in keeping with his position” is related through three poignant stories related by Stevens. The first was of a butler in India, who, without fluster or perturbance, calmly dispatched a tiger that had entered the dining hall, all without inconveniences or disturbance to the guests of the house. The second two stories concerned Stevens’ father. In one Mr. Stevens Sr. chauffeured three drunken men who began to insult his master. He calmly halted the car, exited the vehicle, and without a word, opened the back door. For several minutes he simply looked at the men, without anger. His mere presence induced the men to be ashamed and to apologize. He acted completely within his bounds as a domestic servant, and did nothing to embarrass his employer. The last story entailed Mr. Stevens, Sr. waiting on a man who caused him great personal pain, though indirectly, and though the entirety of his service caused a certain measure of discomfort, said nothing and betrayed nothing in his manner or word, and earned a compliment from the man he loathed. The stories, collectively, demonstrate the “Greatness” and “Dignity” the Stevens sought to attain.
Stevens, in the book, is shown and described with utmost respect and from the best of views. None of his faults are overlooked, and everything he does is shown as it was. The movie misinterprets his search for “Greatness”, the “Dignity of his position”, and his dedication, as work-a-holicness. The film seeks to evoke sympathy for his overworking and wishes us to see what he “missed out on” in life (most prominently, a romantic relationship with Miss Kenton). None of this is necessary or even warranted. Mr. Stevens made his decision, and nothing in the books seems to indicate that he missed anything in life. As to his attachment to Miss Kenton, the only bit mentioned is that perhaps there might have been something, but the decisions were made and could not be undone.
Indeed, Mr. Stevens worked hard at his position, and achieved what he set out to accomplish. Along the way, he had his own encounter with “Dignity” and “Greatness”. During a conference Lord Darlington held, Stevens’ father (who was employed by his son), became very ill, and on a particular night, died. During the course of this night, Stevens performed his duties to perfection, and though profoundly distressed by his father’s death, did not compromise his demeanor or neglect his master’s guests. He did have a talk with his father, who asked if all was in order, and wished his son to return to his duties, and not stay with him. Stevens was able to keep his personal life from adversely affecting his service, and regards that night as a personal triumph. He certainly feels no regret for not having spent more time with his father at the moment of death. This scene is altered in the film to enhance the filmmaker’s wish to add to Stevens a “lost-love” feeling. In the film, his father confesses to an affair and a “falling out of love” with Stevens’ mother. This is used to show that Stevens made his father’s mistake by not marrying his housekeeper, Miss Kenton. Indeed, a tearful farewell ends the relationship in the movie. The book has none of this, and Stevens’ departure from Miss Kenton is amiable and free of regret over love.
The film also makes over-much of Stevens’ desire to not discuss his previous employer, Lord Darlington. This is especially used to the effect that Stevens doubted Lord Darlington, but hid his feelings because he was not permitted to show them. In two distinct scenes in the film, Stevens apologizes for Lord Darlington, only one of which is in the book. In the film, one takes place after he acquires gasoline for his automobile (that is absent in the book); the other is in the final scene with Miss Kenton, which is in both. The book states that Stevens completely supported Lord Darlington, and after looking back, realizes that the Lord may not have made the best decisions, but he certainly does not feel a need to apologize for those decisions. Overall, some scenes are invented to make a character conform to the filmmaker’s views, and some scenes that are added or altered do not make sense anyway. The film seems to have had little reason for the direction it took, or reason for altering the great theme of Ishiguro’s text. Beyond that, the film seemed to lack direction itself.
In particular, Mr. Stevens is portrayed wrongly. As a literary character, he is the epitome of what he seeks to attain. He is diligent, proper, and the perfect example. The film adaptation shows these same attributes, but as a hard-working man, who has no feelings, is grim and dark. A main reason for this may be the language of the book, but a misunderstanding is hard to reconcile. Stevens speaks always as a proper English manservant, and in today’s modern world this is stilted, and somewhat superfluous. The fact of the matter is that Stevens wishes to be exact, is hiding nothing and at no point is being facetious. The film shows much of his statements as being just that, and this is simply inaccurate. Stevens is also made out to be somewhat heartless and devoid of feeling, when in fact, as the book demonstrates in many passages, he has quite deep feelings, and a deep heart. In his position, a butler must be seen as completely in control, must completely accept and carry out his master’s wishes, and not to be influenced by outside matters. This means a certain level of self-denial, which the film shows as extreme and unnecessary, but which is perfectly balanced and within the marks of a normal, indeed, an extraordinary human being.
How many of our own heroes are such because they denied themselves in the pursuit of something greater? How different would our world be if more people dedicated themselves more fully, and denied themselves more in the pursuit of things greater than themselves? Would not the look of this world be different? Stevens did just this; became a “Great Butler” complete with the “Dignity of his position”. Kazuo Ishiguro wrote this story, I believe, to instill in us a drive for the same. What a truly powerful thing that would prove to be!
This essay refers to the film Remains of the Day by Columbia Pictures, directed by James Ivory, and starring Anthony Hopkins (with Emma Thompson, Christopher Reeve, Peter Vaughan, and Hugh Grant); and refers to the book Remains of the Day by Kazuo Ishiguro, the Vintage International Version, October 1993 printing.
|
|||||
5020
|
dbpedia
|
3
| 80
|
https://artsscholars.blogs.auckland.ac.nz/2020/09/15/the-remains-of-the-day-as-context-for-world-war-two/
|
en
|
The Remains Of The Day As Context For World War Two
|
[
"https://artsscholars.blogs.auckland.ac.nz/files/2019/06/BlogNational-Vert.png",
"https://blogs.auckland.ac.nz/wp-content/default-avatar-128.png?r=G",
"https://artsscholars.blogs.auckland.ac.nz/wp-content/themes/Extra/images/post-format-thumb-text.svg",
"https://artsscholars.blogs.auckland.ac.nz/files/2020/05/nucleartestmaralinga-440x264.jpeg",
"https://artsscholars.blogs.auckland.ac.nz/files/2020/10/stevie-nicks-2-440x264.jpg",
"https://artsscholars.blogs.auckland.ac.nz/files/2020/04/blog-cover-2-440x264.jpg",
"https://s3.ap-southeast-2.amazonaws.com/au.files.campus.edublogs.org/blogs.auckland.ac.nz/dist/avatars/user/676/user-7558-96.png?eb=5e928d1763d7b",
"https://s3.ap-southeast-2.amazonaws.com/au.files.campus.edublogs.org/blogs.auckland.ac.nz/dist/avatars/user/886/user-7481-96.png?eb=5e8853d391dcb"
] |
[] |
[] |
[
""
] | null |
[] |
2020-09-15T00:00:00
|
en
|
https://artsscholars.blogs.auckland.ac.nz/2020/09/15/the-remains-of-the-day-as-context-for-world-war-two/
|
I recently watched the film The Remains Of The Day. Although my love for Hugh Grant served as my motivation to do so . It struck me as a possible film within which to explore our theme, conflict in context.
The Remains Of The Day follows Stevens, a devout Butler in a stately English home on a road trip across the english countryside. The film also follows a past narrative in which he recounts his days serving Lord Darlington. He considers these the best days of his life, which is reflective of his blind devotion to his duties.
As the film progresses, Stevens’ views shift from being strictly dutiful and respectful of his employer to being able to step back and consider the role of Lord Darlington, and how he fell prey to manipulation by the Third Reich. The Lord hosted international conferences, and convinced the British Government to negotiate an appeasement treaty in the German’s favour, which contributed to the outbreak of World War Two.
Stevens’ travels allow him to interact with people outside the manor who come from a different social class than the lords and servants he has surrounded himself with. Perhaps it is that Stevens is now finally exposed to the people who were affected by the Darlington’s actions. Or the physical distance from the estate, that allows for Stevens to finally outgrow his sense of subservience and to question rather than blindly follow the actions of his employer, and those in social class above him.
This film served as a reminder to me that many accounts of war and conflict are deeply affected by their context. Stevens’ role as a butler served to bar him from being able to question the changing political landscape. He was constricted by his inability to question his employer and upper social classes. I think that sitting through a two hour film, of which a predominant theme was Stevens’ outgrowing of such values. Even his acceptance and suggested regret that he had played a part in Lord Darlington’s actions through his blind subservience. Was important in highlighting how individuals’ positions and a multitude of variables such as social class, affect their views and experience of conflict. That it required such a journey, for Stevens’ to be able to reflect over a 20 year period and to realise his own biases and mistakes. Helped me to realise how hard it is to accept and understand one’s own biases, and how crucial it is that we factor these in when reading texts and accounts of war. After all, biases serve as context to conflict.
Related
lmac562
I am in the second year of my university career, studying an Arts/ Commerce conjoint. I have currently committed to studying Analytics and Sociology, my other majors are subject to change. Since high school, I have had a great love for humanities and social sciences, which has constantly developed with my changing interests. I wanted to study sociology, as I wanted to learn more about social structures and how they were developed. By combining this intent with my commerce degree, I aim to be able to understand and reach helpful and realistic conclusions about social economic health problems and being able to discuss and realise how best these can be targeted and addressed. I want to have a clear understanding of qualitative and quantitative information, and the processes in which they are collected and understood. I intend to continue my studies with a Masters of Public Policy, and such skills would be helpful. These aspirations also explain why ArtSchol appeals to me so much. It gives me an outlet to explore such topics. I want to focus my research on how different forms of data are collected and processed, and how these processes differ. I think that many issues that we are facing in Aotearoa, cannot be looked at from a purely numeric or economic standpoint. The aim of my studies is to develop a balanced perspective, so that I feel confident to address incoming social and economic issues.
|
|||||||
5020
|
dbpedia
|
0
| 16
|
https://blog.dilipbarad.com/search/label/Kazuo%2520Ishiguro%3Fm%3D0
|
en
|
Dilip Barad | Teacher Blog
|
https://blog.dilipbarad.com/favicon.ico
|
https://blog.dilipbarad.com/favicon.ico
|
[
"https://badge.facebook.com/badge/227003974003879.2302.1055195419.png",
"https://badge.facebook.com/badge/182446155110162.1836.902328608.png",
"https://badge.facebook.com/badge/533772471.8691.1027649032.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJlBjg-oO1XajbiIFa2YGdjtLRcSt-Mqhv7EpINqPwtki0PDoGFeNXtrAwVKuzmayrSdDhVnFjhXdRH2XHCi_IihceyDkcGTc4vWBRB0_ICKR6x_fFHIuaQTlRbCHl556piXthIxVKxv9/w72-h72-p-k-no-nu/Feminism.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2PbaMigb2fxorQ-JvYOCWzJX__LFelqeIOUq6Pf78BnQDvfGUCVj3DBKz9Omb1mJ3wp31Obu6ZlY1t87BPTzCjI4DrMw8Vn99kjZxZFIaVIHidadbaLgL1Qlg4DA81A39XucbU1hmYPTrzKiBUlPuK0_6LybdQNamsNZKRcibgceQKHd_REv5njneFZbu/w72-h72-p-k-no-nu/DALL%C2%B7E%202024-06-29%2013.07.31%20-%20A%20lively%20scene%20of%20Socrates%20engaging%20in%20dialogues%20with%20the%20youth%20of%20Athens%20in%20ancient%20Greece.%20Socrates,%20an%20older%20man%20with%20a%20bald%20head%20and%20b.webp",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiq84cwvNCye7IkRxMLlP_iVWZ-2_A4o4OYUUJ372lZDE-R8h4y8braZ_JZGQ-TLTqlAr9zuOL9wd-AJgWC5_NWtVWXQMjiBUE_u7ol-J1mESoOwEZP6b4iY8nAtk_MeZIT6httHX-HVuQ/w72-h72-p-k-no-nu/mythosgrid.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitr7hLB6qSohJZQ3fcwlINU2KNu7otYU8clibKp9YaF9CdcSuj_MDJPsgwfo8Osntz-DngWechteC5ylWBzL5h-f3Yh9Dmu12q6HTMRY0dfpqmborNjbPfTOW-5mnuf3pKRWiBYcGEEspgk1ohkc_TgMx7HvrSmZ7Kp5GEY3Nx8k8APuhJX0jp3-W0yrST/w72-h72-p-k-no-nu/The-Elizabethan-Era-of-English-Shakespeares-Era-1-768x432.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uhsKPEl-sAxsC9BsLv8ehvHKui_Atxfq590eQUCvJqDRkek_gyyI4ucljTCO6O9WKzQ7j9zAxkhIoebWs3w7Qgs0iV7ZC8sqWHu7ee3PItncIoOw=w72-h72-n-k-no-nu",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgofieGNz-0q37S2LGkkcjI08INUyMjitoYJg23t8byW6Gkf4HNPS__fM0AbYc6egpctLgYzdfC5qjrSULC6xOc9_Q2wpwYC1yayL0i0BEJZ_wFN2UDQHX7Jc-WrlKcBOoU-ZVLjHZGO1iEDneNO0gKwZixH8qY2r7jrkE1ph4mM7TYIOcLQy3j-HaS4Q/w72-h72-p-k-no-nu/Syllabus-of-English-Literature-800x500.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_srPGcm5VDSTmAhmSGCfzFmGd2AuOUfE3DXIgn0ymKDwezep3JQddG7ueoR_3vL5lLRrcjIShNpNVZVT-4nMUqEuTI73o5MFd3aV8XSJZilp5Bg0Gji7xxVP1KwTaZaDNOOK0Axt-q8KFw=w72-h72-p-k-no-nu",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy5WMIgtbCMRzXzs4XXl_WBG_E6XLFu_RBfPlwgcvlGhK3fZSkK0TBpsGjly7vSbEJmixI9B4mn1KZ3ykxPll50g3MkMGvc4ggRVjuUlhMRDhhjLnwI4_7x20HcuUzGn-bgF3QjEaOXCJJ/w72-h72-p-k-no-nu/tagore.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih8Zmq8TwIFFMzMCm3G2lWqeYIawFC5yElYG4U3MW_FGgGKW8-crl2igou5M4fT-Y9s9nRO83_N8dpowb5z7zJhp6sgzzhQw1yAOlduu3BiAAQSWMn3HC0iFWOonnNXGoSSMZ4ya_JcmnW/w72-h72-p-k-no-nu/03022013(001).jpg",
"https://4.bp.blogspot.com/-YwvBI-kpYbw/YOGtMDxY8gI/AAAAAAACTsc/MbYEGTwx3DcZ6fUuckmluZULTRcIr9mjwCK4BGAYYCw/s80/IMG_1507%2B%2B%2Bok%2Bcopy.jpg"
] |
[] |
[] |
[
""
] | null |
[
"View my complete profile",
"Dilip Barad"
] | null |
A blog about teaching, literature, english language, worksheets, current affairs.
|
en
|
https://blog.dilipbarad.com/favicon.ico
|
https://blog.dilipbarad.com/search/label/Kazuo%2520Ishiguro%3Fm%3D0
| ||||
5020
|
dbpedia
|
2
| 5
|
https://www.latlong.net/location/the-remains-of-the-day-locations-1573
|
en
|
The Remains of the Day Locations
|
[
"https://www.latlong.net/logo1x.png",
"https://www.latlong.net/img/user.png",
"https://www.latlong.net/photos/the-remains-of-the-day.jpeg"
] |
[] |
[] |
[
""
] | null |
[] | null |
The Remains of the Day locations list with spot information and geo coordinates. View the locations of The Remains of the Day on map.
|
en
|
/favicon.png
|
https://www.latlong.net/location/the-remains-of-the-day-locations-1573
|
Based on the novel of the same name by Kazuo Ishiguro, The Remains of the Day is written for the screen by Ruth Prawer Jhabvala and directed by James Ivory. Starring an incredible cast consisting of Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve, Peter Vaughan, Hugh Grant, Michael Lonsdale, Tim Pigott-Smith, and Lena Headey, the film was released on 5 November 1993 and nominated for 8 Oscars, including "Best Picture", "Best Director", "Best Actor in a Leading Role", and "Best Actress in a Leading Role". The Remains of the Day was mostly shot in Somerset, England. Filming took place in several historical landmarks in the UK, such as Corsham Court in Wiltshire, Badminton House in Badminton, and Dyrham Park in Dyrham.
Dyrham Park. Photo by harry ayres on Unsplash.
Where was The Remains of the Day Filmed?
The Remains of the Day was filmed in Badminton House, Bath, Corsham Court, Grand Pier, Highbury Hotel (Closed), Hop Pole Inn (Closed), National Trust - Dyrham Park, Powderham Castle, The George Inn, The Royal Hotel and Winter Gardens.
The complete list of the locations with latitude and longitude coordinates are listed below in the table.
The Remains of the Day Locations Map
The Remains of the Day Locations Table
Location NameLatitudeLongitudeBadminton House51.544773-2.280823Bath51.378902-2.367211Corsham Court51.434990-2.182434Grand Pier51.347466-2.981525Highbury Hotel (Closed)51.355881-2.986518Hop Pole Inn (Closed)51.348175-2.315132National Trust - Dyrham Park51.480141-2.373169Powderham Castle50.642975-3.460725The George Inn51.301620-2.325438The Royal Hotel51.349991-2.981118Winter Gardens51.349255-2.981831
Related Movies
|
|||||
5020
|
dbpedia
|
3
| 0
|
https://en.wikipedia.org/wiki/The_Remains_of_the_Day
|
en
|
The Remains of the Day
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/c/c7/KazuoIshiguro_TheRemainsOfTheDay.jpg/220px-KazuoIshiguro_TheRemainsOfTheDay.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Books-aj.svg_aj_ashton_01.svg/21px-Books-aj.svg_aj_ashton_01.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Nuvola_apps_bookcase.svg/19px-Nuvola_apps_bookcase.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2002-10-25T03:09:14+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/The_Remains_of_the_Day
|
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
[edit]
|
||||||
5020
|
dbpedia
|
3
| 75
|
https://ew.com/movies/half-of-it-netflix-movies-books/
|
en
|
Decoding the cultural references in The Half of It
|
[
"https://ew.com/thmb/yyY90kbFGP7QWUBYeXMJQUHFYXQ=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc()/the-half-of-it-1-a63fe743e0d746fc94eca0031c67e03b.jpg",
"https://ew.com/thmb/yyY90kbFGP7QWUBYeXMJQUHFYXQ=/1500x0/filters:no_upscale():max_bytes(150000):strip_icc()/the-half-of-it-1-a63fe743e0d746fc94eca0031c67e03b.jpg",
"https://ew.com/thmb/7u-EuBX-JGURrn5Ir6ALngTMbEQ=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Apple-shows-031523-bb6dce38b19c4acb9e1a9fdae1a57860.jpg",
"https://ew.com/thmb/7u-EuBX-JGURrn5Ir6ALngTMbEQ=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Apple-shows-031523-bb6dce38b19c4acb9e1a9fdae1a57860.jpg",
"https://ew.com/thmb/GdPy2sRbQ7zqae08r2gOX--Dxmg=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Train-to-Busan-Texas-Chain-Saw-Massacre-Ringu-050124-51824204c1ed42758b6de820f35f60a4.jpg",
"https://ew.com/thmb/GdPy2sRbQ7zqae08r2gOX--Dxmg=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Train-to-Busan-Texas-Chain-Saw-Massacre-Ringu-050124-51824204c1ed42758b6de820f35f60a4.jpg",
"https://ew.com/thmb/SELtgVjnVq0IbQE2NtAluiU2Bwc=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Viola-Davis-in-The-Woman-King--Paddington-in-Paddington--Michelle-Yeoh-in-Everything-Everywhere-All-At-Once-506-07302024-05ff5e65fdc0416c8483ef9dca3d5c98.jpg",
"https://ew.com/thmb/SELtgVjnVq0IbQE2NtAluiU2Bwc=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Viola-Davis-in-The-Woman-King--Paddington-in-Paddington--Michelle-Yeoh-in-Everything-Everywhere-All-At-Once-506-07302024-05ff5e65fdc0416c8483ef9dca3d5c98.jpg",
"https://ew.com/thmb/Im7GytKO2gwhi91kaiP1nktM5_o=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/bundle-072524-0dffe11e09a84a4d9aa91304a3d67a29.jpg",
"https://ew.com/thmb/Im7GytKO2gwhi91kaiP1nktM5_o=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/bundle-072524-0dffe11e09a84a4d9aa91304a3d67a29.jpg",
"https://ew.com/thmb/ewLB608qc1nu-BAhRjzGu31cGYY=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Lily-Collins-in-Emily-in-Paris--Elliot-Page-in-The-Umbrella-Academy--Jacob-Andersen-in-Interview-with-the-Vampire-505-07302024-616c7f17e43140b6b969685919815e5c.jpg",
"https://ew.com/thmb/ewLB608qc1nu-BAhRjzGu31cGYY=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Lily-Collins-in-Emily-in-Paris--Elliot-Page-in-The-Umbrella-Academy--Jacob-Andersen-in-Interview-with-the-Vampire-505-07302024-616c7f17e43140b6b969685919815e5c.jpg",
"https://ew.com/thmb/p_Qk-D6XUeRNY_AFKBukz8dMPG8=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/best-documentaries-on-netflix-121223-72487c068bff4237b557fab22f831714.jpg",
"https://ew.com/thmb/p_Qk-D6XUeRNY_AFKBukz8dMPG8=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/best-documentaries-on-netflix-121223-72487c068bff4237b557fab22f831714.jpg",
"https://ew.com/thmb/brZ0c08KBM56_pqJzexBFXo2gzo=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/James-Cameron-Sam-Worthington-and-Zoe-Saldana-tout-081324-5edcc35265174d9db7c13abe4c7a72d0.jpg",
"https://ew.com/thmb/brZ0c08KBM56_pqJzexBFXo2gzo=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/James-Cameron-Sam-Worthington-and-Zoe-Saldana-tout-081324-5edcc35265174d9db7c13abe4c7a72d0.jpg",
"https://ew.com/thmb/BUyMAMCNPyYR1eSyQCZ5PzgwcAY=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/comedy-tout-080824-cbc80e92970c40f2897f4279e898c6de.jpg",
"https://ew.com/thmb/BUyMAMCNPyYR1eSyQCZ5PzgwcAY=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/comedy-tout-080824-cbc80e92970c40f2897f4279e898c6de.jpg",
"https://ew.com/thmb/UAxm4lYLQhbNFb25NM2vH2as6t8=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rom-tout-080624-87bfb92cabfa4dd1aa2b69009387b5d1.jpg",
"https://ew.com/thmb/UAxm4lYLQhbNFb25NM2vH2as6t8=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/rom-tout-080624-87bfb92cabfa4dd1aa2b69009387b5d1.jpg",
"https://ew.com/thmb/yL6_nxAkAaKr_oj21-HZ91sMADU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/lion-king-081424-f354e51a8501440e884672610eec8d04.jpg",
"https://ew.com/thmb/yL6_nxAkAaKr_oj21-HZ91sMADU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/lion-king-081424-f354e51a8501440e884672610eec8d04.jpg",
"https://ew.com/thmb/6jUhPIiH8xDmkV5FT9rnDggwnEU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/avatar-081324-9037cbaeedb742c893971e008f03e9d1.jpg",
"https://ew.com/thmb/6jUhPIiH8xDmkV5FT9rnDggwnEU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/avatar-081324-9037cbaeedb742c893971e008f03e9d1.jpg",
"https://ew.com/thmb/TlVn7u2NFhpuK_annlcQsPWu7Rk=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/lindsay-lohan-070124-397dd09d36a54b39949b8f55c9e29d1c.jpg",
"https://ew.com/thmb/TlVn7u2NFhpuK_annlcQsPWu7Rk=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/lindsay-lohan-070124-397dd09d36a54b39949b8f55c9e29d1c.jpg",
"https://ew.com/thmb/3BftAia__5h6kO-7-tRWEKZb5WM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/The-Instigators-Casey-Affleck-Matt-Damon--533-07312024-07f03c515c6b46d1af2ef57e490ceef1.jpg",
"https://ew.com/thmb/3BftAia__5h6kO-7-tRWEKZb5WM=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/The-Instigators-Casey-Affleck-Matt-Damon--533-07312024-07f03c515c6b46d1af2ef57e490ceef1.jpg",
"https://ew.com/thmb/C3xUFeWc658wHOaWsMbICOmZXjk=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/netflix-war-movies-071724-7518046f62fb4aaeaf5186e369c68c3a.jpg",
"https://ew.com/thmb/C3xUFeWc658wHOaWsMbICOmZXjk=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/netflix-war-movies-071724-7518046f62fb4aaeaf5186e369c68c3a.jpg",
"https://ew.com/thmb/4P3itjkDMSfHOMPUEoSG9xo0Q3w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/christine-baranski-meryl-streep-julie-walters-mama-mia-081424-19f7c1e3ba0649ed84405dd5939072b6.jpg",
"https://ew.com/thmb/4P3itjkDMSfHOMPUEoSG9xo0Q3w=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/christine-baranski-meryl-streep-julie-walters-mama-mia-081424-19f7c1e3ba0649ed84405dd5939072b6.jpg",
"https://ew.com/thmb/xkGXl4uBoZlWke2fYYEhmbi8sAU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/The-Instigators-Casey-Affleck-Matt-Damon--535-07312024-63fc697d87fa4256a296fabb9ec65471.jpg",
"https://ew.com/thmb/xkGXl4uBoZlWke2fYYEhmbi8sAU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/The-Instigators-Casey-Affleck-Matt-Damon--535-07312024-63fc697d87fa4256a296fabb9ec65471.jpg",
"https://privacy-policy.truste.com/privacy-seal/seal?rid=66410a94-db48-4a68-8eae-de35e6397332"
] |
[] |
[] |
[
""
] | null |
[
"Mary Sollosi",
"www.facebook.com"
] |
2020-05-04T20:46:59-04:00
|
Here's your Ellie Chu-approved reading guide and streamable watch list — and what it all means.
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/movies/half-of-it-netflix-movies-books/
|
These are no Clueless kids or Mean Girls: The teens of The Half of It, the high school dramedy that hit Netflix this weekend, would rather hit the arthouse cinema than the mall.
Alice Wu's reinterpretation of Cyrano de Bergerac stars Leah Lewis as Ellie Chu, an intellectual teenage girl who starts writing love letters on behalf of Paul Munsky (Daniel Diemer) to popular girl Aster Flores (Alexxis Lemire), whom Ellie also secretly loves herself. Over the course of their complex correspondence, Ellie finds that she and Aster share erudite tastes in film and literature — and starts trying to educate the lovestruck Paul on French existentialist drama and New German Cinema.
"Everything has a triangle," Wu reveals of Ellie's cultural picks — and they don't stop there. "In fact, to my production designer, I was like, 'Put as many triangles in the film as you can come up with!'"
From throwaway dialogue from the math and band teachers to Aster's boyfriend's name (Trig), triangles are everywhere in The Half of It, and the three-sided love stories that Ellie favors reflect the one that she herself is trapped in. But that's not the only common denominator among these films and books. "I didn't put anything in there that I don't personally, deeply love," Wu says. "And secretly, I would fricking love it if someone, some teen, watched this and was like, 'I've never heard of Wings of Desire, I'm going to go watch it now.' That feels like a delicious thing to have happen."
Casablanca (1942)
The first Chu movie night depicted in The Half of It is a viewing of Michael Curtiz's devastatingly romantic WWII classic Casablanca, the tale of a love triangle that would one day, decades later, be deliberated at length in When Harry Met Sally…. We see only the very ending and the famous line "I think this is the beginning of a beautiful friendship" — fittingly, right at the beginning of the story of Ellie and Paul's beautiful friendship.
STREAM IT: Amazon, iTunes
The Remains of the Day (1989)
Aster loved Kazuo Ishiguro's 1989 Booker Prize winner, apparently for "all that barely repressed longing," as she dreamily tells Ellie in the school hallway. "He's struggling between his place in society [and] this woman he loves," Wu says of the novel's protagonist, the dignified Mr. Stevens. Ellie also seems to have an appreciation for the book, but she thinks 1993's eight-time Oscar-nominated Merchant Ivory film adaptation could have used more Nazis.
READ IT: Available for purchase on Bookshop.org
STREAM IT: Amazon, iTunes
Wings of Desire (1987)
Mr. Chu loves Wim Wenders' 1987 fantasy despite it not being helpful as he learns English; Aster loves it enough to confidently call Ellie/Paul out for plagiarizing Wenders in the first love letter. The triangle in the film comes down to "the angel and his choice to [remain] an angel or fall to earth and be a human," Wu says of the iconic film, a city symphony of a pre-reunified Berlin.
"I'm also playing a little bit of a game myself," Wu teases. "There are favorite movies and favorite filmmakers that I personally have that I'm totally paying homage to at various points, like, quietly, throughout the film, as my own private sort of game. [And] one obvious one is in Wings of Desire, like the shot on her shoulder — I tried to do some mimicking of that in the hot springs."
STREAM IT: Criterion Channel, Amazon, iTunes
No Exit (1944)
"No Exit talks about how hell is other people," says Lewis. "By studying up on that, I was able to really understand how kind of stuck these characters, especially Ellie, were in their ways." Jean-Paul Sartre's existentialist play, which Wu calls "the ultimate doomed triangle," becomes a central text for the teens of The Half of It, who long to leave the hell that is Squahamish but are bound by strong invisible ties, which Paul sums up in a passionate outburst about his taco-sausage dreams. Really!
READ IT: Here
The Philadelphia Story (1940)
"The key thing about The Philadelphia Story is that it's a plea for tolerance," Ellie tells Paul as part of his cultural education; the other key thing is that it's one of the most iconic love triangles (rectangles?) in cinematic history. "I don't want to be worshiped, I want to be loved," Katharine Hepburn's Tracy Lord says in the snippet of George Cukor's classic that plays during The Half of It — and Aster's letters basically admit the same thing.
STREAM IT: Amazon, iTunes
And since Aster and Ellie-as-Paul become locked in "a debate over who's the better Hepburn," you can weigh in on the argument yourself by pairing Philadelphia Story with Roman Holiday (after which you will inevitably realize that there is no choice but to crown Audrey the winner of any Hepburn-off, and that's the whole of it).
STREAM IT: Crackle, Amazon, iTunes
City Lights (1931)
Paul joins Ellie and her father for a viewing of Charlie Chaplin's charming pre-Code silent film, a romantic comedy in which his "Tramp" falls for a blind flower girl who — appropriately — doesn't know the true identity of her admirer.
STREAM IT: Criterion Channel, Amazon, iTunes
Ek Villain (2014)
"For whatever weird reason, I actually love subways and trains," Wu admits. "I have to investigate that in myself. I don't know why I love that so much!" She pays homage to her great love of public transportation not only with Ellie's life at the train station — for the symbolism of Ellie "basically watching other people live their lives as they go zipping by" — but also with her selection of Mohit Suri's thriller. The viewing inspires a telling conversation in which Paul thinks it's "kinda sweet" while Ellie argues it's "kinda trite" to watch a man chase a train with a girl on it. Oh Ellie, just wait until the end of your own movie!
STREAM IT: Eros Now on Amazon Prime, iTunes
His Girl Friday (1940)
Howard Hawks' classic screwball comedy, in which a newspaper boss tries to keep his ace reporter — and ex-wife — on staff despite her plans to quit and get married. "I want to go someplace where I can be a woman," says Rosalind Russell's Hildy in the snippet shown we see here. In addition to being a love triangle, it's also a sly nod to The Half of It's own backstory: Just as Wu gender-swapped her Cyrano character so did His Girl Friday turn Hildy, who was written as a man in the play on which the film was based, into an iconic heroine of the silver screen.
STREAM IT: Criterion Channel, Amazon Prime, iTunes
Cyrano de Bergerac (1897)
While we're at it, why not throw it all the way back and check out Edmond Rostand's brilliant play that inspired The Half of It in the first place? None of the characters have seen Wings of Desire, but I can assure you they all have a lot of feelings about Don Quixote!
READ IT: Here
Related stories:
|
||||
5020
|
dbpedia
|
0
| 20
|
https://wap.yandex.com/search/touch%3Flr%3D20751%26rq%3D1%26ncrnd%3D46227%26text%3Dthe%2Bremains%2Bof%2Bthe%2Bday%2Bfilm%2B1993%2Bcast%26noreask%3D1%26ento%3D0oEg5ydXcxMTQwMDk6dGVhbRgDegRDYXN0ySFSAQ%253Btheme%253Dmjolk%26es_params%3D%257B%2522tab%2522%253A2%257D
|
en
|
Yandex
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
//yastatic.net/s3/web4static/_/v2/AppFavicon-Icon_size64_en.7749ba679ffba9.link.png
|
Yandex
|
https://wap.yandex.com/search/?lr=100
|
Yandex Browser finds what you need and loads pages quickly 0+
|
|||||
5020
|
dbpedia
|
3
| 22
|
https://www.britannica.com/topic/Remains-of-the-Day
|
en
|
The Remains of the Day (novel) | Kazuo Ishiguro, Summary, & Facts
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/69/8569-004-F68D235F/Japanese-novelist-Kazuo-Ishiguro-2017.jpg",
"https://cdn.britannica.com/48/228448-131-2A77AABD/A-student-looking-quizzical.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/63/238563-131-4099EC55/Young-woman-with-glasses-reading-a-book-student.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/52/242652-050-EB37F33D/summer-reading-bingo-card.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/55/142355-131-EFF621AF/books-Stack-literature-pile-reading-entertainment-society-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/01/116101-131-5557E1FF/Abergavenny-Monmouthshire-Wales.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/48/195548-131-20D9FBCC/Girl-Reading-Turquoise-Couch.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/04/187404-131-2839AF60/bison-American-buffalo-plains-prairie.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/24/199024-131-FFEE0BC4/Map-view-globe-Europe.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/66/180666-131-5EE246BE/webcaps-Europe-Ingestion-mushrooms-symptoms.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/39/71439-131-F9B51B49/banner-Nazis-Tod-dem-Marxismus.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/45/189145-131-45FF672E/Secret-Service-Agent-Earpiece.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/30/172930-131-2E39C6FB/surgeon-incisin-forearm-patient-abscess-trocar-knife.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/69/8569-050-231D9E5E/Japanese-novelist-Kazuo-Ishiguro-2017.jpg?w=400&h=300&c=crop",
"https://cdn.britannica.com/48/228448-131-2A77AABD/A-student-looking-quizzical.jpg"
] |
[] |
[] |
[
"The Remains of the Day",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"Gabrielle Mander"
] |
2023-12-12T00:00:00+00:00
|
The Remains of the Day is a novel by Kazuo Ishiguro that was published in 1989.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Remains-of-the-Day
|
The Remains of the Day, novel by Kazuo Ishiguro, published in 1989.
The Remains of the Day, Ishiguro’s first novel set outside his native Japan and in his adopted England, is typical of Ishiguro’s style: delicate, detailed, and evocative prose which reveals the perceived flaws in a central character through that character’s first-person narrative. Events tend to unfold within the narrative, and the character’s discoveries about himself are revealed to the reader simultaneously, thus allowing us to empathize and identify strongly with him.
Britannica Quiz
Famous Novels, First Lines Quiz
The main protagonist is Stevens, a traditional English butler, all reserve, discretion, and decorum; in an interview, Ishiguro noted that P.G. Wodehouse’s fictional butler Jeeves was an influence. The story is set in the 1950s towards the end of Stevens’ career, when he is looking back on his years of service and forward to what is left of his life.
Stevens reveals his unquestioning loyalty and devotion to Lord Darlington, his long-term employer, who came under suspicion as a Nazi sympathizer during World War II and suffered social ostracism. He also realizes his love for Miss Kenton, a love that is in conflict with his idea of life in service and which he struggles to acknowledge.
At the start of the book, Lord Darlington has been dead for several years, and the hall now belongs to an American who wants a more informal relationship with his butler, in keeping with the times. Can the very traditional Stevens change the habits of a lifetime and rise to the challenge of the future?
|
||||
5020
|
dbpedia
|
3
| 18
|
https://www.cliffsnotes.com/literature/the-remains-of-the-day
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
5020
|
dbpedia
|
2
| 9
|
https://www.theguardian.com/culture/2021/sep/17/the-remains-of-the-day-revisit-anthony-hopkins-and-emma-thompsons-classic-tale-of-longing
|
en
|
The Remains of the Day: revisit Anthony Hopkins and Emma Thompson’s classic tale of longing
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Culture%2CFilm%2CTV+streaming%2CAnthony+Hopkins%2CEmma+Thompson%2CKazuo+Ishiguro%2CNetflix",
"https://i.guim.co.uk/img/media/8b21b8b8354c826b8ff333e88e5051b6cbb5f740/0_111_3504_2102/master/3504.jpg?width=465&dpr=1&s=none",
"https://i.guim.co.uk/img/media/6979c216ac7dbf0d434857f5424f3832f48c1bd5/0_123_3184_1910/master/3184.jpg?width=445&dpr=1&s=none"
] |
[] |
[] |
[
""
] | null |
[
"Guardian staff",
"Michelle Wang"
] |
2021-09-17T00:00:00
|
James Ivory’s adaptation of Kazuo Ishiguro’s novel is a tragicomic story of endless manners and unlived possibilities
|
en
|
the Guardian
|
https://www.theguardian.com/culture/2021/sep/17/the-remains-of-the-day-revisit-anthony-hopkins-and-emma-thompsons-classic-tale-of-longing
|
Two of life’s chief comforts for the price of one: a classic film, and a masterful reworking of a classic novel. James Ivory’s 1993 film adaptation of Kazuo Ishiguro’s novel The Remains of the Day reminds us that the scale of history is in fact contained in heartbreaking miniatures – individual lives and loves that unfold against the backdrop of wars and political intrigue.
The backdrop here is mid-century England, both at the height of its coat-tailed class order and the crumbling of this worldview post-second world war. The chief holder of the heartbreak is the central character and narrator, Mr Stevens (Anthony Hopkins), an unflappably professional butler. His counterpart and lost love is the housekeeper Miss Kenton, brought to life with gusto, yet an appropriate amount of English restraint by Emma Thompson. This film came hot off the heels of their wildly successful collaboration in 1992 Howard’s End, also brought to us by the same team of director James Ivory, screenwriter Ruth Prawer Jhabvala and producer Ismail Merchant.
The Remains of the Day begins after the war has ended. “The cook cooks the cooked breakfast while her assistant toasts the toast,” says Stevens to his new American employer, Mr Farraday (Christopher Reeve), apologising for the burnt toast and concealing it inside his suit jacket. “Why don’t we just get her a pop-up toaster?” Farraday retorts.
Oh no no, for there are ways that things are simply meant to work around here. Stevens is the commander of a fleet of staff who keep the crockery shining and the floorboards polished, faithfully serving the lord of the house. But we start to sense that old and new are misaligned, rendering in slight pathos Stevens’ blind loyalty to tradition, to a dying vision of pre-war England – the glory days, when he served Lord Darlington and his many prominent, influential, and often deeply conservative and sometimes fascist guests. The gloss of those days is tainted heavily by the way that history has unfolded. During one tense dinner before the war, Stevens hovers outside the door a moment longer than he usually would, but his ambivalence is fleeting in the face of duty, and he proceeds to calmly deflect caustic comments made by Lord Darlington’s godson (played by a bespectacled young Hugh Grant).
The tale is narrated through Stevens’ diary entries, a technique that increases the viewer’s frustration with him as a character, for he will not let his guard down even in his personal life. Jhabvala deftly translates to screen Stevens’ unwitting, self-preserving perspective that every now and then hints at the florid emotions which run beneath this buffed surface, such as when Miss Kenton catches him in his downtime reading a book he obstinately refuses to show her. It is merely a romantic novel, nothing scandalous, but the air frays with possibilities as the two stand, looking into each other’s eyes, almost interlocked in a shadowy corner of his study. Stevens takes a moment – and then makes it clear that he is reading this book “to develop my command and knowledge of the English language”. The possibilities dissipate.
The love story between Stevens and Miss Kenton is stifled by Stevens’ unconditional love for country and his job. Thompson brings a warmth, playfulness and forthrightness to Miss Kenton that shows her character yearning for more, while Stevens maintains an exasperatingly pleasant and measured demeanour – a performance elucidated by Hopkins’ piercing eyes, placid tone and precise manoeuvres. All the while, the camera peeps through keyholes, doorways and windows.
It is only a thoroughly English film that could frustrate yet charm viewers at the same time in a tale of endless manners and disguised longing. At the heart of The Remains of the Day is a tragicomic story of a stoic life of unlived possibilities and a simple reminder: don’t hold out.
|
|||||
5020
|
dbpedia
|
1
| 3
|
https://www.theguardian.com/culture/2021/sep/17/the-remains-of-the-day-revisit-anthony-hopkins-and-emma-thompsons-classic-tale-of-longing
|
en
|
The Remains of the Day: revisit Anthony Hopkins and Emma Thompson’s classic tale of longing
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Culture%2CFilm%2CTV+streaming%2CAnthony+Hopkins%2CEmma+Thompson%2CKazuo+Ishiguro%2CNetflix",
"https://i.guim.co.uk/img/media/8b21b8b8354c826b8ff333e88e5051b6cbb5f740/0_111_3504_2102/master/3504.jpg?width=465&dpr=1&s=none",
"https://i.guim.co.uk/img/media/6979c216ac7dbf0d434857f5424f3832f48c1bd5/0_123_3184_1910/master/3184.jpg?width=445&dpr=1&s=none"
] |
[] |
[] |
[
""
] | null |
[
"Guardian staff",
"Michelle Wang"
] |
2021-09-17T00:00:00
|
James Ivory’s adaptation of Kazuo Ishiguro’s novel is a tragicomic story of endless manners and unlived possibilities
|
en
|
the Guardian
|
https://www.theguardian.com/culture/2021/sep/17/the-remains-of-the-day-revisit-anthony-hopkins-and-emma-thompsons-classic-tale-of-longing
|
Two of life’s chief comforts for the price of one: a classic film, and a masterful reworking of a classic novel. James Ivory’s 1993 film adaptation of Kazuo Ishiguro’s novel The Remains of the Day reminds us that the scale of history is in fact contained in heartbreaking miniatures – individual lives and loves that unfold against the backdrop of wars and political intrigue.
The backdrop here is mid-century England, both at the height of its coat-tailed class order and the crumbling of this worldview post-second world war. The chief holder of the heartbreak is the central character and narrator, Mr Stevens (Anthony Hopkins), an unflappably professional butler. His counterpart and lost love is the housekeeper Miss Kenton, brought to life with gusto, yet an appropriate amount of English restraint by Emma Thompson. This film came hot off the heels of their wildly successful collaboration in 1992 Howard’s End, also brought to us by the same team of director James Ivory, screenwriter Ruth Prawer Jhabvala and producer Ismail Merchant.
The Remains of the Day begins after the war has ended. “The cook cooks the cooked breakfast while her assistant toasts the toast,” says Stevens to his new American employer, Mr Farraday (Christopher Reeve), apologising for the burnt toast and concealing it inside his suit jacket. “Why don’t we just get her a pop-up toaster?” Farraday retorts.
Oh no no, for there are ways that things are simply meant to work around here. Stevens is the commander of a fleet of staff who keep the crockery shining and the floorboards polished, faithfully serving the lord of the house. But we start to sense that old and new are misaligned, rendering in slight pathos Stevens’ blind loyalty to tradition, to a dying vision of pre-war England – the glory days, when he served Lord Darlington and his many prominent, influential, and often deeply conservative and sometimes fascist guests. The gloss of those days is tainted heavily by the way that history has unfolded. During one tense dinner before the war, Stevens hovers outside the door a moment longer than he usually would, but his ambivalence is fleeting in the face of duty, and he proceeds to calmly deflect caustic comments made by Lord Darlington’s godson (played by a bespectacled young Hugh Grant).
The tale is narrated through Stevens’ diary entries, a technique that increases the viewer’s frustration with him as a character, for he will not let his guard down even in his personal life. Jhabvala deftly translates to screen Stevens’ unwitting, self-preserving perspective that every now and then hints at the florid emotions which run beneath this buffed surface, such as when Miss Kenton catches him in his downtime reading a book he obstinately refuses to show her. It is merely a romantic novel, nothing scandalous, but the air frays with possibilities as the two stand, looking into each other’s eyes, almost interlocked in a shadowy corner of his study. Stevens takes a moment – and then makes it clear that he is reading this book “to develop my command and knowledge of the English language”. The possibilities dissipate.
The love story between Stevens and Miss Kenton is stifled by Stevens’ unconditional love for country and his job. Thompson brings a warmth, playfulness and forthrightness to Miss Kenton that shows her character yearning for more, while Stevens maintains an exasperatingly pleasant and measured demeanour – a performance elucidated by Hopkins’ piercing eyes, placid tone and precise manoeuvres. All the while, the camera peeps through keyholes, doorways and windows.
It is only a thoroughly English film that could frustrate yet charm viewers at the same time in a tale of endless manners and disguised longing. At the heart of The Remains of the Day is a tragicomic story of a stoic life of unlived possibilities and a simple reminder: don’t hold out.
|
|||||
5020
|
dbpedia
|
3
| 19
|
https://www.divadrivel.com/blog/closeted-queerness-in-remains-of-the-day
|
en
|
Closeted Queerness in Remains of the Day — Diva Drivel
|
http://static1.squarespace.com/static/5ee81b7efe21967ee5bd5844/t/5f7e191dc230db493db5f694/1602099500948/Emma+Thomspon+and+Anthony+Hopkins+in+Remains+of+the+Day.png?format=1500w
|
http://static1.squarespace.com/static/5ee81b7efe21967ee5bd5844/t/5f7e191dc230db493db5f694/1602099500948/Emma+Thomspon+and+Anthony+Hopkins+in+Remains+of+the+Day.png?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v2/namespaces/memberAccountAvatars/libraries/5ee81b7b418eb646bf951655/4bec4a663e964a6e8fddc6dcdfb5e795/4bec4a663e964a6e8fddc6dcdfb5e795.jpeg?format=300w"
] |
[] |
[] |
[
""
] | null |
[
"Emily Furlich"
] |
2020-10-07T15:52:58-04:00
|
There was a change in the atmosphere when Miss Kenton cornered Stevens, “almost as though the two of” them “had been suddenly thrust onto some other plane of being altogether.” That atmospheric shift is clear both in the novel and in the film; Miss Kenton’s tacit flirtation and Stevens’s refusal to
|
en
|
https://images.squarespace-cdn.com/content/v1/5ee81b7efe21967ee5bd5844/1592270770840-BTQNCZW2Z1EICXGVVTAA/favicon.ico?format=100w
|
Diva Drivel
|
https://www.divadrivel.com/blog/closeted-queerness-in-remains-of-the-day
|
My introduction to Kazuo Ishiguro’s Booker Prize-winning novel, Remains of the Day, was the 1993 film adaptation of the book brought to the screen by Merchant Ivory Productions, the film company founded by Ismail Merchant and James Ivory in 1961. Merchant and Ivory were partners from the early 1960s until Merchant’s death in 2005, but they were not particularly candid about the romantic nature of their relationship during Merchant’s lifetime. As Ivory, who had just won an Academy Award for Best Adapted Screenplay for Call Me By Your Name, explained in The Guardian in 2018, “Well you just wouldn’t discuss [your relationship with another man]. That is not something that an Indian Muslim would every say publicly or in print. Ever! You have to remember that Ismail was an Indian citizen living in Bombay with a deeply conservative Muslim family there. It’s not the sort of thing he was going to broadcast.”
While this post will (mostly) focus on the novel, I bring up Merchant and Ivory’s adaptation because I believe one of the reasons they were drawn to the source material is the same reason I am: Stevens, the protagonist, represses his emotions and is almost constantly performing. Stevens engages in these behaviors out of a warped sense of commitment to his position as a butler but sustained emotional repression and nonstop performance are also intimately familiar experiences for any queer person who has spent time in the closet. In fact, I believe that this connection is so deeply embedded into the DNA of this film that I mistakenly thought it had been referenced in The Celluloid Closet, a documentary that details the history of the representation of lesbian, gay, and bisexual people on film.
For those who are unfamiliar with Remains of the Day, it is narrated in first person by Stevens, a butler who worked for Lord Darlington and later Mr. Farraday at Darlington Hall. Stevens journeys to the West Country where he hopes to convince Darlington’s former housekeeper, Miss Kenton (now, Mrs. Benn), to return to her old post. After receiving a letter from her, Stevens thinks that Miss Kenton’s nostalgia for Darlington Hall may implicitly indicate a desire to resume her position.
The two main narrative threads that Stevens recounts from the pre-WWII days at Darlington Hall are the evolution of his relationship to Miss Kenton and his role in preparing a series of diplomatic meetings hosted by Lord Darlington at his estate. According to Stevens, Herr Ribbentrop, a Nazi diplomat, manipulated Darlington’s honorable aim of re-negotiating the terms of the Treaty of Versailles—which Darlington believed were too harsh on Germany—so that Ribbentrop could gain access and influence over British and French diplomats. Stevens took his duties related to these conferences especially seriously because he believed it would give him a small part to play in altering the course of history. He wasn’t wrong. He ended up sacrificing his personhood in the hopes that he would have a hand in changing the world, but he ended up aiding and abetting someone who was so naïve that his own misplaced sense of honor was taken advantage of by Nazis.
It may sound exaggerated to suggest that Stevens sacrificed his personhood for the sake of his career, but I think this passage demonstrates the extent to which Stevens diminished himself so as to better serve the aristocracy:
And of course, any butler who regards his vocation with pride, any butler who aspires at all to a “dignity in keeping with his position,” as the Hayes Society once put it, should never allow himself to be “off duty” in the presence of others. […] A butler of any quality must be seen to inhabit his role, utterly and fully; he cannot be seen casting it aside one moment simply to don it again the next as though it were nothing more than a pantomime costume. There is one situation and one situation only in which a butler who cares about his dignity may feel free to unburden himself of his role; that is to say, when he is entirely alone.
By Stevens’s own logic, he could never even reveal his true self to a lover, a friend, or a family member. We learn the extent to which Stevens follows this principle when he describes the time when his father fell gravely ill on the evening of one of Lord Darlington’s biggest and most important conferences. Stevens states that he learned much about the notion of “dignity” from watching his father’s own commitment to service, yet while Stevens’s father is able to tell his son that he hopes he has been a good father to him before he dies, all Stevens can manage to do is stupidly repeat, “I’m very glad Father is feeling better.” Stevens actually remembers the night primarily as an achievement; he believes that in not succumbing to his emotions, even immediately after he learned of his father’s death, he reached a “turning point” in his professional development.
This memory, and Stevens’s pride in it, reveals how taxing it is for him to always be “on duty.” He cannot even display sentiment toward his father—for whom, at the very least, he has a deep respect—on his deathbed. Like Stevens’s relentless dedication to professionalism, the performance of heterosexuality is also an all-consuming task. A person’s sexuality may seem like just a small portion of his identity, but people make assumptions about others’ sexualities from a host of minute cues—voice, posture, dress, hairstyle, body language, interests and hobbies, etc. One must constantly monitor all of these things, and more, for fear of making a revealing mistake that clues someone in to who he really is. Likewise, Stevens pays careful attention to his dress, his command of language, and myriad other infinitesimal details to optimize himself for service in every conceivable way. Stevens, and any person who regulates his behavior to such a meticulous degree, must experience profound isolation because they can never be truly known by anyone.
It seems that Miss Kenton is one of the few people Stevens has encountered in his life who cared enough about him to attempt to expose his elaborate façade. The scene that I thought was in The Celluloid Closet portrays one such moment from the book. Rather than quote the entire passage, I will embed a clip of the scene here:
There are two things I’d like to point out here. First, Stevens is desperately uncomfortable with Miss Kenton encroaching on his personal time because she has caught him by surprise at one of the few moments when he allows himself to remove his veneer of service. The nature of the book he’s reading only heightens his vulnerability because he thinks Miss Kenton learning that he may occasionally fantasize about romantic love will undermine his authority and credibility as a butler. Second, there was a change in the atmosphere when Miss Kenton cornered Stevens, “almost as though the two of” them “had been suddenly thrust onto some other plane of being altogether.” That atmospheric shift is clear both in the novel and in the film; Miss Kenton’s tacit flirtation and Stevens’s refusal to match her intimacy creates a thick sexual tension. In the director and producer commentary track for the film, Emma Thompson observes that Stevens looked at Miss Kenton’s mouth, and that his hand was positioned so it looked as if he was about to caress Miss Kenton’s hair. Stevens was on the precipice of action, but as Thompson puts it, he “just can’t bring himself to do it”—he must restrain himself from expressing his desire to maintain his exacting portrait of professionalism.
Perhaps an even more compelling argument for Stevens’s embodiment of the turmoil that queer people in the closet experience is the way he swallows his feelings so as not to be overwhelmed by the immensity of a desire which can never be realized. This emotional restraint is reflected in a series of encounters Stevens had with Miss Kenton on the evening she gave him her notice that she was leaving Darlington Hall and moving to the West Country with her fiancé. First, after Miss Kenton told Stevens that she might accept her acquaintance’s proposal on that evening, she accused him of attempting to persuade her of missing her appointment by stomping around the kitchen—which Stevens denies, though he is likely misrepresenting what happened. Then, upon Miss Kenton’s return, Stevens blithely congratulated her on her engagement without expressing remorse for her possible departure. Miss Kenton responded to his callous indifference by telling Stevens that she and her acquaintance mocked him during their nights out. Later in the evening, Miss Kenton apologized but Stevens pretended that her remark was so insignificant that he didn’t remember it. Shortly afterward, Stevens returned through the same corridor where Miss Kenton’s room was situated. Stevens remembers the moment as follows:
As I approached Miss Kenton’s door, I saw from the light seeping around its edges that she was still within. And that was the moment, I am now sure, that has remained so persistently lodged in my memory – that moment as I paused in the dimness of the corridor, the tray in my hands, an ever-growing conviction mounting within me that just a few yards away, on the other side of that door, Miss Kenton was at that moment crying. As I recall, there was no real evidence to account for this conviction – I had certainly not heard any sounds of crying – and yet I remember being quite certain that were I to knock and enter, I would discover her in tears. I do not know how long I remained standing there; at the time it seemed a significant period, but in reality, I suspect, it was only a matter of a few seconds.
All of these encounters were punctuated by Stevens’s preparation for a meeting between Lord Darlington, the British Prime Minister, and the German Ambassador. Miss Kenton definitively learns from these exchanges where Stevens’s priorities lie. Stevens, for his part, felt “somewhat downcast” after leaving Miss Kenton’s door without inquiring after her, but then as he stood by waiting to satisfy the whims of the diplomats, “a deep feeling of triumph started to well up within” him. I believe that this sense of achievement Stevens experienced had less to do with his role in Darlington’s intervention in foreign policy, and more to do with having conquered the greatest test of his devotion to service ever—the choice between comforting Miss Kenton and fulfilling his duties at the highest possible standard. Of course, Stevens does not make this connection himself—the fact that he gave up the only woman who ever loved him for a man who consorted with Nazis would be too painful a truth to reconcile.
Hopefully as time marches forward, Stevens’s emotional repression and performance will be experiences less familiar to queer audiences, but for now he serves as an excellent corollary for understanding the isolation they feel when censor themselves to be accepted.
|
||
5020
|
dbpedia
|
2
| 14
|
https://www.bfi.org.uk/film/38c090b6-bf34-5809-9a4c-f350b62ce37c/the-remains-of-the-day
|
en
|
The Remains of the Day (1993)
|
[
"https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg",
"https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg",
"https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg",
"https://core-cms.bfi.org.uk/sites/default/files/core/funded-by-uk-government.svg",
"https://core-cms.bfi.org.uk/sites/default/files/core/here-for-culture.svg",
"https://core-cms.bfi.org.uk/sites/default/files/core/national-lottery.svg"
] |
[] |
[] |
[
""
] | null |
[
"BFI"
] | null |
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.
|
en
|
BFI
|
https://www.bfi.org.uk/film/38c090b6-bf34-5809-9a4c-f350b62ce37c/the-remains-of-the-day
|
“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
|
|||||
5020
|
dbpedia
|
3
| 23
|
https://www.standbyformindcontrol.com/2015/01/the-remains-of-the-day-book-vs-movie/
|
en
|
The Remains of The Day: Book Vs. Movie
|
[
"https://www.standbyformindcontrol.com/wp-content/uploads/2014/05/SB4MC_header.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/remains_of_the_day-201x300.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/28921-191x300.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/The-Remains-of-the-Day-006-300x180.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/reday_stl_15_h-300x203.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/Remains-of-the-Day-Forgotten-DVDs_Review-300x188.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/syn__0049_remainsoftheday-300x169.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/600full-the-remains-of-the-day-photo-300x205.jpg",
"https://www.standbyformindcontrol.com/wp-content/uploads/2015/01/reday_stl_20_h-300x207.jpg",
"https://secure.gravatar.com/avatar/9e5684a9d5855bc040b955dfcd537870?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/f5b75cc1644ca4aecce348baf7dc6874?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/9e5684a9d5855bc040b955dfcd537870?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/9e5684a9d5855bc040b955dfcd537870?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/d9dfab64e040d13491141d7409856ce9?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/9e560ce22abf7d7da5cee08b1a967449?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/9e560ce22abf7d7da5cee08b1a967449?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/f5b75cc1644ca4aecce348baf7dc6874?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/82129c16adbe5ef081522492975778fd?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/61d82ae9b11ee03d0d4e4d8ff2be0f50?s=40&d=blank&r=pg",
"https://secure.gravatar.com/avatar/f5b75cc1644ca4aecce348baf7dc6874?s=40&d=blank&r=pg",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2015/08/dvd_eyes.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2014/08/garp-close-williams.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2016/11/eye-in-the-sky-mirren.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2015/01/remains-of-the-day-thompson-hopkins.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2012/09/phoebe.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2012/10/cainegold.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2015/07/hardly-working-1979-001-sifting-mail-on-floor.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2019/05/under-the-silver-lake-garfield.jpg?resize=40%2C40&ssl=1",
"https://i0.wp.com/www.standbyformindcontrol.com/wp-content/uploads/2014/01/city-slickers-ii-the-legend-of-curlys-gold1.jpg?resize=40%2C40&ssl=1"
] |
[] |
[] |
[
""
] | null |
[
"Supreme Being"
] |
2015-01-21T16:30:52+00:00
|
It’s a fight to the death! Ishiguro vs. Ivory. Who will dance victoriously over the broken corpse of their enemy?
|
en
|
Stand By For Mind Control
|
https://www.standbyformindcontrol.com/2015/01/the-remains-of-the-day-book-vs-movie/
|
I remembered The Remains of The Day, the movie, which I saw once, when it opened back in ’93, as being a powerful, subtle, beautifully acted, emotionally subdued tale of an aging butler’s wasted life. I remember liking it a lot. I think I never read the book because how different could it be? It’s a small, highly contained story about a butler. Surely, I imagined, if any movie captured the essence of its source material, it must be this stately Merchant-Ivory production.
I read many other Ishiguro novels over the years (The Unconsoled is the weirdest and best; highly recommended to any serious readers out there) and always loved his writing if not the stories (Never Let Me Go didn’t click for me the way it did for many, the movie version even less so), yet the one many claimed was his masterpiece I never got around to.
Until I did. I read The Remains of The Day recently, and holy hell is that a powerful novel. Subdued in the extreme, but ultimately as sad as anything I’ve ever read. It’s narrated by Stevens, the butler, in his carefully controlled voice. He allows little emotion to affect him. But what emotion creeps in reveals a great gulf of barely acknowledged grief.
When the story begins in the mid ‘50s, Stevens’s longtime employer, Lord Darlington, has been dead some years, his mansion bought by an American. Stevens stays on–a part of the package–with a staff of only four working under him. Not like the old days, in the years between the two great wars, when Darlington Hall saw world leaders and other men of great political influence meeting under its roof to decide the fate of the world.
Stevens receives a letter from one-time Darlington Hall housekeeper, Miss Kenton, implying, or so Stevens wishes to infer, that her marriage is ending and that she might like to return to her old job. So, offered use of the fancy old Ford by his American employer, Stevens takes a rare trip from the Hall to visit Miss Kenton.
Now, Stevens isn’t about to admit to we the readers that he ever loved Miss Kenton and wished it was he who’d married her, nor that his trip is being taken in the hope of starting a late-in-life romance. He’s not about to admit it to himself, either. But we come to understand that this is what’s driving him, even if he never does, not fully, not in a way he’s willing to consciously acknowledge. He’s tightly wound, Stevens is.
During his trip, he relates stories of his past experiences as Darlington Hall, those with Miss Kenton, and those concerning Lord Darlington’s efforts to maintain a post-WWI peace by making nice with the Germans. Most of all, Stevens ponders what it means to be a truly great butler. A great butler, he concludes, may be defined by his dignity. Dignity. What is dignity? It is being cool under pressure. It is being a butler, from the inside out. A great butler doesn’t see butlering (butlery?) as a job. It is a state of being. The only a time a great butler may allow what’s inside of himself to come out is when he’s alone. In the presence of others, he must maintain absolute control.
Furthermore, a great butler must devote himself to a great house. And once devoted, he must not ever sway in his devotion.
As the novel progresses, we come to understand the extent to which the good-hearted Lord Darlington was played by the Nazis as their most important British pawn pre-WWII.
Stevens comes to terms with this sad fact—that he served a duped Nazi-sympathizer—as much as he comes to terms with his long suppressed feelings for Miss Kenton. That is to say, barely at all. But enough for us to see the sadness within him. He is such a lonely man. At least he was a great butler. At least he has dignity. To question his years of service would be to question his very identity.
Reading the book I couldn’t help but picture Anthony Hopkins as Stevens. I assumed the movie captured Stevens’s subtlety of character, no matter how the story itself was altered. It’s the soul of the source material one wants to be loyal to. Getting hung up on creating an exact adaptation is pointless and detrimental. Movies function very differently than books.
But some adaptations make one wonder. If that isn’t part of your movie, one asks of the book’s very reason for being, why bother adapting it at all?
Which is perhaps a bit harsh when applied to The Remains of The Day. It is, after all, a much lauded movie. And watching it again, there’s much to appreciate. The final scene, one not in the book, is perhaps the movie’s most moving. A bird flies into a parlour. Stevens chases it, grabs it, and releases it out the window. He closes the window, locks it, and disappears inside Darlington Hall. Trapped. Forever.
Yet despite its strong performances, stately direction, and thoughtful compositions, the rest of the movie, aside from a handful of powerful scenes, didn’t do much for me. I was surprised at how much it deviated from what seemed to me the core of the novel: the character of Stevens.
Anthony Hopkins is an incredible actor. His Stevens is a finely tuned creation. But he is surprisingly emotional. In his every interaction with Lord Darlington, Miss Kenton, and anyone else, his emotional turmoil boils beneath his not quite calm exterior. He is a picture of torment. Subdued, British torment, but obvious torment just the same. His trip to see Miss Kenton is about one thing only: romance. He knows it, wants it, openly talks of it to strangers, is hugely disappointed when it’s not to be.
What happened to the dignity of the butler? To being nothing but a butler when in the presence of others? The Stevens of the film is a man about to burst in every scene.
I know. It’s a movie. You have to communicate inner turmoil somehow. If Stevens showed nothing, we’d never understand his true self. And yet… So much of the book’s power comes from the fact that not even Stevens understands his true self, or indeed whether there’s a true self left to understand. The movie version tells us he knows exactly what’s going on, and is fighting tooth and nail against it. I wonder what the effect would have been if only in his private moments did we see the cracks in his façade.
Beyond that, the adaptation, written by Ruth Prawer Jhabvala, suffers in the way almost every book-to-screen transformation does. The story feels attenuated, glossed over, presented quickly in order to squeeze in as many scenes as possible, without taking the time to dwell on the most significant ones.
The sequence during which Stevens’s father dies, in the midst of an important gathering, is the highlight of the book. It’s devastating. The movie version undercuts the intensity by allowing us to see the emotional turmoil bubbling up beneath Stevens’s not-so-very calm exterior. Again, I wonder if keeping that emotion tamped down until Stevens found himself alone wouldn’t have had a greater impact. In the book, Stevens relates the story of his father’s death during this momentous dinner as his proudest moment, the moment when he became a great butler.
His own father’s death! And he kept his emotions under wraps while performing at the height of his abilities. This is what he sees as dignity. There’s a sadness here of a depth rarely encountered.
Perhaps the scene most effectively conveyed in the movie is the one in which Miss Kenton (played by Emma Thompson), coming to Stevens in his private room, asks to see the book he’s reading. He backs away from her, holds the book to his chest. Is it shocking in some way? She comes still closer. Prises it from his fingers. But it’s only a melodrama, not shocking at all. This is, strangely, the most romantic moment they have together. It’s as powerful in the movie as in the book.
The end of the movie attempts to heighten Stevens’s emotional loss by making another change, a predictable one, but one that I think lessens the sadness. In the novel, after Stevens parts with Miss Kenton, he sits alone on a bench on a dock, watching the evening lights flicker to life, marveling at the people around him applauding. A stranger on the bench beside him says it’s because the evening is the best part of the day. One should enjoy the remains of the day, he adds. Is it too late for Stevens? He’s lost Miss Kenton. He lost her long ago. He devoted his life to a man whose foolishness aided Hitler. And now? Now he has nothing but a mostly empty mansion to return to, where he will spend the rest of his life. He thinks to himself he needs to practice his bantering. Americans like to banter. If that’s what his employer needs of him, it’s something he’ll have to work on.
In the movie, it’s hardly a surprise that it’s Miss Kenton he sits beside on the bench, and Miss Kenton who says that evening is the best part of the day. Not so lonely when your lost love is beside you.
I’ve no doubt I would’ve enjoyed the movie more had I not just read the book. Always thus. How many times must I learn this lesson to remember it? In this case, I did it for science. I did it for you! Don’t make my mistake. Pick one or the other, and stick to it.
|
|||||
5020
|
dbpedia
|
3
| 74
|
https://www.biblio.com/the-remains-of-the-day-by-ishiguro-kazuo/work/9386
|
en
|
'The Remains Of the Day by Ishiguro, Kazuo
|
[
"https://d3525k1ryd2155.cloudfront.net/i/en20/Biblio-logo.svg",
"https://d3525k1ryd2155.cloudfront.net/images/flags/de.svg",
"https://d3525k1ryd2155.cloudfront.net/images/flags/de.svg",
"https://d3525k1ryd2155.cloudfront.net/h/599/215/157215599.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/558/922/1448922558.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/h/655/593/1523593655.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/705/129/1610129705.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/720/226/281226720.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/h/010/433/1589433010.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/h/159/624/527624159.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/579/077/1588077579.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/708/234/1592234708.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/519/338/55338519.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/h/287/116/1457116287.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/i/en20/no-book-image.png",
"https://d3525k1ryd2155.cloudfront.net/h/599/215/157215599.0.m.jpg",
"https://d3525k1ryd2155.cloudfront.net/i/en20/Biblio-seal-logo.svg",
"https://d3525k1ryd2155.cloudfront.net/i/en20/BBB-logo-ftr.png"
] |
[] |
[] |
[
""
] | null |
[
"Kazuo Ishiguro"
] |
2005-08-15T00:00:00
|
The Remains of the Day is the third published novel by Japanese-British author Kazuo Ishiguro. The Remains of The Day is one of the most highly-regarded post-wa…
|
en
|
https://www.biblio.com/the-remains-of-the-day-by-ishiguro-kazuo/work/9386
|
The Remains of the Day is the third published novel by Japanese-British author Kazuo Ishiguro. The Remains of The Day is one of the most highly-regarded post-war British novels. It won the Booker Prize in 1989 for Best Fiction, and was later adapted into an Academy-Award nominated film, starring Anthony Hopkins and Emma Thompson. The novel ranks in the Sunday Times list of 100 greatest novels.
More Photos
The Remains Of The Day
by Ishiguro, Kazuo
Show Details
Description:
London: Faber and Faber, 1989. Bound in the publishers black hardcover with contrasting white title lettering to spine. This is the first impression of the first edition. Inscription to the front free endpaper otherwise the 245 pages remain in excellent condition. Book sits solid and square with all corners sharp. A near fine copy inside and out. Housed in the… Read more about this item
Item Price
US$196.49
The Remains of the Day
by ISHIGURO, Kazuo
Show Details
Description:
New York: Alfred A. Knopf, 1989. Hardcover. Near Fine/Near Fine. First American edition. Octavo. 245pp. Board edges slightly sunned, light bumping at the top edge of cover, near fine in a price-clipped, near fine dust jacket with light toning and tiny creases on the front flap fold. Booker Award winner, and basis for the film featuring Anthony Hopkins,… Read more about this item
Item Price
US$150.00
The Remains of the Day.
by ISHIGURO**, KAZUO:
Show Details
Description:
UK,slim 8vo HB+dw/dj,1st edn.FINE+/FINE+. No owner inscrptn but price-clip to dw/dj.Bright,crisp,clean,glossy colour photographic illustrated front panel of dw/dj,with capitalised,black-lettered author name and other black-lettered title within a pale tan rectangle; spine/backstrip unusually without sunning/fading and with similarly coloured+lettered author+title as front and publisher's black-lettered+illustrated colophon,to foot of same,rear panel with pale tan background and a single black line bordered vertical… Read more about this item
Item Price
US$494.30
The Remains of the Day
by Kazuo Ishiguro
Show Details
Description:
London: Faber and Faber, 1993. ..........please e-mail for further details.. Not Signed or Inscribed. Film Tie-in Edition. Photographic Illustrated Card. Very Good (AVERAGE)/No Jacket. Illus. by Not Illustrated. 8vo - over 7¾" - 9¾". PAPERBACK.
Item Price
US$6.50
The Remains of the Day
by ISHIGURO, Kazuo
Show Details
Description:
London: Faber and Faber, 2005 A near fine reprint copy.
Item Price
US$9.00
More Photos
The Remains of the Day
by Ishiguro, Kazuo
Show Details
Description:
London: Faber and Faber, 1989. First edition. Fine/Near Fine. A Fine copy in Near Fine jacket. Bright and clean interior. Dust jacket with toning to spine, but maintaining original price on front interior flap. "A lack of restraint is perhaps the best response to Ishiguro's novel, which is the tale of a man so burdened by propriety… Read more about this item
Item Price
US$450.00
The Remains of the Day
by Ishiguro, Kazuo
Show Details
Description:
Paperback. Acceptable.
Item Price
US$2.47
Remains of the Day
by Kazuo Ishiguro
Show Details
Description:
London: Faber & Faber, 1989. First Edition, 1st Impression . Hardcover. Very Good/Very Good. dustjacket lightly sunned on spine
Item Price
US$156.10
More Photos
The Remains of the Day
by Kazuo Ishiguro
Show Details
Description:
Knopf, September 1989. Hardcover. Used - Very Good/Very Good. Signed by author on half-title page. 1990 hardcover edition, eigth printing. Gray paper board with navy linen spine, with very good dust jacket. Price corner clipped, inscribed as gift by previous owner.
Item Price
US$295.95
Show Details
Description:
Knopf Doubleday Publishing Group. Used - Good. Used book that is in clean, average condition without any missing pages.
Item Price
US$7.41
The Remains of the Day
by Ishiguro, Kazuo
Show Details
Description:
Faber and Faber, 1989. 1st Edition 1st Printing. Hardcover. Very Good/Very Good. hardcover, first edition, first impression, 1989, VG+ in VG+ dustjacket
Item Price
US$91.06
The Remains of the Day,
by Kazuo Ishiguro,
Show Details
Description:
London, United Kingdom: Faber and Faber, 1990. Creased covers. Please Email for further details.. NOT Signed or Inscribed.. This IS a Reprint. Trade Paperback. Very Good/No Jacket. 8vo - over 7¾" - 9¾". TRADE PAPERBACK.
Item Price
US$6.50
The Remains of the Day
by Ishiguro, Kazuo
Show Details
Description:
New York: Alfred A. Knopf, 1989. Hardcover. Fine/Fine. Second Printing. Fine in a Fine jacket, unclipped ($18.95), lightly toned at the edges. Quarter blue cloth with grey paper on the boards. Square and firmly bound with a red top stain, clean internally. Ishiguro's Book Prize-winning novel of the "insular, fading world of the perfect English butler," adapted into… Read more about this item
Item Price
US$45.00
Remains of the Day
by ISHIGURO, Kazuo
Show Details
Description:
New York: Alfred A. Knopf, 1989. First edition and first printing. Hardcover. 245 pages. Ishiguro's third novel, the winner of the Booker Prize. Made into a brilliant movie by the team of Merchant and Ivory which starred Anthony Hopkins and Emma Thompson. An about very good copy in paper covered boards with a cloth spine with some sunning to… Read more about this item
Item Price
US$65.00
The Remains of the Day
by Kazuo Ishiguro
Show Details
Description:
London: Faber & Faber, 1990. Reprint. Trade Paperback. Good/No Jacket. 8vo - over 7¾" - 9¾" Tall. Size: 8vo - over 7¾" - 9¾" Tall
Item Price
US$5.20
More Photos
The Remains of the Day
by Kazuo ishiguro
Show Details
Description:
Stated First American Edition - 1989 Printing. Spine has never been cracked Very light tanning on the upper page edge. Orders ship same or next day with Tracking. BA2 KAZUO ISHIGURO was born in Nagasaki, Japan, in 1954 and moved to Britain at the age of five. His eight previous works of fiction have earned him many honors around the world,… Read more about this item
Item Price
US$15.99
Show Details
Description:
Knopf Doubleday Publishing Group. Used - Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.
Item Price
US$7.41
Show Details
Description:
Knopf Doubleday Publishing Group. Used - Good. Used book that is in clean, average condition without any missing pages.
Item Price
US$7.41
The Remains of the Day
by Ishiguro, Kazuo
Show Details
Description:
Vintage International, 1989-01-01. Paperback. New. New. In shrink wrap. Looks like an interesting title!
Item Price
US$76.95
|
||||||
5020
|
dbpedia
|
3
| 62
|
https://www.faber.co.uk/product/9780571258246-the-remains-of-the-day/
|
en
|
The Remains of the Day by Kazuo Ishiguro
|
[
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571382330-191x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571382330-191x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/Ex-Wife-Faber-Editions-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/Ex-Wife-Faber-Editions-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571384518-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571384518-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571382507-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571382507-204x305.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2024/07/9780571389902-new-york-trilogy-members-edition-186x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/07/9780571389902-new-york-trilogy-members-edition-186x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/Ex-Wife-Faber-Editions-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/Ex-Wife-Faber-Editions-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571384518-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571384518-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/12/9780571380985-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/12/9780571380985-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/10/9780571382927-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/10/9780571382927-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/10/9780571384853-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/10/9780571384853-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571393213-197x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571393213-197x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Mary-Said-What-She-Said-1-195x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Mary-Said-What-She-Said-1-195x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571392490-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571392490-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571392575-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571392575-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571382507-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/9780571382507-204x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/12/9780571387250-1-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/12/9780571387250-1-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/11/9780571382972-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/11/9780571382972-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/10/9780571374403-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/10/9780571374403-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/07/TSSM_CVR-1-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/07/TSSM_CVR-1-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/210813_Lesley-Lau_019-600x352.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/210813_Lesley-Lau_019-600x352.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/210813_Lesley-Lau_055-600x352.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/210813_Lesley-Lau_055-600x352.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/07/Faber-Bookshelf-at-The-Bindery-hughes-poetry-238-600x400.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/07/Faber-Bookshelf-at-The-Bindery-hughes-poetry-238-600x400.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/03/Faber-Ishiguro-titles-897c-credit-Yeshen-Venema-600x600.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/03/Faber-Ishiguro-titles-897c-credit-Yeshen-Venema-600x600.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/08/210813_Leley-Lau_068-600x352.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/08/210813_Leley-Lau_068-600x352.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/08/2440013193_58dbf59879_o-1-600x474.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/08/2440013193_58dbf59879_o-1-600x474.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/07/Faber-Members-Event-Bindery-Victoria-Adukwei-Bulley-328-600x400.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/07/Faber-Members-Event-Bindery-Victoria-Adukwei-Bulley-328-600x400.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Normal-People-1-193x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Normal-People-1-193x305.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Never-Let-Me-Go-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Never-Let-Me-Go-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Outline-Transit-Kudos-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Outline-Transit-Kudos-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/White-Egrets-1-193x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/White-Egrets-1-193x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/1000x600-READ-journal-banner-600x360.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/1000x600-READ-journal-banner-600x360.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/search_loader.gif",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/search_loader.gif",
"https://www.faber.co.uk/wp-content/uploads/2024/07/Ex-Wife-Baseball-Cap-Faber-Editions-4-1-70x93.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/07/Ex-Wife-Baseball-Cap-Faber-Editions-4-1-70x93.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Remains-of-the-Day-531x815.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Remains-of-the-Day-531x815.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Remains-of-the-Day-42x64.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Remains-of-the-Day-42x64.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Remains-of-the-Day-450x690.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Remains-of-the-Day-450x690.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/Kazuo-Ishiguro-315x378.jpeg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/Kazuo-Ishiguro-315x378.jpeg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/KLARA-HBPLC-1-e1643375892173-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/KLARA-HBPLC-1-e1643375892173-198x305.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Never-Let-Me-Go-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Never-Let-Me-Go-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Buried-Giant-1-e1643375925370-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Buried-Giant-1-e1643375925370-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Pale-View-of-Hills-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Pale-View-of-Hills-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/When-We-Were-Orphans-3-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/When-We-Were-Orphans-3-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Come-Rain-or-Come-Shine-212x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Come-Rain-or-Come-Shine-212x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/My-Twentieth-Century-Evening-and-Other-Small-Breakthroughs-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/My-Twentieth-Century-Evening-and-Other-Small-Breakthroughs-1-192x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Never-Let-Me-Go-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Never-Let-Me-Go-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Artist-of-the-Floating-World-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Artist-of-the-Floating-World-198x305.jpg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/icons/lock.svg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Buried-Giant-1-217x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Buried-Giant-1-217x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/11/Unconsoled-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/11/Unconsoled-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Artist-of-the-Floating-World-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Artist-of-the-Floating-World-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/10/Nocturnes-1-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/10/Nocturnes-1-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Never-Let-Me-Go-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Never-Let-Me-Go-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Klara-and-the-Sun-1-200x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Klara-and-the-Sun-1-200x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/05/Summer-We-Crossed-Europe-in-the-Rain-1-194x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/05/Summer-We-Crossed-Europe-in-the-Rain-1-194x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/Unbearable-Lightness-of-Being-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/Unbearable-Lightness-of-Being-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Never-Let-Me-Go-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Never-Let-Me-Go-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/New-York-Trilogy-1-194x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/08/New-York-Trilogy-1-194x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Artist-of-the-Floating-World-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/09/Artist-of-the-Floating-World-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Pale-View-of-Hills-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Pale-View-of-Hills-199x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Buried-Giant-1-e1643375925370-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/09/Buried-Giant-1-e1643375925370-198x305.jpg",
"https://www.faber.co.uk/wp-content/uploads/2023/09/Packshot-9780571378876-the-summer-we-crossed-europe-in-the-rain-600x414.png",
"https://www.faber.co.uk/wp-content/uploads/2023/09/Packshot-9780571378876-the-summer-we-crossed-europe-in-the-rain-600x414.png",
"https://www.faber.co.uk/wp-content/uploads/2022/11/AI-featured-600x389.jpg",
"https://www.faber.co.uk/wp-content/uploads/2022/11/AI-featured-600x389.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Never-Let-Me-Go-Educational-Edition-featured-image-600x400.jpg",
"https://www.faber.co.uk/wp-content/uploads/2024/04/Never-Let-Me-Go-Educational-Edition-featured-image-600x400.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/12/featured-image-2-600x433.jpeg",
"https://www.faber.co.uk/wp-content/uploads/2021/12/featured-image-2-600x433.jpeg",
"https://www.faber.co.uk/wp-content/uploads/2021/05/Ish-full-copy-600x338.jpg",
"https://www.faber.co.uk/wp-content/uploads/2021/05/Ish-full-copy-600x338.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/12/Screen-Shot-2022-02-09-at-15.01.03-600x331.png",
"https://www.faber.co.uk/wp-content/uploads/2017/12/Screen-Shot-2022-02-09-at-15.01.03-600x331.png",
"https://www.faber.co.uk/wp-content/uploads/2017/10/Faber-9.3.220853-600x337.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/Faber-9.3.220853-600x337.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/ISHAngus-600x336.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/ISHAngus-600x336.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/9780571322732-600x364.jpg",
"https://www.faber.co.uk/wp-content/uploads/2017/10/9780571322732-600x364.jpg",
"https://www.faber.co.uk/wp-content/uploads/2016/07/9780571330386-600x379.jpg",
"https://www.faber.co.uk/wp-content/uploads/2016/07/9780571330386-600x379.jpg",
"https://www.facebook.com/tr?id=432776302759217&ev=PageView&noscript=1",
"https://www.faber.co.uk/wp-content/uploads/2021/07/fb-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/fb-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/twitter-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/twitter-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/yt-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/yt-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/instagram-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/instagram-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/soundcloud-icon.svg",
"https://www.faber.co.uk/wp-content/uploads/2021/07/soundcloud-icon.svg",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/payments-logo/payment-icons.png",
"https://www.faber.co.uk/wp-content/themes/faber/assets/img/payments-logo/payment-icons.png"
] |
[] |
[] |
[
""
] | null |
[] |
2021-09-10T18:59:36+00:00
|
The Remains of the Day is Nobel Laureate Kazuo Ishiguro’s Booker Prize-winning novel.
|
en
|
Faber
|
https://www.faber.co.uk/product/9780571258246-the-remains-of-the-day/
|
*Kazuo Ishiguro’s new novel Klara and the Sun is now available*
WINNER OF THE BOOKER PRIZE
A contemporary classic, The Remains of the Day is Kazuo Ishiguro’s beautiful and haunting evocation of life between the wars in a Great English House.
In the summer of 1956, Stevens, the ageing butler of Darlington Hall, embarks on a leisurely holiday that will take him deep into the countryside and into his past.
‘A triumph . . . This wholly convincing portrait of a human life unweaving before your eyes is inventive and absorbing, by turns funny, absurd and ultimately very moving.’ Sunday Times
|
|||||
5020
|
dbpedia
|
3
| 35
|
https://www.hollywoodreporter.com/lifestyle/lifestyle-news/kazuo-ishiguro-author-remains-day-wins-nobel-prize-literature-1045994/
|
en
|
Kazuo Ishiguro, Author of ‘The Remains of the Day,’ Wins Nobel Prize for Literature
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154",
"https://www.hollywoodreporter.com/wp-content/uploads/2017/10/kaz.jpg?w=1296&h=730&crop=1",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Adam-Sandler-and-Taylor-Swift-and-Travis-Kelce-Split-Getty-H-2024.jpg?w=260&h=150&crop=1",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/08/GettyImages-2157876332.jpg?crop=0px%2C137px%2C5000px%2C2798px&resize=260%2C150",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/08/GettyImages-1419918971.jpg?crop=0px%2C120px%2C5850px%2C3273px&resize=260%2C150",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/07/25-Luxe-Classics-to-Shop-During-Wayfairs-Black-Friday-in-July-Sale-MAIN.jpg?w=260&h=150&crop=1",
"https://www.hollywoodreporter.com/wp-content/uploads/2023/08/Watch-Football-on-TV-with-Remote-AdobeStock_340751501-MAIN-2023.jpg?w=260&h=150&crop=1",
"https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Dysons-New-Airwrap-Programs-the-Perfect-Curl-for-Each-Users-Unique-Hair-Profile-MAIN.jpg?w=260&h=150&crop=1",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif",
"https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Georg Szalai"
] |
2017-10-05T04:33:55+00:00
|
The novel got a film adaptation, starring Anthony Hopkins and Emma Thompson and directed by James Ivory.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/lifestyle/lifestyle-news/kazuo-ishiguro-author-remains-day-wins-nobel-prize-literature-1045994/
|
Japan-born British novelist Kazuo Ishiguro, best known for The Remains of the Day, which was adapted for the big screen with stars Anthony Hopkins and Emma Thompson and director James Ivory, has won the Nobel Prize for literature, organizers of the award said Thursday.
His novel Never Let Me Go got a film adaptation, which starred Carey Mulligan, Keira Knightley and Andrew Garfield and was directed by Mark Romanek.
They lauded the winner for having “uncovered the abyss beneath our illusory sense of connection with the world.”
The literature honor, presented by the Swedish Academy, is one of the five Nobel Prizes established by the will of Alfred Nobel, the inventor of dynamite, in 1895. The others are prizes in chemistry, physics, medicine and the Nobel Peace Prize.
Since 1901, the literature prize has been awarded annually to an author from any country who has, according to Nobel’s will, written “the most outstanding work in an ideal direction.”
Past laureates include U.S. writers Toni Morrison and Saul Bellow, Britain’s Harold Pinter and William Golding, Ireland’s Samuel Beckett, Canada’s Alice Munro, South Africa’s Nadine Gordimer and J.M. Coetzee, Colombia’s Gabriel Garcia Marquez, Chile’s Pablo Neruda, France’s Jean-Paul Sartre, Germany’s Gunter Grass, Turkey’s Orhan Pamuk and China’s Mo Yan. Last year, Bob Dylan won the award, becoming the first American to receive it since Morrison won it in 1993.
|
|||||
5020
|
dbpedia
|
3
| 42
|
https://www.rogerebert.com/reviews/the-remains-of-the-day-1993
|
en
|
The Remains Of The Day movie review (1993)
|
[
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-ebert-logo.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/search-thin.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/06/Roger-Ebert-1.jpg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/03/The-Remains-Of-The-Day.jpg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/jk40FijwEEqqCk7nK0WROKeObHo-3-256x379.jpg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/The-Becomers-256x378.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Decoded-256x358.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/The-Supremes-at-Earls-All-You-Can-Eat-jpg.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Hell-Hole-256x320.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Between-the-Temples-256x380.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Blink-Twice-256x384.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/The-Killer-1-256x379.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Strange-Darling-256x384.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Incoming-2-256x379.avif",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/large_crow-256x379.avif",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Close-Your-Eyes-256x366.webp",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/LOTR_S2_UT_230210_00070_R1_3000-480x320.jpg",
"https://www.rogerebert.com/wp-content/uploads/2024/08/CFB25_Campus_IQ_16x9_Watermark-568x320.png",
"https://www.rogerebert.com/wp-content/uploads/2024/08/Venice-2024-568x291.webp",
"https://www.rogerebert.com/wp-content/uploads/2024/08/locarno-568x265.avif",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/thumb-up-subscribe.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/facebook.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/youtube.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/x-icon.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-pic.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
In 1958, an old man in a big old car begins a journey across England to the sea. His name is Stevens, and for many years he has been the head butler at
|
en
|
Roger Ebert
|
https://www.rogerebert.com/reviews/the-remains-of-the-day-1993
|
In 1958, an old man in a big old car begins a journey across England to the sea. His name is Stevens, and for many years he has been the head butler at Darlington Hall, a famous country house. He is going to visit a woman he has not seen in a long time: Miss Kenton, who was once the housekeeper at Darlington. He thinks perhaps she can be persuaded to resume her old position under the hall’s new owner, a retired American congressman.
Both Stevens and Darlington Hall are anacronisms. Stevens comes from a tradition of personal service; his goal in life is to serve his employer to the best of his ability, and as we get to know him, we realize that this was his only goal: He allowed it to blind him to all of the other promises of life.
“The Remains of the Day” tells the story of Stevens’ trip to the sea, and what he finds there. Along the way, in flashback, we see his memories of the great days at the hall, when Lord Darlington played host to the world’s leaders, and it seemed at times the future of Britain was being decided. And slowly we begin to realize that things were not as they seemed, that Darlington was not as wise as he thought, that Stevens was blind to the reality around him.
“The Remains of the Day” is based on the Booker Prize novel by Kazuo Ishiguro, which I would have thought almost unfilmable, until I saw this film. So much of it takes place within Stevens’ mind, and it is up to the reader to interpret what the butler remembers: To deduce reality through the filter of a narrow, single-minded man. The reality is that Lord Darlington, in the years before World War II, had great sympathy for Germany, and hoped to bring about a separate peace between Britain and the Nazis. In this he was not precisely evil; he was deluded, short-sighted, easily persuaded by the pieties of genteel racism. He was, as a dinner guest brutally informs him, an amateur, who should have left international relations to the professionals.
The movie has been made by the team of director James Ivory, producer Ismail Merchant, and writer Ruth Prawer Jhabvala. After “A Room with a View” and “Howards End,” they are at the height of their powers, taking us inside a society where tradition is valued, even at the cost of repressing normal human feelings. The feelings, for example, that Stevens (Anthony Hopkins) might be expected to feel for Miss Kenton (Emma Thompson).
In a British country house of the period, the head butler and the housekeeper would have been equals, roughly speaking, each supervising the two major realms of service. Miss Kenton is clearly attracted to the butler, but he is terrified of intimacy, and sidesteps it through a fanatic devotion to his work. The film demonstrates this in a series of quiet, almost secretive scenes, in which she pushes, and he flees. The most painful, and brilliant, shows Miss Kenton surprising Stevens in his room, reading a book.
What book? she asks. He hides the cover. She pursues him, cornering him, snatching the book away to find it is a best-selling romance.
She had not imagined he read romances! He only reads, he stiffly explains, to improve his vocabulary.
Does Stevens possess any ordinary human feelings? Quite possibly, but something has led him to bury them. We meet his father (Peter Vaughan), himself a butler, who reared the son to a rigid idea of service – so rigid that when the father is actually dying upstairs, Stevens does not abandon his post at an important dinner party.
The motor journey unfolds, as incident and memory reveal one secret after another. We begin to understand the nature of Darlington’s behavior. The lord (played by that most urbane and civilized actor James Fox) is not a worldly man (he even recruits Stevens to explain “about the birds the the bees” to a godson who is obviously far beyond a zoological approach to sex). Cultivated and flattered by Nazi sympathizers and anti-Semites, he sponsors “international conferences” that will eventually lead to Darlington Hall being described as a traitor’s nest. Does Stevens hear what is discussed at the meetings where he serves? What does he think about it? It is not the butler’s place, he explains, to listen to his employer’s conversations, or form opinions of them.
As the political disaster of Darlington Hall unfolds, a personal disaster also is in the making. Miss Kenton, discouraged in her approaches to Stevens, eventually bolts from her job. And it is only many years later that she contacts Stevens again, by letter, leading to his motor trip. Perhaps at some place buried deep in the darkness of his hopes, there is the thought that she might . . . still be interested in him? The closing scenes paint a quiet heartbreak. The whole movie is quiet, introspective, thoughtful: A warning to those who put their emotional lives on hold, because they feel their duties are more important. Stevens has essentially thrown away his life in the name of duty. He has used his “responsibilities” as an excuse for avoiding his responsibility to his own happiness.
|
|||||
5020
|
dbpedia
|
2
| 4
|
https://www.rottentomatoes.com/m/remains_of_the_day
|
en
|
The Remains of the Day
|
[
"https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png",
"https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png",
"https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png",
"https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png",
"https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png",
"https://resizing.flixster.com/mRgriroIqHSpQIbuIxDzVFXy9L8=/fit-in/128x128/v2/http://resizing.flixster.com/ZutMJ16o6I3pVtgoapoxTy3VHTs=/128x128/v1.YzszNjQ4O2o7MTk5ODA7MjA0ODszMDA7MzAw",
"https://resizing.flixster.com/u4BW3kHUlFR4jEF5wG36QCO5GO8=/fit-in/128x128/v2/http://resizing.flixster.com/DQpCLCff9bpjyvv0V-81YbUwlcQ=/120x120/v1.YzsyMjk4O2c7MTk5ODA7MjA0ODsxMjA7MTIw",
"https://resizing.flixster.com/LuKfUQM3wbxi3HAvdDn-F54yAO8=/fit-in/128x128/v2/http://resizing.flixster.com/3s6XFciAz4yUNEMV9uWsB9A3pNA=/128x128/v1.YzsxMDAwMDAzMDM3O2o7MTk5ODk7MjA0ODsyNjg7MzQ2",
"https://resizing.flixster.com/TE68l09CfDvBrYaB31jeyvIIDkI=/fit-in/128x128/v2/http://resizing.flixster.com/MTG3am6FtvlbKM82-EokqZdtLZc=/128x128/v1.YzszNDIxO2o7MTk5ODA7MjA0ODszMDA7MzAw",
"https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg",
"https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg"
] |
[] |
[] |
[
""
] | null |
[] |
1993-11-05T00:00:00
|
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.
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/m/remains_of_the_day
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
Rotten Tomatoes Podcast
Media News + More
Sign me up No thanks
|
||||
5020
|
dbpedia
|
0
| 17
|
https://m.famousfix.com/topic/the-remains-of-the-day-film
|
en
|
The Remains of the Day
|
[
"https://static.famousfix.com/img/logos/famousfix_logo_search.png",
"https://img4.bdbphotos.com/images/50x50/c/t/ct3n13crbzippbr.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/500x250/1/4/14yv8tqqd90gt4qg.jpg?skj2io4l",
"https://static.famousfix.com/img/icons/pencil.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://static.famousfix.com/img/icons/add_black.png",
"https://img3.bdbphotos.com/images/130x130/c/k/ck8hbpxglnyqgybk.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/n/p/npxar6fjjptutpjr.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/t/b/tbenjzcn6b87j8n.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/k/6/k6uxvn4pudl4plv6.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/d/v/dvgfqt9vzeejqev.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/y/u/yu1jdbk447dpb41p.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/u/m/umiuv4xxh36avxm6.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/1/4/14yv8tqqd90gq9v1.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/7/4/74wfbev4pu12u7vf.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/r/1/r1aciejcgq8881ci.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/50x50/o/u/ougm1yuins6uygiu.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/50x50/s/9/s9e4rf5shg00fes9.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/50x50/m/8/m81iyfncuh7kcyhi.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/230x300/c/k/ck8hbpxglnyqxbgp.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/230x300/n/p/npxar6fjjptupjtj.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/230x300/t/b/tbenjzcn6b8787.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/230x300/k/6/k6uxvn4pudl44vpn.jpg?skj2io4l",
"https://img4.bdbphotos.com/images/230x300/d/v/dvgfqt9vzeejej.jpg?skj2io4l",
"https://img5.bdbphotos.com/images/orig/y/u/yu1jdbk447dpuyj7.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/c/p/cpcc8dbfbyenncbd.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/c/n/cn5g8z9w4vn68nw.jpg?skj2io4l",
"https://img3.bdbphotos.com/images/130x130/c/t/ct1oj9h01roshr.jpg?skj2io4l"
] |
[] |
[] |
[
""
] | null |
[] | null |
https://static.famousfix.com/img/ff/favicon.ico
|
FamousFix.com
|
https://www.famousfix.com/topic/the-remains-of-the-day-film
| |||||||
5020
|
dbpedia
|
3
| 15
|
https://literarygitane.wordpress.com/2017/10/11/the-remains-of-the-day-days-residues/
|
en
|
The Remains of the Day
|
[
"https://literarygitane.wordpress.com/wp-content/uploads/2017/10/kazuoishiguro_theremainsoftheday.jpg?w=656",
"https://0.gravatar.com/avatar/08e608c4f476cc43817ad0c3afeba2e7a8fd86cf825fe5ecc3a8f00da602dba2?s=60&d=identicon&r=G",
"https://0.gravatar.com/avatar/f7f5ee5534125128f83126f96305b3a14d45af5176b5081d03b347c8e9632907?s=60&d=identicon&r=G",
"https://0.gravatar.com/avatar/f7f5ee5534125128f83126f96305b3a14d45af5176b5081d03b347c8e9632907?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/5b4a617831955c6ebf87969739fc1578dcebc5c6f61a0d0a5c5e28342d80a094?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/995efe973b5120256c79758a6c5590573daf36afd787239e831efc09d887261b?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/f7f5ee5534125128f83126f96305b3a14d45af5176b5081d03b347c8e9632907?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/f7f5ee5534125128f83126f96305b3a14d45af5176b5081d03b347c8e9632907?s=48&d=identicon&r=G",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2017-10-11T00:00:00
|
I was elated on hearing the news that the British writer Kazuo Ishiguro won the 2017 Nobel Prize for Literature. I am one of those ‘old school’ readers who bemoan the dying art of formal and elegant writing which has been replaced by a more casual and conversational style. Ishiguro’s books are written in impeccable…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Literary Gitane
|
https://literarygitane.wordpress.com/2017/10/11/the-remains-of-the-day-days-residues/
|
I was elated on hearing the news that the British writer Kazuo Ishiguro won the 2017 Nobel Prize for Literature. I am one of those ‘old school’ readers who bemoan the dying art of formal and elegant writing which has been replaced by a more casual and conversational style. Ishiguro’s books are written in impeccable English. It is a pleasure to read his exquisitely worded prose. The Remains of the Day, winner of the 1989 Man Booker Prize, was the first book I read by him. I saw the Merchant Ivory film based on the book starring Anthony Hopkins and Emma Thompson before I read it and although the film was excellent, the novel simply took my breath away. Imagine my surprise then on learning that he wrote this perfectly crafted masterpiece in a feverish rush in four weeks! I would like to pen my thoughts on this moving story as a humble congratulatory tribute to this fine author.
Written in first person narration, this is the story of Stevens, an English butler employed in Darlington Hall and among the last of a vanishing breed, who sets out on a motoring journey in the year 1956 to the West Country on the suggestion of his American employer, Mr. Farraday. Darlington House previously belonged to Stevens’ former employer, the now deceased Lord Darlington. The purpose of the journey is to meet with Miss Kenton, now Mrs. Benn, a former housekeeper who had left the manor house twenty years ago on getting married, and ostensibly, to propose that she rejoin the understaffed establishment. Stevens had earlier received a letter from her that hinted of an estrangement from her husband and of her wish to return as an employee.
The journey is both an outward and inward one for it also becomes a journey into the past. As he travels, he reflects on his time of service at Darlington Hall and recalls the dinner parties and the distinguished guests who frequented the great house of the era. The narrative is recounted in a stream of consciousness style in flash back form interspersed with moments from the present. He reminisces about his father, the butlers in other prominent houses, his loyalty to Lord Darlington and his relationship with Miss Kenton with whom he had many childish skirmishes.
But the truth is that he harbored romantic feelings for the housekeeper which he was unable to express even to himself let alone to her. For Stevens was so devoted to duty and decorum that serving his master was the primary objective of his life. And in his extreme dedication to service and obsequious subservience to his master, he denied his own feelings and consequently lost his only chance at love. He prides himself on his stoic dignity but this dignity doesn’t allow him to show the slightest bit of vulnerability even on the death of his father to which he reacts impassively.
Stephens is an unreliable narrator. We learn a lot more from what he conceals than from what he reveals. It is through the reactions of the other characters that we get an insight into the events. For instance we learn that Lord Darlington was used as a pawn by the Nazis and was labeled a Nazi sympathizer after World War II. Stevens once went as far as dismissing two Jewish maids on the urging of his master. He is aware that what he did was morally wrong and Miss Kenton even called him out for it but he justified his action in the name of dignity. What does Stevens do when he realizes in retrospect that he may have unwittingly trusted a man who had made grave mistakes? His entire self-worth came from serving a ‘great gentleman’ and to question Lord Darlington’s motives would shatter his self-image and render the purpose of his life meaningless as it would be tantamount to admitting that he in some way participated in the bigotry. With the constant dissimulation and the rationalization that follows, he exhibits a classic case of what the French existentialist Sartre referred to as “la mauvaise foi’’ or bad faith.
There is an interesting passage where the narrator describes the English countryside: “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.” Stevens’ emotions are as controlled as the land around him and Ishiguro’s writing itself displays an understated elegance akin to the countryside. Stevens can barely understand himself but Ishiguro is able to peel the façade and make the readers discern the unfelt and the unsaid. An interesting device employed by Ishiguro is the use of the pronoun ‘one’ by Stevens which creates a distance as opposed to the more personal “I”.
“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. Rather, it was as though one had available a never-ending number of days, months, years in which to sort out the vagaries of one’s relationship with Miss Kenton; an infinite number of further opportunities in which to remedy the effect of this or that misunderstanding.”
Although Stevens is a tragic character, the book starts off as a delightful comedy of manners- the fastidious anachronistic butler who was once entrusted with the task of talking about the birds and the bees to Lord Darlington’s godson is now disconcerted by his American employer who has a propensity for bantering- and it evolves gradually into a poignant story of loss and regret. As Stevens reminisces, here and there glimpses of truth emerge leading to the climax when the mask slips a little as he faces the truth that he has been trying to avoid and reflects on the remains of the day. And when Stevens remembers the moment when Miss Kenton confessed to him that she wanted to marry him, he cries out in a moment of lucidity: “ Indeed- why should I not admit it?- at that moment my heart was breaking.” And in that moment, my heart broke for Stevens and for what could have been and never was and never will be and I was reduced to tears. It broke for Miss Kenton too and her frustrated attempts to reach out to Stevens on several occasions.
Miss Kenton however lives with more authenticity and integrity than Stevens and has her family life to look forward to. But Stevens is the more pitiable character- a man so stunted emotionally that he doesn’t know who he is under the carefully cultivated layers of decorum and propriety – sort of like the silver he so meticulously polishes till it is shiny and sparkling with no trace of tarnish . Dignity may be a lofty ideal but it also encompasses sacrifice as he realizes in one heartbreaking moment of admission when his raw emotions come gushing out while conversing with a stranger on a bench by the pier in Weymouth:
“Lord Darlington wasn’t a bad man. He wasn’t a bad man at all. And at least he had the privilege of being able to say at the end of his life that he made his own mistakes. His lordship was a courageous man. He chose a certain path in life, it proved to be a misguided one, but there, he chose it, he can say that at least. As for myself, I cannot even claim that. You see, I trusted. I trusted in his lordship’s wisdom. 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?”
All along while reading, I had the urge to grab Stevens by his stiff collar and shake him out of his self-deception but when he finally showed his human and vulnerable side, I broke down along with him.
The clever title of the novel suggested by a friend of Ishiguro’s refers to the concept of Freud’s Tagesreste ( day’s residues)- memories awakening to bring to consciousness the residual debris or the repressed matter which would otherwise remain unconscious. The remains of the day could mean assessing what remains of your life after examining the past- the despair of a life not lived fully but it could also imply looking forward to the future to decide how you want to live the remainder of your life.
This story evokes a certain milieu in England with its class dynamics of the “upstairs” and the “downstairs” and it is as much the story of a changing England through the inter-war and post war years , the last days of Empire and the rise of America, as it of the private epiphany of Stevens. In fact through the quintessentially English butler, Ishiguro has captured the universal experience- who among us hasn’t wondered if the road not taken would have led to more happiness and fulfillment?
Congratulations to Mr. Ishiguro on this well-deserved award! Although I’m happy that such a prestigious honor has been bestowed on him, the award is secondary. Nobel Prize or not, I’ll always admire him for his amazing creativity and talent. He has been blessed with the gift of writing and his writing, in turn, is a gift to our world.
|
||||
5020
|
dbpedia
|
0
| 6
|
https://www.alamy.com/stock-photo/the-remains-of-the-day.html
|
en
|
res stock photography and images
|
[
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/assets/latest/footer/mastercard.svg",
"https://s.alamy.com/assets/latest/footer/visa.svg",
"https://s.alamy.com/assets/latest/footer/amex.svg",
"https://s.alamy.com/assets/latest/footer/paypal.svg",
"https://s.alamy.com/assets/latest/footer/apple-pay.svg",
"https://s.alamy.com/assets/latest/footer/google-pay.svg"
] |
[] |
[] |
[
""
] | null |
[
"Alamy Limited"
] | null |
Find the perfect the remains of the day stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
|
en
|
Alamy
|
https://www.alamy.com/stock-photo/the-remains-of-the-day.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 15/08/2024 Alamy Ltd. All rights reserved.
|
|||||
5020
|
dbpedia
|
3
| 78
|
https://www.markedbyteachers.com/gcse/english/why-is-the-novel-called-the-remains-of-the-day.html
|
en
|
Why is the Novel called The Remains of the Day?
|
[
"https://www.markedbyteachers.com/images/mbt/logo/mbt-logo-sidebar-desktop.png",
"https://www.markedbyteachers.com/images/mbt/logo/mbt-logo-shrunk.png",
"https://www.markedbyteachers.com/images/mbt/avatars/teacher1.png ",
"https://www.markedbyteachers.com/images/mbt/adverts/paywall-cta.png",
"https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/51418/listing/51418_1.jpg",
"https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/81604/listing/81604_1.jpg",
"https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/64619/listing/64619_1.jpg",
"https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/72218/listing/72218_1.jpg",
"https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/52778/listing/52778_1.jpg",
"https://static1.mbtfiles.co.uk/skin/frontend/mbt/mbt/images/page/footer/turnitin.png",
"https://static2.mbtfiles.co.uk/skin/frontend/mbt/mbt/images/page/footer/turnitin-active.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
See our example GCSE Essay on Why is the Novel called The Remains of the Day? now.
|
en
|
https://www.markedbyteachers.com/gcse/english/why-is-the-novel-called-the-remains-of-the-day.html
|
The book is divided into six days (six chapters) and describes how Stevens travels down to the West Country, as he claims, for rest and relaxation, but the true reason he travels down there is that he wants to see Miss Kenton again. Miss Kenton has been Stevens’ long-time love interest, but he has never told her of this fact. His whole excursion, deep into the West Country, takes Stevens back into his past and he also discovers that the locals still recall the significance of what went on in Darlington Hall shortly before the outbreak of World War II.
By the end of this novel, Stevens has to face the fact that he will never marry and have a family of his own. Stevens, for most of his life, has pushed all kinds of feelings and emotions to the far recesses of his mind, and felt safe in the knowledge that by doing so, he somehow has become a ‘better butler’.
“Human kind cannot bear very much reality.” – T.S. Eliot
This quotation by T.S. Eliot, for me, epitomises Stevens as a character, as he at least suspects that he has wasted his life, but yet cannot bring himself to face reality. Stevens compensates for this by elaborating his role, so that he makes himself believe that his life has been worthwhile.
Stevens has also lived a life of natural sterility, which I believe has made his world revolve around every aspect of Darlington Hall from the running of it, to its welfare, and nothing else.
Not only does this book cover Stevens’ emotional journey that he and Miss Kenton take but also shows the reader of Stevens’ relationship with his father, including how Stevens reacts to his father’s death. Stevens does not appear to have any love for his father, and only ever communicates on a professional level. The only time they ever show anything more than mutual respect for each other is when Stevens is talking to his father on his death bed, and even then, Stevens appears to be more interested in what is going on downstairs, and leaves his father’s death bed to wait at table downstairs. Also, Ishiguro shows us how Stevens seems to care more for the welfare of Lord Darlington’s guests than for his own dying father. This is shown when the French gentleman, M. Dupont complains about his sore foot and Stevens leaves his dying father’s bedside to be of service to M. Dupont. After Lord Darlington’s guests have left and his father has died, he compliments himself on how well he managed to deal with the situation. He believes that it has shown how professional he can be under extreme circumstances. However, I believe that this is the wrong attitude to have, and by neglecting his duties as a son, he should not celebrate such a success, as it is his father who has died.
Another moment in the novel where Stevens makes another big mistake is when he dismisses the two German Jewish girls that he had only just recently hired just because Lord Darlington did not want any Jews in his staff. When he passes the news of the German girls’ imminent dismissals on to Miss Kenton, she questions Stevens as to why he did not try to prevent it. However, when Lord Darlington realises he has made a grave miscalculation, it is too late, as Stevens cannot find the two girls again. However I believe that the whole situation could have been averted if Stevens had questioned Lord Darlington’s judgement; I am sure that he could have reasoned with Lord Darlington, and would have prevented the two Jewish girls from leaving his service. But unfortunately Stevens believes that such an act would be most unprofessional and that is the last thing he would have liked to do.
Stevens does not want to come to terms with how his life has turned out. He tried to block the void he had for love and affection, with professionalism and hard work. This approach however, was certain to fail, and he sees what have might have been when Miss Kenton moves with Mr. Benn to the West Country.
Kazuo Ishiguro has I think done well in portraying the life of traditional English butler and his never-ending struggle between professionalism and his own emotional needs. I believe that if Stevens had had brothers and sisters, they would have helped him to change his profession, because I, and most probably they, would not agree that you can fully live out your life, by serving other people’s needs. Maybe it is possible, if they do not serve their employers constantly, but Stevens, on his never-ending quest to become the perfect butler, is always using his stilted idiom and gets used to ignoring any kind of emotion. Miss Kenton mentions this when she tells Stevens that he,
“Never hires any pretty girls, in case they become a distraction. Well, well, is Mr. Stevens flesh and bones like the rest of us after all?”
I think that Stevens wants to be a butler in service for a longer period of time than his father’s, which is, in itself, a sort of challenge for him. It also shows that he thinks he could be considered one of the greatest butlers of all time. I believe that the full reality of Stevens’ situation becomes apparent to him right at the very end of the film adaptation of the novel, Remains of the Day, when he sets a pigeon free, after it gets caught in the furniture of a spare room of Darlington Hall. As Stevens watches the bird fly off out of sight, I believe that he is reminded of Miss Kenton, and on how she decided that she had had enough of working for other people, and so instead decided to ‘fly away’ and start a family and a new life with Mr. Benn. The pigeon also represents Miss Kenton, in the sense that she is probably Steven’s last hope of love and of becoming part of a family.
In one of the final scenes of the novel, Miss Kenton and Stevens are promenading along the pier. In this scene, the reader can sense the grievances felt between Stevens and Miss Kenton, now Mrs. Benn. When Miss Kenton leaves Stevens standing in the rain in one of the final scenes of the book, the reader can tell, through Ishiguro’s dramatisation of the scene, that this parting will be the last time that they see each other, and is a critical point in the novel. Stevens tells us that he has only work to look forward to, yet even that may soon end as he tells the reader that he has lost his enthusiasm for the job and feels that he no longer has anything to offer to Mr. Farraday. This is the point, I believe, when Stevens fully realises his isolation to the rest of the world, which has been building up throughout the years. When Lord Darlington was still at Darlington Hall, Stevens created emotional barriers, which he used to block out all emotions from his day-to-day life. However these barriers have remained and made Stevens incapable of any sort of relationship and will be the cause of his loneliness in the latter part of his life.
I believe now that Stevens has nothing left to live for; the remains of his life will be spent alone, continuing to serve Mr. Farraday. I do not believe that Stevens will ever have any future relationships because in my opinion, Miss Kenton was his last chance for a family and happiness.
Word count: 1586
|
||||||
5020
|
dbpedia
|
3
| 81
|
https://them0vieblog.com/2011/10/10/non-review-review-the-remains-of-the-day/
|
en
|
Non-Review Review: The Remains of the Day
|
[
"https://them0vieblog.com/wp-content/uploads/2013/08/cropped-onlygodforgivesheader1.jpg",
"https://s2.wp.com/wp-content/themes/pub/digg3/images/bg_header_overlay.png",
"https://m0vie.files.wordpress.com/2018/01/booklogo11.jpg",
"https://m0vie.files.wordpress.com/2018/01/booklogo2.jpg",
"https://m0vie.files.wordpress.com/2018/01/booklogo3.jpg",
"https://m0vie.files.wordpress.com/2018/01/booklogo4.jpg",
"https://m0vie.files.wordpress.com/2018/01/booklogo5.jpg",
"https://m0vie.files.wordpress.com/2018/09/astarisborn14.jpg",
"https://m0vie.files.wordpress.com/2018/09/holdthedark11.jpg",
"https://m0vie.files.wordpress.com/2018/09/rosie7.jpg",
"https://m0vie.files.wordpress.com/2018/09/maniac18.jpg",
"https://m0vie.files.wordpress.com/2018/09/thehousewithaclockinitswalls9.jpg",
"https://m0vie.files.wordpress.com/2018/09/thepredator131.jpg",
"https://m0vie.files.wordpress.com/2018/09/asimplefavour7.jpg",
"https://m0vie.files.wordpress.com/2018/09/thelittlestranger13.jpg",
"https://m0vie.files.wordpress.com/2018/09/crazyrichasians14.jpg",
"https://m0vie.files.wordpress.com/2012/10/blogawards2012.jpg",
"https://m0vie.files.wordpress.com/2012/05/iba11.jpg",
"https://m0vie.files.wordpress.com/2011/03/iba10.jpg",
"https://them0vieblog.com/wp-content/uploads/2011/10/remainsoftheday1.jpg?w=468",
"https://them0vieblog.com/wp-content/uploads/2011/10/remainsoftheday4.jpg?w=468",
"https://them0vieblog.com/wp-content/uploads/2011/10/remainsoftheday5.jpg?w=468",
"https://them0vieblog.com/wp-content/uploads/2011/10/remainsoftheday3.jpg?w=468",
"https://them0vieblog.com/wp-content/uploads/2011/10/remainsoftheday2.jpg?w=468",
"https://them0vieblog.com/wp-content/uploads/2011/10/remainsoftheday6.jpg?w=468",
"https://1.gravatar.com/avatar/7710e81466351e3f9c5ef93c65b71d549ce5d199ec5bbacd48fe93489002929d?s=32&d=identicon&r=G",
"https://0.gravatar.com/avatar/32e15bcbc0985d294ffd5e204068599547304a3ecf815a7a0957c1c95a23724c?s=32&d=identicon&r=G",
"https://i0.wp.com/www.blogged.com/icons/vn_darrenm4_1489070.gif",
"https://i0.wp.com/www.blogarama.com/images/button.gif",
"https://i0.wp.com/sp.syndication.rssmountain.com/rssmountain_small_logo.gif",
"https://i0.wp.com/www.blogcatalog.com/images/buttons/blogcatalog5.gif",
"https://i0.wp.com/img.irishblogs.ie/images/irishblogs.gif",
"https://i0.wp.com/www.linkwith.us/images/linkwith.gif",
"https://m0vie.files.wordpress.com/2009/09/bt_assoc_g.jpg",
"https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2011-10-10T00:00:00
|
What kind of day has it been?
|
en
|
https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=32
|
the m0vie blog
|
https://them0vieblog.com/2011/10/10/non-review-review-the-remains-of-the-day/
|
It’s a sad truth that Emma Thompson and Anthony Hopkins are rarely handed roles that allow them to demonstrate their true abilities. The Remains of the Day is an absolutely stunning period drama from Merchant Ivory (which sounds far more impressive than any functional “combination of last names” really should). It’s a rather beautiful look at the classically romantic British character, but also an absolutely scathing attack upon it. It’s a brilliant examination of the inherent tragedy of the stereotypical British detachment, the capacity to maintain emotional distance in order to endure whatever life has to offer. Mister Stevens is the quintessential English butler, but he’s also one of the most tragic central characters I think I’ve seen in quite some time.
Based on the celebrated novel, which my better half considers to be even better than the film, The Remains of the Day follows the life of a butler on a British estate, dealing with his own personal development and the events unfolding around him – captured through brief clips here and there, overheard conversations, glimpses into the lives of the upper classes captured through windows in doors and from the end of long banquet tables. It’s a fascinating story-telling device, and it’s handled quite well, but it’s really Stevens himself who proves the smartest asset of the whole film.
Early in the film, Mister Stevens states his own philosophy, “I don’t believe a man can consider himself fully content until he has done all he can to be of service to his employer.” That’s the extent of his own moral opinion, one way or the other. Set mostly in flashback in the build-up to the Second World War, the novel exposes any number of increasingly worrying factors surrounding Stevens’ employer, Lord Darlington. “In my philosophy, Mr. Benn, a man cannot call himself well-contented until he has done all he can to be of service to his employer,” he advises a colleague. “Of course, this assumes that one’s employer is a superior person, not only in rank, or wealth, but in moral stature.” Mister Stevens clearly believes his employer to be a “superior person … in moral stature”, because it’s not his place to question or judge.
Part of what makes the movie so fascinating is the way that it flirts around the question of whether Stevens is willfully blind to, or simply unable to see, the flaws in those he considers his social betters. When he brings his ailing father onto the house staff, despite several instances pointing to the fact that the old man is unable to work as well as he used to, Stevens refuses to even consider the possibility that his father might not be up to the tasks assigned to him. Miss Kenton, the housekeeper, tries to bring the issue to his attention, but Stevens refuses to even look – whether it’s because he doesn’t believe his father made a mistake, or is afraid of the possibility, is a matter that’s left ambiguous. It’s an irony in a character who prides himself on his clinical detachment that he seems to lose his objectivity in such matters.
Hopkins is great as Stevens. It is genuinely one of his very best performances. He’s able to so brilliantly convey the range and wealth of the character’s emotions despite the fact they are buried so deeply below the surface. There are two absolutely brilliant sequences that work because Hopkins pitches his performance perfectly – one during an important dinner scene while the butler faces a personal crisis, and another towards the end as he bids a final farewell. Either moment could have been ruined by revealing too much or too little, and it takes a great actor to know exactly how much to show.
The movie works because it is primarily a character study on Stevens, but it also gains quite a bit of depth from its historical setting. The character of Stevens takes the archetype of the “stiff upper lip” British character and picks it apart piece by piece, revealing it to be a sad – rather than a romantic – idea, and the movie demonstrates how out of touch this British sense of “honour” and “dignity” is by contextualising it in the lead-up to the Second World War. Lord Darlington is a pacifist, a man who believes that Britain can appease Nazi Germany by restoring her dignity – allowing colonial expansion into the Balkans and the re-arming of her military.
He’s a soldier who served in the First World War, and who carries his out-dated sense of “fair play” with him into the far more complicated geo-political climate left in the wake of the conflict. He recalls how he vowed to an enemy soldier, “Look here, we’re enemies now and I’ll fight you with all I’ve got. But when this wretched business is over, we shan’t have to be enemies any more and we’ll have a drink together.” His opposition to the Versailles Treaty is that he sees it as an unfair armistice forced upon a defeated foe, one deserving of more respect. It’s not that the Treaty is an attack on German honour, but on British Honour. He tells Stevens, “Wretched thing is, this Treaty is making a liar out of me.”
And so it’s the American voice at Darlington’s international peace conference who must throw cold water on this romanticism. The Congressman who, appropriately enough, made his family fortune on “dried goods”, something the British upper class seem to have no idea about. He’s ignored by the officials on all sides, treated as the kid on the block – after all, America is still relatively young. However, he is the only person to call the situation entirely accurately. “You are, all of you, amateurs,” he advises his hosts to a chilly reception. “And international affairs should never be run by gentlemen amateurs. Do you have any idea of what sort of place the world is becoming all around you? The days when you could just act out of your noble instincts, are over. Europe has become the arena of realpolitik, the politics of reality. If you like: real politics. What you need is not gentlemen politicians, but real ones. You need professionals to run your affairs, or you’re headed for disaster!”
I think that’s the beauty of the story, the way that it juxtaposes the decline of the British elite – at least in terms of political influence – with the life of Stevens, a man becoming increasingly obsolete in his old age. He doesn’t seem aware of how much petrol his car needs, for example, so sheltered was his life inside Darlington. One senses he’s a bit uneasy with the somewhat casual manner of his post-War employer, taking a joke about his personal life in a slightly awkward manner – indeed, it’s fitting that he seems uncomfortable when he sees that the new owner of the estate has installed a ping-pong table in what used to be the master dining room.
Hopkins gives the central performance, but he’s surrounded by a superb cast. Emma Thompson is great as Miss Kenton, a woman who seems far more comfortable with others than Stevens could ever be. The relationship between the pair underscores the film, as both are absolutely fascinated with one another, and yet neither seems willing or able to come out and say it. There is one lovely sequence where Stevens seems about to comfort her, but can’t think of anything to say, save to remind her of the domestic chores that need doing. Both actors do a superb job, and sell the relationship (or, more appropriately, non-relationship) perfectly.
It’s also nice to see Christopher Reeve in a very prominent role here. I’m especially pleased that Reeve got billing ahead of Hugh Grant. It’s a tragedy that he never really got a chance to establish himself as an actor distinct from Richard Donner’s Superman, but he’s very good here. Indeed, the entire ensemble is fantastic, with every role seemingly cast with great care and skill. I will concede that there were moments when I found the score from Richard Robbins to be just a little bit too eighties for its own good, but the rest of the production was great.
The Remains of the Day is a truly classy piece of cinema. While it perfectly captures a moment in British history, it works at its absolute best as a character study about the perfect British butler, and why he’s not the romantic ideal that many of us might expect him to be.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 7
|
https://www.insidephilanthropy.com/tech-philanthropists/thomas-siebel
|
en
|
Thomas and Stacey Siebel
|
https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1477365386338-TO2AH12NT0ITGZ5UPDYV/favicon.ico?format=100w
|
https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1477365386338-TO2AH12NT0ITGZ5UPDYV/favicon.ico?format=100w
|
[
"https://www.facebook.com/tr?id=3038660426170175&ev=PageView&noscript=1",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/fdb5eaf3-b712-4eda-85bf-cd33a40d8924/inside-philanthropy-logo-600.png?format=1500w",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1643567714544-WR3Y1THFJG4U1DPRWRLX/funding-guide-banner-full2.png",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/fdb5eaf3-b712-4eda-85bf-cd33a40d8924/inside-philanthropy-logo-600.png?format=1500w",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/fdb5eaf3-b712-4eda-85bf-cd33a40d8924/inside-philanthropy-logo-600.png?format=1500w",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1622065651028-RRYAYWQ0QCYLZ5U6RW5B/fill-1920x2px.png",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1622065651028-RRYAYWQ0QCYLZ5U6RW5B/fill-1920x2px.png",
"https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1d670f49-f2fa-464d-a08b-cc3074c4146d/ip-logo-transparent-bg.png"
] |
[] |
[] |
[
""
] | null |
[
"IP Staff"
] |
2021-10-11T16:19:00-07:00
|
SOURCE OF WEALTH: Siebel Systems FUNDING AREAS: Poverty, Education, Health, Energy, Curbing Drug Use OVERVIEW: Through the Thomas and Stacey Siebel Foundation, Siebel seeks to apply the same traits that made him a successful businessman to projects designed to allev
|
en
|
https://images.squarespace-cdn.com/content/v1/57d9e959d482e972e8434364/1477365386338-TO2AH12NT0ITGZ5UPDYV/favicon.ico?format=100w
|
Inside Philanthropy
|
https://www.insidephilanthropy.com/tech-philanthropists/thomas-siebel
|
SOURCE OF WEALTH: Siebel Systems
FUNDING AREAS: Poverty, Education, Health, Energy, Curbing Drug Use
OVERVIEW: Through the Thomas and Stacey Siebel Foundation, Siebel seeks to apply the same traits that made him a successful businessman to projects designed to alleviate poverty, enhance education and research programs, find alternative energy solutions, and curb methamphetamine abuse. Since its creation in 2000, the foundation has granted more than $250 million to hundreds of nonprofits.
BACKGROUND: Thomas Siebel graduated from University of Illinois at Urbana-Champaign, where he received a B.A. in history, an M.B.A, and an M.S. in computer science. He was a top salesman at Oracle before launching Siebel Systems in 1993, which would eventually be touted as the fastest-growing company in America in 1999 and 2000 and a leader in application software. Siebel is now the chairman and CEO of C3 IoT.
ISSUES:
EDUCATION: The Siebel Scholars program seeks to create a stockpile of future leaders by recognizing the best graduate school students in business, computer science, and bioengineering with a $35,000 grant for their final year of study. In return, they serve as advisers to the Siebel Foundation. All of this is designed to create a community of sorts, a brain trust for the future, and to give the foundation the minds and tools it needs to solve our most pressing social issues.
Siebel also clearly loves his alma mater, the University of Illinois at Urbana-Champaign. In 2016, he donated $25 million to build an innovation-focused design center that will bear his name. He also gave $32 million to build the Siebel Center for Computer Science at the school, which opened in 2004. He also donated $4 million to the school to establish two endowed full professorships: the Thomas M. Siebel Chair in the History of Science and the Thomas M. Siebel Chair in Computer Science. In 2007, he pledged another $100 million gift to the school.
ENVIRONMENT: In 2007, the Siebel Foundation created the Energy Free Home Foundation, which offered $20 million in prizes to anyone who could design and build a conventional 2,000-square-foot, three-bedroom, two-bath home with market appeal and competitive building costs and which saw net-zero annual utility bills. He made several announcements about the Energy Free Home Challenge, stating that the contest would start in "late 2009." All mention of the challenge later disappeared without explanation however, and little evidence of the contest exists these days.
In 2015, meanwhile, the Siebels launched the $10 million Siebel Energy Institute, an association of eight universities who combined received an initial grant sum of $1 million for energy infrastructure research.
HEALTH: In 2008, Siebel established the Siebel Stem Cell Institute as a joint initiative between the University of California, Berkeley Stem Cell Center and the Stanford Institute for Stem Cell Biology and Regenerative Medicine. The Siebel Stem Cell Institute's collaborative approach boasts of having developed new techniques for several types of cancers, allowing for more specialized treatment. In 2020, Siebel established the C3.ai Digital Transformation Institute, a research consortium created to apply artificial intelligence to study and solve the problems of COVID-19 and future pandemics.
DRUG ABUSE: Another of the Siebel Foundation's major undertakings is the Meth Project Foundation. The program was initiated in 2005 as a way to significantly reduce methamphetamine abuse at a time when meth was considered the main source of crime in the United States. The Meth Project has been praised by the federal government, and Barron's once referred to it as the third most effective philanthropic organization in the world.
POVERTY: The Siebel Foundation makes hundreds of grants of $1,000 to $10,000 available to nonprofits that help the homeless and the underprivileged throughout the country, in addition to grants of $200,000 to $1 million to fill the Salvation Army kettles in the Bay Area, the Siebels' home state of Montana, and New York City every Christmas.
LOOKING FORWARD: With the recent unveiling of the Siebel Energy Institute, look for the Siebel's to both continue work on sustainable energy, as well as perhaps a shift in focus to drug policy reform and more abuse prevention programs.
CONTACT:
|
||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 19
|
https://event.technologyreview.com/emtech-digital-2023/speaker/659141/tom-siebel
|
en
|
Speaker Details: EmTech Digital 2023
|
[
"https://assets.swoogo.com/uploads/medium/2316115-63cebc8c56f63.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
//assets.swoogo.com/uploads/tiny/842456-600074017c29b.png
|
https://event.technologyreview.com/emtech-digital-2023/speaker/659141/tom-siebel
| |||||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 60
|
http://www.siebelfoundations.com/2020/
|
en
|
Siebel Foundation
|
http://www.siebelfoundations.com/favicon.ico
|
http://www.siebelfoundations.com/favicon.ico
|
[
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPloL9r4EQBNmOGIQ-4Ifl0hZMnMqNiwH6lnZMPJFkAQGvxMZg0F29djinlp0UT9kS-i0Mvsoj_wBpvhLHPOgz_zt7ib33dZfSYGqjLlFaLxpMn3-YB46PH5Rid1LgBhpRAmiQynEQMGg/w400-h155/MultipleSelector.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFigxIYRtSUml5uWe0tG79OxXHTX5VdSndYmmHLSl9x6OxqqcxmpXmw1w6UYgtcB4gzuTVplEPAFKbw_nhF1nQ06UoqF5IzaoknCpdBPqAHZAIW61ik12mTV72h0kZ_YvKJo4xWO7E8I/w400-h110/MultipleSelector.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp5L57ThxO2BPKF5mjxRFOqMQqI27F1L50Paq08gDrGxkxSHO-bOeh4U38F7bUy4hYWRx_USN-hiXqS7UFnsY_1DGaUs8eutGEXCnYlyWuGqFyVyIUXQQL2tdJR6xl3fqt-yQ-91Ol-8E/w400-h164/XMLBlog.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNyNvAnjPc_FCzqbKeifCkumZY4Ly42ghGkkCpRTC5jAxbCOuJYzSvqpEV8LK0Y_PqYLpzgrat-1Rve-1Do1pLsDyFPb-262MGnYRTNKcZGvFAcGFJvtuH36r1Q3qImlFwUPCuIZEgywg/w400-h96/XMLBlog.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIFCmWfQhXXI-FTqj-JpU0ObT1h00Uk5MJAm_nI28bOmAsoI_oBGmWoZAV347iKeIFj09CEuX5xSPfULkYdTBtPAycd07TiKIQubouhSdlXOUSOC-_18GgzCEdIu41W0mug_NFHPA7aOY/w400-h179/DataMapSearchSpec.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwcR3TvgUnjoSQIbhORnweXg6EVO-gDB94RhDarbiCgHHKOD8CreF8tLgmwydbDWzgrL_MD7XmF1pylspmv2xh_RnRGuwQFPc3Z7BNQrQoyxcMKiC1K9UgOQKz6g4jq24QEM7BVEYfSCQ/w400-h225/CutCopyPaste.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpzlXFLjwIaigu7oxzkEBdUv0w_8W2G8ZO4HXEYLow0iM4kCDq-SCFpvZGRYj9IX-9B9zhq7w4_XyWiEQ-73xpnh5qvvdRCDALHAQxYpeQDzE2Lg3GdjcxpvKNGGRCYqIJsqVbEnMRVKM/w400-h271/PRCopyPaste.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4sV-yMmBItXYUbiMCL1HsLeLvgqDrjebsxCDfxGXX3HvcH7MIoxSAHAIAfGM0ouwF2MyIJ3RyJnpqAN_GNT4g5GcaajAON3gEUVfpZc8r6mAAl1PapnOYs4VA4hP4LAyxdIh1vMzYcw/s400/ezgif.com-crop.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx5t07VkuqQfthuiwpcrBLxJnMksURXwgVcr7NLcCYiDbGBmTFM-fMYfiMZ5M19N8fSERuq6oea3npi4iFtx1j8Ca5P7T2-aZ4_vT5KEgbWUc7Lz1OvdjRQtxt6MZCPxU6UzKfDz70D8/s400/MultiPR1.JPG",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEM6JTfVJxyD4LKAKRaUnqBZ7f6YrxPcU1NHGulA2fImVvhLTn4KxTDkDxZEpRlKt8dzP5gzuhEFFg-vA1IvzsropACJG9b0-tuwfq_fYU2gja_wlQ_b6l4x2ZCJZ7qFems62zx0WB-Nk/s400/MultiPR2.JPG",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx5t07VkuqQfthuiwpcrBLxJnMksURXwgVcr7NLcCYiDbGBmTFM-fMYfiMZ5M19N8fSERuq6oea3npi4iFtx1j8Ca5P7T2-aZ4_vT5KEgbWUc7Lz1OvdjRQtxt6MZCPxU6UzKfDz70D8/s400/MultiPR1.JPG",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSqrN7jV5s3KTpLbIFnP_UPDSUtDuYCwu0_sxDm5jal3xzpb5rmgWgHDRGIRNq2rWddZ_aiuh6LMKM5nOcQeTmgEbFXpGdlUXSflxKgF9HZ6PJtCIhREnrRDmp7yUbW8PmKGpevmu6Yd0/s400/AssocApplet.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9NTwIiDemcTsefwyH4MgSn-TjJEgT2ODy77oCpTRAMNR5nEJHMm9Ch9jIWk16sUYsj5mvdVFpGX_HJpg0H3D8nhk0nLEDappnxuG-2RnCnnStJRnx_xMBbM3GFYceZzTsOjkbtg_fAU/s320/RecordSetIP18.JPG",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuU9cz4cvQzVvCuS2FA3_PWuzMhigHq0UaQ3etE09KrUcbe8DWN7ys8DpTDACILhpdhz_Up1Io3ONNusU0ISJ0LtZYc8W9EX-9M2xa6ShPLktIeFiUs0wEtAgtQASnGsTru2RUR7f3GW0/s400/Dashboard.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4xLzZDthhgvLpkN9AnOch5O2tkJu3SbyyIhntuSxfEC2Z65n-Kj5QMvmmP9pcoXxK2orz5LCCmZTW8-ube5y9TBfxL30j2znurFML0fXl7DXZzZaHRgWn9dfiX_Pm9J2757pPS82IiOA/s640/AttachmentIO.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb0XOv6xlWPw-clNz1gDUp6dg9G9oYBxsKvjXuHkFIn4tFWPu_N_04_Czyly83GiT8GZloWPpuBrwg163CwXehNOXnDD8a1BqErwEBxOHOlvGNQ6D2cJX3nfjD3OvOs_Pn34KamWfgzpc/s400/DataMap1.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4d0Cvyv7g2nHNTo56Pp-A4VA-RibaEwEyyZKjuzYTyk2lIPDlIbnTwGtX4c2u5BP9VA5-B1467kc8zCQoALB2osA3nFasfGDM1gfsk1Iqa8LVFH7qEPUPdaSdbhMiLeqeO7fVahj3n4/s400/Datamap2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhGHgQVxY0VGrV1BSRdIm3PuiFuBSie82vVBsN8HibtOSXPH9mAcwNqA1Cus87_Zk6zDKG716CvkJ9hU3K3MNHe8T7NjpGTDY_0WaSNfRLQ1Sq3Kly2wPyBTiisg5BYNmCCbEfcDW_J5Q/s400/Datamap3.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6VIb12L72FEbWNSfQt8u2khPFFszCeUxrxE-MLLthoJ7zMv-dxGZwsgytx6haVvTFk6wMbttYwRyNhG5EHJ7H7UaPOPadUQxpVndEBvi52nbYVz1dSN1-arjyJdg5pb5tuumvVUDSObE/s320/REST_BS2.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhemBxE-x27K0CxbJrharQvS4g8XlFuhRie3Ei8yas2MRqz200p3moWeUKM5jtMxNpUoPFtyZXtxuDrRGuZLltV1KstGddksir9J4aXIbii7q0rwyivq-w1QdmaU8xIe3AezmgS0IxCjrk/s320/REST_BS3.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiweqGrGFi9ZvMb5J7B00PNdbrjweeGBXxfnfCjZ_j0v5ETry9LC0ftWXCDD0pNi2SxQBOugA-iRs8OKIxxs0_E7BY1hJL6NKHrm_VXXbGBQmNCeWvLvTEeMf_03Nc02yyV-yVIEhM-rq8/s400/REST_BS1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCH9IrmC_kbuzdAb3sQSoJ29Y8uW1bDSCK48jtBolGd0BFZv6X0ZoyoUvpIjftImdO4f7s0eJGRy9G_vGtP5gRv32JrbBP6eASzXBBa2rCIwmgdoOVnEhsynX2lbcqSf40qanLgErp2ag/w72-h72-p-k-no-nu/CRMDashboard.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBr_3G2Kfucj3c04JXuNgXVew7-8gJkuuUNt_HPCxQ9xf3T0tdfOOI19cTP7a40g3nFkajyKxiRU0WjEPfzAJFzCQRKZ4XzmQH__b2FPkDF_zmLpH1lqozLoMJtthcV3lXs5YC3nUscQ/w72-h72-p-k-no-nu/WebServiceBS1.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
http://www.siebelfoundations.com/favicon.ico
|
http://www.siebelfoundations.com/2020/
|
Hello All,
In my previous post ,
http://www.siebelfoundations.com/2020/09/disabling-copy-paste-in-siebel-fields.html
i explained how can we disable any UI feature like Copy, Paste, Cut on a field. The limitation of the previous post was that the code works for only form applets, as for list applets we do not have a unique selector (we have multiple columns and we cannot get a unique identifier)
So we can use the Like (*) selector of JQUERY framework, and can extend the functionality for list applets too,
e.g.
here the Id of first record is 2_s_1_l_Contact_Last_Name, for 2nd it will be 2_s_2_l_Contact_Last_Name ,, likewise for subsequent records.
We can use the * operator and pass the common parameter, 'Contact_Last_Name' in this case, and it will apply to all records in list applet
$( "td[id*='Contact_Last_Name']").bind('copy paste cut',function(e) {
e.preventDefault();
alert('cut,copy & paste options are disabled on this Field!!');
});
Hello All,
Recently i was working on a integration where i was getting multiple errors in case of failures.
I was first planning to use FINS Industry XML service for the Error property extraction or Workflow Utility Echo, but these business services have limitations that they can only get one Node/Process Property from the hierarchy. i.e. return the first matching node in case multiple child are present at same level .
In the below XML if we try getting the Value of Error Code, using any Siebel provide vanilla business service ,we will only get "ErrorCode:500" and not the other nodes.
so, to get multiple Node we need to write custom Business Service that traverses the Hierarchy and do looing, that can be a bit confusing and requires multiple looping.
SiebelMessage.GetChild(0).GetChild(0).GetProperty("ErrorCode");
here, SiebelMessage.GetChild(0) is the IO instance
SiebelMessage.GetChild(0).GetChild(0) is the IC Instance
SiebelMessage.GetChild(0).GetChild(0).GetProperty("ErrorCode") is the location of process property we need to extract
XSL to the Rescue :-)
Well not a traditional approach, but yes we can use XSL for the multiple Node extraction, and that too without writing a custom BS. The code is pretty simple and can get to any level of hierarchy.
Below code Searches for ErrorCode and ErrorMessage under XMLResult/ErrorDetails path and uses for-each loop to iterate and get the values
the final Result looks like,
ErrorCode: 5002 ErrorMessage: The JSON value could not be converted to System
ErrorCode: 5003 ErrorMessage: The Total value cannot be Negative.
ErrorCode:5004 ErrorMessage: The Taxes must be passed in Input
I will share more details on how to use this in workflow in my next post, till then happy exploring
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 62
|
https://csd.cmu.edu/news/five-scs-students-named-2021-siebel-scholars
|
en
|
Five SCS Students Named 2021 Siebel Scholars
|
[
"https://csd.cmu.edu/sites/default/files/logo.svg",
"https://csd.cmu.edu/sites/default/files/Siebel2021.jpg",
"https://csd.cmu.edu/themes/custom/csd/images/scs-logo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
The Siebel Scholars Foundation has announced that SCS graduate students Brandon Bohrer, Rogerio Bonatti, Megan Hofmann, Hsiao-Yu Fish Tung and Lijun Yu are among the recipients of the 2021 Siebel Scholars award.
|
en
|
/sites/default/files/favicon_0.ico_0_0.gif
|
https://csd.cmu.edu/news/five-scs-students-named-2021-siebel-scholars
|
Monday, September 28, 2020 - by Byron Spice
The Siebel Scholars Foundation has announced that SCS graduate students Brandon Bohrer, Rogerio Bonatti, Megan Hofmann, Hsiao-Yu Fish Tung and Lijun Yu are among the recipients of the 2021 Siebel Scholars award.
Now in its 20th year, the program recognizes almost 100 students annually from the world's leading graduate schools of computer science, as well as business, energy science and bioengineering. It supports students in their final year of study.
"This year's class is exceptional, and once again represents the best and brightest minds from around the globe who are advancing innovations in healthcare, artificial intelligence, the environment and more,” said Thomas M. Siebel, foundation chair.
Bohrer, a Ph.D. student in the Computer Science Department, earned his undergraduate degree in computer science at CMU. He is studying formal verification of cyberphysical systems, developing mathematical methods that can guarantee the safety of software that controls physical systems.
As a Ph.D. student in the Robotics Institute, Bonatti studies the intersection of machine learning theory and motion planning. Specifically, he creates methods for robust robot intelligence in real-world settings. Bonatti's work has been deployed in multiple applications, ranging from autonomous cinematography with aerial vehicles to drone racing.
Hofmann is a Ph.D. student in the Human-Computer Interaction Institute. Her research focuses on the intersections of digital fabrication, healthcare and disability justice. She has developed new generative design frameworks that support makers in healthcare settings and has contributed to the burgeoning field of algorithmic machine knitting.
A Ph.D. student in the Machine Learning Department, Tung is interested in building machines that can understand and interact with the world. Her research spans unsupervised learning, computer vision, graphics, robotics and language.
Yu is a master's student in the Language Technologies Institute. His research focuses on improving public safety by understanding surveillance videos in 3D. His work has included a video-based traffic danger recognition system for detecting car crashes and alerting first responders, and a system for spotting suspicious behaviors in surveillance videos.
For more on the Siebel Scholars, visit the foundation's website.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 82
|
https://engineering.princeton.edu/news/2011/09/23/siebel-scholars-program-recognizes-top-computer-science-graduate-students
|
en
|
Siebel Scholars program recognizes top computer science graduate students
|
[
"https://engineering.princeton.edu/wp-content/uploads/2024/05/SEAS-Logo-scaled.jpg",
"https://engineering.princeton.edu/wp-content/uploads/2024/05/SEAS-Logo-scaled-300x31.jpg",
"https://engineering.princeton.edu/wp-content/uploads/Anirudh_Badam.jpg",
"https://engineering.princeton.edu/wp-content/uploads/Dockins_Robert.jpg",
"https://engineering.princeton.edu/wp-content/uploads/Lloyd_Wyatt.jpg",
"https://engineering.princeton.edu/wp-content/uploads/Wang_Chong.jpg",
"https://engineering.princeton.edu/wp-content/uploads/Jones_Nick.jpg",
"https://engineering.princeton.edu/wp-content/uploads/2024/07/Emily_Carter_by_David_Kelly_Crowe.jpg",
"https://engineering.princeton.edu/wp-content/uploads/2024/05/for-web-16X9-1D4V8508-2-scaled.jpg",
"https://engineering.princeton.edu/wp-content/uploads/2024/06/ConwayLab_100223_0032_SK_16X9-scaled.jpg",
"https://engineering.princeton.edu/wp-content/uploads/2024/06/DSC09121_16X9-scaled.jpg",
"https://engineering.princeton.edu/wp-content/uploads/2024/06/20240501_FernandoAlvies-Garcia_MR_00187_WEB_0-scaled.jpeg",
"https://engineering.princeton.edu/wp-content/uploads/2021/08/martonosi_img_9805_16x9.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Steven Schultz"
] |
2011-09-23T00:00:00
|
Top graduate students in Princeton University's Department of Computer Science will receive a prestigious fellowship and lifelong membership in a network of leading scholars under the newly established Siebel Scholars program, funded by a gift from the Siebel Scholars Foundation.
|
en
|
Princeton Engineering
|
https://engineering.princeton.edu/news/2011/09/23/siebel-scholars-program-recognizes-top-computer-science-graduate-students
|
Top graduate students in Princeton University’s Department of Computer Science will receive a prestigious award and lifelong membership in a network of leading scholars under the newly established Siebel Scholars program, funded by a gift from the Thomas and Stacey Siebel Foundation.
The Siebel Scholars program was founded in 2000 to recognize the most talented students in bioengineering, business, and computer science, and empower them to solve the world’s most pressing problems through lifelong community and support. Princeton’s computer science department is now among 17 in academic departments at 12 universities throughout the United States and China included in the program. Each year, the dean of each participating school selects five Siebel Scholars from among the top students, based upon outstanding academic achievement and demonstrated leadership.
For its inaugural group of Siebel Scholars, Princeton’s computer science department chose Ph.D. candidates Anirudh Badam, Robert Dockins, Wyatt Lloyd and Chong Wang, and master’s degree student Nicholas Jones. Each will receive $35,000 in support for their final year of study. The Siebel Scholars program also brings together its current and past recipients, currently about 700 since the program’s founding, for an annual conference as well as other networking events.
“The Siebel Scholars program not only provides terrific recognition for some of our finest computer science students,” said H. Vincent Poor, dean of Princeton’s School of Engineering and Applied Science, “but the scholars network also creates opportunities to strike up interdisciplinary collaborations on issues of global importance. We are honored that the Siebel Foundation chose the Princeton computer science department to participate.”
Andrew Appel, chair of computer science at Princeton, said the program’s emphasis on connecting students to peers in other areas can be particularly valuable for students whose thesis work has required them to focus on a narrow area.
“It gets people out of their shells,” said Appel, the Eugene Higgins Professor of Computer Science. “The intent is to bring the students into contact with a broad range of people thinking about policy implications and other subjects they need to make a difference in the world.”
Appel noted that his own research has benefited from interactions with people working in disparate areas and now includes a mix of theoretical computer science and more applied research on technology policy and information security. “Young people starting out in research don’t always have the broad experience or confidence to step outside their narrow area,” he said. “The Siebel Foundation encourages engagement with societal issues by all these smart people who would do it if only they believed they could.”
In providing the $2 million gift that endows the scholarship program, the Siebel Scholars Foundation cited the University’s role in building the basis of computer science in the 1930s through the work of John von Neumann, Alan Turing and others, as well as the department’s current reputation.
“Expanding the Siebel Scholars program to Princeton University — with its rich history of breakthrough research — further strengthens the Siebel Scholars community’s ability to work together to solve critical social challenges,” said Karen Roter Davis, executive director of the Siebel Scholars Foundation.
The Siebel Scholars program was created by the Thomas and Stacey Siebel Foundation 11 years ago, a private foundation established in 1996 to support projects and organizations that work to improve the quality of life, environment and education of its community members.
Thomas Siebel, a member of Princeton University’s Board of Trustees, is the chairman and founder of First Virtual Group, a diversified holding company. Previously, Siebel was the founder, chairman and chief executive officer of Siebel Systems, a major software company that merged with Oracle Corp. in 2006. In addition to the Siebel Scholars program, the Siebel Foundation funded The Meth Project, a large-scale prevention program aimed at reducing first-time use of methamphetamines through public service messaging, public policy and community outreach.
Further information on the five students selected as Princeton’s inaugural group of Siebel Scholars follows:
Anirudh Badam grew up in India and completed his undergraduate degree from the Indian Institute of Technology in 2006. Researching under Associate Professor Vivek Pai, Badam focuses on making data centers more energy efficient by helping computer programs and operating systems use new energy-efficient memory and storage technologies. Badam said he is motivated in his work by his experience in India where the Internet is inaccessible by most of the population. “I have often strongly felt the need to make technologies that enable the Internet to be more affordable,” he said. In his spare time, Badam enjoys playing video games, cooking and reading any form of science fiction.
Robert Dockins grew up in Houston, and graduated summa cum laude from Baylor University in 2003. Researching under Appel, Dockins develops new approaches to prove that programs behave according to their specifications, an area known as program verification and compiler correctness. This research is important for security- and safety-critical systems. Dockins has enjoyed working with computers since an early age, and studying computer science at Princeton has enabled him to pursue his interests in programming language and verification. In his spare time, he enjoys practicing martial arts and lifting weights.
Wyatt Lloyd, a Maryland native, graduated from Pennsylvania State University in 2007 with a Bachelor of Science in computer science. Advised by Assistant Professor Michael Freedman, Lloyd’s recent research seeks to improve the storage used by social websites, such as Facebook and Twitter. These sites store their status updates, tweets or other data in multiple data centers around the world and transfer data between the centers in random order. This approach can lead to problems if, for example, a crucial tweet is left out of a series of messages, changing the meaning of an exchange. Lloyd’s research improves the communication by ensuring the tweets only show up in the expected order. Lloyd enjoys traveling and said computer science complements that interest because it is “conference-driven.” He has presented a paper in Hong Kong and is scheduled to present next in Portugal.
Chong Wang grew up in Liaoning, China, and completed his bachelor’s and master’s degrees at Tsinghua University in 2006. At Princeton, advised by Associate Professor David Blei, Wang’s research in machine learning allows computers to discover common patterns in various kinds of data. Part of his work has examined words people tend to use together to describe an event such as a wedding.” His current research focuses on methods for recommending scientific articles, which may aid researchers in locating relevant articles more easily. This work could have a large impact on distributing scientific information more easily and encourage interdisciplinary research. Studying computer science at Princeton “provides me exciting opportunities to dive deeper into some important things that benefit society,” Wang said. In his spare time, Wang enjoys reading and traveling.
Nicholas Jones, a Tennessee native, graduated from the University of Tennessee-Knoxville, in 2009. Working with Freedman, Jones’s research focuses on improving anonymous Web browsing, an important tool for avoiding censorship on the Web. The model he currently is building improves speed by using cloud computing instead of the current system of volunteers who provide the infrastructure for anonymous browsing, which is extremely slow. Circumventing Web censorship is an important use for anonymous Web browsing. “I chose CS [computer science] at Princeton because of its strong computer systems and security focus and its overall academic excellence,” Jones said, adding that “the small size of the department also offers many advantages and builds a real sense of community.” In his spare time, he enjoys cooking, reading and hiking.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 15
|
https://www.tiki-toki.com/timeline/entry/396107/The-History-of-Siebel-CRM/
|
en
|
The History of Siebel CRM
|
https://www.tiki-toki.com/assets/ui/favicon.ico
|
https://www.tiki-toki.com/assets/ui/favicon.ico
|
[
"https://www.tiki-toki.com/assets/ui/black-opacity-95.png",
"https://www.tiki-toki.com/assets/ui/empty-image.gif"
] |
[] |
[] |
[
"timeline"
] | null |
[] | null |
From OASIS to Oracle Siebel CRM
|
/assets/ui/favicon.ico
|
https://www.tiki-toki.com/timeline/entry/396107/The-History-of-Siebel-CRM/
|
From OASIS to Oracle Siebel CRM
This timeline documents the history of Siebel Systems Inc. and its products.;xNLx;;xNLx;Please click Continue to start.;xNLx;Enjoy the timeline in 2D or 3D. For more information and links click the More button in each entry.
OASIS project kick-off at Oracle
Tom Siebel, VP of Direct Marketing at Oracle and his pre-sales techs launch project OASIS, "the genesis of the CRM industry" (Mei Lin Fung)
OASIS in the News
In his role as Vice President for Oracleâs direct marketing division, Tom Siebel introduces OASIS (Oracle Automated Sales Information System), which can be seen as the predecessor of Siebel Sales Force Automation.
Tom Siebel leaves Oracle
Tom Siebel leaves Oracle and becomes CEO of Gain Technology.
Sybase acquires Gain Technology Inc.
As CEO of Gain Technology, Tom Siebel sells the company to Sybase and lays the financial foundation for Siebel Systems.
Siebel Systems Founded
Siebel Systems Inc. founded by Thomas M. Siebel and Patricia House.
Charles Schwab joins Siebel Board of Directors
Charles Schwab joins the Siebel Board of Directors. Charles Schwab & Co. is one of the first key customers using Siebel CRM.
Siebel Sales Enterprise
Siebel Systems ships the initial release of Siebel Sales Enterprise (SSE).
Siebel Sales Version 2 Released
Siebel Systems Inc. releases Sales Force Automation (SFA) Version 2 with 'Opportunites' and Sales Forecasting as well as reporting capabilities.
IPO: Siebel Systems Inc. goes public
Listed as SEBL, Siebel Systems Inc goes public on NASDAQ with an initial offering of 1.9 million shares at USD 17 each.
Leader in Sales and Marketing Information Systems
On siebel.com, Siebel Systems Inc. presents itself as the leader in sales and marketing information systems.
Siebel 3.0 Released
Siebel releases version 3 of its sales and marketing information system.
Siebel acquires InterActive WorkPlace
Siebel Systems Inc. acquires intranet BI software maker InterActive WorkPlace Inc.
Siebel Buys Nomadic Systems
Siebel Systems Inc. acquires Nomadic Systems Inc., heading into the pharma industry.
Siebel Certification
Siebel launches the Certified Consultant program
Siebel Buys Scopus
Siebel Systems acquires customer service software maker Scopus for $460 Million.
Siebel 98 Released
Siebel Systems releases Siebel 98
Siebel 99 Released
Siebel 99 introduces web-based applications, handheld support and document generation.
sales.com
Siebel launches sales.com, a web portal for sales information.
Siebel Observer Launch
Bruce Daley launches the first comprehensive information site on Siebel - the Siebel Observer.
Fastest Growing Company
Fortune magazine names Siebel Systems Inc. the fastest growing company in the USA.
Alliance with IBM
Siebel Systems Inc. agrees with IBM to develop and sell Siebel software together.
Siebel Buys OnTarget
Siebel Systems acquires OnTarget, adding sales consulting services to its portfolio.
IBM launches Siebel CRM project
IBM launches one of the biggest Siebel CRM implementation projects, rolling out to more than 60000 users worldwide.
Deloitte becomes Global Strategic Partner
Long-time consulting partner Deloitte becomes a Global Strategic Partner of Siebel Systems.
Siebel acquires Paragren
Siebel buys marketing software maker Paragren Technologies Inc.
Siebel 2000
Siebel Systems Inc. releases Siebel 2000. This milestone release covered web access, EAI, marketing and BI capabilities.
First Release of Siebel Mid Market Edition
Based on Siebel 2000, Mid Market Edition is a downsized version aimed at the small and medium business market
OnLink and Janna Acquisitions
Siebel expands with buying OnLink (e-commerce) and Janna (financial services).
$ 1 Billion in Revenue
The revenue of Siebel Systems Inc. for 2000 surpasses $ 1 billion.
Siebel 7.0 Released
Siebel releases version 7.0, the first completely web-based version.
Siebel Buys nQuire
Siebel Systems Inc. acquires BI software maker nQuire, laying the foundation for Siebel Analytics (and later Oracle BI).
The Man Who Sees Around Corners
With data from Siebel's sales pipeline, Tom Siebel and company brace for a recession.
The King of Customer
Tom Siebel named CEO of the Year by Industry Week
Siebel European User Week Barcelona
The European User Week in 2002 takes place in Barcelona.
Siebel 7.5.2 Released
Siebel releases version 7.5.2
Universal Application Network
Siebel announces the release of version 1.0 of UAN (Universal Application Network), the result of cooperation with major middleware vendors and one of the industry's first standardized hub-and-spoke integration packages.
Siebel in Turmoil
Siebel Systems is not spared by the burst of the dot-com bubble and reports its first net loss ($ 92 million) since 1998.
Siebel Universal Customer Master
Siebel UCM (Universal Customer Master) is introduced. It is one of the first Customer Hubs in the Industry. In the course of the next two years, Siebel UCM and UAN revenues rise rapidly to be almost 10% of the corporation's revenues.
Accenture Becomes Global Strategic Partner
Accenture and Siebel announce their global strategic partnership.
Siebel 7.5.3 Released
Siebel 7.5.3 introduces major UI enhancements (shuttle applet).
CRM OnDemand Released
Siebel announces the release of CRM OnDemand. Developed by Siebel and IBM, this marks the second entry of Siebel into cloud-based CRM (after sales.com which went out of business in 2000).
Project Nexus Launched
Siebel publicly announces its project 'Nexus'. The SOA based component framework was supposed to support .NET and J2EE but was never released.
Siebel 7.7 Released
Siebel Systems Inc. releases Siebel 7.7 with redesigned UI. The release introduces iHelp and Marketing Segmentation with Siebel Analytics.
Mike Lawrie named CEO
Former IBM executive Mike Lawrie is named CEO of Siebel Systems. Tom Siebel stays chairman.
Oracle Launches Project Fusion
Planned as a successor to the eBusiness ERP suite both powered and delayed over the years by numerous acquisitions, Oracle launches the biggest enterprise software project on the planet: "Fusion"
Siebel challenges Salesforce
Siebel Systems releases CRM OnDemand version 6 with a host of new features aimed directly at the competitor-in-the-cloud Salesforce
Siebel Business Analytics wins Award
Siebel Systems announces that its Business Analytics offering (formerly nQuire) received the 2004 RealWare Award.
George Shaheen named CEO
George Shaheen replaces Mike Lawrie as the CEO of Siebel Systems.
Siebel 7.8 Released
Siebel 7.8 introduces service-oriented order management.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 77
|
https://www.mercurynews.com/2009/06/19/the-mercury-news-interview-tom-siebel-chairman-of-first-virtual-group-and-the-siebel-foundation/
|
en
|
The Mercury News Interview: Tom Siebel, chairman of First Virtual Group and the Siebel Foundation.
|
[
"https://www.mercurynews.com/wp-content/uploads/2020/09/mn-logo.svg",
"https://secure.gravatar.com/avatar/?s=85&d=mm&r=g",
"https://www.mercurynews.com/wp-content/plugins/dfm-trust-indicators/static/images/Trust-Logo-Horizontal.svg",
"https://www.mercurynews.com/wp-content/themes/scng/static/images/noimage.jpg",
"https://www.mercurynews.com/wp-content/uploads/2024/07/US-NEWS-911-SYSTEM-CRISIS-DMT.jpg?w=525",
"https://www.mercurynews.com/wp-content/uploads/2024/07/GettyImages-2161483356.jpg?w=525",
"https://www.mercurynews.com/wp-content/uploads/2024/07/US-NEWS-HEALTH-DENTAL-THERAPISTS-DMT.jpg?w=525",
"https://www.mercurynews.com/wp-content/uploads/2020/09/mn-logo.svg",
"https://www.mercurynews.com/wp-content/themes/wp-mason/static/images/site-logo/banglogo_small.png"
] |
[] |
[] |
[
""
] | null |
[
"Brandon Bailey",
"Mercury News"
] |
2009-06-19T00:00:00
|
The Mercury News Interview: Tom Siebel, chairman of First Virtual Group and the Siebel Foundation.
|
en
|
The Mercury News
|
https://www.mercurynews.com/2009/06/19/the-mercury-news-interview-tom-siebel-chairman-of-first-virtual-group-and-the-siebel-foundation/
|
There’s a lot of distance between a tony office on Palo Alto’s University Avenue and a working cattle ranch in Wolf Creek, Mont. But since he sold his namesake software company to Oracle four years ago, Tom Siebel has been hanging his hat in both Silicon Valley and Big Sky Country.
These days, the billionaire and former CEO of Siebel Systems invests his wealth quietly through a Palo Alto holding company called First Virtual Group. He’s making a bigger splash with his philanthropy, including an in-your-face ad campaign that Siebel initially bankrolled in Montana — and which has since been adopted in other rural states — aimed at warning people away from methamphetamine use.
Siebel, 56, said he commissioned the Meth Project (www.methproject.org), with its graphic depictions of strung-out teens, after learning how much damage the drug was causing in the state where he worked on ranches as a young man. Siebel also described his new energy project and explained why he’s no longer bullish on tech. The following transcript has been edited for clarity and length.
Q How did a former high-tech CEO from Silicon Valley get involved with fighting meth in rural states like Montana?
A We spend a lot of time in Montana. In the early part of this decade, you saw this disaster unfolding on just a massive scale. With half the people who are in prison, the cause of their incarceration is methamphetamine. Half the people in foster care are there because of methamphetamine. And most of law enforcement are spending the bulk of their time busting methamphetamine labs.
There’s a friend of mine in Montana named John Stevens. He’s a neighbor (and a deputy sheriff) in Cascade, and he would come over and he would tell me about the meth labs they were busting. I’ll never forget one day at lunch, he told me about how easily this stuff was made. For some reason that really got my attention.
I just wondered if the state had made the connection between this problem and the work the American Cancer Society and other groups had done over the years (to discourage) cigarette smoking. I wondered if there was an opportunity there.
Q Did you have any experience with family or friends who used meth?
A Until we launched the Meth Project, I don’t believe I’d ever met anybody who had firsthand experience. After we got involved in the project, I did meet people who were in various stages of recovery or even various stages of addiction. And it just rips your heart out, I tell you that.
Q How do you know the Meth Project is working?
A The hard data. The reduction in methamphetamine use and meth crimes in places where we’re running this campaign are staggering, and dramatically different from the same data in places where we’re not operating. So now the campaign is expanding to other states. The plan was always to do this in a way that it could be replicable, should it be effective.
Q I understand you are launching a new initiative in the area of clean energy.
A In both cases, of methamphetamine and energy, we are involved in activities that are properly the province of the government, and the government was simply failing to do its job. As of December 2008, if there was anything meaningful going on in terms of alternative energy or conservation, any rational policy as it relates to energy, it was not apparent to me.
So we convened a number of researchers, and a group called the Siebel Scholars — smart people from leading business and engineering schools around the United States. They conceived of this idea of a global technology challenge, focusing on the home. The home is something we can all relate to. And 40 percent of the energy we consume in the United States is associated with buildings. So we’re launching a $20 million technology contest to create the energy-free home. (See www.energyfreehome.org.)
We’re defining it as a typical American house, 2,000 square feet, three bedrooms, two baths. It can be connected to the utility grid, but at the end of 365 days, the meter reads zero — so effectively you have to give back whatever you take. And the cost of construction can be no greater than a conventional house.
Q The Web site of First Virtual Group says you’re involved in real estate, agribusiness and global investments. Do you have much invested in the tech industry?
A No. It’s a segment that from 1980 to 2000 grew at a 17 percent compounded annual growth rate, from virtually nothing to a business that became about $1.3 trillion. And I was able to participate in that process. It was the experience of a lifetime.
That being said, I think information technology as an industry is likely to grow going forward at about the rate of the economy. I just do not see the kind of innovation that we saw in the last two decades of the last century. In many respects, many of the interesting problems that we set out to solve have been solved.
Q You introduced Sarah Palin at a Republican fundraiser last fall. What’s your criteria for deciding to get involved in a political campaign, and given your family tie with Gavin Newsom (who is married to a distant relative of Siebel’s), are you likely to endorse in the California governor’s race?
A I tend to support people who believe in individual liberty, people who believe in human rights, people who believe in free-market economics. They can be Democrats, they can be Republicans, they can be Libertarian.
Q How about the governor’s race?
A I’m going to pass on that question.
Q Do you ever miss running a public company?
A I think that many of the regulatory changes that took place, from about 2000 on, kind of made running a public company pretty dreadful. I think the likelihood of me being involved in a public company again in a significant capacity is exceptionally low. Somewhere below even running for governor.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 61
|
https://ir.c3.ai/corporate-governance/board-of-directors/
|
en
|
Board of Directors
|
[
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/nav-images/c3-ai-applications.svg",
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/nav-images/c3-ai-platform.svg",
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/nav-images/c3-generative-ai.svg",
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/nav-images/c3-ai-applications.svg",
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/nav-images/c3-ai-platform.svg",
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/nav-images/c3-generative-ai.svg",
"https://ir.c3.ai/sites/g/files/knoqqb92116/themes/site/nir_pid7820/dist-new/images/arrow-right.svg",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/02/13-19-03/Board_Tom_Siebel.jpg?itok=QHOAUplH",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/02/13-23-56/Board_Condoleezza_Rice.jpg?itok=aQl6cRMw",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/03/1-47-24/Board_Richard_Levin.jpg?itok=moken1rt",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/03/1-48-16/Board_Michael_McCaffery.jpg?itok=KKKnfyDe",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/03/1-54-50/Board_Bruce_Sewell.jpg?itok=Lhp3e080",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/03/1-55-22/lisa_davis2.jpg?itok=3AfiP7Us",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/03/2-02-26/Jim_Snabe.jpeg?itok=TV10Ulvu",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2022/07/03/2-03-06/Board_Steve_Ward.jpg?itok=JNs8gT58",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2023/04/03/19-33-46/KR%20Sridhar.jpg?itok=hD9j01Et",
"https://ir.c3.ai/system/files-encrypted/styles/large/encrypt/nasdaq_kms/people/2024/05/02/19-15-36/transform2024-alan-murray1.jpg?itok=DtQ4Jgfn"
] |
[] |
[] |
[
""
] | null |
[] |
2021-07-07T00:08:03+00:00
|
The Investor Relations website contains information about C3.ai, Inc.'s business for stockholders, potential investors, and financial analysts.
|
en
|
/sites/g/files/knoqqb92116/files/favicon_C3.png
|
C3.ai, Inc.
|
https://ir.c3.ai/corporate-governance/board-of-directors/
|
Thomas M. Siebel
Chairman and Chief Executive Officer
Mr. Siebel is the founder of our company and has served as the Chairman of our board of directors since January 2009, and as our Chief Executive Officer since July 2011. Prior to founding our company, Mr. Siebel founded and served as the Chief Executive Officer of Siebel Systems, a global CRM software company. Siebel Systems merged with Oracle Corporation in January 2006. Mr. Siebel served in various leadership positions with Oracle Corporation from January 1984 to September 1990. Mr. Siebel currently serves as a member of the College of Engineering boards at the University of Illinois at Urbana-Champaign and the University of California, Berkeley. He was elected a member of the American Academy of Arts and Sciences in April 2013. Mr. Siebel holds a B.A. in History, an M.B.A., and an M.S. in Computer Science, each from the University of Illinois at Urbana-Champaign. He is the author of four books, including most recently the best-selling Digital Transformation: Survive and Thrive in an Era of Mass Extinction (RosettaBooks, 2019).
Honors and Awards
Entrepreneur of the Year – EY, 2018
Glassdoor Top CEO – 2018
Honorary Ph.D. – Politecnico di Torino, 2018
Entrepreneur of the Year – EY, 2017
Best Places to Work, 100% CEO approval rating – Glassdoor, 2017
Most Admired CEO Lifetime Achievement Award – San Francisco Business Times, 2016
Academy of Arts and Sciences, Elected Member – April 2013
#3 of the World’s Top 25 Philanthropists – Barron’s, November 2010
Woodrow Wilson Award for Corporate Citizenship
Engineering at Illinois Hall of Fame – University of Illinois at Urbana-Champaign, 2010
#5 of the World’s Top 25 Philanthropists – Barron’s, 2009
Top 50 Philanthropists – BusinessWeek 2007, 2008
Honorary Ph.D. Engineering – University of Illinois at Urbana-Champaign, 2006
Thomas M. Siebel, Master Entrepreneur of the Year – Ernst & Young, 2003
Entrepreneurial Company of the Year – Harvard Business School, 2003
Hall of Fame – CRM Magazine, 2003
CEO of the Year – Industry Week, 2002
Top 25 Managers in Global Business – BusinessWeek, 1999 to 2002
Top 10 CEOs of 2000 – Investor’s Business Daily, 2000
The World’s Most Influential Software Company – BusinessWeek, 2000
The Most Influential Company in IT – Intelligent Enterprise, 2000
Fastest Growing Technology Company – Deloitte & Touche, 1999
Fastest Growing Company in America – Fortune, 1999
Publications
Digital Transformation: Survive and Thrive in an Era of Mass Extinction, RosettaBooks, July 2019
“Digital Transformation: The Post-Industrial Utility,” Aspenia Magazine, June 2018
“Why Digital Transformation Is Now on the CEO’s Shoulders,” McKinsey Quarterly 2018 Number 1
“Thought Leaders Speak Out: Key Trends Driving Change in the Electric Power Industry,” The Edison Foundation Institute for Electric Innovation (IEI), 2015
Advanced Smart Grid, introduction, Artech House, 2015
“The Internet of Energy,” Electric Perspectives magazine, 2015
Written Testimony to the United States House of Representatives Energy and Commerce Committee, Subcommittee on Energy and Power, 2015
“Big Data and the Smart Grid: Is Hadoop the Answer?”, Stanford Energy Journal, 2014
Taking Care of eBusiness, Doubleday, 2001
Cyber Rules, Doubleday, 1999
Virtual Selling, Free Press, 1996
Chairman of the Board
Condoleezza Rice
Dr. Rice has served as a member of our board of directors since December 2009. Since September 2020, Dr. Rice has served as the Tad and Dianne Taube Director of the Hoover Institution at Stanford University. In addition, Dr. Rice has served as the Denning Professor of Global Business and the Economy for the Stanford Graduate School of Business since September 2010.
Since March 2009, Dr. Rice has served as the Thomas and Barbara Stephenson Senior Fellow of Public Policy for the Hoover Institution at Stanford University and as a Professor of Political Science for Stanford University. Dr. Rice has also served as a partner at Rice, Hadley, Gates & Manuel LLC, an international strategic consulting firm that Dr. Rice founded, since November 2009.
From January 2005 to January 2009, Dr. Rice served as the Secretary of State of the United States of America and from January 2001 to January 2005, Dr. Rice served as Chief National Security Advisor to President George W. Bush. Dr. Rice currently serves on the board of directors of Makena Capital Management, LLC, a private endowment firm. From April 2014 to May 2021, Dr. Rice served on the board of directors of Dropbox, Inc., a cloud-based file sharing company.
Dr. Rice holds a Ph.D. in Political Science from the University of Denver, an M.A. in Political Science from the University of Notre Dame, and a B.A. in Political Science from the University of Denver.
Richard C. Levin
Dr. Levin has served as a member of our board of directors since August 2010. From April 2014 until June 2017, Dr. Levin was the Chief Executive Officer of Coursera, an online learning platform company.
Prior to his role at Coursera, Dr. Levin served as President of Yale University from July 1993 to June 2013. Dr. Levin is currently a Fellow of the American Academy of Arts and Sciences and the American Philosophical Society and is a former trustee of The William and Flora Hewlett Foundation. Dr. Levin served as a director of American Express Co. from January 2007 to May 2019. Dr. Levin also served as an advisor on President Obama’s Council of Advisors on Science and Technology.
Dr. Levin holds a B.A. in History from Stanford University, a B.Litt. in Politics from Oxford University, and a Ph.D. in Economics from Yale University.
Michael G. McCaffery
Mr. McCaffery has served as a member of our board of directors since March 2009. Since December 2005, Mr. McCaffery has served as the Managing Director for Makena Capital Management, an investment management firm, and was Chief Executive Officer of Makena Capital Management from December 2005 to January 2013. Since February 2015, Mr. McCaffery has also served on the board of directors for NVIDIA Corporation, a technology company.
Mr. McCaffery holds a B.A. from the Woodrow Wilson School of Public and International Affairs at Princeton University, a B.A. Honours and an M.A. in Politics, Philosophy and Economics from Merton College at Oxford University as a Rhodes Scholar, and an M.B.A. from the Stanford Graduate School of Business.
Independent Director
Bruce Sewell
Mr. Sewell has served as a member of our board of directors since May 2017. Mr. Sewell served as the Senior Vice President, General Counsel and Secretary of Apple Inc., a technology company, from September 2009 to December 2017.
From October 1996 to September 2009, Mr. Sewell served in various leadership positions with Intel Corporation, including as Senior Vice President, General Counsel from September 2002 to September 2009. Since January 2013, Mr. Sewell has served on the board of directors for Vail Resorts, Inc., a mountain resort company.
Mr. Sewell holds a B.S. from Lancaster University (U.K.) and a J.D. from The George Washington University Law School.
Lisa A. Davis
Ms. Davis has served as a member of our board of directors since December 2021. From August 2014 to March 2020, Ms. Davis served as a member of the Managing Board for Siemens AG, the largest industrial manufacturing company in Europe, with responsibility as CEO for Siemens Gas and Power, which includes Power Generation, Power Services, Oil and Gas, Transmission and New Fuels, and operates in over 80 countries. During her tenure at Siemens, she also served as Chair and Chief Executive Officer of Siemens Corporation USA and as a member of the Board of Directors of Siemens Gamesa Renewable Energy SA.
From 2012 to August 2014, Ms. Davis served as Executive Vice President, Strategy, Portfolio & Alternative Energy of Royal Dutch Shell, UK. Prior to that, Ms. Davis served in various capacities and leadership positions with Royal Dutch Shell, Texaco USA and Exxon Corporation in upstream and downstream operations and project development.
Ms. Davis currently serves as a member of the board of directors of Penske Automotive Group, an international transportation services company; Kosmos Energy Limited, an international E&P company; Air Products and Chemicals, an international industrial gasses product and project company; and Phillips 66, an international downstream oil and gas company. Ms. Davis previously served on the board of directors of Spectris plc, an industrial productivity enhancement products company.
Ms. Davis holds a B.S. in Chemical Engineering from the University of California, Berkeley.
Jim H. Snabe
Mr. Snabe has served as a member of our board of directors since February 2021. From September 2020 to February 2021, he served as a senior advisor to our Chief Executive Officer. Mr. Snabe served as Co-Chief Executive Officer of SAP AG, a technology company, from February 2010 to May 2014, and as a member of the SAP AG supervisory board from May 2014 to May 2018. Mr. Snabe currently serves as Chairman of the Supervisory Board of Siemens AG, an industrial technology company, Vice Chairman of the Supervisory Board of Allianz SE, an insurance and financial asset management company, and Chairman of the Board of A.P. Møller – Mærsk A/S, a shipping and transportation company. Mr. Snabe also currently serves as a member of the Supervisory Board of Allianz SE, a financial services company, and as a member of the Board of Trustees of the World Economic Forum, a non-profit organization.
Stephen M. Ward, Jr.
Mr. Ward has served as a member of our board of directors since January 2009. Mr. Ward served as the Chief Executive Officer for Lenovo Group Limited, the international personal computer company formed by the acquisition of IBM’s personal computer division by Lenovo, from April 2005 to January 2006. Prior to that acquisition, Mr. Ward held a number of management positions with IBM from September 1978 to April 2005, including Senior Vice President and General Manager of the Personal Systems and Retail Systems Group from March 2003 to April 2005, General Manager of the Industrial Sector from February 2000 to March 2003, General Manager of the Thinkpad and Mobile division from January 1998 to March 2000 and Chief Information Officer from February 1997 to March 2000.
Mr. Ward has served on the board of directors of Vonage Holdings Corp., an internet communications company, since July 2021 and Carpenter Technology Corporation, a specialty metals company, since March 2001. From December 2014 until its sale to The Boeing Company in October 2018, Mr. Ward served as a member the board of directors of KLX Inc., an aerospace solutions and supply chain company, and from September 2018 to June 2021, he served as a member of the board of directors of KLX Energy Services Holdings, Inc., an oilfield services company spun out from KLX Inc.
Mr. Ward also previously served as a member of the board of directors of E2Open, a supply chain SAS company he co-founded, from January 2001 to March 2015, E-Ink Corporation, a maker of electronic paper displays, from December 2006 to December 2009 and QD Vision, Inc., a nanomaterials product company, from June 2014 until its sale to Samsung in November 2016.
Mr. Ward holds a B.S. in Mechanical Engineering from California Polytechnic State University, San Luis Obispo.
KR Sridhar
KR Sridhar is the Founder, Chairman, and Chief Executive Officer of Bloom Energy. Prior to founding Bloom Energy, KR Sridhar was Director of the Space Technologies Laboratory (STL) at the University of Arizona where he was also a Professor of Aerospace and Mechanical Engineering. Under his leadership, STL won several nationally competitive contracts to conduct research and development for Mars exploration and flight experiments to Mars. KR has served as an advisor to NASA and has led major consortia of industry, academia, and national labs. His work for the NASA Mars program to convert Martian atmospheric gases to oxygen for propulsion and life support was recognized by Fortune Magazine, where he was cited as “one of the top five futurists inventing tomorrow, today.”
As one of the early pioneers in green tech, KR also serves as a strategic limited partner at Kleiner Perkins Caufield & Byers and as a special advisor to New Enterprise Associates. He has also served on many technical committees, panels and advisory boards and has several publications and patents.
KR received his bachelor’s degree in mechanical engineering with honors from the University of Madras (now called NIT, Trichy), India, as well as his master’s degree in nuclear engineering and PhD in Mechanical Engineering from the University of Illinois, Urbana-Champaign. He is also a member of the National Academy of Engineering.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 36
|
https://www.mphasis.com/home/services/application-services/customer-relationship-management/siebel.html
|
en
|
Oracle SIEBEL CRM Solutions
|
https://www.mphasis.com/content/dam/mphasis-com/common/icons/favicon.ico
|
https://www.mphasis.com/content/dam/mphasis-com/common/icons/favicon.ico
|
[
"https://www.mphasis.com/content/dam/mphasis-com/global/logo/mphasis-logo.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/share.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/benefits/siebel-1.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/benefits/siebel-2.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/benefits/siebel-3.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/benefits/siebel-4.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/benefits/siebel-5.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/benefits/siebel-6.png",
"https://www.mphasis.com/content/dam/mphasis-com/global/en/icons/top-arrow.png",
"https://px.ads.linkedin.com/collect/?pid=3380748&fmt=gif"
] |
[] |
[] |
[
"Siebel CRM",
"Oracle Siebel CRM",
"CRM solutions",
"Siebel Services",
"SIEBEL CRM Migration",
"SIEBEL CRM Solutions",
"oracle siebel crm software"
] | null |
[] | null |
Oracle SIEBEL CRM Solutions - Mphasis expertise in Siebel CRM drives digital transformation.
|
en
|
https://www.mphasis.com/content/dam/mphasis-com/common/icons/favicon.ico
|
https://www.mphasis.com/home/services/application-services/customer-relationship-management/siebel.html
|
Our Siebel offerings cover development and consultancy, including implementations from Siebel 5.x to 8.x.
It provides for:
• Full lifecycle of end-to-end application implementation and development activities
• Program management, assessment, functionality assessment, functional and technical development, testing, training, and post-implementation support
• PC4 Mphasis proprietary tool
• Objective review of the application for best practices applied against the configuration of the customer's Siebel repository
• Offshore development and support
• Blended Mphasis onshore and offshore team to reduce total cost of ownership
• Integration with SAP, Oracle, SFDC, Veeva, PeopleSoft, JD Edwards, BEA, WebSphere, and other enterprise applications; integration with Siebel On-Demand
• Data cleansing and Siebel archiving
• Implementation of real-time OBIEE /Siebel analytics
|
|||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 60
|
https://mindmajix.com/siebel-crm-training
|
en
|
SIEBEL CRM Training
|
[
"https://mindmajix.com/img/logo-d.svg",
"https://mindmajix.com/img/JobAssistanceandVersion_Final.svg",
"https://mindmajix.com/img/switchup.svg",
"https://mindmajix.com/img/trustpilot.svg",
"https://mindmajix.com/img/coursereport.svg",
"https://cdn.mindmajix.com/mern/images/Instructor.svg",
"https://cdn.mindmajix.com/mern/images/labs_New.svg",
"https://cdn.mindmajix.com/mern/images/projects_new.svg",
"https://cdn.mindmajix.com/mern/images/Support.svg",
"https://cdn.mindmajix.com/mern/images/Certification.svg",
"https://cdn.mindmajix.com/mern/images/Schedule.svg",
"https://cdn.mindmajix.com/lms/One-on-onedoubtclearing.svg",
"https://cdn.mindmajix.com/lms/Careerpathguidance.svg",
"https://cdn.mindmajix.com/lms/JobSupport.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcourses%2Fsiebel-crm-training.png&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcourses%2Fsiebel-crm-training.png&w=640&q=75 2x",
"https://cdn.mindmajix.com/mern/images/play.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Ftools%2Ffree-add-on.png&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Ftools%2Ffree-add-on.png&w=96&q=75 2x",
"https://mindmajix.com/_next/image?url=%2Fimg%2FClientImage.png&w=640&q=50 1x, /_next/image?url=%2Fimg%2FClientImage.png&w=1080&q=50 2x",
"https://cdn.mindmajix.com/authors/linkedin_1.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fvijayalakshmi-vellore-krishnamurthy-review-17102021.jpg&w=64&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fvijayalakshmi-vellore-krishnamurthy-review-17102021.jpg&w=128&q=75 2x",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fthirumal-murugan-review-17102021.jpg&w=64&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fthirumal-murugan-review-17102021.jpg&w=128&q=75 2x",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fmqdefault2.jpeg&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fmqdefault2.jpeg&w=640&q=75 2x",
"https://cdn.mindmajix.com/courses/youtube.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fmqdefault1.jpeg&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fmqdefault1.jpeg&w=640&q=75 2x",
"https://cdn.mindmajix.com/courses/youtube.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fmqdefault.jpg&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Freviewer%2Fmqdefault.jpg&w=640&q=75 2x",
"https://cdn.mindmajix.com/courses/youtube.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcourses%2Ftrainer-training-session.png&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcourses%2Ftrainer-training-session.png&w=640&q=75 2x",
"https://mindmajix.com/img/JobRecruitmentProcess_WebsiteVersion.svg",
"https://mindmajix.com/img/JobRecruitment+Process_MobileVersion.svg",
"https://mindmajix.com/img/MMJobservice.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Faa.jpg&w=128&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Faa.jpg&w=256&q=75 2x",
"https://cdn.mindmajix.com/authors/linkedin_1.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fmovate.jpg&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fmovate.jpg&w=96&q=75 2x",
"https://cdn.mindmajix.com/courses/Career/Career+Transition.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fconc.jpg&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fconc.jpg&w=96&q=75 2x",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2F1661011024019.jpg&w=128&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2F1661011024019.jpg&w=256&q=75 2x",
"https://cdn.mindmajix.com/authors/linkedin_1.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fzara-s.jpg&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fzara-s.jpg&w=96&q=75 2x",
"https://cdn.mindmajix.com/courses/Career/Career+Transition.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2FPanOGold_Embedded.jpg&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2FPanOGold_Embedded.jpg&w=96&q=75 2x",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fuser.png&w=128&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fuser.png&w=256&q=75 2x",
"https://cdn.mindmajix.com/authors/linkedin_1.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fenv-labs.png&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fenv-labs.png&w=96&q=75 2x",
"https://cdn.mindmajix.com/courses/Career/Career+Transition.svg",
"https://mindmajix.com/_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fvaluesoft.png&w=48&q=75 1x, /_next/image?url=https%3A%2F%2Fcdn.mindmajix.com%2Fcareertransitions%2Fvaluesoft.png&w=96&q=75 2x",
"https://cdn.mindmajix.com/courses/Career/dollar_b.svg",
"https://cdn.mindmajix.com/courses/Career/customer-review_b.svg",
"https://cdn.mindmajix.com/courses/Career/medal_B.svg",
"https://cdn.mindmajix.com/mern/images/IndustryStatistics.svg",
"https://cdn.mindmajix.com/courses/Courses.svg",
"https://cdn.mindmajix.com/courses/Cerfication-+Resume.svg",
"https://cdn.mindmajix.com/courses/CorporateClients.svg",
"https://cdn.mindmajix.com/courses/Learners.svg",
"https://cdn.mindmajix.com/courses/Courses.svg",
"https://cdn.mindmajix.com/courses/Cerfication-+Resume.svg",
"https://cdn.mindmajix.com/courses/CorporateClients.svg",
"https://cdn.mindmajix.com/courses/Learners.svg",
"https://cdn.mindmajix.com/courses/Courses.svg",
"https://cdn.mindmajix.com/courses/Cerfication-+Resume.svg",
"https://cdn.mindmajix.com/courses/CorporateClients.svg",
"https://cdn.mindmajix.com/courses/Learners.svg",
"https://mindmajix.com/img/Microsoftfinal.svg",
"https://mindmajix.com/img/ranorexfinal.svg",
"https://mindmajix.com/img/EDBfinal.svg",
"https://mindmajix.com/img/Datadogfinal.svg",
"https://mindmajix.com/img/AWSfinal.svg",
"https://mindmajix.com/img/Microsoftfinal.svg",
"https://mindmajix.com/img/ranorexfinal.svg",
"https://mindmajix.com/img/EDBfinal.svg",
"https://mindmajix.com/img/Datadogfinal.svg",
"https://mindmajix.com/img/AWSfinal.svg",
"https://mindmajix.com/img/Microsoftfinal.svg",
"https://mindmajix.com/img/ranorexfinal.svg",
"https://mindmajix.com/img/EDBfinal.svg",
"https://mindmajix.com/img/Datadogfinal.svg",
"https://mindmajix.com/img/AWSfinal.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Learn Siebel Customer Relationship Management (CRM) 8.x Course ✔️25 Hours ✔️Live Projects ✔️24/7 Support ✔️Certification Training ✔️Free DEMO!
|
en
|
mindmajix
|
https://mindmajix.com/siebel-crm-training
|
Course Includes
100% Money back guarantee
25 Hrs of Sessions
20 Hrs of Labs
Real-time Use cases
24/7 Lifetime Support
Certification Based Curriculum
Flexible Schedules
One-on-one doubt clearing
Career path guidance
Job Support
SIEBEL CRM Course Overview
Mindmajix Siebel CRM training advances your skills in designing, developing, and managing Siebel CRM applications. You’ll explore Siebel architecture, functionality, configuration, workflow, etc., through real-time use cases and practical examples. This training also offers hands-on projects to strengthen your skills and clear the Siebel CRM certification exam.
Course Coverage
SIEBEL CRM Online Training Content
Siebel CRM Training by MindMajix covers essential modules to deliver skills in alignment with the current job market. Our expert trainer community curates the curriculum to meet the standards of the latest certifications and skills employers expect from trained individuals. Our Siebel CRM course curricul...Read more
Introduction to Siebel CRM
Siebel CRM delivers analytical, transactional, and engagement features to manage all customer-facing operations. In this module, you’ll get to know what’s new in Siebel CRM versions, the functionality of Siebel Repository, and learn how to use Siebel tools to view and modify data in the repository.
Siebel tools
Siebel Repository
Learning Outcome - By the end of this module, you’ll gain a deeper understanding of Siebel Repository fundamentals, and develop knowledge and skills to modify the data model, customize user interface or modify business logic using Siebel Tools.
Siebel Server Architecture
This section provides an overview of Siebel server architecture and provides introductory information about the Siebel data model.
Siebel server architecture
Siebel data model
Responsibilities and Views in Siebel CRM
A responsibility in Siebel CRM defines the views a user can access. In this section, you’ll learn how to create responsibilities, provide access to all the views, and assign responsibilities to a user.
Responsibility and Views
User Positions
Learning Outcome: Develop skills to perform operations associated with responsibilities and access control, including user position.
12 + More lessons
Add-ons
Most of the SIEBEL CRM - Dev Jobs in the industry expect the following add-on skills. Hence, we offer these skills-set as FREE Courses (Basics) to ease your learning process and help you stay ahead of the competition.
Agile & Scrum
Hands on SIEBEL CRM Training Projects
Our SIEBEL CRM Training course aims to deliver quality training that covers solid fundamental knowledge on core concepts with a practical approach. Such exposure to the current industry use-cases and scenarios will help learners scale up their skills and perform real-time projects with the best practices.
Life Science Project
Apartment Management
Training Options
Choose your own comfortable learning experience.
Self-Paced Videos
25 hrs of E-Learning Videos
$ 192
$ 240
Get Full Access
25 hours of SIEBEL CRM Training videos
Curated and delivered by industry experts
100% practical-oriented classes
Includes resources/materials
Latest version curriculum with covered
Get lifetime access to the LMS
Learn technology at your own pace
24x7 learner assistance
Certification guidance provided
Post sales support by our community
Live Instructor-Led
25 hrs of Remote Classes in Zoom/Google meet
$ 450
$ 562
Customize your schedule here
+ Includes Self-Paced
Live demonstration of the industry-ready skills.
Schedule your sessions at your comfortable timings.
Virtual instructor-led training (VILT) classes.
Real-time projects and certification guidance.
For Corporates
Empower your team with new skills to Enhance their performance and productivity.
Corporate Training
Customized course curriculum as per your team's specific needs
Training delivery through self-Paced videos, live Instructor-led training through online, on-premise at Mindmajix or your office facility
Resources such as slides, demos, exercises, and answer keys included
Complete guidance on obtaining certification
Complete practical demonstration and discussions on industry use cases
Served 130+ Corporates
User Testimonials
4500 +
COURSE REVIEWS
4.6
AVERAGE RATING
98 %
SATISFIED LEARNERS
Excellent course! The instructor is really clear. He also shares tips and tricks which are really useful.
Andrew
5
A
View All
Hear From Our Learners
MuleSoft - The MuleSoft course by MindMajix helped Subra achieve a lucrative career in MuleSoft.
PTC WindChill - Naveen shared his experience with MindMajix's PTC WindChill course.
JIRA - Akthar shares his satisfactory feedback after JIRA training from MindMajix
Our Instructor
Learn from the certified and real time working professionals.
Training by
Sushil , having 10+ yrs of experience
Specialized in:SIEBEL CRM
Sushil has got 10+ years of industrial experience working for global MNCs. He chose to deliver online training and contribute informative articles and blogs to various websites to share his technical expertise.
Job Assistance Program
We take pride in being part of 5 lakh plus career transitions worldwide
Connect with Learning Advisor
Job Support Program
Online Work Support for your on-job roles.
Our work-support plans provide precise options as per your project tasks. Whether you are a newbie or an experienced professional seeking assistance in completing project tasks, we are here with the following plans to meet your custom needs:
Pay Per Hour
Pay Per Week
Monthly
Career Transition
Many professionals transformed careers with better pay and higher positions.
Arka Basak
Senior Engineer to Network Engineer
Arka Basak is now working for Conentrix as a Network Engineer, who took VAPT Training from MindMajix while he was working for CSS Corp as a Senior Engineer.
Senior Engineer
Network Engineer
Fabrice Ajuah
Access Manager to Account Manager
The journey of Ajuah from being a CyberArk Privilege Access Manager to becoming a CyberArk Privileged Account Manager is fantastic. Cyberark training from MindMajix helped Ajuah reach the next milestone of his career.
CyberArk Privilege Access Manager
CyberArk Privileged Account Manager
Non-techinical to DevOps engineering
With a non-technical background, Vijay used to work in a non-IT job role in ENV Labs earlier. Later enrolled in DevOps training from MindMajix, and is now working as a DevOps engineer at ValueSoft.
Support Analyst
Devops Engineer
76% of learners got 5x hike
68% of learners got promoted
83% of learners got certified
SIEBEL CRM Training Objectives
About SIEBEL CRM Training
This Siebel CRM Certification Course provides a solid foundation of Siebel, including navigation, querying, architecture, data model, object types, and more. Enrolling in this course will allow you to work on real-time projects utilizing the latest methodologies and acquire comprehensive exposure to industrial scenarios and use-cases. This training will educate you on how to deliver useful and intelligent support in the field.
What skills will you learn in this SIEBEL CRM Training?
This training course will teach you how to adapt a basic Siebel program without altering the source code or SQL.
It covers all you need to know about installing, customizing, creating, and managing Siebel applications and clients.
It also goes over topics like Siebel design, Siebel Workflow, and Siebel CRM implementation.
You'll learn how to design, manage, configure, and create Siebel CRM systems from the ground up.
All principles, including Siebel architecture, core functions, setup, and workflow, are covered, along with real-world applications.
Why should you learn SIEBEL CRM Training?
Siebel CRM aids organizations in their Customer Relationship Management (CRM) efforts.
Siebel CRM has a 7.8 percent market share, and global CRM revenue is expected to reach $50 billion by 2023.
According to ziprecruiter.com, the average income for a Siebel CRM Developer in the United States is roughly $120K per year.
What are the Prerequisites for learning SIEBEL CRM Training?
The below-listed are the prerequisites for learning this course:
Basic knowledge of Client/Server and web-based applications as well as development.
Knowing Relational DataBase Management Systems (RDBMS) will be beneficial.
Who should take up this SIEBEL CRM Training?
The following individuals will benefit from this training:
Architect
Analyst
Administrator
Developer
View More
Industry Statistics
Jobs / Month
84
Avg. Salary
$77,503
Job Roles
Siebel Developer
Siebel Consultant
Why MindMajix?
10+
Years of Expertise
E-Learning Industry
200+
Corporates
Global Clients
500+
Courses
Largest LMS
512k+
Learners
Careers Upskilled
10+
Years of Expertise
E-Learning Industry
200+
Corporates
Global Clients
500+
Courses
Largest LMS
512k+
Learners
Careers Upskilled
10+
Years of Expertise
E-Learning Industry
200+
Corporates
Global Clients
500+
Courses
Largest LMS
512k+
Learners
Careers Upskilled
Partnering with World's Leading Companies
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 79
|
https://www.manh.com/
|
en
|
Unified Commerce and Supply Chain Leader
|
https://images3.cmp.optimizely.com/assets/grocery-navigation-promo-878x548.jpg/Zz1lNjY1YTkwNmUwN2UxMWVlYWZiMGIyZDYzZWU0N2MyZQ==
|
[
"https://images1.welcomesoftware.com/Zz1hMWFjZTk5MjA2MjYxMWVlOGYzNzMyMjhlZWQzNGI2NA==",
"https://images1.welcomesoftware.com/Zz1hMWFjZTk5MjA2MjYxMWVlOGYzNzMyMjhlZWQzNGI2NA==",
"https://images2.cmp.optimizely.com/assets/maven-menu-feature-image.jpg/Zz0wOTI4OGIxYzQ0NjAxMWVmYTI3ZTYyZTliMTMzZWU3OQ==",
"https://images2.cmp.optimizely.com/assets/maven-menu-feature-image.jpg/Zz0wOTI4OGIxYzQ0NjAxMWVmYTI3ZTYyZTliMTMzZWU3OQ==",
"https://images4.cmp.optimizely.com/assets/Supply+Chain+Planning+Ads/Zz0xNGVlMTA4NjEyMmMxMWVmYWZjMGY2OWM4Njc2MTFmMw==",
"https://images4.cmp.optimizely.com/assets/Supply+Chain+Planning+Ads/Zz0xNGVlMTA4NjEyMmMxMWVmYWZjMGY2OWM4Njc2MTFmMw==",
"https://images3.cmp.optimizely.com/assets/grocery-navigation-promo-878x548.jpg/Zz1lNjY1YTkwNmUwN2UxMWVlYWZiMGIyZDYzZWU0N2MyZQ==",
"https://images3.cmp.optimizely.com/assets/grocery-navigation-promo-878x548.jpg/Zz1lNjY1YTkwNmUwN2UxMWVlYWZiMGIyZDYzZWU0N2MyZQ==",
"https://images4.cmp.optimizely.com/assets/tms-mq-2024-organic-1.png/Zz02Y2IyZDBiMGYwMzgxMWVlOTlmODU2OTdlNGIxOTE0Yg==",
"https://images4.cmp.optimizely.com/assets/tms-mq-2024-organic-1.png/Zz02Y2IyZDBiMGYwMzgxMWVlOTlmODU2OTdlNGIxOTE0Yg==",
"https://images1.welcomesoftware.com/Zz1hMWFjZTk5MjA2MjYxMWVlOGYzNzMyMjhlZWQzNGI2NA==",
"https://play.vidyard.com/XknRcFpWoEAU3cji4aFy5t.jpg",
"https://images1.cmp.optimizely.com/assets/masthead_mobile_about-us.jpg/Zz04NTc1MjdlMmRlMjgxMWVkYTcyY2YyNTY3ZjVhM2YwNA==&w=1440&h=810",
"https://images2.cmp.optimizely.com/assets/supplychain-commerce.webp/Zz04YTk5MDJkMGFiZTAxMWVlOGQxMjA2ZjVlYzU4YjIwZA==&w=1280&h=734",
"https://images1.cmp.optimizely.com/assets/Omnichannel-Commerce-update.jpg/Zz03NzdhYTM3MDA4YTExMWVmYTNjMjllZDNhN2E2YTY3MA==&w=700&h=560",
"https://images1.welcomesoftware.com/Zz01YzY1YWY0ZWU5Y2IxMWVkOWYzMmNlMWZkNjY1MGVjYw==&w=700&h=560",
"https://images3.welcomesoftware.com/Zz1kMDVlY2IyMGU5Y2YxMWVkOGYxNmU2OWNjMzI2MGRhZQ==&w=700&h=560",
"https://images1.welcomesoftware.com/Zz02YWFkMzg5Y2U5ZDAxMWVkYjRiM2NlMWZkNjY1MGVjYw==&w=700&h=560",
"https://images4.cmp.optimizely.com/assets/KeHE_1120x630.png/Zz1jZmJiMWQ3NDQzYTQxMWVmOGUwZmQ2NmI5NmM2YjRiYg==&w=528&h=297",
"https://images3.cmp.optimizely.com/assets/EPES_1120x630.jpg/Zz05NjA2MjdkYWZkYzMxMWVlYTNlOWRlYTBkODUxOWVmMg==&w=528&h=297",
"https://images3.cmp.optimizely.com/assets/Gregory_1120x630.jpg/Zz05NjM4MDk0NGZkYzMxMWVlYmJjNTNhMmFmOWYzMDU3Mg==&w=528&h=297",
"https://images4.cmp.optimizely.com/assets/Bud_1120x630.jpg/Zz05NjA1YjU0OGZkYzMxMWVlOGUyNDVlNDgyZDAyZGQyZg==&w=528&h=297",
"https://images3.cmp.optimizely.com/assets/Daiken_1120x630.jpg/Zz05NjA3YmMyNmZkYzMxMWVlYWQ0MmRlYTBkODUxOWVmMg==&w=528&h=297",
"https://images3.welcomesoftware.com/Zz1hYTQ1NzIyNGUwNzIxMWVkOGYxNGIyNjA3NDVmZjQzYQ==&w=528&h=297",
"https://www.manh.com/globalassets/footer/facebook-icon.png",
"https://www.manh.com/globalassets/footer/facebook-icon.png",
"https://www.manh.com/globalassets/footer/twitter-icon.png",
"https://www.manh.com/globalassets/footer/twitter-icon.png",
"https://www.manh.com/globalassets/footer/youtube-icon.png",
"https://www.manh.com/globalassets/footer/youtube-icon.png",
"https://www.manh.com/globalassets/linkedin-icon.png",
"https://www.manh.com/globalassets/linkedin-icon.png"
] |
[] |
[] |
[
""
] | null |
[] |
2023-08-09T01:18:37
|
Transform your business with Manhattan's innovative unified commerce and supply chain solutions. Streamline operations, increase efficiency, and boost revenue.
|
en
|
/favicon.svg?r=81723
|
https://www.manh.com/
|
Manhattan Active Maven for customer service makes it more convenient, compelling, and satisfying for customers to get automated assistance through chat.
Manhattan Active Maven for customer service makes it more convenient, compelling, and satisfying for customers to get automated assistance through chat.
Groceries are an essential human need, and grocers need to distribute products and food items to their customers, fast and without fail. But without a unified warehouse and transportation platform, orchestrating efficiency with high visibility can be hard to deliver. Learn how Manhattan Active® Supply Chain handles the most complex grocery supply chain networks in the world.
Groceries are an essential human need, and grocers need to distribute products and food items to their customers, fast and without fail. But without a unified warehouse and transportation platform, orchestrating efficiency with high visibility can be hard to deliver. Learn how Manhattan Active® Supply Chain handles the most complex grocery supply chain networks in the world.
For the sixth consecutive year, Manhattan has been recognized as a leader in the Magic Quadrant for Transportation Management Systems.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 3
|
https://en.wikipedia.org/wiki/Thomas_Siebel
|
en
|
Thomas Siebel
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Unbalanced_scales.svg/45px-Unbalanced_scales.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Tom_Siebel_2013.png/220px-Tom_Siebel_2013.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2004-12-25T01:46:28+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Thomas_Siebel
|
American businessman
Thomas M. Siebel ( ; born November 20, 1952) is an American billionaire businessman, technologist, and author. He was the founder of enterprise software company Siebel Systems and is the founder, chairman, and CEO of C3.ai, an artificial intelligence software platform and applications company.[1]
He is the chairman of First Virtual Group, a diversified holding company with interests in investment management, commercial real estate, agribusiness, and philanthropy.[2]
Siebel was born in Chicago, one of seven children of Arthur Francis Siebel, a Harvard-educated lawyer, and Ruth A. (née Schmid) Siebel.[3][4][5] Siebel is a graduate of the University of Illinois Urbana-Champaign, where he received a BA in history, an MBA, an MS in computer science,[6] and an honorary doctorate of engineering.[7]
Between 1984 and 1990, Siebel was an executive at Oracle Corporation, where he held a number of management positions.[8][9] Siebel served as chief executive officer of Gain Technology, a multimedia software company that merged with Sybase in December 1992.[9] Siebel was the founder, chairman, and chief executive officer of Siebel Systems,[10] which was acquired by Oracle in January, 2006.[11] Siebel is the chairman of First Virtual Group, a diversified holding company.[2]
Siebel Systems was a software company primarily engaged in the design, development, marketing, and support of customer relationship management (CRM) applications. As an executive at Oracle, Siebel proposed the idea of creating enterprise software applications tailored for marketing, sales, and customer service functions. Oracle management declined his proposal. In 1993, Siebel left Oracle and found Siebel Systems to pursue that opportunity.[12] In 1999, Siebel Systems became the fastest-growing technology company in the United States.[13] Siebel Systems grew to over 8,000 employees in 32 countries, more than 4,500 corporate customers, and annual revenue greater than $2 billion before merging with Oracle in January 2006.[14]
In 2019, Siebel initiated a program at C3.ai that pays 100 percent of the costs for employees to complete an online master's degree of computer science (MCS) program from the University of Illinois at Urbana-Champaign. Employees who complete the MCS degree receive a salary increase of 15 percent, a cash bonus of $25‚000, and additional stock options.[15]
Siebel serves on the Board of Advisors of the Stanford University College of Engineering, the University of Illinois College of Engineering, and the University of California, Berkeley College of Engineering.[16][17] He is a Director of the Hoover Institution at Stanford University,[18] and is the Chairman of the Board for the American Agora Foundation.[19] He was a member of the Trustees of Princeton University from 2008 to 2011.[20] He is the Founder and Chairman of the Montana Meth Project[21] and the Siebel Scholars Foundation,[22] and Chairman of the Siebel Foundation. He was ranked #5 and #3 of the world's top 25 philanthropists by Barron's Magazine in 2009 and 2010, respectively.[23][24] In 2007 and 2008, he was named one of The 50 Most Generous Philanthropists by BusinessWeek.[25]
In 2001, Siebel donated $32 million to his alma mater, the Department of Computer Science at the University of Illinois at Urbana-Champaign, to build the Siebel Center for Computer Science, opened in spring 2004.[26] In 2006, Siebel donated $4 million to the University of Illinois at Urbana-Champaign to establish two endowed full professorships, the Thomas M. Siebel Chair in the History of Science and the Thomas M. Siebel Chair in Computer Science.[27] Siebel pledged an additional $100 million gift to the University of Illinois at Urbana-Champaign in 2007.[28] In 2015, the Siebel Foundation launched the Siebel Energy Institute to research the data management of energy infrastructure monitoring data.[29] In 2016, Siebel donated $25 million to build the Siebel Center for Design at the University of Illinois, a 60,000-square-foot multidisciplinary hub designed by architects Bohlin Cywinski Jackson and was completed in 2020.[30]
In February 2022, Siebel donated $90,000 to the Canada convoy protest in Ottawa, that also blocked border crossings between Canada and the U.S. to protest COVID-19 vaccine mandates and restrictions.[31][32][33]
In 2024, Siebel donated $500,000 to Donald Trump. [34]
He is married to Stacey Siebel.[3] They have four children and live in Woodside, California. Siebel is the second cousin once removed of Jennifer Siebel Newsom, the First Partner of Califoria and wife of Governor Gavin Newsom.[35]
Siebel currently has the highest personal CO2 emissions from private jet use of any American as of 2022.[36]
On the morning of August 1, 2009, he and a guide were in Tanzania, observing a group of elephants from 200 yards away, when an elephant charged Siebel's guide and then turned on Siebel, breaking several ribs, goring him in the left leg, and crushing the right.[37][38] They radioed for help, but it was three hours before he received any medical treatment.[37] He was flown to the Aga Khan University Hospital in Nairobi, where they cleaned his wounds and stabilized his leg. He was then flown back to the United States on a 20-hour flight with only 10 hours of morphine and 15 hours of fluids. He had lost half of his fluids and was put in the intensive care unit.[39] He was moved to Stanford Hospital where, over the next six months, they performed 11 surgeries, fixed his ribs and shoulder, and saved his left leg.[38]
In September 2010, a year after the attack, Siebel had undergone 16 surgeries and an Ilizarov apparatus external fixator to mend, lengthen, and reshape the tibia of his right leg.[39] After 19 reconstructive surgeries over two and a half years, Siebel has now made a full recovery.[40] In 2013, National Geographic included Siebel's account in its TV series Dead or Alive: Trampled on Safari.[41]
Digital Transformation (2019)[42] ISBN 1948122480
“Digital Transformation: The Post-Industrial Utility” (Aspenia Magazine, June 2018)[43]
“Why digital transformation is now on the CEO’s shoulders” (McKinsey Quarterly, December 2017)[44]
“The Internet of Energy” (Electric Perspectives, March/April 2015)[45]
“Big Data and the Smart Grid: Is Hadoop the Answer?” (Stanford Energy Journal, October 21, 2014)[46]
Taking Care of eBusiness (2001) ISBN 0-385-50227-3
Cyber Rules (with Pat House) (1999)[47] ISBN 0385494122
Virtual Selling (with Michael Malone) (1996)[48] ISBN 0684822873
|
||||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 80
|
https://www.brewersassociation.org/
|
en
|
Promoting Independent Craft Brewers
|
[
"https://www.facebook.com/tr?id=915008421917581&ev=PageView&noscript=1",
"https://www.brewersassociation.org/wp-content/uploads/2023/06/brewers-association-logo-red-R.svg",
"https://s3-us-west-2.amazonaws.com/brewersassoc/wp-content/uploads/2019/04/BA_Logo-Tagline1.svg",
"https://www.brewersassociation.org/wp-content/uploads/2023/06/brewers-association-logo-red-R.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2023/10/12114039/aluminum-cans-with-condensation-resource-hub.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/02/08080941/brewery-team-posed-together.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2023/10/12114028/couple-posing-at-beer-fest-thrive.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2023/10/12114031/close-up-of-man-speaking-insights.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/01/30102339/beer-with-capitol-building-in-background-1.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2023/10/12114020/new-brewer-magazine-covers.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/23081914/man-working-in-brewery-back-of-house-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/02/22090724/hr-manager-course-thumbnail.jpeg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/12161248/gabf-brewery-beer-donation-banner.gif",
"https://cdn.brewersassociation.org/wp-content/uploads/2014/03/BA19-DBQM4-Media-Advisory_Facebook2-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/06/02163447/BA24-CollabHour_MidYearUpdate_1200x800-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/23081835/glass-of-beer-held-up-in-brewhouse-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2021/05/26085756/playlist-large-display-sans-shadow.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2021/05/26091837/playlist-small-display.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/03113751/cbc24-ttb-bootcamp-playlist-featured-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/12111210/woman-selecting-beer-from-taproom-cooler-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2021/05/26085756/playlist-large-display-sans-shadow.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2021/05/26091837/playlist-small-display.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/02125831/cbc24-export-development-seminars-featured-1200x800-3-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/06/12092637/BA24-CollabHour_HarrisPoll_071124_1200x800-900x600.png",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/02172845/women-buying-beers-in-taproom-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2021/05/26085756/playlist-large-display-sans-shadow.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2021/05/26091837/playlist-small-display.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/02135607/brewery-employee-pouring-draught-beer-in-taproom-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/01120659/beer-freshness-series-the-cellar-with-tall-fermenters-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/05/28090113/illustration-of-people-walking-on-an-arrow-with-workplace-transition-resource-1200x800-1-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/06/25094118/woman-wrapping-palette-of-beers-1200x800-1-900x600.jpg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/07/03084057/Abstrax-Hops-Logo-Black.svg",
"https://cdn.brewersassociation.org/wp-content/uploads/2024/06/13145352/Chinova-Logo-PNG.png",
"https://s3-us-west-2.amazonaws.com/brewersassoc/wp-content/uploads/2019/06/brewer-hero-bg.jpg",
"https://www.brewersassociation.org/wp-content/uploads/2018/11/BA_Independent_Seal_rev.svg",
"https://s3-us-west-2.amazonaws.com/brewersassoc/wp-content/uploads/2019/06/SF-Logo-white-01.svg",
"https://www.brewersassociation.org/wp-content/themes/ba2019/images/resource-hub.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2014-08-02T01:04:57+00:00
|
The Brewers Association works to promote and protect small and independent American brewers, their craft beers and the community of brewing enthusiasts.
|
en
|
https://www.brewersassociation.org/wp-content/themes/ba2019/images/favicon.ico
|
Brewers Association
|
https://www.brewersassociation.org/
|
Need a natural beverage stabilizer?
Chiber™, a natural antimicrobial from upcycled mushroom stems, prevents spoilage and extends the shelf life of low-to-non-alcoholic beers. It’s easy to use without compromising taste. Learn more here. MORE
Join The Brewers Association
The Brewers Association is an organization of brewers, for brewers and by brewers. More than 5,600 US brewery members and 37,000 members of the American Homebrewers Association are joined by members of the allied trade, beer distributors, individuals, other associate members and the Brewers Association staff to make up the Brewers Association.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 16
|
https://www.nbcbayarea.com/news/local/siebels-new-system/2087887/
|
en
|
Siebel's New System
|
[
"https://media.nbcbayarea.com/2024/04/KNTV-Dgtl-Oly-On-Dark.png?fit=510%2C120&quality=85&strip=all&w=170&h=40",
"https://media.nbcbayarea.com/2019/09/LOCAL-BAY-AREA-1440x415-EMRI.jpg?quality=85&strip=all&fit=1440%2C415&w=400&h=44&crop=1",
"https://media.nbcbayarea.com/2024/04/SF-Bay-Area.png?fit=1177%2C91&quality=85&strip=all",
"https://nbcu.tmsimg.com/assets/p25200546_b_h10_ab.jpg?w=960&h=540",
"https://media.nbcbayarea.com/2024/07/0723-SantaCruz-victims.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcbayarea.com/2024/07/dannyb-oakland-cleanup-6.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcbayarea.com/2019/09/fremont-police2-1.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcbayarea.com/2024/07/GettyImages-1228983034.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcbayarea.com/2019/09/san_jose_fire_department_truck_generic.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcbayarea.com/2024/05/KNTV-Dgtl-Oly-On-Light-1.png?fit=534%2C120&quality=85&strip=all",
"https://sb.scorecardresearch.com/p?c1=2&c2=6035083&cv=2.0&cj=1",
"https://media.nbcbayarea.com/2024/05/KNTV-Dgtl-Oly-On-Light-1.png?fit=534%2C120&quality=85&strip=all"
] |
[] |
[] |
[
""
] | null |
[
"Scott Budman"
] |
2009-06-24T17:10:46
|
Tom Siebel made billions selling out to longtime software foe Oracle. Now he’s aiming to do some good.
|
en
|
NBC Bay Area
|
https://www.nbcbayarea.com/news/local/siebels-new-system/2087887/
|
NBC has a new show about a business executive who, after making tons of money, decides to change his life, and help others. The show is called "The Philanthropist." It's not (mercifully) another reality show, but lest you think it's pure fiction, I offer up a real example: Tom Siebel.
Best known for the company bearing his name, not to mention his long and drawn-out catfight with rival (and eventual buyer) Larry Ellison, Siebel was a tech executive who reportedly demanded a lot (legend has it he didn't allow employees at Siebel Systems to put personal items on their desks), but rewarded a lot as well. When Siebel Systems went public 13 years ago (almost to the day), 40 of the 150 people he hired were instant millionaires. Had they waited a while, their holdings would have been worth even more.
By the time Siebel and Ellison had mended their fences, Ellison's Oracle bought Siebel Systems for nearly six billion dollars. Mr. Siebel was more than set for life. He was a member of the "three comma" billionaire club.
Fast forward to last week, when Siebel agreed to sit and talk about the past (a little) and the future (a lot). He says the Oracle deal was the best thing for shareholders and employees alike, and he doesn't regret it a bit. He also says the "fued" between him and Ellison was largely "a media event," and that there was "really less there than you might have read."
We could quibble about that, but there are more important things to get to. Like Methamphetamines. When Mr. Siebel found out that more than half of all kids in foster care in the state of Montana are there because of meth abuse, he had to act. He steered his new venture, "First Virtual," beyond real estate and agriculture, to start helping young people. Now, seven states have anti-meth programs thanks to Siebel's foundation. He speaks of their sucess like he talks about a big deal: "it's great to work with talented people and watch them meet and exceed expectations. " Just like business? "It's a similar feeling."
Siebel has never been shy when it comes to talking about the tech industry. I asked what he tought of the current crop of companies. He says over the last seven years or so, he's been impressed with nothing. Almost. There's Google. "And Google," he says, "Is a phenomenon. I think no one would have imagined it .. a remarkable accomplishment that is changing the world." As for the rest of the industry? "I think there's very little new that's interesting." He says IT has become like chips: built in, and no longer exciting. If you want growth, he says, try healthcare and biotech.
Then, he turns back to his desk, to check some stocks on the Bloomberg monitor, and push a few buttons on his iPhone. His office is still business executive sleek, still says high-powered businessman, but isn't entirely austere. There are, if you look closely, a few small personal snapshots on his desk.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 14
|
https://dailyillini.com/news-stories/2016/10/05/25-million-gift-siebel-fund-siebel-center-design-construction/
|
en
|
$25 million gift from Siebel to fund Siebel Center for design construction
|
[
"https://dailyillini.com/wp-content/uploads/2023/08/donate_button.svg",
"https://dailyillini.com/wp-content/uploads/2023/08/donate_button.svg",
"https://dailyillini.com/wp-content/uploads/2023/08/wpgu_button-2.svg",
"https://dailyillini.com/wp-content/uploads/2023/08/wpgu_button-2.svg",
"https://dailyillini.com/wp-content/uploads/2023/08/DailyIllini_Website_Masthead_Upper-1.png",
"https://dailyillini.com/wp-content/uploads/2023/08/DailyIllini_Website_Masthead_Upper-1.png",
"https://dailyillini.com/wp-content/uploads/2023/08/DailyIllini_Website_Masthead_Lower-1.png",
"https://dailyillini.com/wp-content/uploads/2023/08/DailyIllini_Website_Masthead_Lower-1.png",
"https://dailyillini.com/wp-content/uploads/2016/05/headertablet-1.png",
"https://dailyillini.com/wp-content/uploads/2016/05/headertablet-1.png",
"https://dailyillini.com/wp-content/uploads/2016/05/headerphone-1.png",
"https://dailyillini.com/wp-content/uploads/2016/05/headerphone-1.png",
"https://dailyillini.com/wp-content/uploads/2022/02/wordmark_footer2.svg",
"https://dailyillini.com/wp-content/uploads/2022/02/wordmark_footer2.svg",
"https://dailyillini.com/wp-content/uploads/2024/07/7A7A3424-600x400.jpg",
"https://dailyillini.com/wp-content/uploads/2024/07/7A7A3424-600x400.jpg",
"https://dailyillini.com/wp-content/uploads/2024/07/7A7A3270-2-2-600x400.jpg",
"https://dailyillini.com/wp-content/uploads/2024/07/7A7A3270-2-2-600x400.jpg",
"https://dailyillini.com/wp-content/uploads/2024/07/IMG_0788-3-600x400.jpg",
"https://dailyillini.com/wp-content/uploads/2024/07/IMG_0788-3-600x400.jpg",
"https://dailyillini.com/wp-content/uploads/2024/02/1707983673248.ILLordle-Button.png",
"https://dailyillini.com/wp-content/uploads/2024/02/1707983673248.ILLordle-Button.png"
] |
[] |
[] |
[
""
] | null |
[
"Aaron Navarro",
"Megan Jones"
] |
2016-10-05T00:00:00
|
Funding for construction of the new Siebel Center for Design will come from a $25 million donation from Thomas Siebel, a University alumnus and tech entrepreneur, according to a news release. This is the second gift from the Thomas and Stacey Siebel Foundation, who funded the Siebel Center for Computer Science in Urbana. The $48...
|
en
|
The Daily Illini
|
https://dailyillini.com/news-stories/2016/10/05/25-million-gift-siebel-fund-siebel-center-design-construction/
|
Funding for construction of the new Siebel Center for Design will come from a $25 million donation from Thomas Siebel, a University alumnus and tech entrepreneur, according to a news release.
This is the second gift from the Thomas and Stacey Siebel Foundation, who funded the Siebel Center for Computer Science in Urbana. The $48 million project’s remaining funding will come from institutional funds.
“Tom Siebel has established himself as one of the world’s leading innovators by refusing to be limited by disciplinary boundaries – whether in software, in energy systems or through his campaign against methamphetamine abuse,” said Chancellor Robert Jones in a news release. “It is clear to me that he focuses on big problems and brings the right expertise and resources together to solve them. And he’s spent his career developing companies and products that help others do the same thing.”
The two-story building next to Huff Hall and the Art and Design Building is envisioned as a hub for student-focused design thinking across various disciplines. Rather than offer independent degree programs, the center will help the existing colleges incorporate design principles and practices into their own curriculum.
The center will support product, process and user interface design, with an emphasis on technology and creativity.
“The combination of top-tier academics and entrepreneurial drive at the University of Illinois at Urbana-Champaign is powerful,” Siebel said. “By infusing all areas of study with the multidisciplinary approaches of design thinking, this facility will create unlimited opportunities for the students to fuel and nurture that drive.”
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 41
|
https://www.techtarget.com/searchoracle/definition/Oracle
|
en
|
Definition from TechTarget
|
[
"https://cdn.ttgtmedia.com/rms/onlineImages/oracle-oracle_database_components_mobile.jpg",
"https://cdn.ttgtmedia.com/rms/onlineImages/oracle-oracle_database_licensing_mobile.jpg",
"https://cdn.ttgtmedia.com/visuals/searchCloudComputing/applications/cloudcomputing_article_001_searchsitetablet_520X173.jpg",
"https://cdn.ttgtmedia.com/rms/onlineImages/kanaracus_chris.jpg",
"https://cdn.ttgtmedia.com/visuals/searchOracle/database_admin/oracle_article_007_searchsitetablet_520X173.jpg",
"https://cdn.ttgtmedia.com/rms/onlineImages/lawton_george.jpg",
"https://cdn.ttgtmedia.com/visuals/searchCloudApplications/paas/cloudapplications_article_010_searchsitetablet_520X173.jpg",
"https://cdn.ttgtmedia.com/rms/onlineImages/shacklett_mary.jpg",
"https://cdn.ttgtmedia.com/visuals/digdeeper/4.jpg",
"https://cdn.ttgtmedia.com/rms/onlineImages/stedman_craig.jpg"
] |
[
"https://www.podbean.com/player-v2/?i=8esnm-14c929a-pb&from=pb6admin&pbad=0&share=1&download=1&rtl=0&fonts=Arial&skin=f6f6f6&font-color=000000&logo_link=episode_page&btn-skin=1b1b1b"
] |
[] |
[
""
] | null |
[
"Craig Stedman",
"Tréa Lavery",
"Jessica Sirkin",
"Chris Kanaracus",
"George Lawton",
"Mary Shacklett"
] |
2017-08-18T10:15:00+00:00
|
This definition explains the meaning of Oracle and provides details on the technology vendor of that name, its flagship database and other Oracle products.
|
en
|
/favicon.ico
|
SearchOracle
|
https://www.techtarget.com/searchoracle/definition/Oracle
|
Oracle is one of the largest vendors in the enterprise IT market and the shorthand name of its flagship product, a relational database management system (RDBMS) that's formally called Oracle Database. The database software sits at the center of many corporate IT environments, supporting a mix of transaction processing, business intelligence and analytics applications.
In 1979, Oracle Corp. was the first company to commercialize an RDBMS platform, and it's still the leading database vendor by a wide margin in terms of revenue. Driven primarily by sales of Oracle Database, it had a 40.4% share of worldwide database software revenues in 2016, according to Gartner; that was down two percentage points from 2015, but still twice the share of second-place Microsoft.
In the ensuing decades after launching the RDBMS technology, Oracle greatly expanded its product portfolio through internal development and numerous acquisitions. It now also sells several other databases, multiple line of business applications, data analytics software, middleware, computer systems, data storage equipment, development tools and other technologies. In addition, Oracle is working to establish itself as a leading cloud computing vendor, after initially being slow to embrace the cloud.
But Oracle Database is still the technology that is most commonly associated with the company; it's also the primary data management platform for Oracle's applications and the data warehouse, BI and analytics systems that Oracle offers to customers.
Oracle Database's architecture
Like other RDBMS software, Oracle Database is built on top of SQL, a standardized programming language that database administrators, data analysts and other IT professionals use to manage databases and query the data stored in them. The Oracle software is tied to PL/SQL, an implementation developed by Oracle that adds a set of proprietary programming extensions to standard SQL -- a common practice among RDBMS vendors. Oracle Database also supports programming in Java, and programs written in PL/SQL or Java can be called from the other language.
Also, like other relational database technologies, Oracle Database utilizes a row and column table structure that connects related data elements in different tables to one another; as a result, users don't have to store the same data in multiple tables to meet processing needs. The relational model also provides a set of integrity constraints to maintain data accuracy; those checks are part of a broader adherence to the principles of atomicity, consistency, isolation and durability -- known as the ACID properties -- and are designed to guarantee that database transactions are processed reliably.
From an architectural standpoint, an Oracle database server includes a database for storing data and one or more database instances for managing the files contained in the database. Databases have a mix of physical and logical storage structures. Physical storage structures include data files, control files that contain metadata about the database and online redo log files that document changes to data. Logical storage structures include data blocks; extents, which group together logically contiguous data blocks; segments, which are sets of extents; and tablespaces, which serve as logical containers for segments.
An Oracle database instance is built around a set of caches, called the system global area (SGA), that contain pools of shared memory; an instance also includes processes running in the background that manage I/O functions and monitor database operations to optimize performance and reliability. Separate client processes run the application code for users connected to an instance, while server processes manage interactions between the client processes and the database. Each server process is assigned a private memory region called a program global area, separate from the SGA.
Oracle's origins and current versions
Longtime CEO Larry Ellison and associates Bob Miner and Ed Oates founded what eventually became Oracle Corp. in 1977, originally as a consulting services company called Software Development Laboratories (SDL). Starting with a $2,000 investment, they set out to prove that relational databases -- then a fledgling technology that had only been developed in prototype form at IBM -- could be commercially viable.
SDL named its RDBMS Oracle, initially without Database included, after a project that the three founders worked on for the CIA. In 1978, SDL created a first version of the software that was never released as a product. Oracle Version 2 followed the next year, becoming the first relational database on the market. The company changed its name to Relational Software Inc. at that point; in 1982, it became Oracle Systems Corp., which was shortened to Oracle Corp. in 1995.
As of mid-2017, Oracle has released 11 major updates of the RDBMS since Version 2, culminating with Oracle Database 12c, which became available in 2013 and was enhanced in a Release 2 version that debuted in September 2016. The first 12c release added a multi-tenant architecture that enables users to configure large numbers of operational databases in a single container database, and then to manage them as one at the container level. The extra-cost Oracle Multitenant technology was designed to streamline upgrades, backups and other administration tasks on the pluggable databases, as Oracle calls them.
Oracle Database 12c also included native support for JSON documents and introduced Oracle Database In-Memory, an in-memory processing engine sold as an optional add-on. In addition, Oracle touted 12c as "designed for the cloud," and later made Release 2 available only in the cloud at first, before opening it up for on-premises use in March 2017. Oracle Database 12c Release 2 added support for sharding large databases into horizontal partitions with their own server and storage resources; it also boosted the performance of Oracle Database In-Memory and expanded the features of Oracle Multitenant.
In August 2017, Oracle disclosed plans to shift to an annual release schedule on the database software, with the last two digits of the year used as the version number of the corresponding release. That approach is due to start in 2018; as a result, the company will jump on numbering from 12c to Oracle Database 18, which will be followed by Oracle Database 19 and so on. No more "dot" releases are planned under the revised release cycle, but Oracle said software patches and bug fixes will be issued quarterly in two forms: release updates that address known issues in the database, and release update revisions that fix issues subsequently found in the updates.
Earlier versions of Oracle Database
Looking back chronologically at the RDBMS software's development, Oracle Version 3 was released in 1983. Written in C, it was ported to run on a mix of mainframe, minicomputer and PC systems, expanding the technology's availability beyond the Digital Equipment Corp. PDP-11 minicomputers supported by Version 2 and setting the stage for broader adoption by users.
Oracle Version 4 followed in 1984 with read consistency, which provided users with consistent views of data. Version 5 came out the next year, adding support for client-server computing and querying across distributed databases. Version 6, released in 1988, introduced PL/SQL and features such as row-level locking and hot backups of databases while they were being used.
Adopting a new naming convention for the software, in 1992, Oracle shipped an Oracle7 update that included stored procedures, triggers and declarative referential integrity, among other new features. Five years later, Oracle8 added support for object-oriented programming, turning the software into a hybrid, object-relational database platform.
In 1999, Oracle8i Database -- a separate version from Oracle8, with another naming format -- introduced internet capabilities via the addition of Java and HTTP support. Oracle 9i Database was released in 2001, bringing with it XML support and Oracle's Real Application Clusters (RAC) technology, which enabled users to distribute databases across multiple servers in a clustered environment for improved uptime and availability.
Oracle Database 10g was released in 2003 with yet another naming approach; it built upon the RAC setup by adding the foundations of a grid computing infrastructure that supported distributed processing across large numbers of commodity computers.
Next up was Oracle Database 11g in 2007, which formalized and expanded the Oracle Grid Infrastructure technology and included a variety of new management and administration tools. Along with the 12c releases, the 11g software can also be used as the foundation for the Oracle Database Cloud Service, which is available as a standard cloud offering or in a bare-metal configuration with dedicated hardware.
Oracle Database editions
Oracle Database is available for licensing in four separate editions that provide different levels of functionality and scalability. Oracle Database Enterprise Edition includes all of the software's features and is designed for use by large organizations running high-volume transaction processing, data warehousing, analytics and internet applications. The Standard Edition provides a more limited set of features for workgroup and departmental applications; there are three versions of it, including a Standard Edition 2 that became available with later releases of Oracle Database 12c.
In addition to conventional stand-alone licensing for on-premises implementations, Oracle Database Enterprise Edition can be licensed for deployment on the Exadata Database Machine, a bundled appliance optimized for the database software that is part of Oracle's engineered systems product line.
Enterprise Edition can also be licensed in three different permutations with varying features as part of the Oracle Database Cloud Service, plus a fourth configuration for a cloud version of Exadata. Standard Edition 2 is available for licensing as part of the Oracle Database Cloud Service, as well.
Oracle also offers Oracle Database Personal Edition for on-premises use; it provides a single-user development and deployment license with a full set of the software's features and options, except for the RAC technology. Finally, there's the Express Edition, or XE; it's a free, entry-level edition that runs on a single CPU and is limited to 11 GB of user data and 1 GB of memory. The company didn't offer XE licenses with Oracle Database 12c, but an 11g version can still be downloaded as of mid-2017.
Key database features and options
Oracle Database includes a long list of standard features, add-on options and management packs in various functional categories, including high availability, scalability, performance, security and analytics. In addition to Oracle Multitenant, Oracle Database In-Memory and RAC, some of the notable extra-cost items available as part of Enterprise Edition include modules for automatic workload management, database lifecycle management, performance tuning, online analytical processing (OLAP), partitioning, data compression, and management of spatial and graph data.
An Oracle Advanced Analytics option supports in-database SQL querying and open source R algorithms for a wider range of analytical processing. High availability functions include application continuity and automatic block repair tools, plus Data Guard and Active Data Guard, which offer a set of services for creating backup databases to provide disaster recovery capabilities and to protect against data corruption.
Data stored in Oracle Database can be encrypted to ensure data security, and both the Standard and Enterprise editions support network encryption and strong authentication. Many other security features are available as add-on features in Enterprise Edition. For example, Oracle Key Vault software keeps all the encryption keys in one place to make it easier to decrypt data. With Oracle Advanced Security, data can be encrypted transparently and redacted, making it possible to share data with other users without letting them see confidential information that they aren't supposed to access.
The Oracle Data Masking and Subsetting Pack enables data to be further encrypted or otherwise masked when being used for development and testing, and Oracle Label Security helps database administrators (DBAs) put boundaries on who can see what data; it enables fine-grained access control by assigning a classification, or label, to individual rows of data and then allowing users to view only the rows that match their label authorization.
Oracle Database Enterprise Edition also has available security features to help DBAs determine who can access data in the first place, such as Oracle Database Vault, which prevents users from accessing data they don't have privileges to see. Oracle Database Vault also does privilege analysis, so users can be given the lowest possible access level they require to do their job effectively. Oracle Audit Vault and Database Firewall supports policy-based auditing of data access to monitor usage; it also monitors SQL activity and prevents unauthorized SQL traffic from reaching databases.
Oracle's other database products
Along with Oracle Database, Oracle offers several other database technologies, most of them added through acquisitions.
Most notably, when Oracle acquired computer vendor Sun Microsystems Inc. in 2010, it also got the MySQL database, which Sun had bought in 2008. MySQL is a popular open source relational database that is part of the LAMP software stack for web applications, along with the Linux operating system; Apache web server; and PHP, Perl or Python as a programming language. Oracle sells commercial versions of MySQL in addition to maintaining the freely available community edition.
Oracle also markets TimesTen, an in-memory relational database that it acquired in 2005, and Essbase, a multidimensional database for use in OLAP applications, which Oracle obtained when it purchased Hyperion Solutions Corp. in 2007.
In addition, Oracle sells a NoSQL database that was developed internally and initially released in 2011. That product, called Oracle NoSQL Database, is a key-value data store; like other NoSQL technologies, it's an alternative to relational databases for some processing tasks, such as big data applications involving unstructured and semistructured data.
Other core Oracle technologies
Beyond its databases, key products offered by Oracle include Oracle E-Business Suite, Oracle Fusion Applications and other business application software; the Exadata appliance; Oracle Enterprise Manager; Oracle Fusion Middleware; and analytics tools such as Oracle Business Intelligence 12c and Oracle Big Data Discovery.
Oracle has gained more than just new databases from its aggressive acquisition strategy. For example, the company greatly broadened its business applications product portfolio through a series of acquisitions, including two major deals that helped turn it into one of the top vendors in that part of the enterprise software market.
Oracle introduced its first applications, a set of internally developed accounting software apps called Oracle Applications, in 1990; 10 years later, it launched E-Business Suite, a wider collection of enterprise resource planning (ERP), finance, human resources (HR) and supply chain management applications. Then, in 2005, Oracle purchased PeopleSoft Inc., giving it PeopleSoft's own ERP, finance and HR applications and the JD Edwards software that PeopleSoft bought two years earlier. Oracle followed that up by acquiring customer relationship management software vendor Siebel Systems in 2006.
Elements of all those product lines were combined into the Oracle Fusion Applications suite, which Oracle released in 2011 after lengthy development delays. However, it also still develops and sells the individual lines, and has said it will continue to do so indefinitely. In addition, the company has created a full set of cloud-based enterprise business applications, and it augmented that by acquiring NetSuite, a vendor of cloud applications primarily for small to midsize organizations, in late 2016.
Altogether, Oracle has bought more than 100 companies since 2005, bulking up its holdings in various technology areas. In addition to Essbase, for example, the Hyperion acquisition gave Oracle a wide range of enterprise performance management and analytics tools. Another big acquisition came in 2008, when Oracle bought BEA Systems, a vendor of middleware and service-oriented architecture tools.
An added hardware focus for Oracle
The Sun acquisition led Oracle directly into the hardware business after some smaller steps preceding the deal; for example, the release of an initial version of the Exadata system in 2008. Oracle offers Unix servers based on Sun's SPARC microprocessor architecture and the Solaris operating system, plus a line of x86-based servers that support Windows, Linux and Solaris. However, Sun's server revenues were declining sharply before the acquisition, and Oracle has since dropped out of the top-five rankings of server vendors with both Gartner and rival market research outfit IDC.
In addition to continuing Sun's hardware development, Oracle has expanded the engineered systems family of bundled hardware and software that debuted with Exadata -- it now also includes products such as Oracle SuperCluster, Oracle Big Data Appliance, Exalogic Elastic Cloud and Exalytics In-Memory Machine. The engineered systems are special-purpose machines designed primarily to support high-performance applications.
Because Sun was the creator of Java, the acquisition also brought the widely used open source programming language into Oracle's purview and paved the way for Oracle to lead its development. Things haven't gone entirely smoothly on that, though. A Java 8 update originally due out in 2013 was delayed by a year, and a planned Java 9 release was pushed back from September 2016 to July 2017, and then again to September 2017.
Long before the Sun deal, Oracle made one other highly publicized effort to get into the hardware business: In the mid-1990s, Ellison pushed the idea of the network computer (NC), a thin-client system that he envisioned as a lower-cost alternative to PCs. Oracle set up a division to develop and sell NCs, and it convinced vendors such as IBM and -- ironically, as it turned out -- Sun to create similar devices. But the concept didn't take off, and Oracle discontinued its NC operation in 1999.
As adoption of Oracle Database grew and Oracle began broadening its product portfolio into other areas, Ellison became one of the highest-profile -- and most colorful and controversial -- executives in the IT industry. He was Oracle's CEO until 2014, when he stepped down from that position and became CTO and executive chairman of the board. Oracle is currently run by co-CEOs Safra Catz and Mark Hurd, but its product development operations continue to report directly to Ellison.
At one point, Ellison dismissed the cloud as a passing fad. More recently, Oracle has invested heavily in cloud computing, releasing a full suite of cloud-based infrastructure, platform, application and data services intended to enable customers to migrate their entire data centers to the Oracle Cloud platform. The company also offers an on-premises managed service called Oracle Cloud at Customer, through which its public cloud technologies are deployed and run at customer sites.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 20
|
https://www.nae.edu/148320/Thomas-Siebel
|
en
|
Thomas Siebel
|
[
"https://www.nae.edu/common/images/person/empty-person-custom.png",
"https://www.nae.edu/images/logo.webp",
"https://www.nae.edu/images/nae_footerLogo2.webp",
"https://www.nae.edu/images/x-logo-header.png",
"https://www.nae.edu/images/logo.webp",
"https://www.nae.edu/images/logo.png",
"https://www.nae.edu/images/footer_logo.webp",
"https://www.nae.edu/common/images/footerlogo.png",
"https://www.nae.edu/images/nae_footerLogo.webp",
"https://www.nae.edu/images/x-logo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Thomas Siebel is the founder, chairman, and CEO of Siebel Systems. Founded in 1993, Siebel Systems rapidly became a leader in application software with more
|
en
|
/images/favicon.ico
|
NAE Website
|
http://www.nae.edu/19579/165897/20676/147474/167890/147561/147730/147738/147740/148320/Thomas-Siebel
|
Thomas Siebel is the founder, chairman, and CEO of Siebel Systems. Founded in 1993, Siebel Systems rapidly became a leader in application software with more than 8,000 employees in 32 countries, over 4,500 corporate customers, and annual revenue in excess of $2 billion before it merged with Oracle Corporation in January 2006. Now as chairman and CEO of C3 Energy, Mr. Siebel leads an accomplished team of machine learning, computer science, power system, and engineering experts to tackle one of the toughest technology challenges—to apply the sciences of big data, analytics, and machine learning to today’s energy industry to unlock significant value across the power grid. Mr. Siebel is the chairman of the Thomas and Stacey Siebel Foundation, which funds projects to support energy solutions, educational and research programs, public health, and the homeless and underprivileged. In 2015 the Foundation launched the Siebel Energy Institute, a global consortium for innovative and collaborative energy research for the public domain. Mr. Siebel serves on the College of Engineering boards at the University of Illinois and the University of California at Berkeley. He is a director of the Hoover Institution at Stanford University and was elected to the American Academy of Arts and Sciences in 2013. Mr. Siebel is a graduate of the University of Illinois at Urbana-Champaign, where he received a B.A. in history, an M.B.A., and an M.S. in computer science.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 75
|
https://www.linuxlinks.com/best-free-open-source-alternatives-oracle-siebel-crm/
|
en
|
Best Free and Open Source Alternatives to Oracle Siebel CRM
|
[
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2022/03/Computer-Graphics.jpg?resize=700%2C366&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-Siebel-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/10/Odoo-Sales-Analysis.png?resize=700%2C491&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2018/01/Screenshot-vtigerCRM.jpg?resize=750%2C380&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2019/03/SuiteCRM.png?resize=480%2C234&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-Business-Intelligence-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-BPM-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-Database-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-JDeveloper-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-icon-48.jpg?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-MySQL-icon-48.jpg?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-Siebel-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-TopLink-icon-48.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2021/12/Oracle-icon-48.jpg?resize=48%2C48&ssl=1",
"https://secure.gravatar.com/avatar/50c3dc0de320618d0dfa3c155960b510?s=56&d=identicon&r=g",
"https://secure.gravatar.com/avatar/0de5d2ac95dd4419d24b9bd7e946b1f7?s=56&d=identicon&r=g",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/document-management-systems-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/web-browsers-graphical-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/05/education-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/internet-radio-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/youtube-tools-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/05/paint-palette-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/05/system-administration-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/docks-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/05/productivity-improve-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/genome-browsers-web-based-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/games-joystick-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/vulnerability-detection-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/du-replacements-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/object-relational-mapping-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/stockmarket-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/web-delivery-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/04/crafting-icon-48px.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/05/programming-books-icon-48px.png",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2022/04/data-science-icon-64px.png?resize=64%2C64&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2023/04/learn-icon-48px.png?resize=48%2C48&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2023/06/Donate-LL.png?resize=200%2C26&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2023/04/top100.png?resize=64%2C64&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2022/04/newbie-icon-64px.png?resize=64%2C64&ssl=1",
"https://i0.wp.com/www.linuxlinks.com/wp-content/uploads/2022/04/web-rating-icon-64px.png?resize=64%2C64&ssl=1",
"https://www.linuxlinks.com/wp-content/uploads/2021/03/Alternatives-Google.png",
"https://www.linuxlinks.com/wp-content/uploads/2021/09/Microsoft_logo.png",
"https://www.linuxlinks.com/wp-content/uploads/2021/11/Apple-icon.png",
"https://www.linuxlinks.com/wp-content/uploads/2021/10/adobe-icon-48.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/01/IBM-Logo.png",
"https://www.linuxlinks.com/wp-content/uploads/2021/11/Autocad-icon-48.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/01/Oracle-Logo.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/01/Atlassian-logo.png",
"https://www.linuxlinks.com/wp-content/uploads/2021/11/Corel-icon-48.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/01/cisco-logo.jpeg",
"https://www.linuxlinks.com/wp-content/uploads/2021/12/Intuit-icon.png",
"https://www.linuxlinks.com/wp-content/uploads/2022/01/SAS-icon-48.png"
] |
[] |
[] |
[
""
] | null |
[
"Steve Emms"
] |
2022-01-05T08:22:51+00:00
|
Oracle Siebel CRM delivers a combination of transactional, analytical, and engagement features to manage all customer-facing operations.
|
en
|
LinuxLinks
|
https://www.linuxlinks.com/best-free-open-source-alternatives-oracle-siebel-crm/
|
Last Updated on April 21, 2022
Oracle is a computer technology corporation best known for its software products and services like Java.
In 2020, Oracle was the second-largest software company in the world by revenue and market capitalization. They employ over 130,000 people, and sell cloud-engineering services and systems and database management systems.
Oracle has a fairly prominent position with open source. They are a supporting member of the Linux Foundation, Cloud Native Computing Foundation, Eclipse Foundation, and the Java Community Process.
Through its acquisition of Sun Microsystems in 2010, Oracle also became the steward of many other important and long-running open source projects such as the Java programming language and the MySQL relational database, introduced in 1995. The acquisition of Sleepycat Software, brought the open source Berkeley DB key/value store.
The company co-develops the OpenJDK, an open source implementation of the Java Platform Standard Edition, and Btrfs, a B-tree file system. They also open source the Oracle Coherence Community Edition, NetBeans, and produce Oracle Linux which is a Linux distro compiled from Red Hat Enterprise Linux source code.
While Oracle develops and distributes open source software, they have many different business models. The majority of their products are published under a proprietary license. This series looks at free and open source alternatives to Oracle’s products.
Oracle Siebel CRM delivers a combination of transactional, analytical, and engagement features to manage all customer-facing operations.
Siebel CRM is proprietary software and not available for Linux. What are the best free and open source alternatives?
1. Odoo
Odoo is a complete Enterprise Resource Planning (ERP) and Customer Relationship Management (CRM) software. It is mainly developed to meet the changing needs of an organisation.
Odoo Apps can be used as stand-alone applications, but they also integrate seamlessly so you get a full-featured Open Source ERP when you install several Apps.
Odoo enables users to efficiently manage leads, opportunities, tasks, issues, requests, bugs, campaign, and claims. It manages key tasks such as communication, identification, prioritization, assignment, resolution and notification.
2. vTiger
vTiger is an easy to install Customer Relationship Management (CRM) and Enterprise Resource Planning (ERP) solution.
The software provides CRM functionality including contact management, campaigns, sales pipeline, calendar, project Manager, customer portal and documents. There are also ERP modules available such as inventory.
3. SuiteCRM
SuiteCRM is a software fork of the popular Customer Relationship Management (CRM) system SugarCRM, developed and maintained by SalesAgility.
With SuiteCRM, users can build business process models and create flexible, automated actions that can be activated to operate at any time. Users can also create sales pipeline models and design template customer quotes, regulate and control pricing strategies, maintain contract renewals and monitor the progress of leads.
All articles in this series:
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 36
|
https://www.businesswire.com/news/home/20220922005006/en/Siebel-Scholars-Foundation-Announces-Class-of-2023
|
en
|
Siebel Scholars Foundation Announces Class of 2023
|
[
"https://www.businesswire.com/images/bwlogo_extreme.png",
"https://mms.businesswire.com/media/20220922005006/en/822852/2/S_scholars_logo-color.jpg",
"https://www.businesswire.com/images/icons/icon_search.gif",
"https://www.businesswire.com/images/icons/icon-close-default.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2022-09-22T13:00:00+00:00
|
The Siebel Scholars Foundation today announced the recipients of the 2023 Siebel Scholars award. Now in its 22nd year, the Siebel Scholars program ann
|
en
|
https://www.businesswire.com/news/home/20220922005006/en/Siebel-Scholars-Foundation-Announces-Class-of-2023
|
REDWOOD CITY, Calif.--(BUSINESS WIRE)--The Siebel Scholars Foundation today announced the recipients of the 2023 Siebel Scholars award. Now in its 22nd year, the Siebel Scholars program annually recognizes nearly 100 exceptional students
commitment to academics and influencing future society. This year’s class is exceptional, and once again represents the best and brightest minds from around the globe who are advancing innovations in healthcare, artificial intelligence, financial services, and more,” said from the world’s leading graduate schools of business, computer science, and bioengineering.
The 83 distinguished students of the Class of 2023 join past Siebel Scholars classes to form an unmatched professional and personal network of more than 1,700 scholars, researchers, and entrepreneurs. Through the program, this formidable group brings together diverse perspectives from business, science, and engineering to influence the technologies, policies, and economic and social decisions that shape the future.
“Every year, the Siebel Scholars continue to impress me with their commitment to academics and influencing future society. This year’s class is exceptional, and once again represents the best and brightest minds from around the globe who are advancing innovations in healthcare, artificial intelligence, financial services, and more,” said Thomas M. Siebel, Chairman of the Siebel Scholars Foundation. “It is my distinct pleasure to welcome these students into this ever-growing, lifelong community, and I personally look forward to seeing their impact and contributions unfold.”
Founded in 2000 by the Thomas and Stacey Siebel Foundation, the Siebel Scholars program awards grants to 16 universities in the United States, China, France, Italy and Japan. Following a competitive review process by the deans of their respective schools on the basis of outstanding academic achievement and demonstrated leadership, the top graduate students from 27 partner programs are selected each year as Siebel Scholars and receive a $35,000 award for their final year of studies. On average, Siebel Scholars rank in the top five percent of their class, many within the top one percent.
This year’s honorees are:
Graduate Schools of Bioengineering
Johns Hopkins University, Whiting School of Engineering and School of Medicine:
Tatsat Banerjee, Savannah Est-Witte, Justin Lowenthal, Zachary J. Schneiderman, Xiaoshan Shao
Massachusetts Institute of Technology, School of Engineering:
Miguel A. Alcantar, Cal Gunnarsson, Catherine Henry, Bianca Arielle Lepe, Jacqueline Valeri
Stanford University, School of Engineering and School of Medicine:
Michael Chavez, Thomas Lozanoski, Erica Schwarz, Pranav Vyas, Xinzhi Zou
University of California, Berkeley, College of Engineering:
Jordan Baker, Kelsey Gray DeFrates, Juan Eduardo Hurtado, Gabriela Lomeli, Connor Tsuchida
University of California, San Diego, Institute of Engineering in Medicine and Jacobs School of Engineering:
Erick Armingol, Jervaughn Hunter, Esther Lim, Jonathan Pekar, Yue Qin
Graduate Schools of Business
Massachusetts Institute of Technology, Sloan School of Management:
Stwart Pena Feliz, Belen Gallego, Boyana Georgieva, Amelia De Paola, Amitabh Guha Roy
Stanford University, Graduate School of Business:
Olivier Babin, Kathryn Gautier, Hannah Richards, Elizabeth Rosenblatt, Joshua Rowley
University of Chicago Booth School of Business:
Catalina Bilbao De Raadt, Hunter Holland, Wynne Tang, Todd Vogel, Yinga Xia
Graduate Schools of Computer Science
Carnegie Mellon University, School of Computer Science:
Victoria Dean, Shivam Duggal, Isaac Grosof, Divanyash Kaushik, Lynn Kirabo
Harvard John A. Paulson School of Engineering and Applied Sciences:
Chi-Ning Chou, Gregory Kehne, Dor Verbin, Kai Wang, Kelly Zhang
Massachusetts Institute of Technology, School of Engineering:
Tanner Andrulis, Ce Jin, Ming Yang Lu, Wei-Chiu Ma, Junyi Zhu
Princeton University, School of Engineering and Applied Science:
Uthsav Chitra, Uma Girish, Jane Pan, Clayton Thomas, Teague Joseph Tomesh
Stanford University, School of Engineering:
Peng Chen, Ziang Liu, Clara Greene MacAvoy, Carmen Daniela Strassle, Yian Zhang
Tsinghua University, School of Information Science and Technology:
Shengding Hu, Zhiyue Li, Chen Wang, Jiayi Wang, Mengyu Zhang
University of California, Berkeley, College of Engineering:
Michael Lam, Kaushik Shivakumar
University of Chicago, School of Computer Science:
Phoebe Collins, Yi He, Drew Keller, Andrew McNutt, Emily Wenger
University of Illinois at Urbana-Champaign, College of Engineering:
Gargi Balasubramaniam, Emmanuel Gallegos, Ryan Marten, Samraj Moorjani, Xueqing Wu
To date, the over 1,700 Siebel Scholars have driven innovations in over a dozen industries, launched more than 1,100 products, authored more than 420 patents, published over 42 books and more than 3,936 articles or book chapters, and managed more than $2.8 trillion in assets. As leaders of some of today’s most preeminent start-ups, nonprofits and research institutions, Siebel Scholars have served on more than 341 boards, established more than 54 philanthropic initiatives, and founded more than 158 companies – of which more than 57 have successfully gone public or were sold to enterprises including Google, Intuit, Match.com and Dropbox.
For more information about the Siebel Scholars program, please visit www.SiebelScholars.com.
About Siebel Scholars
The Siebel Scholars program was founded in 2000 by the Siebel Foundation to recognize the most talented students at the world’s leading graduate schools of business, computer science, bioengineering, and energy science. These include: Carnegie Mellon University; École Polytechnique; Harvard University; Johns Hopkins University; Massachusetts Institute of Technology; Northwestern University; Politecnico di Torino; Princeton University; Stanford University; Tsinghua University; University of California, Berkeley; University of California, San Diego; University of Chicago; University of Illinois at Urbana-Champaign; University of Pennsylvania; and University of Tokyo. Today, our active community of over 1,700 leaders serves as advisors to the Siebel Foundation and works collaboratively to find solutions to society’s most pressing problems.
About the Siebel Foundation
The Thomas and Stacey Siebel Foundation, a nonprofit, public benefit corporation, was established as a private foundation in 1996. Its mission is to foster programs and organizations that improve the quality of life, environment, and education of its community members. The Siebel Foundation funds projects to support education, the homeless and underprivileged, public health, research and development around the world.
|
||||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 18
|
https://docs.oracle.com/cd/E88140_01/books/DevDep/installing-and-configuring-siebel-crm.html
|
en
|
Installing and Configuring Siebel CRM
|
[
"https://docs.oracle.com/cd/E88140_01/books/DevDep/images/Installing_Overview.jpg",
"https://docs.oracle.com/cd/E88140_01/books/DevDep/images/InstallingFileHierarchy.jpg",
"https://docs.oracle.com/cd/E88140_01/books/DevDep/images/FileHierarchyCorrect.jpg",
"https://docs.oracle.com/cd/E88140_01/books/DevDep/images/RequiredSoftwareComponents.jpg"
] |
[] |
[] |
[
""
] | null |
[] |
2018-08-24T11:53:34
|
en
|
/sp_common/book-template/ohc-common/img/favicon.ico
|
Oracle Help Center
| null |
Previous Next JavaScript must be enabled to correctly display this content
Developing and Deploying Siebel CRM
What's New in This Release
3 Installing and Configuring Siebel CRM
Installing and Configuring Siebel CRM: Overview
The following diagram illustrates the steps required to install Siebel CRM.
Pre-installation Activities. The tasks required to prepare your environment for Siebel CRM installation.
Installation Activities. The tasks required to install Siebel CRM on your server(s).
Configuration Activities. The tasks that prepare the various components of the software to work together to deliver the Siebel User Interface to users, interface with other systems, and so on.
This chapter will provide guidance on each of these topic areas. It is important to note that detailed information on the information provided in this chapter can be found in the Siebel Installation Guide for Microsoft Windows or in Siebel Installation Guide for UNIX, available on the Siebel Bookshelf, as appropriate. This is intended as a high-level overview only.
Installing Prerequisite Software: Overview
Siebel CRM installs most of the software that it requires to run. However, depending on your operating system and database, you may need to install the following software before you install Siebel CRM. The minimum software requirements for installing Siebel CRM are as follows:
Operating System. A number of different operating systems support Siebel CRM, including various releases of Microsoft Windows and UNIX. Before beginning installation, confirm that your operating system is certified on the Certifications tab on My Oracle Support.
Enterprise Database. A number of different enterprise databases support Siebel CRM, including various releases of Oracle, Microsoft SQL Server, and IBM DB2. Before beginning installation, confirm that your enterprise database is certified on the Certifications tab on My Oracle Support. You must install the enterprise database software before you install Siebel CRM.
Note: It is strongly recommended that you install the database platform on a separate server to that of your Siebel CRM installation.
Database Connectivity. The server on which you install Siebel CRM installation requires database connectivity software to interact with the enterprise database. For example, to interact with an Oracle database, you must install the Oracle 32-bit database client. To interact a Microsoft SQL Server instance, you must install the SQL Server Native Client on each server where you install Siebel CRM. Before installing, confirm that your database connectivity software is certified on the Certifications tab on My Oracle Support.
Java Development Kit. You must install the Java Development Kit (JDK) on at least one server to generate certificate requests and to install the resulting signed certificate on each server hosting any of the Siebel Enterprise Applications. JDK is freely available from the Oracle Technology Network. Before installing, confirm for specific supported versions on the Certifications tab on My Oracle Support. The 64-bit version of the JDK is required for Windows servers.
Note: Other tools are available for generating certificate requests. Your organization may choose to use one of these alternate tools, which would eliminate the need for the JDK to be installed.
Java Runtime Environment. When you download Siebel CRM, the installation files are stored in a set of Java Archives (JAR) files. In order to create an image of the software during installation, you require a Java Runtime Environment (JRE). The JRE is freely available from http://www.java.com. Before installing, confirm for specific supported versions on the Certifications tab on My Oracle Support. Note that either the 32-bit or 64-bit version of the JRE is acceptable for Siebel CRM installation.
Note: The JRE is only required on the machine where you generate the Siebel installation image.
Building a Network Image
This topic describes creating a network image.
Note: The syntax here is shown for Windows servers; there are very minor differences if you create a network image on a UNIX-based system.
After you download the installation files, you need to build a network image for both the base version and the latest Update. You then execute the network image on each machine where you want to install Siebel CRM. However, the files that you download cannot be installed directly, and you are required to extract these files before installation. This is done using the Siebel Network Image Creator (SNIC). You must perform the following steps for the base release file and again for the patch set file. If you are planning to install the application on a UNIX system, you can create the network images on a Windows system, or vice versa. Creating a network installation image is a separate process from performing the installation.
In Windows Explorer, navigate to the base release files that you downloaded from Oracle Software Delivery Cloud (OSDC) or My Oracle Support (MOS).
The following diagram illustrates the downloaded base release files.
Unzip the base release files into the same folder.
The following diagram illustrates the correct file structure after you unzip the base release files.
Open a command or shell window and navigate to the path where you unzipped the files.
Ensure that the JAVA_HOME variable is set to the location of your Java Runtime Environment (JRE), for example: set JAVA_HOME=C:\Program Files (x86)\Java\jre1.8.0-151
Launch the snic.bat (Windows) or snic.sh (UNIX) script to start building the network image.
When prompted to generate the network image, you can accept the defaults, however, consider the following important points:
Platform. AIX, HPUX, Linux, Solaris, and Windows are available. If you know you will be installing Siebel CRM components on both Windows and Solaris boxes, for example, you can select both at this time.
Products. There are five choices available. The minimum requirement is:
Siebel Enterprise Server. Required for all Siebel CRM environments.
Siebel Tools. This is required for functionality that is unavailable in Siebel Web Tools. For example, all visual designers (Workflow, Task Based UI, etc.), writing script on runtime repository objects, and performing upgrade and incremental repository merges.
Siebel Web Client. Required for script debugging, workflow simulation, and other development tasks.
Languages. Siebel offers 22 standard languages. At a minimum, it is strongly recommended that you select English (ENU), even if it is not your intended primary language. If there is any possibility that you require more languages in Siebel CRM, it is recommended that you create images for them now and install all potential languages during your initial installation. It is more convenient to do this now, rather than adding languages later.
On completion, the SNIC prepares the installer image and saves the installation files in the location you specified.
Repeat this procedure for the Monthly Update files that you downloaded from MOS.
Secure Sockets Layer Requirements: Overview
Several Siebel Application components are hosted within application containers that need to trust each other and also need to be trusted by client browsers or other external servers that integrate with Siebel CRM. This requirement is accommodated by creating a Secure Sockets Layer (SSL) certificate.
There are three steps required to create a SSL certificate:
Generate a certificate request on the server.
Send the certificate to a certificate authority (CA) to approve the request and issue the certificate.
Import the certificate into a keystore used by the Siebel CRM components.
Note: For more information on SSL requirements, see Siebel Security Guide.
About Selecting a Certificate Authority
The following options are available when choosing a certificate authority (CA):
Trusted Root Certificate Authority. These are external companies who are inherently trusted by various operating systems and browsers, such as Symantec or GeoTrust. This is the preferred option because most components, including end-user browsers, will trust a certificate issued by a Trusted Root CA without requiring special action. This is a required approach for any environment that will be Internet-facing, such as a customer or partner portal.
For environments that are specifically internal, you can use an existing internal CA to issue a certificate. In this scenario, machines within the corporate network will typically already be configured to trust the internal CA, and therefore a certificate signed by that CA to servers running Siebel CRM will inherently be trusted by internal clients.
Note: You cannot use this method for Internet-facing environments. External computers and other devices will not trust the certificate and will therefore throw security warnings when a user accesses the Siebel CRM environment. This method is sufficient only for specifically internal production environments and development, such as test or training environments and so on.
When no internal CA is available and it is not feasible to obtain a certificate from an external Trusted Root Certificate Authority, you can create your own CA. However, anyone who accesses this environment will receive certificate security errors unless they manually import the root certificate for your CA. We recommend that you consider this method only when no other options are possible, and that it is used only for development and test environments.
After selecting a CA, submit your certificate request and the CA will issue an actual certificate.
The CA provides the specific information required to make the certificate request. An important consideration during this process is how you select Subject Alternative Names (SANs). These allow multiple machines to use the same SSL certificate. For example, if you want to install Siebel CRM components on five servers: server1.mycompany.com, server2.mycompany.com, server3.mycompany.com, and so on, you can create a single certificate request on any machine, providing all five machine names to the CA as SANs. You can then install the resulting certificate on all of your servers. It is also possible to request a wildcard certificate, for example, *.mycompany.com, which can be used on all servers.
Importing the Certificate Request
After you generate the certificate request, you submit it to your chosen certificate authority (CA). You then import the returned certificate into the keystore. Because your servers rely completely on your keystore, you need to import the root and any intermediate certificates. These are provided by the CA and you must import them to the same keystore where you created the certificate request.
Open a command prompt window.
Execute the following commands:
keytool -import -alias my_certificate_authority -file rootcert.cer -keystore .\siebelkeystore.jks
Imports the root CA certificate into the keystore. You are prompted to confirm if you trust the certificate.
(Optional) keytool -import -alias intermediate_certificate_authority -file intercert.cer -keystore .\siebelkeystore.jks
Imports an intermediate CA certificate into the keystore if required. Your CA will inform you if this is a requirement.
keytool -import -alias siebel -file my_cert.cer -keystore .\siebelkeystore.jks
Imports the Siebel certificate into the keystore.
keytool -import -alias my_certificate_authority -file rootcert.cer -keystore .\TrustStore.jks
Creates the truststore and imports the CA certificate. This is the first reference to the truststore, so it prompts you for a password in order to create it and then prompts you as to whether or not to trust the certificate.
Note: For simplicity, it is recommended that you use the same password for both the Siebel Keystore and the TrustStore, as the installation wizards for Siebel CRM request both the stores, but only ask for one password. If your keystore and truststore have different passwords, you will need to manually edit the server.xml file after completing the installation. This file is located in the applicationcontainer\conf folder for that component.
Installing Software for the Siebel CRM Application
There are a number of software components required to implement Siebel CRM fully, depending on your requirements and your implementation. The following illustration shows the minimum required components and how they interact with each other.
There are three distinct software installers that you will use to create your development environment:
Siebel Enterprise Software. This provides the required software for the following components:
Siebel Gateway. This uses the embedded application container functionality to manage communications with other modules. Configuration data for the Siebel environment is stored internally to the Siebel Gateway.
Siebel Enterprise. This is a logical profile that defines the physical storage locations used by the Siebel Servers. For example, database type, name, location, and credentials, as well as the Siebel File System location and other global parameters.
Siebel Server. This is the application server that provides the interface to the Siebel database and file system, enforcing business logic. This is typically a load-balanced component running parallel on multiple servers.
Siebel Application Interface. This provides the delivery of Web pages from the Siebel Server to Web clients.
Siebel Database. The Siebel CRM product stores all of its configuration information and user data within a customer-selected database, for example Oracle, Microsoft SQL Server, or IBM DB2. The Siebel Enterprise Software installer provides the scripts necessary to populate this database with the required tables, indexes, data, and other objects necessary to run Siebel CRM.
Siebel Tools. This is a 32-bit Windows application that allows developers and administrators to make changes to the Siebel repository. You can implement many changes using the Siebel Web Client, however in Siebel Innovation Pack 2017, there are some specific types of repository changes that require the 32-bit Windows Siebel Tools client, such as modifications to Workflow processes.
Siebel Developer Web Client. This is a 32-bit Windows application that allows developers and administrators to interact with the Siebel Database without needing any Siebel Server components. While it is not mandatory to run the application, having Siebel Developer Web Client available typically facilitates certain configuration and deployment activities, such as debugging scripts or workflow processes.
During a basic installation, for example in a development environment, you only require a single instance of each component, but you can chose to install additional servers. For a test or production environment, it is likely that there will be more than one Siebel Enterprise Server and more than one Siebel Application Interface. This is to provide load balancing and resiliency.
This guide describes a minimal configuration, installing one of each component. For more information, see Siebel Applications Administration Guide.
Installing the Siebel Enterprise Software
To install the Siebel Enterprise Software, do the following:
Run the setup.bat or setup.sh file from the Siebel_Enterprise_Software\Disk1\install folder created by Siebel Network Image Creator (SNIC).
This launches an installation wizard in which you can accept many default settings. Some of the critical installation prompts and recommended responses are as follows:
Application Install Task. If you are performing a new installation of Siebel, then select New Installation. Otherwise, select Migrate Installation. This guide focuses on new installations. For information pertaining to all types of installation, see Siebel Installation Guide for Microsoft Windows or Siebel Installation Guide for UNIX as appropriate.
Installation Directory. You can install all Siebel components under a single parent directory. To simplify installation, install everything under x:\Siebel, where x is a local drive, such as C: or D:. If installing Siebel CRM on UNIX, you can install in a similar location on your UNIX machine. In this guide, we install all components to C:\Siebel. The installer adds the ses folder automatically as a subfolder under Siebel. The final path is C:\Siebel\ses
Components. In a non-production instance, it is typical to install the following components together:
Gateway
Siebel Server
Database Configuration Utilities
When these components are selected, the installer issues a warning message indicating that you cannot install these components together in an end-user environment. You are installing for a development instance, therefore you can ignore this warning.
Languages. At a minimum, it is recommended that you select English (ENU), even if it is not your intended primary language.
Note: It is not possible to add languages after the initial installation. If there is any possibility that you require more languages in Siebel CRM, install all potential languages during your initial installation. Other than disk space (approximately 500MB per language), there is no negative impact to installing additional languages.
Port Configuration. In a development or test environment, it is very possible that all components will be on the same physical server, as is described in this guide. For this reason, the default settings, which use standard HTTP and HTTPS ports for the application containers, are inappropriate. We need to reserve port 443, the HTTPS port, for traffic between end-user browsers and the Siebel Application Interface. The following port settings are therefore recommended for the Siebel Enterprise Server components:
HTTPS Redirect Port. 9010
HTTP Connection Port. 9011
Shutdown Port. 9012
Client Authentication Parameters. These parameters indicate the Secure Sockets Layer (SSL) certificate keystores you need to copy into the installation location for the Siebel Application Interface:
Keystore Name. The location of the keystore, in this example, C:\Siebel\Keys\siebelkeystore.jks
Truststore Name. The location of the trust keystore for your certificates, in this example C:\Siebel\Keys\truststore.jks
Password. The password you used when you created your keystores.
Note: If you did not use the same password when creating the keystores, then you must edit the file C:\Siebel\ses\applicationcontainer\conf\server.xml manually after installation to set the passwords correctly.
Gateway TLS Port. This can be any available port, except in a migration installation from an earlier release of Siebel CRM, in which case, it must match the port for the previous Gateway installation. For simplicity, we will continue the numbering sequence and use 9013 for this port.
To facilitate re-installation, or additional automated installation, you are prompted to save your responses when you have completed each installation wizard.
Installing the Siebel Application Interface
The Siebel Application Interface (SAI) replaces the Siebel Web Server Extension (SWSE or SWE) used in previous versions. It provides a standards-based HTTPS entry point to the Siebel CRM application and is installed using the same Siebel Enterprise Server installation media as the Gateway, Siebel Servers, and Database Configuration Utilities. However, although it may be installed on the same physical server as these components, it must be installed separately and into a different directory structure from the components installed previously.
To install the Siebel Application Interface, do the following:
Re-run the Siebel Enterprise Software installer.
In many cases, the options for installation will be the same as those used when installing the Gateway, Siebel Servers, and Database Configuration Utilities. You must use the following installation prompts and recommended responses for Siebel Application Interface, described as follows:
Installation Directory. This must be different from the previous directory used for the Siebel Enterprise Server. The recommended path is C:\Siebel\sai
Components. Only install Siebel Application Interface.
Languages. You must install the same set of languages selected during the previous installation. Other than disk space, there is no negative impact to installing additional languages.
Port Configuration. The HTTP and HTTPS ports will serve as the entry point into the application (with the HTTP port automatically redirecting to the HTTPS port). If you do not want users to have to enter a port, set these to ports 443 and 80 (the default ports for HTTPS and HTTP respectively). The Shutdown port must be unique. We will continue numbering from the Siebel Enterprise Server installation and use 9014. The following port settings are therefore recommended for the Siebel Application Interface components:
HTTPS Redirect Port. 443
HTTP Connection Port. 80
Shutdown Port. 9014
Username and Password. The credentials that you specify will be used for accessing the Siebel Management Console initially, which is the user interface that we will use to configure the Gateway, Enterprise, Siebel Servers, and other components. After the initial setup, that is, once you have configured the Gateway Security Profile, you will use the username and password for the configured authentication authority. Any values are acceptable; for simplicity use: sadmin.
Client Authentication Parameters. These indicate the SSL certificate key stores (that we created earlier) which will be copied into the installation location for the Siebel Application Interface:
Keystore Name. The location of the keystore we created previously.
For example: C:\Siebel\Keys\siebelkeystore.jks
Truststore Name.The location of the trust keystore for our certificates.
For example: C:\Siebel\Keys\truststore.jks
Password. Whatever password you used when you created your keystores.
Note: If you did not use the same password when creating the keystores, you will have to manually edit the file C:\Siebel\ses\applicationcontainer\conf\server.xml after installation to set the passwords correctly.
About Installing the Latest Monthly Update
Before proceeding to the configuration steps below, it is very important that you install the latest Monthly Update. While it is possible to install Updates later, it is possible that an Update could contain bug fixes, repository data, or seed data that would not otherwise be included in your Siebel database. Only the most recent Monthly Update is required for installation, as they are cumulative. For example, if the 18.5 Update is available, it can be installed directly on top of the 17.0 Innovation Pack without the intermediate installation of 17.1, 17.2, 18.4, and so on. To install the Monthly Update, run the installers on the same machines on which you previously ran the base Innovation Pack installers.
Note: If a given base Innovation Pack installer was run more than once, then you must run the Update installers a corresponding number of times. For example, if you run the Siebel Enterprise Server installer to install the Gateway, Siebel Server, and Database, and then run it once more to install the Siebel Application Interface on the same server, then you must run the Update installer twice, directing the installer to each of the ORACLE_HOMEs specified during the installation of the Innovation Pack.
Verifying the Siebel Application Interface Installation
You can quickly verify that your Siebel Application Interface (SAI) installation was successful.
Browse to https://myserver.company.com/siebel/smc
If your browser displays a security warning, this is because your browser does not trust your SSL certificate or the certificate authority (CA) that you used to sign it.
Enter your credentials in the login window.
These are the credentials you specified when you installed the SAI component.
You are prompted to create a gateway â for the purposes of this test, you can ignore this message as we are just verifying the installation.
Close the browser.
Automatically Starting SES and SAI Components
Although the Siebel Enterprise Server and Siebel Application Interface components will start automatically after installation, they do not run automatically after a restart of the server. Before proceeding further, it is recommended that these be configured to start automatically. The specific method for doing this will vary by operating system. For example, on Windows, you could add the scripts to the Local Computer Startup Scripts Policy so that they will be run automatically every time the computer is restarted, while on UNIX, a shell script could be placed in /etc/init.d/.
The script to startup each component is named startup.bat (or startup.sh for UNIX) and is found in the ...\applicationcontainer\bin folder for each component, for example C:\Siebel\sai\applicationcontainer\bin\startup.bat.
After configuring the scripts to run automatically, restart the machine(s) before continuing to validate that automatic startup process is working, and then proceed to the configuration of your Siebel Database.
Creating the Siebel Database
About Installing Client Connectivity Software
Before you create the Siebel database, you must ensure that you have the appropriate client connectivity software.
This varies by database platform:
Oracle Database. You must install the 32-bit Oracle client, even if you are running on a 64-bit machine. This is available for download from Oracle Technology Network. Consider the following guidelines when installing Oracle Database:
When installing the software, select the Administrator option. Do not select the Instant Client or Runtime options.
Before installing the client on a Windows server, re-install the Microsoft Visual C++ 2010 Redistributable Package (x86). This prevents errors during the client installation process. Ensure that you run the installer as a local administrator.
If installing on a Windows server that also has a 64-bit version of Oracle installed, you need to edit the following registry value before running the installation: HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node\Oracle\inst_loc, where the Value name field is inst_loc and the Value data field is c:\\Program Files (x86)\\Oracle\\inventory
Microsoft SQL Server. Install the Microsoft SQL Server Native Client, available from Microsoft.
DB2. Install the IBM DB2 Connect 32-bit client (even if running on a 64âbit operating system). Select from the versions noted on the Certifications tab on My Oracle Support that are compatible with your DB2 database server version according to IBMâs certification matrix.
Prerequisites for Installing the Database
Before we can start installing the Siebel Database, the database administrator must perform some preliminary steps. These are documented in detail in the Siebel Installation Guide for Microsoft Windows and Siebel Installation Guide for UNIX, but here is a short description:
Oracle. Create a tablespace in which the Siebel database objects will live. The recommended name is SIEBEL.
Microsoft SQL Server. Create a database. The recommended name is siebeldb.
DB2. Create the SIEBEL and other database users.
Note: These steps are typically done by a database administrator who may or may not be a direct member of the Siebel development team.
Running the grantusr.sql Script
A database administrator, who may or may not be a direct member of the Siebel development team, performs these steps.
After preparing the database, run the grantusr.sql script found in the .../dbsrvr/{db_platform} folder (for example, C:\Siebel\ses\dbsrvr\ORACLE). There are brief instructions at the top of each script explaining how to run the script. It will prompt you for information about the preparatory work done in the previous step, for example. the server where the database resides, the name of the database, any tablespaces, usernames, passwords, and so on. When the script completes, you will have an empty shell of a Siebel database with all the required users. Note that the execution of the script is typically done by a database administrator who may or may not be a direct member of the Siebel development team. This allows the Siebel team to have everything they need to populate the Siebel CRM Database without the need for specialized database administrator skills. The Siebel team should provide the desired passwords for the database users that the script will create. These include:
SADMIN. The Siebel Administrator user will be used for administering the Siebel CRM application throughout the implementation.
GUESTCST. The anonymous Guest Customer user. This user's credentials are used automatically by customer-facing applications before a user has actually logged in, providing access to the login page itself. This allows access to non-sensitive areas of the product, such as Branch Locators, without the need for every visitor to have a login.
GUESTERM. The anonymous Employee user. This user's credentials are used automatically by employee-facing applications before a user has actually logged in.
LDAPUSER. This is a generic user used by the authentication system.
After the script has been executed, test the SADMIN login using a database platform-specific tool, such as SQL*Plus for Oracle, to verify that the user was correctly created.
Installing the Siebel Database
The Siebel CRM database is installed using the Database Configuration Wizard. You can execute it using the Database Server Configuration shortcut from the Windows Start menu or from the following UNIX shell: $SIEBEL_ROOT/config/config - mode dbsrvr
The configuration wizard prompts you for information on the location of the database, database names, tableowners, tablespaces, and so on, depending on your database platform. For more information, see Siebel Installation Guide for Microsoft Windows or Siebel Installation Guide for UNIX as appropriate. The following are important points to consider during database installation:
When referring to directory locations, specify the path where the Siebel Enterprise Server (SES) components are installed, not the Siebel Application Interface (SAI) components.
When performing the Siebel User/Role Creation step, ensure to change the default selection to: âGRANTUSR.SQL has been run by the DBA to create Siebel users and rolesâ.
This is because you already executed the grantusr.sql script. If you do not update this selection, the installation will not continue.
Ensure that the Database Encoding value is Unicode. Oracle does not support non-Unicode Siebel CRM databases for new installations.
If you are installing one and only one language, you may pick it here. However, if there is any possibility that you will ever be installing multiple languages, it is recommended that you select English as the base language. This will default all log files and other settings to English, making it easier to debug when working with Oracle Technical Support. You will be able to install additional languages later.
The Configuration Wizard displays all the information you entered, and allows you to apply the changes. Once you confirm these changes, the Siebel Upgrade Wizard displays the steps necessary to install the database. Click OK to start the Siebel database installation. When the installation is complete, review the log files before continuing. For more information, see the installation guide for your selected database.
Configuring the Siebel Gateway
The Siebel Gateway maintains the configuration information for the components in the Siebel CRM environment. For example, it monitors where each Siebel Enterprise Server (SES) and Siebel Application Interface (SAI) instance is running, which components should be run on which physical servers, and so on.
Do the following to configure the gateway:
Navigate to the Siebel Management Console (SMC) at https://myserver.company.com/siebel/smc.
This is the server where you installed the SAI components. If you configured a HTTPS port number different from the default value, then include this in the URL.
Enter the credentials that you defined when installing the SAI.
The SMC automatically determines that a Siebel Gateway has not yet been configured and starts the Gateway configuration process.
Enter the requested information.
For more information, see Siebel Installation Guide for Microsoft Windows or Siebel Installation Guide for UNIX as appropriate. The following are key attributes:
Host Name: HTTPS Port
Host Name. This is the host name where the SES components are installed and where you intend to run the Gateway. This host name must match one of the Subject Alternative Names in the Secure Sockets Layer (SSL) certificate previously generated and signed.
HTTPS Port. This is the HTTPS port you selected when you installed the SES components, not SAI. For example: myserver.mycompany.com:9010
Security Profile. This sets up the security mechanism used to authenticate connections to SMC. For the Gateway, you can name it, for example, Gateway Security Profile. For a development instance, you typically use database authentication, so you must specify the database type, for example, Oracle or Microsoft SQL Server. You also must specify the connection information, such as the location of database server, port for TNS Listener, and so on.
Testing. Enter the credentials for SADMIN. These are the same credentials as those used when executing the grantusr.sql script. This password may be different than the one used during the installation of SAI.
If the test is successful, then SMC logs out, and prompts for login credentials. At this point, use the SADMIN credentials defined by the grantusr.sql script, and not those used during the installation of SAI.
The configuration wizard prompts you for service user credentials. These are the credentials under which the Gateway Service runs (either as a Windows Service or as a UNIX process).
Note: For Windows-based systems, this should be a domain user who is also a local administrator.
When you complete these steps, the Siebel Gateway service will be created, and the Siebel Deployment Hierarchy page opens.
Configuring the Siebel Enterprise
The Siebel Enterprise maintains environment-wide settings that are shared by all components, such as the location of the Siebel File System, the database, and so on.
Before continuing, it is important to understand that in the Siebel Management Console (SMC), a profile represents a template that provides the information needed for a given component. However, a profile is not an actual instance of that component. Using profiles allows us to deploy many instances of the same entity quickly, and repeatedly. You deploy the Enterprise only once, whereas a Siebel Server or Siebel Application Interface profile can be used many times.
Creating the Enterprise Profile
To create the Siebel Enterprise profile, navigate the Siebel Management Console (SMC) to the Profiles/Enterprise node and create a new profile. For more information on each parameter, see Siebel Installation Guide for Microsoft Windows or Siebel Installation Guide for UNIX as appropriate.
Some of the key parameters are as follows:
Profile. A profile is a template for a component that can be deployed many times. To distinguish a profile from an instance of a component, it is recommended that profile name always includes the word: profile. For example, the Enterprise profile could be named EnterpriseProfile.
Primary Siebel File System. The Siebel File System will be used to store documents associated with Siebel CRM data, such as spreadsheets, word processing documents, presentations, images, and so on. This must be a network location that allows read-write access to all the servers on which Siebel Servers are eventually deployed. While the Enterprise creation requires only a single Siebel File System, it is possible to create multiple file systems to improve load-balancing and performance. For more information, see Siebel System Administration Guide in Siebel Bookshelf.
Authentication. The username and password for the Siebel Gateway.
Security Encryption Level. Setting this to SISNAPI Using TLS 1.2 will cause inter-process communication amongst Siebel Enterprise Components to use TLS, improving security for these conversations. If this option is selected, it will be necessary to provide information about the Certificate Authority and other information needed to encrypt those conversations.
Deploying the Enterprise Profile
After successfully creating the Enterprise profile, deploy it as follows:
Navigate the Siebel Management Console (SMC) to the Siebel Deployment Hierarchy and click the plus (+) icon to add an Enterprise to the deployment.
Select the profile you created.
Assign a name to the Enterprise.
A profile is a template, and the name provided here is only a named instance of that profile. The name of the Enterprise can be any alphanumeric string, but should be meaningful and easily identifiable, such as Development, or Test.
Select Deploy.
If you select Stage, then nothing will be deployed.
When you submit the request, the SMC does the following:
Creates the Siebel File System.
Creates an ODBC source named {EnterpriseName}_DSN. This is used to communicate with the database, for example, Siebel_DSN.
Refresh the Siebel Deployment Hierarchy page until the Enterprise shows as fully deployed.
Verify that the File System and ODBC source were created:
Siebel File System. You can verify that this was successful by inspecting the folder specified during the creation of the Profile. The Profile will show a set of folders that will be eventually used by the Siebel File System Manager.
ODBC Source. For Windows operating systems, validate that the ODBC source was created under the 32-bit ODBC Control Panel. For UNIX, check the contents of the .odbc.ini file in:
/SIEBEL_HOME/ses/siebsrvr/sys
For example:
[ENT1_DSN] Driver=/siebel/ses/siebsrvr/lib/SEor827.so ColumnSizeAsCharacter=1 ColumnsAsChar=1 ArraySize=160000 ServerName=SIEBELDB
Configuring Siebel Servers
Siebel Servers are the application servers that provide the business logic layer for Siebel CRM. A Siebel Enterprise must include at least one Siebel Server, but in most cases, particularly for non-development instances, there is more than one Siebel Server.
You would deploy more than one Siebel Server for one of the following reasons:
Performance and Load Balancing. Siebel CRM is very scalable horizontally. Additional Siebel Servers allow more users to connect to the system, allow the execution of more background jobs, and so on.
Specialization. In addition to providing the business logic layer for active users, Siebel Servers run background jobs, such as large data import jobs or integration with other systems. To avoid these jobs interfering with the user experience, it is common to deploy more than one Siebel Server specifically for this reason.
Operating System Dependence. Siebel CRM software runs equally well on Microsoft Windows and the various UNIX platforms on which it is certified. However, in some instances Microsoft Windows is specifically required. For example, Document Generation which interacts with Microsoft Word via Microsoft's Component Object Model (COM) technology and Siebel Server Sync for Microsoft Exchange (SSSE), which relies on Windows Integrated Authentication to interact with Microsoft Exchange. It is not uncommon for a customer to run most of their Siebel Servers on a UNIX platform, and to use a few Microsoft Windows servers to support these specific use cases.
Creating the Siebel Server Profile
As with all Profiles, the Siebel Server Profile is created in SMC: in this case, under the Profiles area, Siebel Servers node. Unlike the Enterprise Profile, it is possible, and in fact likely in a non-development environment, that you will create multiple Siebel Server profiles. The following example profiles illustrate possible examples how you might do this:
SiebSrvrUIProfile. Supports end-user User Interface sessions.
SiebSrvrWFProfile. Supports background workflow processes.
SiebSrvrEIMProfile. Supports Enterprise Integration Manager processes for bulk data loads.
SiebSrvrRESTProfile. Supports REST integration.
Different profiles allow you to define specifically which application services are available on a given Siebel Server and, if needed, easily deploy an additional instance of that set of services onto additional servers for high availability and scalability.
When determining how many profiles to create, you must consider the different possible ways that users and other systems interact with Siebel CRM. You can add more profiles and Siebel Servers at any time, and you can deploy and redeploy a Siebel Server quickly if needed.
For assistance determining number of profiles, servers and so on based on, customer requirements and expected usage, contact the Oracle Advanced Customer Support team (Expert Services).
Create the Siebel Server profile using the SMC as follows:
From the Profiles/Siebel Servers node in SMC, create a new Profile record.
Select the Siebel Server Components that particular profile will support.
At a minimum, you must create a profile which includes the following sections:
Siebel Web Tools. This is used for making configuration changes to the application.
Each Component Group that includes the application that will be used. For example, if you plan to use Call Center, select the Siebel Call Center Component Group, if you plan to use Financial Services, select the Siebel Financial Services Component Group, and so on.
Enterprise Application Integration (EAI). It is required to select this if you need access to the REST API.
You should also include any component group that contains a component that is used for the specific implementation, such as Siebel eDocuments, which is used for document generation on Windows servers only, and so on.
Note: A Component Group typically contains many individual server components. For example, the Enterprise Application Interface Component Group contains more than ten server components, each of which automatically starts when the Siebel Server service starts. It is likely that only one or two of them is required. To conserve resources on the server, the unwanted components can be disabled using the Siebel Server Management utility. For more information, see Siebel System Administration Guide in Siebel Bookshelf.
Configure the Advanced Settings tab for load balancing and high availability.
These are typically not required for development environments, but can be used for other environments. For more information, see Siebel Installation Guide for Microsoft Windows or Siebel Installation Guide for UNIX as appropriate.
Deploying the Siebel Server Profile
After successfully creating the Siebel Server profile, deploy it by doing the following:
In the Siebel Management Console (SMC), navigate to the Siebel Deployment Hierarchy and click the plus (+) icon.
Select Siebel Server.
Enter the following information:
Host and Port. This the host where the Siebel Enterprise Servers (SES) components are installed and the HTTPS port number that was specified during that installation (for example, myserver.mycompany.com:9010).
Action. If you are planning to deploy immediately, select Deploy.
Siebel Server Name. It is recommended that you use the name of the physical host. For example, if your host is myserver.mycompany.com, then use myserver as the host. On rare occasions, you might deploy more than one Siebel Server per machine, for example, where Siebel Servers are clustered in Active-Active configuration for high availability. In this scenario, add an identifier to the server name to distinguish each from the other, for example, myserver_01, myserver_02, and so on.
Languages. These define all the languages this server supports. This selection is applicable to all Object Manager components, for example, user interface applications such as Call Center or Financial Services, and EAI integration components. However, this does not apply to components that are language-independent, such as Enterprise Integration Manager.
When you submit the request, SMC does the following:
Creates a Window Service or a UNIX daemon to host the selected components.
Launches Siebel CRM processes to host these components. You can view these processes in Windows Task Manager or the output of the ps utility on UNIX. All Siebel processes will match the pattern: sieb*.
Refresh the Siebel Deployment Hierarchy page until the Siebel Server shows as fully deployed.
This might take several minutes. If deploying additional Siebel Servers to other machines using the same or different profile, you can deploy these profiles in parallel without waiting for earlier deployment(s) to complete.
Configuring the Siebel Application Interface
The Siebel Application Interface (SAI) provides the external interface to the Siebel CRM application. This includes user interface channels, such as employees, customers, and partners using browsers to interact with the application, as well as integration with other applications through REST or Web service calls. Normally a development instance requires a single SAI, but as with the Siebel Server, the Application Interface can be enabled on multiple servers to provide load balancing and high availability. For more information, see Siebel Installation Guide for Microsoft Windows or Siebel Installation Guide for UNIX as appropriate.
The key parameters of the SAI are those that are affect client interactivity, such as session timeouts.
Consistent with the Enterprise and Siebel Servers, the SAI, configuration is completed in two parts:
Creating or more SAI profiles. For many environments, it is likely that you only need one a single profile, even if you will have Application Interfaces running on multiple machines. You might consider creating multiple profiles for one of the following reasons:
Differing authentication. For example, using a different authentication authority for your internal users from that which you will use for your Internet users.
Isolation. For example, to place Application Interfaces supporting customer-facing applications on one set of servers and employee-facing applications on another.
Deploying the SAI profile as many times as required to support capacity requirements, high availability, isolation, and other technical and functional requirements.
Creating the Siebel Application Interface Profile
You create the Siebel Application Interface (SAI) profile in the Siebel Management Console (SMC), under the Profiles area/Application Interfaces node. It is recommended that the profile name contains the word: profile. For example, SiebelAppIntProfile.
At least one Siebel Server with an EAI Object Manager must be deployed before you can create the first SAI profile. This is because the SAI profile requires selection of an existing EAI Object Manager.
Create the SAI profile using the SMC as follows:
From the Profiles/Applications Interface node in SMC, create a new Profile record.
Provide the requested information.
The following are important points to consider:
Basic Information Tab: Enter the following information.
HTTP 1.1-Compliant Firewall / Enable Web Compression. Set this to TRUE, unless there is a firewall that prevents HTTP 1.1 traffic.
Configure Fully Qualified Domain Name. If you have a single machine hosting an Application Interface, or are using a single entry point, for example a load balancer, set this parameter to TRUE. You must also specify the fully-qualified domain name, for example, myserver.company.com.
Authentication Information. Enter the relevant information for your environment.
Logging. You can accept the default values. However, if you are debugging a problem, you can enter different values.
REST Inbound Defaults. Select an EAI Object Manager, for example EAI Object Manager (ENU), and specify a base URL. This URL must include the name of a server where the Application Interface is running and includes the HTTPS port. For example, https://myserver.company.com:443/siebel/v1.0
Applications Tab: Define the entry points that users use for connecting to Siebel CRM through the browser and that other applications use for integration. For each application that will be exposed, click the plus (+) icon and provide the following key information:
Application Name. This is the entry point that the user uses to navigate to Siebel CRM. For example, if the application name is callcenter, the user navigates to https://myserver.mycompany.com/siebel/app/callcenter/enu to reach the application.
Object Manager. Select the object manager that maps to the Siebel CRM application, as defined in the runtime repository that will be mounted at this entry point. For example, for the Call Center application, select Call Center Object Manager (ENU).
Language. Select the language that you want to expose. To expose a language, you need to have selected this language during the installation of both the Siebel Enterprise Server (SES) and SAI components, and also you need to have imported the language using the Database Configuration Wizard.
REST Inbound Resources. For many environments, this field does not require configuration. For more information, see Siebel REST API Guide.
Other Information. Accept the default parameters, unless you encounter specific instructions documented in Siebel Bookshelf to support your business requirements.
Deploying the Siebel Application Interface
After successfully creating the Siebel Application Interface (SAI) profile, deploy the profile by doing the following:
Navigate the Siebel Management Console (SMC) to the Siebel Deployment Hierarchy and click the plus (+) icon.
Select Application Interface Server.
Enter the following information:
Host and Port. This the host where the SAI components are installed and the HTTPS port number that was specified during that installation (for example, myserver.mycompany.com:443).
Action. If you are planning to deploy immediately, select Deploy.
Application Interface Node. It is recommended that you use the name of the physical host. For example, if your host is myserver.mycompany.com, then use myserver as the host.
When you submit the request, the SMC instructs the SAI to expose an entry point into the Siebel CRM application for each application defined in the profile. For example: https://myserver.mycompany.com:443/siebel/app/callcenter/enu and https://myserver.mycompany.com:443/siebel/app/webtools/enu.
Unlike other component types, you can make changes to the SAI profile that have already been deployed, and these changes take effect immediately without needing to redeploy.
Adding the License Keys
Siebel CRM requires you to activate valid license keys in the database. Without valid license keys, any attempt to connect causes the following browser error: The server you are trying to access is either busy or experiencing difficulties. Please close the Web browser, open a new browser window, and try logging in again.
The Object Manager log file in the siebsrvr\log folder provides a more informative message for the administrator. For example in the SCCObjMgr_enu_XXXX_YYYYYYYY.log file:ObjMgrLicense Error 1 000000035a0b2200:0 2YYYY-MM-DD HH:MM:SS (dmlicmgr.cpp (308)) SBL-DAT-00172: No valid license keys were found in the database.
To add the license key, do the following:
On any server where the SES components are installed, navigate to the Siebel Server ..\ses\siebsrvr\bin folder.
Run the script licensekeymodule.bat (Windows) or licensekeymodule.sh (UNIX) script.
Enter the following connection information:
Siebel Server Location. The root of the siebsrvr folder. For example: C:\Siebel\ses\siebsrvr
ODBC DSN. The ODBC source created by the deployment of the Enterprise Profile, which will be named enterprise_DSN where enterprise is the name of the Enterprise defined by the Profile. In this example, it is named siebel_DSN.
Tableowner / Username / Password. The database credentials specified when the grantusr.sql script was executed. This is usually SIEBEL, SADMIN, and the SADMIN password, respectively.
DB Platform. Select one of the following: ORACLE, DB2UDB, DB2390, or MSSQL
Log folder. This can be any valid path. This is usually the Siebel Server log folder, for example: C:\Siebel\ses\siebsrvr\log.
Select all the licensed modules.
Note: Access to or possession of a license key, code, file, and so on, which unlocks or enables a software product is not a grant of entitlement. Your license agreement with Oracle provides the terms governing your use of Oracleâs products. Please ensure you are using the products in accordance with your license agreement.
Click the Apply button and ensure that a success message is displayed.
Close the license key module.
After adding license keys, users can immediately to log into the system.
Ensure that the SADMIN user can log into https://myserver.mycompany.com:<HTTPS Redirect Port>/siebel/app/callcenter/enu, (or whichever entry point is defined in the Siebel Application Interface Profile).
Setting up the Developer Web Client
All administration activities can be performed using the browser-based user interface. However, it is sometimes convenient to have access to the Siebel CRM database using a Developer Web Client. This client does not rely on any of the Siebel Enterprise Server (SES) or Siebel Application Interface (SAI) components, but is a self-contained client with all the features of the browser client, with independent binaries.
This is convenient in the following situations:
Troubleshooting server connectivity issues using the SAI.
Logging in with a different authentication mechanism than is provided by the SAI. For example, logging in using database authentication when the SAI has been configured for a Single Sign-On (SSO) authentication mechanism.
Debugging scripts, workflow processes, and Task-Based UI.
The Siebel Developer Client installation is similar to the Siebel Tools client installation; it is installed and configured in a single step. Much like Siebel Tools, it also requires the Oracle 32-bit client (even for customers using IBM DB2 or Microsoft SQL Server for their Siebel CRM Enterprise .database) and automatically installs an Oracle Express (Oracle XE) database as part of the installation process if you select the Sample Database option.
To install Siebel Developer Web Client, first install the base Innovation Pack release then the most recent Monthly Update (for example, 18.5). Monthly Updates are always cumulative. If there is more than one Update available, then you only need to install the latest.
The majority of the required information matches values specified during previous installation steps. You require the following new information:
Languages. While Siebel Tools can be used to configure all languages in the Repository, you must install the Siebel Developer Web Client for all languages that you plan to deploy in your Enterprise.
Type of Client. There are two types of clients available:
Siebel Remote Client. This is used by end users to work in an offline mode. For more information, see Siebel Remote and Replication Manager Administration Guide.
Developer Web Client. This is the recommended selection for administrative purposes.
Search Server Hostname and Port. Accept the defaults provided.
HTTP Connection Port and Shutdown Port. These are used for test automation and other purposes. If you install the Developer Web Client on a different machine from SES and SAI, it is still recommended that these ports be unique to avoid any possible confusion. The defaults of 9001 and 9005 are acceptable unless already in use.
When you finish installing the base release, ensure to perform the following tasks:
Install the most recent Monthly Update.
Verify that Siebel Developer client connects to the Siebel CRM Enterprise database. You can do this by launching one of the shortcuts it created, for example Siebel Call Center, selecting the ServerDataSrc data source, and logging in using the SADMIN credentials.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 6
|
https://www.gsb.stanford.edu/faculty-research/case-studies/thomas-stacey-siebel-foundation-meth-project
|
en
|
Thomas and Stacey Siebel Foundation and The Meth Project
|
https://www.gsb.stanford.edu/themes/custom/gsb/favicon.ico
|
https://www.gsb.stanford.edu/themes/custom/gsb/favicon.ico
|
[
"https://www.gsb.stanford.edu/themes/custom/gsb/logo.svg",
"https://www.gsb.stanford.edu/themes/custom/gsb/logo.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/themes/custom/gsb/favicon.ico
|
Stanford Graduate School of Business
|
https://www.gsb.stanford.edu/faculty-research/case-studies/thomas-stacey-siebel-foundation-meth-project
|
Tom Siebel, founder of Siebel Systems, created the Siebel Foundation in 1996. In 2005, Siebel came to learn about the prevalence and devastating economic and human costs of methamphetamine (“meth”) abuse across the country, particularly in Montana. Meth had just been identified as the United States’ leading drug threat. Additionally, a RAND Corporation study estimated that meth abuse cost the US $23.4 billion a year in meth related crime and criminal justice programs, foster care, treatment and hospital care and loss of productivity due to absenteeism, incarceration and unemployment. This shocking news caused the Siebel Foundation team—including Executive Director Nitsa Zuppas—to create the Meth Project and address the problem.
Siebel developed a research-based consumer marketing campaign, supported by community outreach and public policy initiatives, which graphically demonstrated the risks of meth use and thus prevented potential users from trying the drug (even once).
In September 2005, the Meth Project launched an aggressive public education campaign led by saturation-level advertising across TV (40%), radio (21%), newspapers (13%), online media (11%), outdoor billboards (10%) and high-school newspapers (5%). Two years after the project was launched, teen meth use declined 45%, adult meth declined 72% and Montana significantly lowered its national ranking for meth abuse from the fifth highest nationally to 39th. After four years, Montana teen meth use fell by 63% and meth-related crimes decreased by 62%. Rigorous research on perceptions about the drug and meth use was core to the program and was thoughtfully integrated into all campaigns elements. Gathering specific qualitative and quantitative baseline and progress data enabled the Meth Project to articulate clearly the value of its intervention and its investment return to policy leaders, law enforcement officials the public and other key stakeholders.
|
|||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 13
|
https://uif.uillinois.edu/news/2007/university-illinois-announces-record-100-million-campaign-gift-commitment-support-science
|
en
|
University of Illinois Announces Record $100 Million Campaign Gift Commitment to Support Science and Engineering at Urbana-Champaign
|
https://uif.uillinois.edu/sites/default/files/favicon.ico
|
https://uif.uillinois.edu/sites/default/files/favicon.ico
|
[
"https://uif.uillinois.edu/sites/default/files/logo.png",
"https://uif.uillinois.edu/sites/default/files/styles/ban/public/2017-11/about-banner_9.jpg?itok=4a2L1LPg"
] |
[] |
[] |
[
""
] | null |
[] | null |
The University of Illinois announced a record $100 million gift commitment from alumnus Thomas Siebel during the kick-off of the largest fundraising effort in the 140-year history of the University.
|
en
|
/sites/default/files/favicon.ico
|
University of Illinois Foundation
|
https://uif.uillinois.edu/news/2007/university-illinois-announces-record-100-million-campaign-gift-commitment-support-science
|
The University of Illinois announced a record $100 million gift commitment from alumnus Thomas Siebel during the kick-off of the largest fundraising effort in the 140-year history of the University.
The gift commitment from Siebel, a high-tech business innovator who holds three degrees from Illinois, is an estate provision combined with outright support of science and engineering on the Urbana-Champaign campus. The Thomas M. Siebel Fund for Excellence will emphasize collaborative work that addresses major problems and opportunities facing humankind in this century, including the convergence of the computational and life sciences and breakthrough developments in energy and human health.
Siebel has expressed particular interest in alternative energy to reduce dependence of carbon-producing fuels, the application of information technology to bioengineering, and stem cell research. The Siebel Fund for Excellence may help fund a building to house this work and support related academic activities.
The Siebel Fund may support research for faculty and students, symposia, endowed professorships or chairs, graduate fellowships, and public policy development and programs designed to apply research pertaining to the fields of inquiry the fund supports. The Siebel Fund will also support collaborative and research and program efforts between the U of I and other academic institutions, businesses or governmental entities.
The Thomas M. Siebel Fund for Excellence in Science and Engineering is the largest of a series of major gifts from the 1975 U of I history graduate, who also earned an MBA in 1983 and a master’s degree in computer science from Illinois. In 1999, he donated $32 million to the Urbana-Champaign campus to help construct the Thomas M. Siebel Center for Computer Science, an integrated education and research facility that has helped the U of I attract outstanding faculty and students.
In 2000, a $2.6 million corporate gift to the U of I from Siebel Systems, a leading software company founded by Siebel in 1993, established the Siebel Scholars Fellowship Program in the Department of Computer Science. Illinois was one of 11 computer science or business colleges in the nation selected by Siebel Systems for the program.
In 2006, he and his wife, Stacey, through the Thomas and Stacey Siebel Foundation, provided $2 million to the U of I to establish the Thomas M. Siebel Chair in Computer Science. Also in 2006, Siebel made a gift of $2 million to create the Thomas M. Siebel Chair in the History of Science in the College of Liberal Arts and Sciences’ Department of History.
The newest gift commitment from Siebel more than doubles the largest single gift to the U of I from an individual. In 1985, Arnold Beckman, founder and chairman of Beckman Instruments, a manufacturer of scientific instruments, made a $40 million gift to his alma mater to create the Beckman Institute for Advanced Science and Technology.
Thomas Siebel has long been interested in the history of ideas, science and philosophy. After graduating from the U of I, he worked in the publishing industry before returning to the U of I, where he became immersed in relational database theory.
After earning his M.S. in computer science at the U of I, he joined Oracle in 1984 as a systems engineer. He got into sales at Oracle and quickly became the company’s top salesman. By 1989, he was general manager of Oracle’s direct marketing division. He left Oracle in 1990 and joined Gain Technology, a multimedia software company, and served as its CEO. He left Gain in 1993, founded Siebel Systems and took the company public in 1996, leading its skyrocketing growth of sales and service to dozens of countries around the world. Siebel Systems was sold to Oracle for $5.8 billion.
In 2003, Siebel bought UpShot Corp. to run sales-management software for client companies over the Internet. He currently serves as chair of First Virtual Group of Palo Alto, Calif., a diversified holding company with interests in commercial real estate, agribusiness, global investment management and philanthropy.
Siebel has been widely recognized for his accomplishments. He was cited as one of the top 10 CEOs of 2000 by Investors Business Daily. Business Week magazine named him to its list of the top 25 managers in global business in 2000 and 2001. Industry Week named him the CEO of the Year in 2002. He received the David Packard Award from the Business Executives for National Security in 2002. Ernst and Young named Siebel as its Master Entrepreneur of the Year in 2003.
He remains very active at University of Illinois, serving on the College of Engineering’s board of advisors and is a director of the University of Illinois Foundation. He delivered the commencement address at his alma mater in 2006.
The Siebels’ gift provision was announced by U of I President B. Joseph White during the kickoff of Brilliant Futures: The Campaign for the University of Illinois, which seeks to raise $2.25 billion to support students, faculty, research, programs and campus environments.
The Brilliant Futures Campaign was publicly launched Friday night at an event attended by over 1,115 alumni and other supporters at Chicago’s Navy Pier. The campaign officially began on July 1, 2003, kicking off its “quiet phase” and will continue its eight and one-half year quest through year-end 2011.
Of the total $2.25 billion campaign objective, $1.5 billion is the goal for the Urbana-Champaign campus; $650 million is for the Chicago campus and $28 million is for the Springfield campus. The combined goal for University administration and the U of I Foundation is $72 million.
The Illinois campaign, with a goal of $2.25 billion, will rank among the elite and largest campaigns for higher education in the nation. There are just 10 campaigns that are, or have, been launched or completed that are larger.
The Brilliant Futures Campaign is the third comprehensive capital campaign for the University of Illinois. The initial fundraising endeavor, Campaign for Illinois, exceeded its $100 million goal by raising $137 million between 1979 and 1985. The second effort, Campaign Illinois, was launched in 1991 with a goal of $1 billion. When the campaign closed on Dec. 31, 2000, gifts totaled $1.53 billion, making this fundraising effort one of the largest ever conducted by a public university at that time.
|
||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 71
|
https://www.slideshare.net/slideshow/siebel-customer-relationship-management/248466093
|
en
|
SIEBEL Customer Relationship Management
|
[
"https://public.slidesharecdn.com/images/next/logo-slideshare-scribd-company.svg?w=128&q=75 1x, https://public.slidesharecdn.com/images/next/logo-slideshare-scribd-company.svg?w=256&q=75 2x",
"https://cdn.slidesharecdn.com/profile-photo-FahadSaleem6-48x48.jpg?cb=1721727787",
"https://image.slidesharecdn.com/erpsiebelcrmpresentation-210523121616/85/SIEBEL-Customer-Relationship-Management-1-320.jpg 320w, https://image.slidesharecdn.com/erpsiebelcrmpresentation-210523121616/85/SIEBEL-Customer-Relationship-Management-1-638.jpg 638w, https://image.slidesharecdn.com/erpsiebelcrmpresentation-210523121616/75/SIEBEL-Customer-Relationship-Management-1-2048.jpg 2048w"
] |
[] |
[] |
[
""
] | null |
[] |
2021-05-23T12:16:16+00:00
|
SIEBEL Customer Relationship Management - Download as a PDF or view online for free
|
en
|
https://public.slidesharecdn.com/_next/static/media/favicon.7bc3d920.ico
|
SlideShare
|
https://www.slideshare.net/slideshow/siebel-customer-relationship-management/248466093
|
1. Siebel CRM
2. Introduction Siebel Crm is a complete package of Customer Relationship Management tools including sales, marketing, loyalty, user experience among many others. It is very easy to modify and can be tailored to specific needs of different businesses with little effort making it a very flexible CRM solution. Siebel CRM is highly scalable and flexible CRM solution.
3. Modules Siebel Crm has 39 different modules. Important modules include Customer Service, Campaign Management, Email Marketing, Loyalty Management, Siebel Analytics, User Experience, Social Services, Help Desk, Events Management, Resource Management, Web Marketing, Partner Analytics and Partner Management.
4. Oracle CX Suite Oracle Siebel CRM is a part of Oracle CX Suite. Oracle CX Suite, also called Oracle Advertising and Customer Experience is a connected suite of applications that help in creating, managing, serving and nurturing lasting customer relationships. It includes applications specializing in Advertising, Marketing, Sales and Services.
5. Sales Module The Sales Module of Siebel CRM is designed to improve pipeline visibility, sales effectiveness and bottom-line results. Its key features include sales team collaboration support, problem identification for coaching, 360 degree view of customer interactions, collaboration support with other organizations and real time view of all sales data and statistics.
7. Campaign Management Module The Campaign Management Module streamlines the planning, execution, and budgeting of personalized, permission-based campaigns. Its key features include efficient planning and development cycles, personalized campaigns across channels, targeted email campaigns, profitable interaction centers, field conversion rates and joint marketing with partners.
8. Campaign Management Module UI
9. Loyalty Management Module The Loyalty Management Module enables organizations to create loyalty campaigns without the help of IT staff. It delivers a full range of analytics, marketing, and service capabilities that help you better understand each customer’s lifetime value and design service levels and promotions that maximize the potential of all your customer relationships. Its key features include automatic rewarding of right customer behaviors, automated loyalty management processes and integration of loyalty programs.
10. Loyalty Management Module UI
11. Partner Management Module Partner Relationship Management is a comprehensive channel management solution that allows brand owners to achieve their channel business objectives. This solution enables you to collaborate and share information with partners and brand owners and optimize your operations with streamlined sales, service, commerce, and marketing processes. Its key features include industry specific channel management solutions, partner analytics, integration with other CRM processes and embedded channel methodologies.
12. Partner Management Module UI
13. Siebel CRM Pros Medium-sized to large enterprises stand to gain a lot of benefits once they start using Oracle Siebel CRM. The system has solutions applicable to 20 different industries, and tools that can be used for transactions, analysis, and engagement. It can help companies manage their customer-facing operations.
14. Siebel CRM Pros Oracle Siebel CRM not only helps out with sales force automation. It also helps out in other business processes as well. These processes include performing sales collaboration, rolling out loyalty programs, managing marketing campaigns and tickets, handling events, capturing quotes and orders, offering customer self- service, and setting up a help desk. Other Oracle business apps can also easily integrate with the platform.
15. Siebel CRM Pros There is also no need to change or modify any setups or processes the company may already have in place once they decide to use Oracle Siebel CRM. This is because it can be deployed either on-demand or on-premise, giving businesses the option to incorporate the software based on their requirements.
16. Siebel CRM Pros Oracle Siebel CRM is multi-awarded and widely recognized, with analyst firm IDC calling it a leader in customer service, marketing, and sales force automation (SFA). Another research and analysis agency, Datamonitor, considers Oracle Siebel CRM as one of the top solutions when it comes to different aspects of CRM technology.
17. Siebel CRM Cons The Siebel CRM is very bulky solution and can put a lot of pressure on hardware infrastructure making the costs higher. The UI of Siebel CRM is not very modern and user friendly. The documentation is not very great. Mobile platform of Siebel CRM doesn’t have a lot of options.
18. Siebel Cloud Solution The cloud version of Siebel CRM is also available. It is hosted on Oracle Cloud. Oracle Cloud is a cloud platform service provided by Oracle. The Siebel CRM can be used on Oracle Cloud in the form of Software As A Service (SaaS).
19. Siebel Alternatives & Competitors Salesforce CRM HubSpot Sales Hub Zoho CRM Dynamics 365 Sales Nimble Sugar Sell Workbooks SAP CRM Pipedrive
20. Siebel Alternatives & Competitors Zendesk Sell Maximizer CRM GoldMine Act PipelineDeals Vtiger CRM Sage CRM Infor CRM Nutshell Insighty CRM
21. Siebel Customers Broadcast Media Westpac StarHub Spark Curves Canon Federal Reserve Bank of Minneapolis
22. References https://www.oracle.com/applications/siebel/ https://www.oracle.com/applications/siebel/products.html #partner https://www.oracle.com/applications/siebel/products/partn er-relationship/partner-relationship-management/ https://www.oracle.com/applications/siebel/products/mark eting/campaign-dialogue-management/ https://www.oracle.com/applications/siebel/products/sale s/
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 4
|
https://www.tiki-toki.com/timeline/entry/396107/The-History-of-Siebel-CRM/
|
en
|
The History of Siebel CRM
|
https://www.tiki-toki.com/assets/ui/favicon.ico
|
https://www.tiki-toki.com/assets/ui/favicon.ico
|
[
"https://www.tiki-toki.com/assets/ui/black-opacity-95.png",
"https://www.tiki-toki.com/assets/ui/empty-image.gif"
] |
[] |
[] |
[
"timeline"
] | null |
[] | null |
From OASIS to Oracle Siebel CRM
|
/assets/ui/favicon.ico
|
https://www.tiki-toki.com/timeline/entry/396107/The-History-of-Siebel-CRM/
|
From OASIS to Oracle Siebel CRM
This timeline documents the history of Siebel Systems Inc. and its products.;xNLx;;xNLx;Please click Continue to start.;xNLx;Enjoy the timeline in 2D or 3D. For more information and links click the More button in each entry.
OASIS project kick-off at Oracle
Tom Siebel, VP of Direct Marketing at Oracle and his pre-sales techs launch project OASIS, "the genesis of the CRM industry" (Mei Lin Fung)
OASIS in the News
In his role as Vice President for Oracleâs direct marketing division, Tom Siebel introduces OASIS (Oracle Automated Sales Information System), which can be seen as the predecessor of Siebel Sales Force Automation.
Tom Siebel leaves Oracle
Tom Siebel leaves Oracle and becomes CEO of Gain Technology.
Sybase acquires Gain Technology Inc.
As CEO of Gain Technology, Tom Siebel sells the company to Sybase and lays the financial foundation for Siebel Systems.
Siebel Systems Founded
Siebel Systems Inc. founded by Thomas M. Siebel and Patricia House.
Charles Schwab joins Siebel Board of Directors
Charles Schwab joins the Siebel Board of Directors. Charles Schwab & Co. is one of the first key customers using Siebel CRM.
Siebel Sales Enterprise
Siebel Systems ships the initial release of Siebel Sales Enterprise (SSE).
Siebel Sales Version 2 Released
Siebel Systems Inc. releases Sales Force Automation (SFA) Version 2 with 'Opportunites' and Sales Forecasting as well as reporting capabilities.
IPO: Siebel Systems Inc. goes public
Listed as SEBL, Siebel Systems Inc goes public on NASDAQ with an initial offering of 1.9 million shares at USD 17 each.
Leader in Sales and Marketing Information Systems
On siebel.com, Siebel Systems Inc. presents itself as the leader in sales and marketing information systems.
Siebel 3.0 Released
Siebel releases version 3 of its sales and marketing information system.
Siebel acquires InterActive WorkPlace
Siebel Systems Inc. acquires intranet BI software maker InterActive WorkPlace Inc.
Siebel Buys Nomadic Systems
Siebel Systems Inc. acquires Nomadic Systems Inc., heading into the pharma industry.
Siebel Certification
Siebel launches the Certified Consultant program
Siebel Buys Scopus
Siebel Systems acquires customer service software maker Scopus for $460 Million.
Siebel 98 Released
Siebel Systems releases Siebel 98
Siebel 99 Released
Siebel 99 introduces web-based applications, handheld support and document generation.
sales.com
Siebel launches sales.com, a web portal for sales information.
Siebel Observer Launch
Bruce Daley launches the first comprehensive information site on Siebel - the Siebel Observer.
Fastest Growing Company
Fortune magazine names Siebel Systems Inc. the fastest growing company in the USA.
Alliance with IBM
Siebel Systems Inc. agrees with IBM to develop and sell Siebel software together.
Siebel Buys OnTarget
Siebel Systems acquires OnTarget, adding sales consulting services to its portfolio.
IBM launches Siebel CRM project
IBM launches one of the biggest Siebel CRM implementation projects, rolling out to more than 60000 users worldwide.
Deloitte becomes Global Strategic Partner
Long-time consulting partner Deloitte becomes a Global Strategic Partner of Siebel Systems.
Siebel acquires Paragren
Siebel buys marketing software maker Paragren Technologies Inc.
Siebel 2000
Siebel Systems Inc. releases Siebel 2000. This milestone release covered web access, EAI, marketing and BI capabilities.
First Release of Siebel Mid Market Edition
Based on Siebel 2000, Mid Market Edition is a downsized version aimed at the small and medium business market
OnLink and Janna Acquisitions
Siebel expands with buying OnLink (e-commerce) and Janna (financial services).
$ 1 Billion in Revenue
The revenue of Siebel Systems Inc. for 2000 surpasses $ 1 billion.
Siebel 7.0 Released
Siebel releases version 7.0, the first completely web-based version.
Siebel Buys nQuire
Siebel Systems Inc. acquires BI software maker nQuire, laying the foundation for Siebel Analytics (and later Oracle BI).
The Man Who Sees Around Corners
With data from Siebel's sales pipeline, Tom Siebel and company brace for a recession.
The King of Customer
Tom Siebel named CEO of the Year by Industry Week
Siebel European User Week Barcelona
The European User Week in 2002 takes place in Barcelona.
Siebel 7.5.2 Released
Siebel releases version 7.5.2
Universal Application Network
Siebel announces the release of version 1.0 of UAN (Universal Application Network), the result of cooperation with major middleware vendors and one of the industry's first standardized hub-and-spoke integration packages.
Siebel in Turmoil
Siebel Systems is not spared by the burst of the dot-com bubble and reports its first net loss ($ 92 million) since 1998.
Siebel Universal Customer Master
Siebel UCM (Universal Customer Master) is introduced. It is one of the first Customer Hubs in the Industry. In the course of the next two years, Siebel UCM and UAN revenues rise rapidly to be almost 10% of the corporation's revenues.
Accenture Becomes Global Strategic Partner
Accenture and Siebel announce their global strategic partnership.
Siebel 7.5.3 Released
Siebel 7.5.3 introduces major UI enhancements (shuttle applet).
CRM OnDemand Released
Siebel announces the release of CRM OnDemand. Developed by Siebel and IBM, this marks the second entry of Siebel into cloud-based CRM (after sales.com which went out of business in 2000).
Project Nexus Launched
Siebel publicly announces its project 'Nexus'. The SOA based component framework was supposed to support .NET and J2EE but was never released.
Siebel 7.7 Released
Siebel Systems Inc. releases Siebel 7.7 with redesigned UI. The release introduces iHelp and Marketing Segmentation with Siebel Analytics.
Mike Lawrie named CEO
Former IBM executive Mike Lawrie is named CEO of Siebel Systems. Tom Siebel stays chairman.
Oracle Launches Project Fusion
Planned as a successor to the eBusiness ERP suite both powered and delayed over the years by numerous acquisitions, Oracle launches the biggest enterprise software project on the planet: "Fusion"
Siebel challenges Salesforce
Siebel Systems releases CRM OnDemand version 6 with a host of new features aimed directly at the competitor-in-the-cloud Salesforce
Siebel Business Analytics wins Award
Siebel Systems announces that its Business Analytics offering (formerly nQuire) received the 2004 RealWare Award.
George Shaheen named CEO
George Shaheen replaces Mike Lawrie as the CEO of Siebel Systems.
Siebel 7.8 Released
Siebel 7.8 introduces service-oriented order management.
|
||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 68
|
https://www.mastek.com/
|
en
|
Enterprise Digital & Cloud transformation specialist
|
[
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_177,h_76/https://www.mastek.com/wp-content/uploads/2023/08/Group-185.png",
"https://www.mastek.com//wp-content/uploads/2024/L1-animate-new.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1920,h_700/https://www.mastek.com/wp-content/uploads/2024/02/L1-11.webp",
"https://www.mastek.com//wp-content/uploads/2024/L1-animate-new.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_739,h_542/https://www.mastek.com/wp-content/uploads/2024/03/L1-mobile.png",
"https://www.mastek.com//wp-content/uploads/2024/03/L4-anim-SVG.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L4-main.webp",
"https://www.mastek.com//wp-content/uploads/2024/03/L4-anim-SVG.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L4-main-mobile.png",
"https://www.mastek.com//wp-content/uploads/2024/L2-SVG-animate.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L2-main-1.webp",
"https://www.mastek.com//wp-content/uploads/2024/L2-SVG-animate.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L2-main-1-mobile-1.png",
"https://www.mastek.com//wp-content/uploads/2024/03/L3-anim-SVG.svg",
"https://www.mastek.com//wp-content/uploads/2024/03/L3-anim-SVG.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L3-main-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L3-main-1.webp",
"https://www.mastek.com//wp-content/uploads/2024/03/L3-anim-SVG.svg",
"https://www.mastek.com//wp-content/uploads/2024/03/L3-anim-SVG.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L3-main-1-phone.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L3-main-1-phone.png",
"https://www.mastek.com//wp-content/uploads/2024/03/L5-anim-SVG.svg",
"https://www.mastek.com//wp-content/uploads/2024/03/L5-anim-SVG.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L5-main-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L5-main-1.webp",
"https://www.mastek.com//wp-content/uploads/2024/03/L5-anim-SVG.svg",
"https://www.mastek.com//wp-content/uploads/2024/03/L5-anim-SVG.svg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L5-main-1-mobile.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com//wp-content/uploads/2024/03/L5-main-1-mobile.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-cloud-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-cloud-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Arizona-state-424x254-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Arizona-state-424x254-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Billion-telecom-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Billion-telecom-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Retailer-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Retailer-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Public-Sector-cs.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Public-Sector-cs.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-cloud-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-cloud-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Arizona-state-424x254-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Arizona-state-424x254-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Billion-telecom-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Billion-telecom-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Retailer-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Retailer-2x.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Public-Sector-cs.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/Public-Sector-cs.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Engineer-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Engineer-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Data-Automatioin-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Data-Automatioin-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-Cloud-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-Cloud-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Salesforce-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Salesforce-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Cloud-Enhance-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Cloud-Enhance-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Mastek-icconix-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_217/https://www.mastek.com/wp-content/uploads/2024/05/Mastek-icconix-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Engineer-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Engineer-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Data-Automatioin-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Data-Automatioin-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-Cloud-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Oracle-Cloud-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Salesforce-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_724/https://www.mastek.com/wp-content/uploads/2024/05/Salesforce-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_800,h_579/https://www.mastek.com/wp-content/uploads/2024/05/Cloud-Enhance-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_800,h_579/https://www.mastek.com/wp-content/uploads/2024/05/Cloud-Enhance-573x415-1.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_800,h_579/https://www.mastek.com/wp-content/uploads/2024/05/Mastek-icconix-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_800,h_579/https://www.mastek.com/wp-content/uploads/2024/05/Mastek-icconix-573x415-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Govt-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Govt-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Healthcare-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Healthcare-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Retail-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Retail-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Financial-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Financial-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Manufac-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Manufac-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Govt-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Govt-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Healthcare-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Healthcare-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Retail-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Retail-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Financial-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Financial-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Manufac-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_230,h_260/https://www.mastek.com/wp-content/uploads/2024/05/Manufac-230x260-1.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/elementor/thumbs/Group-3288-1-qohmptmr1kppkw9exxf77p8tx1c60swgaezj0e4cyk.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/elementor/thumbs/Group-3288-1-qohmptmr1kppkw9exxf77p8tx1c60swgaezj0e4cyk.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1352,h_754/https://www.mastek.com/wp-content/uploads/2024/05/NW-VideoThumbnail-Deshira-big.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1352,h_754/https://www.mastek.com/wp-content/uploads/2024/05/NW-VideoThumbnail-Deshira-big.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/NW-VideoThumbnail-Deshira-small.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/NW-VideoThumbnail-Deshira-small.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/james-madigan-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/james-madigan-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/phil-bradley-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/phil-bradley-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/nick-cooper-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/nick-cooper-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/rick-kocher-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/rick-kocher-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/craig-brown-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/05/craig-brown-thumb.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/elementor/thumbs/Group-3288-1-qm4k3v0m0rcp1eain1oucwk46d2wlibefz1c4krogs.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/elementor/thumbs/Group-3288-1-qm4k3v0m0rcp1eain1oucwk46d2wlibefz1c4krogs.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_978,h_553/https://www.mastek.com/wp-content/uploads/2023/09/team-place-holder.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_978,h_553/https://www.mastek.com/wp-content/uploads/2023/09/team-place-holder.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/04/NW-VideoThumbnail-Deshira-big-768x428.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2024/04/NW-VideoThumbnail-Deshira-big-768x428.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/craig-768x432.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/craig-768x432.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/rick-768x431.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/rick-768x431.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/morrisom-768x428.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/morrisom-768x428.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/menhaim-768x432.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/menhaim-768x432.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/Screenshot-2023-04-28-at-1.33.47-PM-768x432.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/Screenshot-2023-04-28-at-1.33.47-PM-768x432.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/Metaverse-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/Metaverse-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/ERP-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/ERP-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/Snowflake-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/Snowflake-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Modern-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_510,h_426/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Modern-2x.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/Metaverse-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/Metaverse-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/ERP-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/ERP-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/Snowflake-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/Snowflake-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Modern-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2024/05/Digital-Modern-2x-300x251.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/01-1-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/01-1-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/02-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/02-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/03-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/03-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/04-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_251/https://www.mastek.com/wp-content/uploads/2023/08/04-300x251.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-5-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-5-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-6-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-6-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-768x398.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-768x398.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-7-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-7-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-10-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-10-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-4-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img/https://www.mastek.com/wp-content/uploads/2023/09/MicrosoftTeams-image-4-768x432.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_449,h_281/https://www.mastek.com/wp-content/uploads/2024/01/ESG.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_449,h_281/https://www.mastek.com/wp-content/uploads/2024/01/ESG.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_449,h_284/https://www.mastek.com/wp-content/uploads/2024/01/mastek-foundation.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_449,h_284/https://www.mastek.com/wp-content/uploads/2024/01/mastek-foundation.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_448,h_284/https://www.mastek.com/wp-content/uploads/2024/01/deep-blue.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_448,h_284/https://www.mastek.com/wp-content/uploads/2024/01/deep-blue.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_130,h_170/https://www.mastek.com/wp-content/uploads/2024/03/gptw_UK.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_130,h_170/https://www.mastek.com/wp-content/uploads/2024/03/gptw_UK.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_115/https://www.mastek.com/wp-content/uploads/2023/09/best-org-for-women-badge.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_115/https://www.mastek.com/wp-content/uploads/2023/09/best-org-for-women-badge.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/07/isg-q2-2024-americas.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/07/isg-q2-2024-americas.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_175/https://www.mastek.com/wp-content/uploads/2024/03/gptw_KSA.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_175/https://www.mastek.com/wp-content/uploads/2024/03/gptw_KSA.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/07/isg-q2-2024-global.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/07/isg-q2-2024-global.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_115/https://www.mastek.com/wp-content/uploads/2023/09/4_award-1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_115/https://www.mastek.com/wp-content/uploads/2023/09/4_award-1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/07/isg-q2-2024-emea.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/07/isg-q2-2024-emea.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_175/https://www.mastek.com/wp-content/uploads/2024/03/gptw_INDIA.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_175/https://www.mastek.com/wp-content/uploads/2024/03/gptw_INDIA.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/04/2024-isg-emea.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/04/2024-isg-emea.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_140,h_130/https://www.mastek.com/wp-content/uploads/2023/09/TET_IndiaGC2022-1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_140,h_130/https://www.mastek.com/wp-content/uploads/2023/09/TET_IndiaGC2022-1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/04/2024-isg-global.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/04/2024-isg-global.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_115/https://www.mastek.com/wp-content/uploads/2023/09/6_award-1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_115,h_115/https://www.mastek.com/wp-content/uploads/2023/09/6_award-1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_120,h_180/https://www.mastek.com/wp-content/uploads/2024/03/gptw_USA.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_120,h_180/https://www.mastek.com/wp-content/uploads/2024/03/gptw_USA.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/04/2024-isg-americas.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_135,h_141/https://www.mastek.com/wp-content/uploads/2024/04/2024-isg-americas.webp",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_205,h_88/https://www.mastek.com/wp-content/uploads/2023/09/Group-3223.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_205,h_88/https://www.mastek.com/wp-content/uploads/2023/09/Group-3223.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_396/https://www.mastek.com/wp-content/uploads/2023/10/vimal.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_300,h_396/https://www.mastek.com/wp-content/uploads/2023/10/vimal.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_400,h_599/https://www.mastek.com/wp-content/uploads/2023/10/Vijay-Iyer-President.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_400,h_599/https://www.mastek.com/wp-content/uploads/2023/10/Vijay-Iyer-President.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_279,h_325/https://www.mastek.com/wp-content/uploads/2023/10/Ritwik-Batabyal-ctocopy.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_279,h_325/https://www.mastek.com/wp-content/uploads/2023/10/Ritwik-Batabyal-ctocopy.jpg",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_593,h_576/https://www.mastek.com/wp-content/uploads/2023/10/ramanbio.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_593,h_576/https://www.mastek.com/wp-content/uploads/2023/10/ramanbio.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_370,h_405/https://www.mastek.com/wp-content/uploads/2023/10/pr.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_370,h_405/https://www.mastek.com/wp-content/uploads/2023/10/pr.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_371,h_384/https://www.mastek.com/wp-content/uploads/2023/10/Prajakta-Talvelkar-cmo-copy.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_371,h_384/https://www.mastek.com/wp-content/uploads/2023/10/Prajakta-Talvelkar-cmo-copy.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_400,h_479/https://www.mastek.com/wp-content/uploads/2023/10/arun.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_400,h_479/https://www.mastek.com/wp-content/uploads/2023/10/arun.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_400,h_470/https://www.mastek.com/wp-content/uploads/2023/10/Untitled-1-5.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_400,h_470/https://www.mastek.com/wp-content/uploads/2023/10/Untitled-1-5.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_410,h_402/https://www.mastek.com/wp-content/uploads/2024/01/Hiral-v1.png",
"https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_410,h_402/https://www.mastek.com/wp-content/uploads/2024/01/Hiral-v1.png"
] |
[] |
[] |
[
""
] | null |
[] |
2023-08-23T06:59:40+00:00
|
Mastek is a trusted digital engineering and cloud transformation partner that delivers innovative solutions and business outcomes for its clients for 40+ years.
|
en
|
Mastek
|
https://www.mastek.com/
|
“With Mastek as our transformation partner… We’ve already dramatically cut the time it takes to make underwriting decisions and to respond to regulatory changes. Ultimately, these other advances have freed us to grow our business in line with expectations.” – from the customer
A property financial service provider migrated from on-premise servers to cloud-based infrastructure to impinge upon positive environmental impacts. Thereby, positively impacting its carbon footprint and energy consumption associated with traditional data centers.
They also achieved a 30% faster underwriting process, helping customers experience quicker response times, leading to a smoother and more efficient loan application process.
Significant loan book growth – demonstrating effective governance and strategic decision-making within the organization and seamless integration with multiple applications without modifying code has the potential to lead to cost savings and to reduce technical debt in the long run.
A company that provides single-family rental homes across the US wanted to disrupt the traditional rental industry by using technology to make the process more efficient, convenient, and transparent for their customers, employees, and vendors. Mastek helped them customize and integrate various software tools that would help them achieve their goals.
Mastek’s automation framework has helped the company foster its commitment to responsible and accountable practices, contributing to its long-term sustainability and reputation as a reliable player in the rental industry. A significant reduction in expenses was achieved and the implementation has paved the pathway to help them reduce their environmental footprint by minimizing the need for physical visits and paper-based transactions.
“The seamless integration has created amnesty between our systems and makes our tech ecosystem a lot stronger.” – Senior Manager of an industry leading virtual agent services company.
An industry leading tech-enabled platform specializing in virtual, flexible agent services were struggling to adequately track operational activities for their agents; most of which was done manually. Mastek’s Salesforce based hub enabled them to get a 360-degree view of client to agent operations.
Leveraging a virtual workforce that boasts a lower carbon footprint, Mastek has provided a cloud-based solution resulting in increased scalability and resource optimization, leading to a more efficient use of computing resources and the potential to reduce carbon emissions associated with data centers. This digitalization and streamlining of processes has led to eliminating all manual activities from reduced paper usage and resource consumption, contributing to environmental sustainability and recapturing up to 6000 work hours per year.
Mastek has helped one of UK’s largest parcel delivery network to streamline processes and operations across their internal departments which were earlier using disparate systems – therefore, contributing to the company’s efforts to operate in a more sustainable and eco-friendly manner by creating a unified back-end operation with efficient process workflows. Mastek implemented Oracle Cloud-based ERP, EPM, SCM, HCM & UK Payroll solutions.
Mastek realizes that compliance and adherence to regulations are essential for responsible business practices and to ensure a high-in-class solution, Mastek has facilitated the path to achieve high standards of governance practices that promote transparency, accountability, and ethical decision-making within the organization, which can enhance stakeholders’ trust and confidence in the company.
One of the largest public forces in the world was embarking on a digital transformation journey, aiming to be fully digital. Their existing application infrastructure was physically hosted and there were significant security constraints.
By replacing manual processes with digital ones, there’s a decrease in its environmental footprint and energy consumption associated with physical infrastructure. The implementation of a fully automated software delivery pipeline and enhanced monitoring system results in more efficient use of resources, including computing power. This aligns with an environmental focus on reducing resource consumption and emissions.
As a result, the cost savings of $2 million per year in infrastructure costs can be seen as efficient resource allocation and cost management which are important aspects of governance, and these savings enhance the company’s financial sustainability and governance practices.
Mastek has redefined the process flow for a cement manufacturing company, resulting in advanced loading capabilities, the addition of 500+ customers in a year, efficient utilization of resources, and improved turnaround time for its truck drivers by 2x.
The solution improves resource utilization by minimizing the need for manual intervention and optimizing processes, leading to reduced energy consumption, lower waste generation, and a smaller environmental footprint for the cement manufacturing process. It also reduces the likelihood of overloading, which decreases the wear and tear on vehicles and prevents increased fuel consumption. Real-time material tracking helps minimize transportation inefficiencies, leading to reduced fuel consumption and greenhouse gas emissions. Along with the environmental benefits, the system’s automation and real-time tracking enhance customer engagement and satisfaction by providing transparency and real-time updates on material delivery.
Vijay Iyer is the President of the Americas at Mastek. Spearheading our business strategies, processes, and operations, he is responsible for Mastek’s growth, as well as customer success & experience across the region.
Vijay is an industry veteran with over 30 years of diverse global experience in creating, growing & stabilizing new lines of business across various industry verticals in the Digital Engineering and Enterprise IT Services domain. He began his career as the CIO of SRF, a manufacturing company, and has had successful stints as the Industry Vertical Head at HCL Technologies & DXC Technology, Chief Sales Officer at Hexaware Technologies and CEO of Cignex Datamatics Inc. Before joining Mastek, Vijay was with Persistent Systems. His extensive experience includes strategy development, marketing & sales, organizational development, advisor relationships, leading large deals and delivery execution.
Vijay has done his MS from Birla Institute of Technology and Sciences, Pilani, India, and is an alumnus of the University of Cambridge and the Harvard Business School. He is also passionate about giving back to society and runs a non-profit charitable organization, The Iyer Foundation Inc., focused on enabling children to develop an interest in Science, Technology, Engineering, Arts & Math.
Raman Sapra is the President and Chief Growth Officer of Mastek. He is responsible for driving the growth agenda of Mastek on a global basis by scaling our Global Service Line capabilities, driving strategic engagement with our Technology Partners and executing our inorganic priorities.
An IIT Roorkee graduate – Raman has more than 25 years of experience in the IT Services Industry across companies such as Wipro, Dell Services and Sasken. Prior to this role, Raman was the President of Mastek Americas.
Prameela Kalive is the Chief Operating Officer (COO) at Mastek. As part of the Executive Leadership Team, she spearheads global delivery and operational excellence and leads cross-functional groups that include the order-to-cash processes and CIO functions.
Being the First Woman COO of the Indian IT Industry and a strong advocate of the ‘Customer First’ mindset, Prameela has over three decades of industry experience spanning multiple global portfolios including Software Delivery, Sales, Marketing, Strategy, Innovation, HR and Practice Development. Interestingly, she started her career as a Missile Scientist with the DRDO and was part of the esteemed AGNI and AKAASH Missile Development teams where she worked under the leadership of honourable Dr APJ Abdul Kalam. Before joining Mastek, she was the COO at Zensar Technologies and was an integral part of Zensar’s growth story for the past 22 years.
Prameela holds Masters Degrees in Digital Engineering and Business Administration and is an alumnus of Osmania University, the London School of Economics and the Indian School of Business.
As President, UK business, Abhishek oversees full P&L of the UK business. His major focus is driving continued improvement in financial and operational performance whilst enhancing employee and customer satisfaction levels.
He has two decades of experience in the Information Technology, Healthcare, Financial Services and BPM industries across both India and the United States, including organisations like First Source Solutions and Tech Mahindra (then Mahindra-British Telecom).
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 67
|
https://educad-academy.com/courses/siebel-open-ui-foundations/
|
en
|
Siebel Open UI Course in Karachi USA Dubai Canada Uk Saudi Arabia Australia
|
[
"https://www.facebook.com/tr?id=1150339422263360&ev=PageView&noscript=1",
"https://educad-academy.com/wp-content/uploads/2022/12/Educad-logo.png",
"https://secure.gravatar.com/avatar/65eb62a0c00a72554f8d22a691d21ab7?s=96&d=mm&r=g",
"https://cdn.printfriendly.com/buttons/printfriendly-pdf-email-button-md.png",
"https://secure.gravatar.com/avatar/65eb62a0c00a72554f8d22a691d21ab7?s=96&d=mm&r=g",
"https://educad-academy.com/wp-content/uploads/2022/03/www.educad-academy.com-SIEBEL-OPEN-UI-FOUNDATIONS-TRAINING-COURSE-2-500x300.png",
"https://educad-academy.com/wp-content/uploads/2021/12/cropped-EducadFinal.png"
] |
[] |
[] |
[
""
] | null |
[] |
2022-03-21T15:07:35+00:00
|
Siebel CRM Open UI Training Course in Karachi USA Dubai Canada Uk Saudi Arabia Australia Bangladesh Qatar UAE Call 0348-2888478 | 0336-3812063 | +44 7466 132678 | 0311-0877972
|
en
|
EDUCAD ACADEMY
|
https://educad-academy.com/courses/siebel-open-ui-foundations/
|
Siebel Open UI Foundations Online Training Course
What you will learn
Students will learn about the Siebel Open user interface and architecture in this Siebel Open UI Foundations course. Siebel online course’s second section explains the Open UI “manifest” and how to manage it, followed by descriptions of presentation models and physical renderers. The course’s last session covers both connected and unconnected modes of the Siebel mobile interface.
Learn To:
Describe the Siebel Open UI architecture.
Identify the key file types involved in customizing the Siebel Open UI client.
Administer Siebel Open UI customizations.
Make simple customizations in themes and cascading style sheets.
Make simple customizations in Open UI desktop applications.
Apply Styling
This course will lead you through the methods for modifying the application’s general appearance and feel using cascading style sheets that are grouped into themes. You can choose your preferred theme when the themes have been produced.
Hands-on exercises are a great way to learn.
Through a series of exercises, expert Oracle teachers demonstrate how to use the new architecture. Please note that JavaScript, CSS, and HTML are not covered in this course. It is preferred if you have prior experience with Siebel Tools.
Audience
Business Analysts
Configuration Consultant
Developer
Implementation Consultant
Support Engineer
Technical Consultant
Course Objectives
Describe the Siebel Open UI architecture
Identify the key file types involved in customizing the Siebel Open UI client
Administer Siebel Open UI customization
Make simple customization in themes and cascading style sheets
Make simple customization in Open UI desktop applications
Course Key Topics
Siebel Open UI Client
Proxy
Presentation Model (PM)
Physical Render-er (PR)
Plug-in Wrappers (PW)
Manifest Administration
Manifest Files
Expressions
Object types and usage
Siebel Open UI JavaScript API
Classes
Objects
Namespaces
Functions
Files and directories
Siebel Web Templates
JavaScript files and controls
Images
Metadata
Run-time data
Debugging
Property inspector
Debugger flag
SiebelJS.Log
Styling
Cascading Style Sheets (CSS files)
Themes
Styling Rules
Mobile
Flexible Class Options
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 88
|
https://www.cisco.com/c/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.html
|
en
|
Oracle Siebel CRM on Cisco Unified Computing System with EMC VNX Storage
|
[
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-01.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-02.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-03.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-04.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-05.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-06.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-07.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-08.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-09.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-10.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-11.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-12.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-13.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-14.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-15.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-16.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-17.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-18.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-19.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-20.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-21.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-22.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-23.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-24.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-25.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-26.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-27.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-28.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-29.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-30.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-31.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-32.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-33.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-34.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-35.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-36.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-37.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-38.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-39.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-40.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-41.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-42.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-43.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-44.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-45.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-46.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-47.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-48.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-49.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-50.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-51.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-52.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-53.jpg",
"https://www.cisco.com/c/dam/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.fm/_jcr_content/renditions/ucs_oracle_siebel-54.jpg",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/note.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/en/us/td/i/templates/blank.gif",
"https://www.cisco.com/c/dam/cdc/i/Feedback_OceanBlue.png",
"https://www.cisco.com/etc/designs/cdc/fw/i/icon_lock_small.png",
"https://cisco.112.2o7.net/b/ss/cisco-mobile/5/12345"
] |
[] |
[] |
[
""
] | null |
[] |
2021-09-21T10:00:10
|
Oracle Siebel CRM on Cisco Unified Computing System with EMC VNX Storage
|
en
|
Cisco
|
https://www.cisco.com/c/en/us/td/docs/unified_computing/ucs/UCS_CVDs/ucs_oracle_siebel.html
|
Table Of Contents
About the Authors
Acknowledgements
About Cisco Validated Design (CVD) Program
Oracle Siebel CRM on Cisco Unified Computing System with EMC VNX Storage
Introduction
Target Audience
Purpose of this Guide
Business Needs
Solution Overview
Technology Overview
Oracle Siebel Customer Relationship Management Solution
Multi-Tier Architecture
Cisco Unified Computing System
Fabric Interconnect
Cisco UCS 2100 and 2200 Series Fabric Extenders
Cisco UCS Blade Chassis
Cisco UCS Manager
Cisco UCS Blade Server Types
Cisco UCS Service Profiles
Cisco Nexus 5548UP Switch
I/O Adapters
EMC VNX Storage Family
EMC VNX Storage Platforms
FAST Cache Technology
FAST VP
Design Considerations for Oracle Siebel Implementation on Cisco Unified Computing System
Scalable Architecture Using Cisco UCS Servers
Boot from SAN
EMC VNX5500 - Block and File Storage Required for Oracle Siebel
Infrastructure Setup
Configuring the Cisco Unified Computing System
Logging into the UCS Manager
Editing Chassis Discovery Policy
Enabling Network Components
Creating MAC Address Pools
Creating WWPN Pools
Creating WWNN Pools
Creating UUID suffix pools
Creating VLANs
Creating Uplink Ports Channels
Creating VSANs
Creating Boot Policies
Creating Service Profile Templates
Creating Service Profile from the Template and associating it to a Blade
Configuring the EMC VNX5500
Creation of Storage Pools/RAID Groups
Creation of File System (NFS Share)
Configuring the Nexus Switches
Setting up the Nexus 5548 Switch
Enabling Nexus 5548 Switch Licensing
Configuration of Ports 29-32 as FC ports
Creating VSAN and Adding FC Interfaces
Creating VLANs and Managing Traffic
Creation and Configuration of Virtual Port Channel (VPC)
Creation of Zoneset and Zones
Cisco UCS Manager Service Profile update
Modifying Service Profile for Boot Policy
Host - Storage Connectivity
RedHat Linux OS Installation
EMC PowerPath Setup
Oracle Siebel Installation
Planning/Pre-Requisites
Understanding the Hardware and Software Prerequisites
Hardware Sizing
Installation of Oracle Database
Installation of Database Client on the Oracle Siebel Gateway/Application Servers.
Preparing the Siebel File system
Downloading the Oracle Siebel Installation Archives and Running the Oracle Siebel Image Creator
Other Installation Prerequistes
Oracle Siebel Installation
Oracle HTTP Server Installation
Gateway Server Installation
Siebel Server/ DB Utilities Installation
Oracle Siebel Configuration
Gateway Server / Enterprise Server Configuration
Creation of SWSE Logical Profile
Database Configuration
Oracle Siebel Server Configuration
SWSE Install and Configuration
Applying the SWSE Logical profile
Customizations
EAI Configuration
Workflow Configuration
Lessons Learnt & Best Practices
Oracle Siebel Performance and Scalability
Business Transactions & Workload Mix
Test Environment Setup
Small Enterprise
CPU / Memory Usage
Medium Enterprise
Large Enterprise
Transaction Throughput and Response Time
IO Characterization
Sizing Recommendations
Best Practices & Tuning Recommendations
Web Tier
Application server / Oracle Siebel Enterprise
Database Tier
Conclusion
Bill of Materials
Oracle Siebel CRM on Cisco Unified Computing
System with EMC VNX Storage
A Cisco Validated Design for Oracle Siebel CRM 8.1.1.4 with Oracle 11g R2 Database on Cisco UCS B-Series Blade Servers for Workloads Scaling up to 10,000 Users
Last Updated: April 27, 2012
Building Architectures to Solve Business Problems
About the Authors
Babu Mahadevan V, Technical Marketing Engineer, Server Access Virtualization Business Unit, Cisco Systems
Babu has over 15 years of experience in large systems performance in Financial, Telecom and Retail industry verticals focusing on optimizing both custom-made applications as well commercial product deployments. Babu was a performance engineering consultant with TCS prior to Cisco and holds a Master's degree in Electronics Engineering.
Vadiraja Bhatt, Performance Architect, Server Access Virtualization Business Unit, Cisco Systems
Vadiraja Bhatt is a Performance Architect at Cisco, managing the solutions and benchmarking effort on Cisco Unified Computing System Platform. Vadi has over 17 years of experience in performance and benchmarking the large enterprise systems deploying mission critical applications. Vadi specializes in optimizing and fine tuning complex hardware and software systems and has delivered many benchmark results on TPC and other industry standard benchmarks. Vadi has 6 patents to his credits in the Database (OLTP and DSS) optimization area.
Acknowledgements
For their support and contribution to the design, validation, and creation of the Cisco Validated Design, we would like to thank:
• Deepak Adiga-Cisco
• Radhakrishnan Manga-EMC
• Kathy Sharp-EMC
About Cisco Validated Design (CVD) Program
The CVD program consists of systems and solutions designed, tested, and documented to facilitate faster, more reliable, and more predictable customer deployments. For more information visit www.cisco.com/go/designzone.
ALL DESIGNS, SPECIFICATIONS, STATEMENTS, INFORMATION, AND RECOMMENDATIONS (COLLECTIVELY, "DESIGNS") IN THIS MANUAL ARE PRESENTED "AS IS," WITH ALL FAULTS. CISCO AND ITS SUPPLIERS DISCLAIM ALL WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE WARRANTY OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OR ARISING FROM A COURSE OF DEALING, USAGE, OR TRADE PRACTICE. IN NO EVENT SHALL CISCO OR ITS SUPPLIERS BE LIABLE FOR ANY INDIRECT, SPECIAL, CONSEQUENTIAL, OR INCIDENTAL DAMAGES, INCLUDING, WITHOUT LIMITATION, LOST PROFITS OR LOSS OR DAMAGE TO DATA ARISING OUT OF THE USE OR INABILITY TO USE THE DESIGNS, EVEN IF CISCO OR ITS SUPPLIERS HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
THE DESIGNS ARE SUBJECT TO CHANGE WITHOUT NOTICE. USERS ARE SOLELY RESPONSIBLE FOR THEIR APPLICATION OF THE DESIGNS. THE DESIGNS DO NOT CONSTITUTE THE TECHNICAL OR OTHER PROFESSIONAL ADVICE OF CISCO, ITS SUPPLIERS OR PARTNERS. USERS SHOULD CONSULT THEIR OWN TECHNICAL ADVISORS BEFORE IMPLEMENTING THE DESIGNS. RESULTS MAY VARY DEPENDING ON FACTORS NOT TESTED BY CISCO.
CCDE, CCENT, Cisco Eos, Cisco Lumin, Cisco Nexus, Cisco StadiumVision, Cisco TelePresence, Cisco WebEx, the Cisco logo, DCE, and Welcome to the Human Network are trademarks; Changing the Way We Work, Live, Play, and Learn and Cisco Store are service marks; and Access Registrar, Aironet, AsyncOS, Bringing the Meeting To You, Catalyst, CCDA, CCDP, CCIE, CCIP, CCNA, CCNP, CCSP, CCVP, Cisco, the Cisco Certified Internetwork Expert logo, Cisco IOS, Cisco Press, Cisco Systems, Cisco Systems Capital, the Cisco Systems logo, Cisco Unity, Collaboration Without Limitation, EtherFast, EtherSwitch, Event Center, Fast Step, Follow Me Browsing, FormShare, GigaDrive, HomeLink, Internet Quotient, IOS, iPhone, iQuick Study, IronPort, the IronPort logo, LightStream, Linksys, MediaTone, MeetingPlace, MeetingPlace Chime Sound, MGX, Networkers, Networking Academy, Network Registrar, PCNow, PIX, PowerPanels, ProConnect, ScriptShare, SenderBase, SMARTnet, Spectrum Expert, StackWise, The Fastest Way to Increase Your Internet Quotient, TransPath, WebEx, and the WebEx logo are registered trademarks of Cisco Systems, Inc. and/or its affiliates in the United States and certain other countries.
All other trademarks mentioned in this document or website are the property of their respective owners. The use of the word partner does not imply a partnership relationship between Cisco and any other company. (0809R)
© 2012 Cisco Systems, Inc. All rights reserved
Oracle Siebel CRM on Cisco Unified Computing System with EMC VNX Storage
Introduction
The Oracle Siebel CRM software helps organizations to differentiate their businesses to achieve maximum top-and bottom-line growth by delivering a combination of transactional, analytical, and engagement features to manage all customer-facing operations. Oracle Siebel CRM provides comprehensive CRM solutions tailored with industry needs along with pre-built integrations makes it a widely used CRM software.
Since companies compete to attract new businesses, increase customer loyalty through CRM tools, the demand can scale rapidly, forcing datacenters to expand system resources quickly to meet increasing workloads. Oracle Siebel CRM allows datacenters to scale horizontally (adding more servers at each tier as they grow), vertically (adding more powerful servers (CPUs and RAM)) or both, since it is built on Service Oriented Architecture foundation.
Oracle Siebel CRM applications, running on the Cisco Unified Computing System, can reduce the total cost of ownership at the platform, site, and organizational levels and increase IT staff productivity and business agility.
Target Audience
This document is intended to assist Solution Architects, Sales Engineers, Field Engineers and Consultants in planning, design, and deployment of Oracle Siebel CRM hosted on Cisco Unified Computing System servers. This document assumes that the reader has an architectural understanding of the Cisco UCS servers, Oracle Siebel CRM software, EMC® VNX5500™ Storage array, and related software.
Purpose of this Guide
This Cisco Validated Design demonstrates how enterprises can apply best practices for Cisco Unified Computing System, Cisco Nexus family of switches and EMC VNX5500 storage array for Oracle Siebel CRM implementation.
Design validation was achieved by conducting tests for Oracle Siebel CRM workloads using HP's LoadRunner tool. Workloads were defined as small enterprise sized workloads of 600 concurrent users, medium enterprise workloads of 3000 concurrent users and large workloads of 10000 concurrent users with proportionately increased data volumes.
Business Needs
The business needs for Oracle Siebel CRM on Cisco UCS servers are:
• As companies compete to expand to new businesses and improve customer satisfaction using CRM tools such as Oracle Siebel, it can result in high system resource demands in shortest possible time.
• Large Oracle Siebel CRM implementations require high compute, highly available system resources as optimum service levels are required to ensure business continuity.
• Cost containment and reduced complexities when adding new system resources to meet the ever increasing Siebel CRM demands.
• Ability of the system resources to upgrade/adopt to newer technologies such as cloud computing etc. without a significant impact on TCO (Total Cost of Ownership).
To meet these business needs the Cisco Unified Computing System™ server platform provides a new data center architecture that is ideal for supporting and managing mission-critical applications. The Cisco UCS is the next-generation data center server platform that unites compute, network, storage access, and virtualization into a cohesive system designed to outperform previous server architectures, increase operational agility and flexibility while potentially dramatically reducing overall data center costs.
Testing exercises conducted at Cisco labs using a well-defined Siebel CRM workload have shown that, the Cisco UCS servers scale easily to accommodate a wide range of workloads - thus validating the Siebel CRM performance requirements can be adequately met in enterprise deployments.
Combined with EMC VNX5500 storage array, Cisco UCS servers provide a compelling proposition for Oracle Siebel CRM implementation, as VNX5500 offers unified storage (both block and file access together) along with optimal response time suiting Oracle Siebel CRM requirements. EMC VNX5500 is high-performing Unified Storage with unsurpassed simplicity and efficiency, and offers new levels of performance, protection, compliance, and ease of management.
Solution Overview
The Solution demonstrates the ease of deployment of Oracle Siebel CRM version 8.1.1.4 on a fully configured Cisco UCS system with an end to end deployment of a typical Oracle Siebel CRM implementation. The solution describes the following aspects of Siebel CRM deployment on Cisco Unified Computing System:
• Configuring Cisco UCS for Oracle Siebel
– Configuring Fabric Interconnect
– Configuring Cisco UCS Blades
• Configuring EMC VNX5500 series storage enclosures for Oracle Siebel CRM
– Configuring the storage and creating LUNs
– Associating LUNs with the hosts
• Installing and configuring Oracle Siebel CRM 8.1.1.4
– Provisioning the required server resource
– Installing and Configuring Oracle Web Server, Siebel Gateway Server and Siebel Application Server
– Configuring the Oracle RAC database
• Performance characterization of Oracle Siebel CRM on Cisco Unified Computing System
– Testing and tuning Cisco UCS hardware components for Oracle Siebel CRM
– Tuning OS level parameters
– Tuning Oracle Siebel Components - Web server, Siebel server and Database server
• Sizing guide for Oracle Siebel CRM applications on Cisco UCS
– Sizing criteria and guidelines
The solution is limited to a typical, minimally customized Oracle Siebel CRM application which deals with Order Management workload. However, Oracle Siebel CRM has several modules and diverse workload characteristics which can be configured to meet the requirements of broad range of enterprise demands. Although this solution does not address all those scenarios, it provides metrics and guidelines which can be used as a baseline for extending this solution to include specific Oracle Siebel needs to deploy using Cisco Unified Computing System.
Technology Overview
Oracle Siebel Customer Relationship Management Solution
Oracle Siebel 8.1 uses a multi-tiered application framework. The Oracle Siebel environment consists of client, application, and database tiers. The client tier comprises of devices that access the application via the Web. The application tier can be broken down to two different functions, services that terminate client connections and Application Object Managers (AOM) that perform the business logic. Multiple application components can reside in the application tier providing different business functions. The database tier contains the Relational Data Base Management System (RDBMS) and shared file system. The database serves as a repository for data collections. The shared file system is for storing attachments such as Adobe Acrobat files, fax quotes, and other documents. The Oracle Siebel architecture is shown in Figure 1.
Figure 1 Oracle Siebel Architecture
Multi-Tier Architecture
Client Tier
There are multiple client types available on the Oracle Siebel platform. The major client types are Web client, mobile client, and dedicated Web client. Wireless and handheld clients are used in specialized applications such as retail and manufacturing.
• Oracle Siebel Web client—Oracle Siebel Web client uses a Web browser on the local PC. It connects to the Siebel Web server via http (port 80) or https (port 443). No additional software is required. The Web client is easy to maintain since it does not require any software upgrades.
• Oracle Siebel mobile client and dedicated client—The mobile client and dedicated client require additional software installed on the PC. The additional software provides faster throughput with less data transfers for a given transaction by sending only changed data between the client and the server. For remote users, the dedicated client allows disconnected mode and synchronizes with the database when network connectivity is restored.
• Oracle Siebel wireless client and Oracle Siebel handheld client—These two clients are specialized clients for vertical applications. The wireless client has a translator for Hypertext Transfer Protocol (HTTP) to Wireless Application Protocol (WAP), which is suitable for mobile phones. The handheld client can accommodate information on smaller screens.
Application Tier
The application tier contains two functional areas, services that terminate client connections and business logic.
The former component is called the Siebel Web Server Extension (SWSE). It is an add-on to Oracle HTTP Web server. SWSE is responsible for handling Web requests from users. It forwards user requests to the Application Object Managers (AOM) via Siebel Internet Session API (SISNAPI) protocol. Oracle Siebel provides native server load balancing for highly-available Web servers. Third party load balancers are supported as well.
There are numerous Siebel application servers that provide different business applications. Each Oracle Siebel application component can be run on a single or multiple physical servers. Application components can be load balanced at the component level across different physical server pools. Load balancing can be configured with native Siebel load balancer or a third-party load balancer.
Database Tier
The database tier provides a repository to Oracle Siebel application data. It consists of a RDBMS and a separate file system store.
• File system—The Oracle Siebel File System (SFS) is a server with a shared directory that provides NFS access to other Oracle Siebel servers. The SFS is a shared storage area for images, reports, documents, and other data. A pointer in the database record locates the file in the SFS.
• Database Server—The database server is the main data store for the Oracle Siebel application. The Oracle Siebel application servers connect directly to the database server. Oracle Database 11g is used in this deployment.
Gateway Name Server
Gateway name server is a repository for configuration information for each Siebel server. It has configuration information about the Siebel Enterprise.
Cisco Unified Computing System
The Cisco Unified Computing System is a next-generation data center platform that unites compute, network, and storage access. The platform, optimized for virtual environments, is designed using open industry-standard technologies and aims to reduce total cost of ownership (TCO) and increase business agility. The system integrates a low-latency; lossless 10 Gigabit Ethernet unified network fabric with enterprise-class, x86-architecture servers. It is an integrated, scalable, multi chassis platform in which all resources participate in a unified management domain.
The main components of Cisco Unified Computing System are:
•Computing—The system is based on an entirely new class of computing system that incorporates blade servers based on Intel Xeon 5500/5600 Series Processors. Selected Cisco UCS blade servers offer the patented Cisco Extended Memory Technology to support applications with large datasets and allow more virtual machines per server.
•Network—The system is integrated onto a low-latency, lossless, 10-Gbps unified network fabric. This network foundation consolidates LANs, SANs, and high-performance computing networks which are separate networks today. The unified fabric lowers costs by reducing the number of network adapters, switches, and cables, and by decreasing the power and cooling requirements.
•Virtualization—The system unleashes the full potential of virtualization by enhancing the scalability, performance, and operational control of virtual environments. Cisco security, policy enforcement, and diagnostic features are now extended into virtualized environments to better support changing business and IT requirements.
•Storage access—The system provides consolidated access to both SAN storage and Network Attached Storage (NAS) over the unified fabric. By unifying the storage access the Cisco Unified Computing System can access storage over Ethernet, Fibre Channel, Fibre Channel over Ethernet (FCoE), and iSCSI. This provides customers with choice for storage access and investment protection. In addition, the server administrators can pre-assign storage-access policies for system connectivity to storage resources, simplifying storage connectivity, and management for increased productivity.
•Management—The system uniquely integrates all system components which enable the entire solution to be managed as a single entity by the Cisco UCS Manager. The Cisco UCS Manager has an intuitive graphical user interface (GUI), a command-line interface (CLI), and a robust application programming interface (API) to manage all system configuration and operations.
The Cisco Unified Computing System is designed to deliver:
• A reduced Total Cost of Ownership and increased business agility.
• Increased IT staff productivity through just-in-time provisioning and mobility support.
• A cohesive, integrated system which unifies the technology in the data center. The system is managed, serviced and tested as a whole.
• Scalability through a design for hundreds of discrete servers and thousands of virtual machines and the capability to scale I/O bandwidth to match demand.
• Industry standards supported by a partner ecosystem of industry leaders.
Cisco Unified Computing System is designed from the ground up to be programmable and self integrating. A server's entire hardware stack, ranging from server firmware and settings to network profiles, is configured through model-based management. With Cisco virtual interface cards, even the number and type of I/O interfaces is programmed dynamically, making every server ready to power any workload at any time.
With model-based management, administrators manipulate a model of a desired system configuration, associate a model's service profile with the hardware components, and the system configures automatically to match the model. This automation speeds provisioning and workload migration with accurate and rapid scalability. The result is increased IT staff productivity, improved compliance, and reduced risk of failures due to inconsistent configurations.
Cisco Fabric Extender technology reduces the number of system components to purchase, configure, manage, and maintain by condensing three network layers into one. It eliminates both blade server and hypervisor-based switches by connecting fabric interconnect ports directly to individual blade servers and virtual machines. Virtual networks are now managed exactly as physical networks are, but with massive scalability. This represents a radical simplification over traditional systems, reducing capital and operating costs while increasing business agility, simplifying and speeding deployment, and improving performance. Figure 2 shows the Cisco UCS components.
Figure 2 Cisco Unified Computing System Components
Fabric Interconnect
The Cisco® UCS 6200 Series Fabric Interconnect is a core part of the Cisco Unified Computing System, providing both network connectivity and management capabilities for the system. The Cisco UCS 6200 Series offers line-rate, low-latency, lossless 10 Gigabit Ethernet, Fibre Channel over Ethernet (FCoE) and Fibre Channel functions.
The Cisco UCS 6200 Series provides the management and communication backbone for the Cisco UCS B-Series Blade Servers and Cisco UCS 5100 Series Blade Server Chassis. All chassis, and therefore all blades, attached to the Cisco UCS 6200 Series Fabric Interconnects become part of a single, highly available management domain. In addition, by supporting unified fabric, the Cisco UCS 6200 Series provides both the LAN and SAN connectivity for all blades within its domain.
From a networking perspective, the Cisco UCS 6200 Series uses a cut-through architecture, supporting deterministic, low-latency, line-rate 10 Gigabit Ethernet on all ports, 1Tb switching capacity, 160 Gbps bandwidth per chassis, independent of packet size and enabled services. The product family supports Cisco low-latency, lossless 10 Gigabit Ethernet unified network fabric capabilities, which increase the reliability, efficiency, and scalability of Ethernet networks. The Fabric Interconnect supports multiple traffic classes over a lossless Ethernet fabric from a blade server through an interconnect. Significant TCO savings come from an FCoE-optimized server design in which network interface cards (NICs), host bus adapters (HBAs), cables, and switches can be consolidated. The Cisco Fabric Interconnect is shown in Figure 3.
Figure 3 Cisco 6200 Series Fabric interconnect
The following are the different types of Cisco Fabric Interconnects:
•Cisco UCS 6296UP Fabric Interconnect
•Cisco UCS 6248UP Fabric Interconnect
•Cisco UCS U6120XP 20-Port Fabric Interconnect
•Cisco UCS U6140XP 40-Port Fabric Interconnect
Cisco UCS 6296UP Fabric Interconnect
The Cisco UCS 6296UP 96-Port Fabric Interconnect is a 2RU 10 Gigabit Ethernet, FCoE and native Fibre Channel switch offering up to 1920-Gbps throughput and up to 96 ports. The switch has 48 1/10-Gbps fixed Ethernet, FCoE and Fiber Channel ports and three expansion slots. It doubles the switching capacity of the data center fabric to improve workload density from 960Gbps to 1.92 Tbps, reduces end-to-end latency by 40 percent to improve application performance and provides flexible unified ports to improve infrastructure agility and transition to a fully converged fabric.
Cisco UCS 6248UP Fabric Interconnect
The Cisco UCS 6248UP 48-Port Fabric Interconnect is a one-rack-unit (1RU) 10 Gigabit Ethernet, FCoE and Fiber Channel switch offering up to 960-Gbps throughput and up to 48 ports. The switch has 32 1/10-Gbps fixed Ethernet, FCoE and FC ports and one expansion slot.
Cisco UCS U6120XP 20-Port Fabric Interconnect
The Cisco UCS U6120XP 20-Port Fabric Interconnect is a 1RU, 10 Gigabit Ethernet, IEEE DCB, and FCoE interconnect providing more than 500 Gbps throughput with very low latency. It has 20 fixed 10 Gigabit Ethernet, IEEE DCB, and FCoE SFP+ ports.One expansion module slot can be configured to support up to six additional 10 Gigabit Ethernet, IEEE DCB, and FCoE SFP+ ports.
Cisco UCS U6140XP 40-Port Fabric Interconnect
The Cisco UCS U6140XP 40-Port Fabric Interconnect is a 2RU, 10 Gigabit Ethernet, IEEE DCB, and FCoE interconnect built to provide 1.04 Tbps throughput with very low latency. It has 40 fixed 10 Gigabit Ethernet, IEEE DCB, and FCoE SFP+ ports.
Two expansion module slots can be configured to support up to 12 additional 10 Gigabit Ethernet, IEEE DCB, and FCoE SFP+ ports.
Cisco UCS 2100 and 2200 Series Fabric Extenders
The Cisco UCS 2100 and 2200 Series Fabric Extenders multiplex and forward all traffic from blade servers in a chassis to a parent Cisco UCS fabric interconnect over from 10-Gbps unified fabric links. All traffic, even traffic between blades on the same chassis or virtual machines on the same blade, is forwarded to the parent interconnect, where network profiles are managed efficiently and effectively by the fabric interconnect. At the core of the Cisco UCS fabric extender are application-specific integrated circuit (ASIC) processors developed by Cisco that multiplex all traffic.
Up to two fabric extenders can be placed in a blade chassis.
• The Cisco UCS 2104XP Fabric Extender has eight 10GBASE-KR connections to the blade chassis midplane, with one connection per fabric extender for each of the chassis' eight half slots. This configuration gives each half-slot blade server access to each of two 10-Gbps unified fabric-based networks through SFP+ sockets for both throughput and redundancy. It has four ports connecting the fabric interconnect.
• The Cisco UCS 2208XP is first product in the Cisco UCS 2200 Series. It has eight 10 Gigabit Ethernet, FCoE-capable, and Enhances Small Form-Factor Pluggable (SFP+) ports that connect the blade chassis to the fabric interconnect. Each Cisco UCS 2208XP has thirty-two 10 Gigabit Ethernet ports connected through the midplane to each half-width slot in the chassis. Typically configured in pairs for redundancy, two fabric extenders provide up to 160 Gbps of I/O to the chassis.
Cisco UCS Blade Chassis
The Cisco UCS 5100 Series Blade Server Chassis is a crucial building block of the Cisco Unified Computing System, delivering a scalable and flexible blade server chassis.
The Cisco UCS 5108 Blade Server Chassis, is six rack units (6RU) high and can mount in an industry-standard 19-inch rack. A single chassis can house up to eight half-width Cisco UCS B-Series Blade Servers and can accommodate both half-width and full-width blade form factors.
Four single-phase, hot-swappable power supplies are accessible from the front of the chassis. These power supplies are 92 percent efficient and can be configured to support non-redundant, N+ 1 redundant and grid-redundant configurations. The rear of the chassis contains eight hot-swappable fans, four power connectors (one per power supply), and two I/O bays for Cisco UCS 2104XP Fabric Extenders.
A passive mid-plane provides up to 20 Gbps of I/O bandwidth per server slot and up to 40 Gbps of I/O bandwidth for two slots. The chassis is capable of supporting future 40 Gigabit Ethernet standards. The Cisco UCS Blade Server Chassis is shown in Figure 4.
Figure 4 Cisco Blade Server Chassis (front and back view)
Cisco UCS Manager
Cisco UCS Manager provides unified, embedded management of all software and hardware components of the Cisco Unified Computing System through an intuitive GUI, a command line interface (CLI), or an XML API. The Cisco UCS Manager provides unified management domain with centralized management capabilities and controls multiple chassis and thousands of virtual machines.
Cisco UCS Blade Server Types
The following are the different types of Cisco Blade Servers:
•Cisco UCS B200 M3 Server
•Cisco UCS B200 M2 Server
•Cisco UCS B250 M2 Extended Memory Blade Server
•Cisco UCS B230 M2 Blade Servers
•Cisco UCS B440 M2 High-Performance Blade Servers
Cisco UCS B200 M3 Server
Delivering performance, versatility and density without compromise, the Cisco UCS B200 M3 Blade Server addresses the broadest set of workloads, from IT and Web Infrastructure through distributed database.
Building on the success of the Cisco UCS B200 M2 blade servers, the enterprise-class Cisco UCS B200 M3 server, further extends the capabilities of Cisco's Unified Computing System portfolio in a half blade form factor. The Cisco UCS B200 M3 server harnesses the power and efficiency of the Intel Xeon E5-2600 processor product family, up to 768 GB of RAM, 2 drives or SSDs and up to 2 x 20 GbE to deliver exceptional levels of performance, memory expandability and I/O throughput for nearly all applications. In addition, the Cisco UCS B200 M3 blade server offers a modern design that removes the need for redundant switching components in every chassis in favor of a simplified top of rack design, allowing more space for server resources, providing a density, power and performance advantage over previous generation servers. The Cisco UCS B200M3 Server is shown in Figure 5.
Figure 5 Cisco UCS B200 M3 Blade Server
Cisco UCS B200 M2 Server
The Cisco UCS B200 M2 Blade Server is a half-width, two-socket blade server. The system uses two Intel Xeon 5600 Series Processors, up to 96 GB of DDR3 memory, two optional hot-swappable small form factor (SFF) serial attached SCSI (SAS) disk drives, and a single mezzanine connector for up to 20 Gbps of I/O throughput. The server balances simplicity, performance, and density for production-level virtualization and other mainstream data center workloads. The Cisco UCS B200 M2 Server is shown in Figure 6.
Figure 6 Cisco UCS B200 M2 Blade Server
Cisco UCS B250 M2 Extended Memory Blade Server
The Cisco UCS B250 M2 Extended Memory Blade Server is a full-width, two-socket blade server featuring Cisco Extended Memory Technology. The system supports two Intel Xeon 5600 Series Processors, up to 384 GB of DDR3 memory, two optional SFF SAS disk drives, and two mezzanine connections for up to 40 Gbps of I/O throughput. The server increases performance and capacity for demanding virtualization and large-data-set workloads with greater memory capacity and throughput. The Cisco UCS Extended Memory Blade Server is shown in Figure 7.
Figure 7 Cisco UCS B250 M2 Extended Memory Blade Server
Cisco UCS B230 M2 Blade Servers
The Cisco UCS B230 M2 Blade Server is a full-slot, 2-socket blade server offering the performance and reliability of the Intel Xeon processor E7-2800 product family and up to 32 DIMM slots, which support up to 512 GB of memory. The Cisco UCS B230 M2 supports two SSD drives and one CNA mezzanine slot for up to 20 Gbps of I/O throughput. The Cisco UCS B230 M2 Blade Server platform delivers outstanding performance, memory, and I/O capacity to meet the diverse needs of virtualized environments with advanced reliability and exceptional scalability for the most demanding applications.
Cisco UCS B440 M2 High-Performance Blade Servers
The Cisco UCS B440 M2 High-Performance Blade Server is a full-slot, 2-socket blade server offering the performance and reliability of the Intel Xeon processor E7-4800 product family and up to 512 GB of memory. The Cisco UCS B440 M2 supports four SFF SAS/SSD drives and two CNA mezzanine slots for up to 40 Gbps of I/O throughput. The Cisco UCS B440 M2 blade server extends Cisco UCS by offering increased levels of performance, scalability, and reliability for mission-critical workloads.
Cisco UCS Service Profiles
Programmatically Deploying Server Resources
Cisco UCS Manager provides centralized management capabilities, creates a unified management domain, and serves as the central nervous system of the Cisco UCS. Cisco UCS Manager is embedded device management software that manages the system from end-to-end as a single logical entity through an intuitive GUI, CLI, or XML API. Cisco UCS Manager implements role- and policy-based management using service profiles and templates. This construct improves IT productivity and business agility. Now infrastructure can be provisioned in minutes instead of days, shifting IT's focus from maintenance to strategic initiatives.
Dynamic Provisioning with Service Profiles
Cisco UCS resources are abstract in the sense that their identity, I/O configuration, MAC addresses and WWNs, firmware versions, BIOS boot order, and network attributes (including QoS settings, pin groups, and threshold policies) all are programmable using a just-in-time deployment model. The manager stores this identity, connectivity, and configuration information in service profiles that reside on the Cisco UCS 6100 Series Fabric Interconnect. A service profile can be applied to any blade server to provision it with the characteristics required to support a specific software stack. A service profile allows server and network definitions to move within the management domain, enabling flexibility in the use of system resources. Service profile templates allow different classes of resources to be defined and applied to a number of resources, each with its own unique identities assigned from predetermined pools.
Service Profiles and Templates
A service profile contains configuration information about the server hardware, interfaces, fabric connectivity, and server and network identity. The Cisco UCS Manager provisions servers utilizing service profiles. The Cisco UCS Manager implements a role-based and policy-based management focused on service profiles and templates. A service profile can be applied to any blade server to provision it with the characteristics required to support a specific software stack. A service profile allows server and network definitions to move within the management domain, enabling flexibility in the use of system resources.
Service profile templates are stored in the Cisco UCS 6100 Series Fabric Interconnects for reuse by server, network, and storage administrators. Service profile templates consist of server requirements and the associated LAN and SAN connectivity. Service profile templates allow different classes of resources to be defined and applied to a number of resources, each with its own unique identities assigned from predetermined pools.
The Cisco UCS Manager can deploy the service profile on any physical server at any time. When a service profile is deployed to a server, the Cisco UCS Manager automatically configures the server, adapters, Fabric Extenders, and Fabric Interconnects to match the configuration specified in the service profile. A service profile template parameterizes the UIDs that differentiate between server instances.
This automation of device configuration reduces the number of manual steps required to configure servers, Network Interface Cards (NICs), Host Bus Adapters (HBAs), and LAN and SAN switches. Figure 8 shows the Service profile which contains abstracted server state information, creating an environment to store unique information about a server.
Figure 8 Service Profile
Cisco Nexus 5548UP Switch
The Cisco Nexus 5548UP is a 1RU 1 Gigabit and 10 Gigabit Ethernet switch offering up to 960 gigabits per second throughput and scaling up to 48 ports. It offers 32 1/10 Gigabit Ethernet fixed enhanced Small Form-Factor Pluggable (SFP+) Ethernet/FCoE or 1/2/4/8-Gbps native FC unified ports and three expansion slots. These slots have a combination of Ethernet/FCoE and native FC ports. The Cisco Nexus 5548UP switch is shown in Figure 9.
Figure 9 Cisco Nexus 5548UP switch
I/O Adapters
The Cisco UCS Blade Server has various Converged Network Adapters (CNA) options. The Cisco UCS M81KR Virtual Interface Card (VIC) option is used in this Cisco Validated Design.
This Cisco UCS M81KR VIC is unique to the Cisco UCS blade system. This mezzanine card adapter is designed around a custom ASIC that is specifically intended for VMware-based virtualized systems. It uses custom drivers for the virtualized HBA and 10-GE network interface card. As is the case with the other Cisco CNAs, the Cisco UCS M81KR VIC encapsulates fibre channel traffic within the 10-GE packets for delivery to the Fabric Extender and the Fabric Interconnect.
The Cisco UCS M81KR VIC provides the capability to create multiple VNICs (up to 128 in version 1.4) on the CNA. This allows complete I/O configurations to be provisioned in virtualized or non-virtualized environments using just-in-time provisioning, providing tremendous system flexibility and allowing consolidation of multiple physical adapters.
System security and manageability is improved by providing visibility and portability of network policies and security all the way to the virtual machines. Additional M81KR features like VN-Link technology and pass-through switching, minimize implementation overhead and complexity. The Cisco UCS M81KR VIC is as shown in Figure 10.
Figure 10 Cisco UCS M81KR VIC
VIC1240
The Cisco UCS Virtual Interface Card 1240 is a 4-port 10 Gigabit Ethernet, Fibre Channel over Ethernet (FCoE)-capable modular LAN on motherboard (mLOM) designed exclusively for the M3 generation of Cisco UCS B-Series Blade Servers. When used in combination with an optional Port Expander, the Cisco UCS VIC 1240 capabilities can be expanded to eight ports of 10 Gigabit Ethernet. The Cisco UCS VIC 1240 enables a policy-based, stateless, agile server infrastructure that can present up to 256 PCIe standards-compliant interfaces to the host that can be dynamically configured as either network interface cards (NICs) or host bus adapters (HBAs). In addition, the Cisco UCS VIC 1240 supports Cisco Data Center Virtual Machine Fabric Extender (VM-FEX) technology, which extends the Cisco UCS fabric interconnect ports to virtual machines, simplifying server virtualization deployment.
VIC1280
The Cisco UCS Virtual Interface Card 1280 is an eight-port 10 Gigabit Ethernet, Fibre Channel over Ethernet (FCoE)-capable mezzanine card designed exclusively for Cisco UCS B-Series Blade Servers. The card enables a policy-based, stateless, agile server infrastructure that can present up to 256 PCIe standards-compliant interfaces to the host that can be dynamically configured as either network interface cards (NICs) or host bus adapters (HBAs). In addition, the Cisco UCS VIC 1280 supports Cisco Virtual Machine Fabric Extender (VM-FEX) technology, which extends the Cisco UCS Fabric Interconnect ports to virtual machines, simplifying server virtualization deployment.
EMC VNX Storage Family
The EMC® VNX™ family of storage systems represents EMC's next generation of unified storage, optimized for virtual environments, while offering a cost effective choice for deploying mission-critical enterprise applications such as Oracle Siebel. The massive virtualization and consolidation trends with servers demand a new storage technology that is dynamic and scalable. The EMC VNX series meets these requirements and offers several software and hardware features for optimally deploying enterprise applications such as Oracle Siebel. The EMC VNX family is shown in Figure 11.
Figure 11 The EMC VNX Family of Unified Storage Platforms
A key distinction of this new generation of platforms is, support for both block and file-based external storage access over a variety of access protocols, including Fibre Channel (FC), iSCSI, FCoE, NFS, and CIFS network shared file access. Furthermore, data stored in one of these systems, whether accessed as block or file-based storage objects, is managed uniformly via Unisphere, a web-based interface window. Additional information on Unisphere can be found on emc.com in the white paper titled: Introducing EMC Unisphere: A Common Midrange Element Manager, see:
http://www.emc.com/collateral/software/white-papers/h8017-unisphere-element-manager.pdf.
EMC VNX Storage Platforms
The new EMC VNX family of unified storage platforms continues the EMC tradition of providing some of the highest data reliability and availability in the industry. Apart from this they also include in their design a boost in performance and bandwidth to address the sustained data access bandwidth rates. The new system design has also placed heavy emphasis on storage efficiencies and density, as well as crucial green storage factors, such as a smaller data center footprint, lower power consumption, and improvements in power reporting. The VNX5500™ model was used in this Oracle Siebel implementation exercise. All models in EMC's new VNX storage family now support the 2.5" SAS drives in a 2U disk array enclosure (DAE) that can hold up to 25 drives, one of the densest offerings in the industry. For example, compared to the older-generation technology of storing 15 x 600 GB worth of data using the 3.5" FC drives in a 3U DAE, the new DAE which uses 25 x 600 GB drives in a 2U footprint means an increase of 2.5 times. The power efficiency of the new DAEs also makes it more cost-effective to store the increased data in this much more compact footprint without the need to increase power consumption and cooling. For more information on VNX Series, see: http://www.emc.com/collateral/hardware/data-sheets/h8520-vnx-family-ds.pdf.
Key efficiency features available with the VNX series include FAST Cache and FAST VP.
FAST Cache Technology
FAST cache is a storage performance optimization feature that provides immediate access to frequently accessed data. In traditional storage arrays, the DRAM caches are too small to maintain the hot data for a long period of time. Very few storage arrays give an option to non-disruptively expand DRAM cache, even if they support DRAM cache expansion. FAST Cache extends the available cache to customers by up to 2 TB using enterprise Flash drives. FAST Cache tracks the data temperature at 64 KB granularity and copies hot data to the Flash drives once its temperature reaches a certain threshold. After a data chunk gets copied to FAST Cache, the subsequent accesses to that chunk of data will be served at Flash latencies. Eventually, when the data temperature cools down, the data chunks get evicted from FAST Cache and will be replaced by newer hot data. FAST Cache uses a simple Least Recently Used (LRU) mechanism to evict the data chunks.
FAST Cache is built on the premise that the overall applications' latencies can improve when most frequently accessed data is maintained on a relatively smaller sized, but faster storage medium, like Flash drives. FAST Cache identifies the most frequently accessed data which is temporary and copies it to the flash drives automatically and non-disruptively. The data movement is completely transparent to applications, thereby making this technology application-agnostic and management-free. For example, FAST Cache can be enabled or disabled on any storage pool simply by selecting/clearing the "FAST Cache" storage pool property in advanced settings.
FAST Cache can be selectively enabled on a few or all storage pools within a storage array, depending on application performance requirements and SLAs.
There are several distinctions to EMC FAST Cache:
• It can be configured in read/write mode, which allows the data to be maintained on a faster medium for longer periods, irrespective of application read-to-write mix and data re-write rate.
• FAST Cache is created on a persistent medium like Flash drives, which can be accessed by both the storage processors. In the event of a storage processor failure, the surviving storage processor can simply reload the cache rather than repopulating it from scratch. This can be done by observing the data access patterns again, which is a differentiating factor.
• Enabling FAST Cache is completely non-disruptive. It is as simple as selecting the Flash drives that are part of FAST Cache and does not require any array disruption or downtime.
• Since FAST Cache is created on external Flash drives, adding FAST Cache will not consume any extra PCI-E slots inside the storage processor.
EMC FAST Cache used in this Oracle Siebel architecture is as shown in Figure 12.
Figure 12 EMC FAST Cache
Additional information on EMC Fast Cache is documented in the white paper titled EMC FAST Cache - A Detailed Review which is available at:
http://www.emc.com/collateral/software/white-papers/h8046-clariion-celerra-unified-fast-cache-wp.pdf.
FAST VP
VNX FAST VP is a policy-based auto-tiering solution for enterprise applications. FAST VP operates at a granularity of 1 GB, referred to as a "slice". The goal of FAST VP is to efficiently utilize storage tiers to lower customers' TCO by tiering colder slices of data to high-capacity drives, such as NL-SAS, and to increase performance by keeping hotter slices of data on performance drives, such as Flash drives. This occurs automatically and transparently to the host environment. High locality of data is important to realize the benefits of FAST VP. When FAST VP relocates data, it will move the entire slice to the new storage tier. To successfully identify and move the correct slices, FAST VP automatically collects and analyzes statistics prior to relocating data. Customers can initiate the relocation of slices manually or automatically by using a configurable, automated scheduler that can be accessed from the Unisphere management tool. The multi-tiered storage pool allows FAST VP to fully utilize all the storage tiers: Flash, SAS, and NL-SAS. The creation of a storage pool allows for the aggregation of multiple RAID groups, using different storage tiers, into one object. The LUNs created out of the storage pool can be either thickly or thinly provisioned. These "pool LUNs" are no longer bound to a single storage tier. Instead, they can be spread across different storage tiers within the same storage pool. If you create a storage pool with one tier (Flash, SAS, or NL-SAS), then FAST VP has no impact on the performance of the system. To operate FAST VP, you need at least two tiers.
Additional information on EMC FAST VP for Unified Storage is documented in the white paper titled EMC FAST VP for Unified Storage System - A Detailed Review, see: http://www.emc.com/collateral/software/white-papers/h8058-fast-vp-unified-storage-wp.pdf.
FAST Cache and FAST VP are offered in a FAST Suite package as part of the VNX Total Efficiency Pack. This pack includes the FAST Suite which automatically optimizes for the highest system performance and lowest storage cost simultaneously. In addition, this pack includes the Security and Compliance Suite which keeps data safe from changes, deletions, and malicious activity. For additional information on this Total Efficiency Pack as well as other offerings such as the Total Protection Pack, see: http://www.emc.com/collateral/software/data-sheet/h8509-vnx-software-suites-ds.pdf
Design Considerations for Oracle Siebel Implementation on Cisco Unified Computing System
In this section, the key design considerations such as scalability, high availability, and performance are addressed for Oracle Siebel Implementation on Cisco Unified Computing System. Since most organizations use Siebel as front end application dealing with their customers/partners, the demands on non-functional aspects are very critical.
Scalable Architecture Using Cisco UCS Servers
The target workloads for the small, medium, and large enterprise were modeled based on the real world CRM implementation for this exercise is as shown in Table 1.
The classification is based on a typical deployment scenario in an enterprise, keeping in mind the load and data size requirements. These broad classifications can be taken as framework for sizing the Cisco UCS servers.
The deployment configurations for small, medium and large Oracle Siebel enterprises are shown in Figure 13. These configurations were built by leveraging the modular architecture of Oracle Siebel as well by the choice of a range of Cisco UCS servers based on their capacity. In order to achieve high availability, redundancy at the level of the database servers, Siebel application servers, web servers with gateway servers are considered.
Figure 13 Oracle Siebel Deployment Options for Small, Medium and Large Enterprises
Figure 14 shows a deployment topology configured for a small Oracle Siebel Enterprise, which uses Cisco UCS B200/B230 servers, Cisco 6100 series Fabric Interconnects, Nexus 5000 series switches and EMC VNX5500 storage. The B200 M2 blade server is an entry level blade server which is suitable for low to moderate compute/ memory workloads such as web servers and gateway servers. However with increased CPU capacity, it can also serve as Application server in small enterprise Oracle Siebel setup.
For medium size enterprise setup, an additional blade is added at database tier to facilitate for a two node Oracle RAC (Real Application Cluster) implementation. With a typical customer scenario having 3000 concurrent users and 150 GB of database size, high availability of database is critical which is achieved using Oracle RAC. Since redundancy is essential for every critical component (such as network and I/O paths) within the database nodes, full width B250 blade server is chosen to host individual Oracle RAC nodes.
Figure 14 Small Oracle Siebel Enterprise - Topology
For large deployments, additional application servers are added as shown in Figure 15. Each of the components (Web, Application and DB server) can be scaled for increase in the workload.
Figure 15 Large Oracle Siebel Enterprise - Topology
Boot from SAN
Boot from SAN is a critical feature which helps to achieve stateless computing in which there is no static binding between a physical server and the OS / applications hosted on that server. The OS is installed on a SAN LUN and is booted using the service profile. When the service profile is moved to another server, the server policy and the PWWN of the HBAs will also move along with the service profile. The new server takes the identity of the old server and looks identical to the old server.
The following are the benefits of boot from SAN:
• Reduce Server Footprint - Boot from SAN eliminates the need for each server to have its own direct-attached disk (internal disk) which is a potential point of failure. The following are the advantages of diskless servers:
– Require less physical space
– Require less power
– Require fewer hardware components
– Less expensive
• Disaster and Server Failure Recovery—Boot information and production data stored on a local SAN can be replicated to another SAN at a remote disaster recovery site. When server functionality at the primary site goes down in the event of a disaster, the remote site can take over with a minimal downtime.
• Recovery from server failures—Recovery from server failures is simplified in a SAN environment. Data can be quickly recovered with the help of server snapshots, and mirrors of a failed server in a SAN environment. This greatly reduces the time required for server recovery.
• High Availability—A typical data center is highly redundant in nature with redundant paths, redundant disks and redundant storage controllers. The operating system images are stored on SAN disks which eliminates potential problems caused due to mechanical failure of a local disk.
• Rapid Redeployment—Businesses that experience temporary high production workloads can take advantage of SAN technologies to clone the boot image and distribute the image to multiple servers for rapid deployment. Such servers may only need to be in production for hours or days and can be readily removed when the production need has been met. Highly efficient deployment of boot images makes temporary server usage highly cost effective.
• Centralized Image Management—When an operating system images are stored on SAN disks, all upgrades and fixes can be managed at a centralized location. Servers can readily access changes made to disks in a storage array.
With boot from SAN, the server image resides on the SAN and the server communicates with the SAN through a Host Bus Adapter (HBA). The HBA BIOS contain instructions that enable the server to find the boot disk. After Power OnSelf Test (POST), the server hardware component fetches the designated boot device in the hardware BOIS settings. Once the hardware detects the boot device, it follows the regular boot process.
EMC VNX5500 - Block and File Storage Required for Oracle Siebel
Oracle Siebel data is traditionally stored in any of the supported RDBMS such as Oracle using block storage. In our current implementation, the EMC VNX5500 storage system is used for block storage. The EMC VNX5500's capability of storing files and block access in unified manner is leveraged in this solution. LUNs are carved out using heterogeneous storage pools (FAST Virtual Pool with Flash drives, SAS, and NL-SAS disks) to ensure meeting the Oracle Siebel CRM storage capacity and performance demands. FAST Cache is enabled for the entire array to ensure faster response times for both read and write operations.
Storing files such as PDFs, Word Documents etc., is also common requirement along with captured data. Familiar examples are adding resolution steps of Service Requests in MS word document format (or) generating an invoice document (typically a PDF) for a newly captured order. The EMC VNX5500 has datamover components which allow accessing these files using NFS/CIFS protocols and hence reduces the data management challenges.
Infrastructure Setup
This section describes the configuration and setup details for:
• Cisco UCS with and without boot Policy
• EMC Storage
• Nexus Switch
Configuring the Cisco Unified Computing System
This section details the Cisco UCS configuration that is done as part of the infrastructure build for deployment of Oracle Siebel. The racking, power and installation of the chassis are described in the install guide: http://www.cisco.com/en/US/docs/unified_computing/Cisco UCS/hw/chassis/install/Cisco UCS5108_install.html.
One of the important aspects of configuring a physical blade in the Cisco UCS 5108 chassis is to build a Service Profile through the Cisco UCS Manager. Service profile is an extension of the virtual machine abstraction applied to physical servers. The definition has been expanded to include elements of the environment that span the entire data center, encapsulating the server identity (LAN and SAN addressing, I/O configurations, firmware versions, boot order, network VLAN, physical port, and quality-of-service [QoS] policies) in logical service profiles that can be dynamically created and associated with any physical blade in the system within minutes as compared to the considerable time consumption in a conventional approach. The association of service profiles with the physical servers is performed as a simple, single operation. It enables migration of identities between servers in the environment without requiring any physical configuration changes and facilitates rapid Cisco UCS Server provisioning for replacements of failed servers. Service profiles can be created either from an existing template or from cloning an existing profile or from a new service profile.
Logging into the UCS Manager
To log into Cisco UCS Manager, perform the following steps:
1. Open the Web browser with the Cisco UCS 6120 Fabric Interconnect cluster address.
2. Click Launch to download the Cisco UCS Manager software.
3. You might be prompted to accept security certificates; accept as necessary.
4. In the login page, enter "admin" in username text box and the password set during the initial setup in the password text box.
5. Click Login to access the Cisco UCS Manager software.
Verification: The Cisco UCS Manager software must show up after clicking "Login".
Editing Chassis Discovery Policy
To edit the chassis discovery policy, perform the following steps:
1. Navigate to the Equipment tab in the right pane of the UCS Manager.
2. In the right pane, click the Policies tab.
3. Under Global Policies, change the Chassis Discovery Policy to 4-link.
4. Click Save Changes in the bottom right corner.
Enabling Network Components
To enabling Fiber Channel, servers, and uplink ports, perform the following steps:
1. Select the Equipment tab on the top left of the UCS Manager window.
2. Select Equipment>Fabric Interconnects >Fabric Interconnect A (primary) >Fixed Module.
3. Expand the Unconfigured Ethernet Ports section.
4. Select ports 1-12 that are connected to the UCS chassis and right-click on them and select Configure as Server Port.
5. Click Yes to confirm, and then click OK to continue.
6. Select ports 17 and 19. These ports are connected to the Cisco Nexus 5548 switches. Right-click on them and select Configure as Uplink Port.
7. Click Yes to confirm, and then click OK to continue.
8. Select Equipment > Fabric Interconnects >Fabric Interconnect A (primary) > Expansion Module 2.
9. Ensure the FC ports 1-2 are not disabled.
10. Click Yes to confirm, and then click OK to continue.
11. Select Equipment > Fabric Interconnects >Fabric Interconnect A (primary).
12. Right click, and select Set FC Switching Mode to put the Fabric Interconnect in Fiber Channel Switching Mode.
13. Click Yes to confirm.
14. A message displays stating that the "Fiber Channel Switching Mode has been set and the switch will reboot". Click OK to continue. Wait until the UCS Manager is available again and log back into the interface.
15. Select Equipment > Fabric Interconnects > Fabric Interconnect B (subordinate) > Fixed Module.
16. Expand the Unconfigured Ethernet Ports section.
17. Select ports 1-12. These ports are connected to the UCS chassis and right-click on them and select Configure as Server Port.
18. Click Yes to confirm and then click OK to continue.
19. Select ports 17 and 19. These ports are connected to the Cisco Nexus 5548 switches. Right-click on them, and select Configure as Uplink Port.
20. Click Yes to confirm, and then click OK to continue.
21. Select Equipment > Fabric Interconnects > Fabric Interconnect B (subordinate) > Expansion Module 2.
22. Ensure the FC ports 1-2 are not disabled.
23. Click Yes to confirm, and then click OK to save changes and exit.
Verification: Check if all configured links show their status as "up" as shown in Figure 16 for Fabric Interconnect A. This can also be verified on the Cisco Nexus switch side by running "show int status" and all the ports connected to the Cisco UCS fabric interconnects are shown as "up".
Figure 16 Configured Links Shown on Fabric Interconnect A
Creating MAC Address Pools
To create MAC Address pools, perform the following steps:
1. Select the LAN tab on the left of the Cisco UCS Manager window.
2. Under Pools > root.
Note Two MAC address pools will be created, one for fabric A and one for fabric B.
3. Right-click MAC Pools under the root organization and select Create MAC Pool to create the MAC address pool for fabric A.
4. Enter Siebel_MAC_Pool_A for the name of the MAC pool for fabric A.
5. Enter a description of the MAC pool in the description text box. This is optional; you can choose to omit the description.
6. Click Next to continue.
7. Click Add to add the MAC address pool.
8. Specify a starting MAC address for fabric A.
Note The default is fine, but it is recommended to change the second before last octet to be "0A" to differentiate between MAC addresses in fabric A and fabric B (00:25:85:00:0A:00).
9. Specify the size as 32 for the MAC address pool for fabric A.
10. Click OK.
11. Click Finish.
12. A pop-up message box appears, click OK to save changes.
13. Right-click MAC Pools under the root organization and select Create MAC Pool to create the MAC address pool for fabric B.
14. Enter Siebel_MAC_Pool_B for the name of the MAC pool for fabric B.
15. Enter a description of the MAC pool in the description text box. This is optional; you can choose to omit the description.
16. Click Next to continue.
17. Click Add to add the MAC address pool.
18. Specify a starting MAC address for fabric B.
Note The default is fine, but it is recommended to change the second before last octet to be "0B" to differentiate between MAC addresses in fabric A and fabric B (00:25:85:00:0B:00).
19. Specify the size as 32 for the MAC address pool for fabric B.
20. Click OK.
21. Click Finish.
22. A pop-up message box appears; click OK to save changes and exit.
Verification: Select LAN tab > Pools > root. Select MAC Pools and it expands to show the MAC pools created. On the right pane, details of the MAC pools are displayed as shown in Figure 17.
Figure 17 MAC Pool Details
Creating WWPN Pools
To create WWPN pools, perform the following steps:
1. Select the SAN at the top left of the Cisco UCS Manager window.
2. Select WWPN Pools > root.
Note Two WWPN pools will be created, one for fabric A and one for fabric B.
3. Right-click WWPN Pools and select Create WWPN Pool.
4. Enter Siebel_WWPN_Pool_A as the name for the WWPN pool for fabric A.
5. Enter a description of the WWPN pool in the description text box. This is optional; you can choose to omit the description.
6. Click Next.
7. Click Add to add a block of WWPNs.
8. Enter 20:00:00:25:B5:00:0A:00 as the starting WWPN in the block for fabric A.
Note It is recommended to change the octet next to 25 to some number to identify the FI pair in the Datacenter (here Oracle Siebel FIs are in fifth rack hence used `B5') in order to avoid the same WWPNs get published in Nexus switch level which may be talking to multiple FI pair. Also suggested to change the second-to-last octet to be "0A" to differentiate between WWPNs in fabric A and fabric B (20:00:00:25:B5:00:0A:00).
9. Set the size of the WWPN block to 48.
10. Click OK to continue.
11. Click Finish to create the WWPN pool.
12. Click OK to save changes.
13. Right-click WWPN Pools and select Create WWPN Pool.
14. Enter Siebel_WWPN_Pool_B as the name for the WWPN pool for fabric B.
15. Enter a description of the WWPN pool in the description text box. This is optional; you can choose to omit the description.
16. Click Next.
17. Click Add to add a block of WWPNs.
18. Enter 20:00:00:25:B5:00:0B:00 as the starting WWPN in the block for fabric B.
Note It is recommended to change the octet next to 25 as `B5' (from 00) and second-to-last octet to be "0B" to identify as fabric B (20:00:00:25:B5:00:0B:00).
19. Set the size of the WWPN block to 48.
20. Click OK to continue.
21. Click Finish to create the WWPN pool.
22. Click OK to save changes and exit.
Verification: The new name with the 48 block size displays in the right panel when WWPN pools is selected on the left panel. Also verify that the second-to-last octet reflects the fabric ID as shown in Figure 18.
Figure 18 WWPN Pool Details
Creating WWNN Pools
To create WWNN pools, perform the following steps:
1. Select the SAN tab at the top left of the UCS manager window.
2. Select Pools > root.
3. Right-click WWNN Pools and select Create WWNN Pool.
4. Enter Oracle Siebel_WWNN_Pool as the name of the WWNN pool.
5. Enter a description of the WWNN pool in the description text box. This is optional; you can choose to omit the description.
6. Click Next to continue.
7. A pop-up window "Add WWN Blocks" appears; click Add at the bottom of the page.
8. A pop-up window "Create WWN Blocks" appears; set the size of the WWNN block to 32.
9. Click OK to continue.
10. Click Finish.
11. Click OK to save changes and exit.
Verification: The new name with the 32 block size displays in the right panel when WWNN pools is selected on the left panel as shown in Figure 19.
Figure 19 WWNN Pool Details
Creating UUID suffix pools
To create UUID suffix pools, perform the following steps:
1. Select the Servers tab on the top left of the Cisco UCS Manager window.
2. Select Pools > root.
3. Right-click UUID Suffix Pools and select Create UUID Suffix Pool.
4. Enter the name the UUID suffix pool as Siebel_UUID_Pool.
5. Enter a description of the UUID suffix pool in the description text box. This is optional; you can choose to omit the description.
6. Prefix is set to "derived" by default. Do not change the default setting.
7. Click Next to continue.
8. A pop-up window "Add UUID Blocks" appears. Click Add button at the bottom of the window to add a block of UUID suffixes.
9. The "Form" field will be in default setting. Do not change the "From" field.
10. Set the size of the UUID suffix pool to 32.
11. Click OK to continue.
12. Click Finish to create the UUID suffix pool.
13. Click OK to save changes and exit.
Verification: Ensure that the UUID suffix pools created are displayed as shown in Figure 20.
Figure 20 UUID Suffix Pool Details
Creating VLANs
To create VLANs, perform the following steps:
1. Select the LAN tab on the left of the Cisco UCS Manager window.
Note Three VLANs will be created for Management Traffic, Data traffic and Oracle RAC database inter-node private traffic.
2. Right-click VLANs in the tree and click Create VLANs.
3. Enter MGMT-VLAN for the name of the VLAN (for example, 809). This name will be used for traffic management.
4. Keep the option "Common/Global" selected for the scope of the VLAN.
5. Enter a VLAN ID for the management VLAN. Keep the sharing type as "none".
6. Similarly create VLANs for Application data traffic (for example, 812) and Oracle Private traffic (192).
Verification: Select LAN tab > LAN Cloud > VLANs. Open VLANs and all of the created VLANs are displayed. The right pane gives the details of all individual VLANs as shown in Figure 21.
Figure 21 Details of Created VLANs
Creating Uplink Ports Channels
To create uplink port channels to Nexus 5548 switches, perform the following steps:
1. Select the LAN tab on the left of the Cisco UCS Manager window.
Note Two port channels are created, one from fabric A to both Cisco Nexus 5548 switches and one from fabric B to both Cisco Nexus 5548 switches.
2. Expand the "Fabric A" tree.
3. Right-click on the "Port Channels" and click Create Port Channel.
4. Enter "13" as the unique ID of the port channel.
5. Enter "Siebel_Po13" as the name of the port channel.
6. Click Next.
7. Select ports 1/17 and 1/19 to be added to the port channel.
8. Click >> to add the ports to the Port Channel.
9. Click Finish to create the port channel.
10. A pop-up message box appears, click OK to continue.
11. In the left pane, click the newly created port channel.
12. In the right pane under "Actions", choose Enable Port Channel option.
13. In the pop-up box, click Yes, and then click OK to save changes.
14. Expand the "Fabric B" tree.
15. Right-click on the "Port Channels" and click Create Port Channel.
16. Enter "14" as the unique ID of the port channel.
17. Enter "Siebel_Po14" as the name of the port channel.
18. Click Next.
19. Select ports 1/17 and 1/19 to be added to the Port Channel.
20. Click >> to add the ports to the Port Channel.
21. Click Finish to create the port channel.
22. A pop-up message box appears, click OK to continue.
23. In the left pane, click the newly created port channel.
24. In the right pane under "Actions", choose Enable Port Channel option.
25. In the pop-up box, click Yes, and then click OK to save changes.
Verification: Select LAN tab > LAN Cloud. On the Right Pane, select the LAN Uplinks and expand the Port channels listed as shown in the following Figure 22.
Note In order for the Fabric Interconnect Port Channels to get enabled, the vpc needs to be configured first at Nexus 5548 Switches as described in Creation and Configuration of Virtual Port Channel (VPC).
Figure 22 Details of Port channels
Creating VSANs
To create VSANs, perform the following steps:
1. Select the SAN tab at the top left of the Cisco UCS Manager window.
2. Expand the SAN cloud tree.
3. Right-click on the "VSANs" and click Create VSAN.
4. Enter "Siebel_VSAN" as the VSAN name for Fabric A.
5. Enter "2" as the VSAN ID.
6. Enter "2" as the FCoE VLAN ID.
7. Click OK to create the VSANs.
Verification: Select SAN tab >SAN Cloud >VSANs on the left panel. The right panel displays the created VSANs as shown in the following Figure 23.
Figure 23 Details of Created VSANs
Creating Boot Policies
Do not select any boot policy at this time. It must be done after creating LUNs in EMC VNX5500 storage system and establishing connectivity. To modify the Service Profile, see the section Modifying Service Profile for Boot Policy.
Creating Service Profile Templates
To create service profile templates, perform the following steps:
1. Select the Servers tab at the top left of the Cisco UCS Manager window.
2. Select Service Profile Templates > root. In the right window, click Create Service Profile Template under the Actions tab.
3. The Create Service Profile Template window appears.
a. Identify the Service Profile Template section.
– Enter the name of the service profile template as "Cisco UCS-Oracle Siebel".
– Select the type as "Initial Template".
– In the UUID section, select "Siebel_UUID_Pool" as the UUID pool.
– Click Next to continue to the next section.
b. Storage Section
– Select "RAID 1" for the Local Storage field for local hard disk resiliency.
– Select the option "Expert" for the field "How would you like to configure SAN connectivity".
– In the WWNN Assignment field, select "Siebel_WWNN_Pool".
– Click Add button at the bottom of the window to add vHBAs to the template.
Note We need to create four vHBAs and First pair of vHBA's will be used for SAN Boot LUN and Second pair of vHBA's will be used for Oracle Siebel Application purposes.
– The Create vHBA window appears. Ensure that the vHBA is "vhba0".
– In the WWPN Assignment field, select "Siebel_WWPN_Pool_A".
– Ensure that the Fabric ID is set to "A".
– In the "Select VSAN" field, select "Siebel_VSAN".
– Click OK to save changes.
– Click Add button at the bottom of the window to add vHBAs to the template.
– The Create vHBA window appears. Ensure that the vHBA is "vhba1".
– In the WWPN Assignment field, select "Siebel_WWPN_Pool_B".
– Ensure that the Fabric ID is set to "B".
– In the "Select VSAN" field, select "Siebel_VSAN".
– Click OK to save changes.
– Click the Add button at the bottom of the window to add vHBAs to the template.
– Similarly create "vhba2" (with Fabric ID A) and "vhba3" (with Fabric ID B)
– Ensure that both the vHBAs are created.
– Click Next to continue.
c. Network Section
– Restore the default setting for "Dynamic vNIC Connection Policy" field.
– Select the option "Expert" for the field "How would you like to configure LAN connectivity".
– Click Add to add a vNIC to the template.
– The Create vNIC window appears. Enter the name of the vNIC as "eth0".
– Select the MAC address assignment field as "Siebel_MAC_Pool_A".
– Select Fabric ID as "Fabric A".
– Select appropriate VLANs (812) in the VLANs.
– Click OK to save changes.
– Click Add to add a vNIC to the template.
– The Create vNIC window appears. Enter the name of the vNIC "eth1".
– Select the MAC address assignment field as "Siebel_MAC_Pool_B".
– Select Fabric ID as "Fabric B".
– Select appropriate VLANs (812) in the VLANs.
– Click OK to add the vNIC to the template.
– Ensure that both the vHBAs are created.
– Click Next to continue.
d. vNIC/vHBA Placement section
– Restore the default setting as "Let System Perform Placement" in the Select Placement field.
– Ensure that all the vHBAs are created.
– Click Next to continue.
e. Server Boot Order section
– You need not select any boot. For boot policy creation and association of service profile, see section Creating Boot Policies.
f. Maintenance Policy, Server assignment, and operation policy Section
– Select default settings for all these sections.
– Custom policies can be defined for each of the three cases, for instance, in operational policy one can disable `quiet boot' in the BIOS policy
– Click Finish to complete the creation of Service profile template.
Creating Service Profile from the Template and associating it to a Blade
To create a service profile from the template and associating it to a blade, perform the following steps:
1. Select the Servers tab at the top left of the Cisco UCS Manager window.
2. Select Service Profile Templates > root > Sub-Organizations > Service Template Cisco UCS-Oracle Siebel.
3. Click Create Service Profiles From Template in the Actions tab of the right pane of the window.
4. Enter "sb-as" in the Naming Prefix text box and the number as "1"
5. Click OK to create service Profile
6. Select the created Service profile Servers > Service profiles > root > sb-as-1 and go to "Change Service Profile Association"
7. Select "Existing Server" under the option "Server Assignment" and from the list shown
8. Select the right server based on Chassis ID/Slot number.
9. Click OK to associate the service profile to that blade. The successful association of the service profile is as shown in Figure 24.
Figure 24 Successful Association of the Service Profile
Configuring the EMC VNX5500
Figure 25 shows the disk layout carved on the EMC VNX5500 storage which is connected to the Cisco UCS system. It leverages the FAST Cache as well as FAST Virtual Pool and Unified Storage capabilities of the VNX5500 as well the EMC best practices to carve the LUNs required for this exercise.
• Oracle Siebel CRM data stored in Oracle database accessed randomly and requires fastest for read/write operations. For such access pattern a storage pool with SAS drives and Flash disks (SSD disks) are chosen with RAID level 5. SSD disks provide faster response time for Random access and tiered storage with SAS disks provides the necessary capacity.
• Oracle Database Log is sequential write intensive operation, hence SAS drives with RAID level 10 is chosen.
• For the Siebel File System where sequential writes are more than the reads (based on the workload designed in this exercise), SAS drives alone without Flash disks in the storage pool are used with RAID level 10. However based on the actual access pattern and I/O mix, appropriate drivers and RAID level can be chosen.
• For boot LUNs, since the I/O operations are mostly sequential, SAS drives with RAID level 1 is chosen.
Local hard disk partitions are used for OS level /swap and /tmp partitions in this exercise; however it was observed that they were not used during the test executions.
For Back up LUNs, NL SAS drives are chosen since speed is not very critical with RAID level 10.
Table 2 provides Storage Pool/RAID Groups and Figure 25 shows the same.
Figure 25 Disk Layout - EMC VNX5500
Table 3 lists LUNs that were created for Oracle Siebel small setup:
Table 4 lists LUNs that were created for Oracle Siebel Medium and Large setup:
From the above table, it is clear that you need to choose an appropriate storage processor as the default owner, so that the IOs are evenly balanced.
Creation of Storage Pools/RAID Groups
To create storage pools/RAID groups, perform the following steps:
1. Login to the EMC VNX Unisphere to create storage pools.
2. To create Storage Pool, click Storage > Storage Configuration > storage pools > Pools tab and the click Create. The "create storage pool" pop-up window appears.
a. Ensure that the Storage Pool type is "Pool".
b. Enter an appropriate name for the storage pool name in the text box.
c. Select appropriate RAID group from the drop-down list.
d. Select the required disks from the disk selection popup window and the click OK.
3. To create LUNs from the storage pool, right-click on the desired storage pool. A pop window "Create LUN" appears. In the General tab of Create LUN pop-up box.
a. Click General tab of the Create LUN window. Enter the required LUN size in the LUN properties text box.
b. Enter the name for the LUN in the "LUN Name" text box.
c. In the Advanced tab, ensure the right SP is chosen as "Default owner" as mentioned in Table 3 and Table 4 on Oracle Siebel Small and Medium/Large setups respectively.
d. Ensure that the Database LUNs (Oracle data) are selected as "Highest Available Tier" and Application LUNs are selected as "Lowest Available Tier" in the Tiering Policy.
4. To associate LUNs to the host, Navigate to Hosts > Storage Group and the click Create, A pop-up window "Create Storage Group" appears.
a. Enter an appropriate name in the "Storage Group Name" text box; click OK and then click Yes to confirm. Click LUNs tab, a pop-up window "Storage Group properties" appears.
b. Select the LUN from the respective SPA / SPB and click Add in the "Available LUNs" to add the selected LUNs. In the "Show LUN" drop-down list, select the option "All" instead of "Not in other storage groups".
Note The Host ID which is typically 0 for the first LUN attached to the storage group and this Host Id should match with Cisco UCS Manager Service Profile > Create Boot Policy > LUN ID for SAN boot as shown in Figure 26.
Figure 26 Selecting a Storage Group Name in EMC Unisphere
5. To create RAID Groups, click Storage > Storage Configuration > Storage pools > RAID Groups tab and click Create. A pop-up window "create storage pool" appears.
a. Ensure that the selected Storage Pool type is "RAID Group".
b. Select the required disks from the "Disk Selection" popup window and click OK.
6. To create LUNs from the storage pool, right-click on the desired storage pool. A pop window "Create LUN" appears. In the General tab of Create LUN pop-up box.
c. Ensure that the selected Storage Pool type is "RAID Group"
d. Enter the required LUN size in the" LUN Properties" text box.
e. Enter the name of the LUN in the "LUN Name" text box.
f. In the Advanced tab, ensure the right SP is chosen as "Default owner" as mentioned in Table 3 and Table 4 on Oracle Siebel Small and Medium/Large setups respectively.
Creation of File System (NFS Share)
To create Oracle Siebel File System, perform the following steps:
1. Login to the EMC VNX Unisphere to create a Storage Pool for file system requirements for Oracle Siebel.
2. To create the Storage Pools, click Storage > Storage Configuration > Storage pools and the click Create. A pop-up window "Create Storage Pool" appears.
a. Ensure the option "Storage Pool" is selected in the window.
b. Enter the name of the storage pool as "Pool 1- Siebel File System" in the Storage Pool Name text box and select RAID group as "10".
c. Select the required disks from the "Disk selection" pop-up window and then click OK.
3. To create LUNs from the created storage pool, right-click on storage pool. A new window "Create LUN" appears. Click the General tab in the "Create LUN" window.
a. Enter the required LUN size in the "LUN properties" text box.
b. Enter the name of the LUN as "SiebelFile System LUN" in the "LUN Name" text box.
c. Click the Advanced tab, ensure that the right SP is chosen as "Default owner" as mentioned in Table 3 and Table 4 on Oracle Siebel Small and Medium/ Large setups respectively.
d. For the Tiering Policy, select the "Auto tier" option from the drop-down list. Since the file access workload implementation is not more than 15% of total workload.
e. The created LUN must be added to the LUN in the default File Storage Group. For this, click Hosts > Storage Groups. Select the Storage Group named " ~filestorage" and click Connect LUNs and then click OK.
Note The Host ID (also called HLU) must be greater than or equal to 16 for the LUN, otherwise it may not show up in Volumes list.
Figure 27 shows creation of LUNs and addition of the created LUN to the default File Storage Group.
Figure 27 Connecting LUNs in Storage group Properties Window
f. To create disk volumes, click Storage > Rescan Storage Systems. The progress of the scanning process can be observed from System > Monitoring and Alerts > Background Tasks for File. To view the disk volumes, click Storage > Storage Configuration > Volumes.
g. To create Meta Volume, click Storage > Storage Configuration > storage pools for pool and select the "Pool 1 - Siebel File System". From the Create menu, select "Meta Volumes" for "create from" field. Enter the Pool name as "Siebel FS" and select all the volumes listed below. Select the check-box "Slice pool Volumes by Default" and click OK. Once the process is complete a new Storage pool for file (with type as user pool) is created called "Siebel FS" as shown in Figure 28.
Figure 28 Creating Siebel FS from Meta Volume
h. To create File System, click Storage > Storage Configuration > File Systems and click Create. A pop-up window "Create File System" appears. Enter the appropriate name and size for the file system. Select "Pool 1- Siebel File System" option from the Storage Pool drop-down list. Click OK. This is shown in Figure 29.
Figure 29 Creating Siebel File System from Storage Pool
i. You can export the created File System. To export the created File System, click Storage > Shared Folders > NFS and select the path as "/SiebelFileSystem" and click Create. A pop-up window "Create NFS Export" appears. Enter the Path name and list of Host IPs that need to access this share. Click OK. This is shown in Figure 30.
Figure 30 Exporting the Created FileSystem
This completes the file system creation on the EMC storage system.
Configuring the Nexus Switches
To configure the Nexus 5548 Switch, perform the following steps:
Setting up the Nexus 5548 Switch
To setup the Nexus 5548 switch, perform the following steps for Cisco Nexus 5548 Switch A (Siebel_Nexus_Switch_A):
1. After the initial boot and connection to the serial or console port of the switch, the NX-OS setup should automatically start.
2. Enter "yes" to enforce secure password standards.
3. Enter the password for the admin user.
4. Enter the password a second time to commit the password.
5. Enter "yes" to enter the basic configuration dialog.
6. Create another login account (yes/no) [n]: "Enter".
7. Configure read-only SNMP community string (yes/no) [n]: "Enter".
8. Configure read-write SNMP community string (yes/no) [n]: "Enter".
9. Enter the switch name as "Siebel_Nexus_Switch_A" "Enter".
10. Continue with out-of-band (mgmt0) management configuration? (yes/no) [y]: "Enter".
11. Mgmt0IPv4 address: "10.104.xxx.xxx". Enter".
12. Mgmt0IPv4 netmask: "255.255.255.0" Enter".
13. Configure the default gateway? (yes/no) [y]: "Enter".
14. IPv4 address of the default gateway: "10.104.xxx.xxx" "Enter".
15. Enable the telnet service? (yes/no) [n]: "Enter".
16. Enable the ssh service? (yes/no) [y]: "Enter".
17. Type of ssh key you would like to generate (dsa/rsa): rsa.
18. Number of key bits <768-2048>: "1024" "Enter".
19. Configure the ntp server? (yes/no) [n]: "Enter".
20. Enter basic FC configurations (yes/no) [n]: "Enter".
21. Would you like to edit the configuration? (yes/no) [n]: "Enter".
Note Ensure to review the configuration summary before enabling it.
22. Use this configuration and save it? (yes/no) [y]: "Enter".
23. You may continue configuration from the console or using SSH. To use SSH, connect to Mgmt0 IP given in step 11.
24. Log in as user "admin" with the password entered above.
To setup the Nexus 5548 switch, perform the following steps for Cisco Nexus 5548 Switch B (Siebel_Nexus_Switch_B):
1. After the initial boot and connection to the serial or console port of the switch, the NX-OS setup should automatically start.
2. Enter "yes" to enforce secure password standards.
3. Enter the password for the admin user.
4. Enter the password a second time to commit the password.
5. Enter "yes" to enter the basic configuration dialog.
6. Create another login account (yes/no) [n]: "Enter".
7. Configure read-only SNMP community string (yes/no) [n]: "Enter".
8. Configure read-write SNMP community string (yes/no) [n]: "Enter".
9. Enter the switch name: "Siebel_Nexus_Switch_B" Enter".
10. Continue with Out-of-band (mgmt0) management configuration? (yes/no) [y]: "Enter".
11. Mgmt0IPv4 address: ": "10.104.xxx.xxx Enter".
12. Mgmt0IPv4netmask: "255.255.255.0" Enter".
13. Configure the default gateway? (yes/no) [y]: "Enter".
14. IPv4 address of the default gateway: "10.104.108.xxx" Enter".
15. Enable the telnet service? (yes/no) [n]: "Enter".
16. Enable the ssh service? (yes/no) [y]: "Enter".
17. Type of ssh key you would like to generate (dsa/rsa): rsa.
18. Number of key bits <768-2048>: "1024 Enter".
19. Configure the ntp server? (yes/no) [n]: "Enter".
20. Enter basic FC configurations (yes/no) [n]: "Enter".
21. Would you like to edit the configuration? (yes/no) [n]: "Enter".
Note Ensure to review the configuration summary before enabling it.
22. Use this configuration and save it? (yes/no) [y]: "Enter".
23. You may continue configuration from the console or using SSH. To use SSH, connect to Mgmt0 IP given in step 11.
24. Log in as user "admin" with the password entered above.
Enabling Nexus 5548 Switch Licensing
To enable appropriate Nexus 5548 switch licensing, perform the following steps for both Cisco Nexus 5548 A - (Siebel_Nexus_Switch_A), and Cisco Nexus 5548 B - (Siebel_Nexus_Switch_B) separately:
1. Type "config t" to enter into the global configuration mode.
2. Type "feature lacp".
3. Type "feature fcoe".
4. Type "feature npiv".
5. Type "feature vpc".
6. Type "feature fport-channel-trunk".
Note FCoE feature needs to be enabled first before enabling npiv.
Verification: The command "show feature | include enabled" should list the enabled features.
Siebel_Nexus_Switch_A# sh feature | inc enabled
assoc_mgr 1 enabled
fcoe 1 enabled
fex 1 enabled
lacp 1 enabled
lldp 1 enabled
npiv 1 enabled
sshServer 1 enabled
telnetServer 1 enabled
vpc 1 enabled
Configuration of Ports 29-32 as FC ports
To configure the ports 29-32 as FC ports, perform the following steps for both Cisco Nexus 5548 A - (Siebel_Nexus_Switch_A), and Cisco Nexus 5548 B - (Siebel_Nexus_Switch_B) separately:
1. Type "config t" to enter into the global configuration mode.
2. Type "slot 1".
3. Type "interface fc 1/29-32".
4. Type "switchport mode F".
5. Type "no shut".
Verification: The command "show interface brief" should list these interfaces as FC (Admin Mode "F").
Siebel_Nexus_Switch_A# sh interface brief
Interface Vsan AdminMode AdminTrunkMode Status SFP OperMode OperSpeed(Gbps)
------------------------------------------------------------------------------------
fc1/29 2 F on up swl F 4
fc1/30 2 F on up swl F 4
fc1/31 2 F on up swl F 4
fc1/32 2 F on up swl F 4
Creating VSAN and Adding FC Interfaces
To create VSAN and adding FC interfaces, perform the following steps for both Cisco Nexus 5548 A - (Siebel_Nexus_Switch_A), and Cisco Nexus 5548 B - (Siebel_Nexus_Switch_B) separately:
1. Type "config t" to enter into the global configuration mode.
2. Type "vsan database".
3. Type "vsan2 name UCS- Siebel".
4. Type "vsan 2 interface fc1/29-32".
5. Type "y" on the "Traffic on fc1/29 may be impacted. Do you want to continue? (y/n) [n]".
6. Similarly type "y" for fc1/30, fc1/31 and fc1/32 interfaces.
Verification: The command "show vsan membership" should list fc1/29-32 under "vsan 2".
Siebel_Nexus_Switch_A# show vsan membership
vsan 2 interfaces:
fc1/29 fc1/30 fc1/31 fc1/32
Creating VLANs and Managing Traffic
To create necessary VLANs for example, VLAN 809 and managing data traffic for example, VLAN 812 - data traffic, perform the following steps for both Cisco Nexus 5548 A - (Siebel_Nexus_Switch_A), and Cisco Nexus 5548 B - (Siebel_Nexus_Switch_B) separately:
1. Type "config t" to enter into the global configuration mode.
2. From the global configuration mode, type "vlan809" and press "Enter".
3. Type "name MGMT-VLAN" to enter a descriptive name for the VLAN.
4. Type "exit".
5. Type "vlan812".
6. Type "name Data-VLAN".
7. Type "Interface ethernet1/1-20" (make sure to choose the Ethernet interfaces where Fabric Interconnects are connected).
8. Type "switchport mode trunk".
9. Type "switchport trunk allowed vlan 809,812".
10. Type "exit".
Verification: The command "show vlan" should list the vlans and interfaces assigned to it. Or, the command "show run interface <interface name> should show the configuration for a given interface or port channel.
Siebel_Nexus_Switch_A# show vlan
VLAN Name Status Ports
---- -------------------------------- --------- ----------------
809 VLAN0809 active Eth1/1,Eth1/2, Eth1/3, Eth1/4
Eth1/5,Eth1/6, Eth1/7, Eth1/8
Eth1/9,Eth1/10, Eth1/11, Eth1/12
Eth1/13,Eth1/14, Eth1/15, Eth1/16
Eth1/17,Eth1/18, Eth1/19, Eth1/20
VLAN Name Status Ports
---- -------------------------------- -------- ------------------
812 VLAN0812 active Eth1/1, Eth1/2, Eth1/3, Eth1/4
Eth1/5, Eth1/6, Eth1/7, Eth1/8
Eth1/9, Eth1/10, Eth1/11, Eth1/12
Eth1/13, Eth1/14, Eth1/15, Eth1/16
Eth1/17,ETH1/18, Eth1/19, Eth1/20
Creation and Configuration of Virtual Port Channel (VPC)
To create and configure the VPC, perform the following steps for both Cisco Nexus 5548 A - (Siebel_Nexus_Switch_A), and Cisco Nexus 5548 B - (Siebel_Nexus_Switch_B) separately:
1. In the global configuration mode, type "vpc domain 108".
2. Type "role priority 1000".
3. Type "peer-keepalive destination 10.x.x.x". (This IP is the Siebel_Nexus_Switch_BMgmt IP)
4. Type "int port-channel 108".
5. Type "switchport mode trunk".
6. Type "switchport trunk allowed vlan45, 809-812".
7. Type "vpc peer-link".
8. Type "int ethernet 1/5" (peer link port).
9. Type "switchport mode trunk".
10. Type "switchport trunk allowed vlan 192, 809-812".
11. Type "channel-group 108 mode active".
12. Type "Exit".
13. Type "int port-channel 109".
14. Type "switchport mode trunk".
15. Type "switchport trunk allowed vlan 192, 809-812".
16. Type "vpc 109".
17. Type "Exit".
18. Type "int ethernet 1/1".
19. Type "channel-group 109 mode active".
20. Type "switchport mode trunk".
21. Type "switchport trunk allowed vlan 192, 809-812".
22. Type "Exit".
23. Type "int ethernet 1/1".
24. Type "channel-group 109 mode active".
25. Type "switchport mode trunk".
26. Type "switchport trunk allowed vlan 192, 809-812".
27. Type "Exit".
Verification: "show vpc" command should list the vpc properties with vpc peer-link status as "success" and Consistency status as "success"
Siebel_Nexus_Switch_A# show vpc
Legend:
(*) - local vPC is down, forwarding via vPC peer-link
vPC domain id : 108
Peer status : peer adjacency formed ok
vPC keep-alive status : peer is alive
Configuration consistency status : success
Per-vlan consistency status : success
Type-2 consistency status : success
vPC role : secondary
Number of vPCs configured : 1
Peer Gateway : Disabled
Dual-active excluded VLANs : -
Graceful Consistency Check : Enabled
vPC Peer-link status
------------------------------------------------
id Port Status Active vlans
-- ---- ------ -----------------------------
1 Po108 up 192,809-812
vPC status
------------------------------------------------------------------
id Port Status Consistency Reason Active vlans
------ ----------- ------ ----------- --------------------------
109 Po109 up success success 192,809-812
Creation of Zoneset and Zones
To create zoneset and zone, perform the following steps for Cisco Nexus 5548 Switch A - (Siebel_Nexus_Switch_A):
Note As mentioned in Service profile template creation, the first pair of vHBAs (vHBA0 and vHBA1) are created for SAN boot process and Second pair of vHBAs (vHBA2 and vHBA3) are created for application. Hence each pair is zoned separately.
1. From the global configuration mode, type "zoneset name UCS-Siebel vsan 2"
Note The VSAN id should match to the VSAN Id Created in Fabric Interconnect.
2. Type "zone name ucs-sb-med-as1-boot-a".
3. Type "member pwwn 20:00:00:25:b5:05:0A:0d".
Note This is WWPN of vHBA0 in the associated service profile of B200 blade.
4. Type "member pwwn 50:06:01:6f:3e:a0:05:68".
5. Type "member pwwn 50:06:01:66:3e:a0:05:68".
6. Type "exit".
7. Type "zone name ucs-sb-med-as1-app-a".
8. Type "member pwwn 20:00:00:25:b5:05:0B:0d".
Note This is WWPN of vHBA2 in the associated service profile of B200 blade.
9. Type "member pwwn 50:06:01:6f:3e:a0:05:68".
10. Type "member pwwn 50:06:01:66:3e:a0:05:68".
11. Type "exit".
12. Type "Zoneset activate name UCS-Siebel vsan 2".
13. Type "copy r s".
To create zoneset and zone, perform the following steps for Cisco Nexus 5548 Switch B - (Siebel_Nexus_Switch_B):
1. From the global configuration mode, type "zoneset name UCS- Siebel vsan 2"
Note The VSAN id should match to the VSAN Id Created in Fabric Interconnect.
2. Type "zone name ucs-sb-med-as1-boot-b".
3. Type "member pwwn 20:00:00:25:b5:05:0A:2d".
Note This is WWPN of vHBA0 in the associated service profile of B200 blade.
4. Type "member pwwn 50:06:01:6e:3e:a0:05:68".
5. Type "member pwwn 50:06:01:67:3e:a0:05:68".
6. Type "exit".
7. Type "zone name ucs-sb-med-as1-app-b".
8. Type "member pwwn 20:00:00:25:b5:05:0B:2d".
Note This is WWPN of vHBA2 in the associated service profile of B200 blade.
9. Type "member pwwn50:06:01:6e:3e:a0:05:68".
10. Type "member pwwn50:06:01:67:3e:a0:05:68".
11. Type "exit".
12. Type "Zoneset activate name UCS-Siebel vsan 2".
13. Type "copy r s".
Similarly create Zones for the other blades in both Nexus switches. This can be verified by executing `
`show zoneset active vsan 2' command in the Nexus switch.
Siebel_Nexus_Switch_A# show zoneset active vsan 2
zoneset name UCS-Siebel vsan 2
zone name ucs-sb-med-as1-boot-a vsan 2
* fcid 0x440016 [pwwn 20:00:00:25:b5:05:0a:0d]
* fcid 0x4405ef [pwwn 50:06:01:6f:3e:a0:05:68]
* fcid 0x4403ef [pwwn 50:06:01:66:3e:a0:05:68]
zone name ucs-sb-med-as1-app-a vsan 2
* fcid 0x440017 [pwwn 20:00:00:25:b5:05:0a:2d]
* fcid 0x4405ef [pwwn 50:06:01:6f:3e:a0:05:68]
* fcid 0x4403ef [pwwn 50:06:01:66:3e:a0:05:68]
Figure 31 shows the zoning configuration:
Figure 31 SAN Zoning Configuration
Cisco UCS Manager Service Profile update
Since the Nexus switches are connected with the storage array and the host, you must modify the boot policy in the Service Profile to add the Storage Ports. Perform the following steps to modify the boot policy:
Modifying Service Profile for Boot Policy
In this setup, vhba0 and vhba1 are used for SAN Boot and the other two configured HBA's that is, vhba2 and vhba3 are for Oracle Siebel application server installation. Storage SAN WWPN ports will be connected in the boot policy as:
vhba0
• Storage Port SP-B0 Primary Target - 50:06:01:6f:3e:a0:05:68
• Storage Port SP-A0 Secondary Target - 50:06:01:66:3e:a0:05:68
vhba1
• Storage Port SP-B1 Primary Target - 50:06:01:6e:3e:a0:05:68
• Storage Port SP-A1 Secondary Target - 50:06:01:67:3e:a0:05:68
To modify the Service Profile for boot policy, perform the following steps:
1. Login to the Cisco UCS Manager. Click Servers tab > Policies > Boot Policies and then click Add. A pop-up window "Create Boot Policy" appears.
2. Enter the name as "UCS-Siebel" in the "Name" text box and in the Description text box enter "for Siebel blades" and ensure that the check box "Reboot on Boot Order Change" is checked.
3. Add the first target as CD-ROM, as this will enable you to install Operating System through KVM Console.
4. Click Add SAN Boot on the vHBAs section; in the "Add SAN Boot" pop-up window, type "vHBA0" and select the type as Primary and click OK. This will be the SAN Primary Target.
5. Click Add SAN Boot Target to add a target to the SAN Boot Primary in the vHBAs window. In the "Add SAN Boot Target" pop-up window, type "0" in the "Boot Target LUN". Enter "50:06:01:6e:3e:a0:05:68" in the "Boot Target WWPN" and select the type as "Primary" and then click OK.
6. To add another target to the SAN Boot Primary, click Add to add another SAN Boot Target in the vHBAs window; in the "Add SAN Boot Target" pop-up box, type "0" in the Boot Target LUN; type "50:06:01:67:3e:a0:05:68" in the Boot Target WWPN and ensure that the type selected is "Primary" and click OK.
Note These WWPNs are from storage SPB0/ SPA0 ports. For more details, see: SAN Zoning Configuration, Figure 31.
7. Similarly for the SAN Secondary Target, click "Add SAN Boot" in the vHBAs window; in the "Add SAN Boot" pop-up window, type "vHBA1" and select the type as "Secondary" and then click OK.
8. Click Add SAN Boot Target to add a target to the SAN Boot Primary in the vHBAs window. In the "Add SAN Boot Target" pop-up window, type "0" in the "Boot Target LUN". Enter "50:06:01:6e:3e:a0:05:68" in the "Boot Target WWPN" and select the type as "Secondary" and then click OK.
9. To add another target to the SAN Boot Primary, click Add to add another SAN Boot Target in the vHBAs window; in the "Add SAN Boot Target" pop-up box, type "0" in the Boot Target LUN; type "50:06:01:67:3e:a0:05:68" in the Boot Target WWPN and ensure that the type selected is "Secondary" and click OK.
Note These WWPNs are from storage SPB1 / SPA1 ports. For more details, see: SAN Zoning Configuration, Figure 31.
10. Click Save Changes to save all the settings. The Boot Policy window in Cisco UCS Manager is as shown in Figure 32.
Figure 32 Boot Policy in Service Profile
11. To add this boot policy to the Service Profile, click Servers tab > Service Profiles > root > sb-as-1. Select the Boot Order on the right pane and click Modify Boot Policy. A pop-up window "Modify Boot Policy" appears. Select the newly created Boot Policy "UCS-Siebel" and click OK. This will reboot the blade, as "Reboot on Boot order change" is enabled in the Boot policy.
Update the other service profiles in similar way with the boot policy "UCS-Siebel" to boot from the SAN after creating necessary LUNs / Storage groups in Storage array and Zones in Nexus Switches.
Host - Storage Connectivity
To establish the Host connectivity, you need to connect the host at the EMC VNX5500 array.
Connecting Storage to the Host
Since the zones are configured in the Cisco Nexus switches with the Host HBA WWPNs, they will appear in the EMC VNX5500 Unisphere.
To connect storage to the host, perform the following steps:
1. Login to the EMC VNX Unisphere, click Hosts> Connectivity Status under "Host management" on the right side of the window. A pop-u
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 1
|
https://en.wikipedia.org/wiki/Thomas_Siebel
|
en
|
Thomas Siebel
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Unbalanced_scales.svg/45px-Unbalanced_scales.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Tom_Siebel_2013.png/220px-Tom_Siebel_2013.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2004-12-25T01:46:28+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Thomas_Siebel
|
American businessman
Thomas M. Siebel ( ; born November 20, 1952) is an American billionaire businessman, technologist, and author. He was the founder of enterprise software company Siebel Systems and is the founder, chairman, and CEO of C3.ai, an artificial intelligence software platform and applications company.[1]
He is the chairman of First Virtual Group, a diversified holding company with interests in investment management, commercial real estate, agribusiness, and philanthropy.[2]
Siebel was born in Chicago, one of seven children of Arthur Francis Siebel, a Harvard-educated lawyer, and Ruth A. (née Schmid) Siebel.[3][4][5] Siebel is a graduate of the University of Illinois Urbana-Champaign, where he received a BA in history, an MBA, an MS in computer science,[6] and an honorary doctorate of engineering.[7]
Between 1984 and 1990, Siebel was an executive at Oracle Corporation, where he held a number of management positions.[8][9] Siebel served as chief executive officer of Gain Technology, a multimedia software company that merged with Sybase in December 1992.[9] Siebel was the founder, chairman, and chief executive officer of Siebel Systems,[10] which was acquired by Oracle in January, 2006.[11] Siebel is the chairman of First Virtual Group, a diversified holding company.[2]
Siebel Systems was a software company primarily engaged in the design, development, marketing, and support of customer relationship management (CRM) applications. As an executive at Oracle, Siebel proposed the idea of creating enterprise software applications tailored for marketing, sales, and customer service functions. Oracle management declined his proposal. In 1993, Siebel left Oracle and found Siebel Systems to pursue that opportunity.[12] In 1999, Siebel Systems became the fastest-growing technology company in the United States.[13] Siebel Systems grew to over 8,000 employees in 32 countries, more than 4,500 corporate customers, and annual revenue greater than $2 billion before merging with Oracle in January 2006.[14]
In 2019, Siebel initiated a program at C3.ai that pays 100 percent of the costs for employees to complete an online master's degree of computer science (MCS) program from the University of Illinois at Urbana-Champaign. Employees who complete the MCS degree receive a salary increase of 15 percent, a cash bonus of $25‚000, and additional stock options.[15]
Siebel serves on the Board of Advisors of the Stanford University College of Engineering, the University of Illinois College of Engineering, and the University of California, Berkeley College of Engineering.[16][17] He is a Director of the Hoover Institution at Stanford University,[18] and is the Chairman of the Board for the American Agora Foundation.[19] He was a member of the Trustees of Princeton University from 2008 to 2011.[20] He is the Founder and Chairman of the Montana Meth Project[21] and the Siebel Scholars Foundation,[22] and Chairman of the Siebel Foundation. He was ranked #5 and #3 of the world's top 25 philanthropists by Barron's Magazine in 2009 and 2010, respectively.[23][24] In 2007 and 2008, he was named one of The 50 Most Generous Philanthropists by BusinessWeek.[25]
In 2001, Siebel donated $32 million to his alma mater, the Department of Computer Science at the University of Illinois at Urbana-Champaign, to build the Siebel Center for Computer Science, opened in spring 2004.[26] In 2006, Siebel donated $4 million to the University of Illinois at Urbana-Champaign to establish two endowed full professorships, the Thomas M. Siebel Chair in the History of Science and the Thomas M. Siebel Chair in Computer Science.[27] Siebel pledged an additional $100 million gift to the University of Illinois at Urbana-Champaign in 2007.[28] In 2015, the Siebel Foundation launched the Siebel Energy Institute to research the data management of energy infrastructure monitoring data.[29] In 2016, Siebel donated $25 million to build the Siebel Center for Design at the University of Illinois, a 60,000-square-foot multidisciplinary hub designed by architects Bohlin Cywinski Jackson and was completed in 2020.[30]
In February 2022, Siebel donated $90,000 to the Canada convoy protest in Ottawa, that also blocked border crossings between Canada and the U.S. to protest COVID-19 vaccine mandates and restrictions.[31][32][33]
In 2024, Siebel donated $500,000 to Donald Trump. [34]
He is married to Stacey Siebel.[3] They have four children and live in Woodside, California. Siebel is the second cousin once removed of Jennifer Siebel Newsom, the First Partner of Califoria and wife of Governor Gavin Newsom.[35]
Siebel currently has the highest personal CO2 emissions from private jet use of any American as of 2022.[36]
On the morning of August 1, 2009, he and a guide were in Tanzania, observing a group of elephants from 200 yards away, when an elephant charged Siebel's guide and then turned on Siebel, breaking several ribs, goring him in the left leg, and crushing the right.[37][38] They radioed for help, but it was three hours before he received any medical treatment.[37] He was flown to the Aga Khan University Hospital in Nairobi, where they cleaned his wounds and stabilized his leg. He was then flown back to the United States on a 20-hour flight with only 10 hours of morphine and 15 hours of fluids. He had lost half of his fluids and was put in the intensive care unit.[39] He was moved to Stanford Hospital where, over the next six months, they performed 11 surgeries, fixed his ribs and shoulder, and saved his left leg.[38]
In September 2010, a year after the attack, Siebel had undergone 16 surgeries and an Ilizarov apparatus external fixator to mend, lengthen, and reshape the tibia of his right leg.[39] After 19 reconstructive surgeries over two and a half years, Siebel has now made a full recovery.[40] In 2013, National Geographic included Siebel's account in its TV series Dead or Alive: Trampled on Safari.[41]
Digital Transformation (2019)[42] ISBN 1948122480
“Digital Transformation: The Post-Industrial Utility” (Aspenia Magazine, June 2018)[43]
“Why digital transformation is now on the CEO’s shoulders” (McKinsey Quarterly, December 2017)[44]
“The Internet of Energy” (Electric Perspectives, March/April 2015)[45]
“Big Data and the Smart Grid: Is Hadoop the Answer?” (Stanford Energy Journal, October 21, 2014)[46]
Taking Care of eBusiness (2001) ISBN 0-385-50227-3
Cyber Rules (with Pat House) (1999)[47] ISBN 0385494122
Virtual Selling (with Michael Malone) (1996)[48] ISBN 0684822873
|
||||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 10
|
https://www.business-software.com/article/what-happened-to-siebel/
|
en
|
What Happened to Siebel?
|
https://www.business-software.com/wp-content/themes/bsresponsive/img/favicon.ico
|
https://www.business-software.com/wp-content/themes/bsresponsive/img/favicon.ico
|
[
"https://1e1851c3a3519282423c-9ba0ce2ac411d9ff878c3235c5043bea.ssl.cf1.rackcdn.com/r/menu.svg",
"https://1e1851c3a3519282423c-9ba0ce2ac411d9ff878c3235c5043bea.ssl.cf1.rackcdn.com/bs-logo-no-tag.jpg"
] |
[] |
[] |
[
""
] | null |
[] |
2012-02-10T23:47:39+00:00
|
Damaged customer relationships and intensifying competition proved to be more than Siebel could handle, toppling this once unstoppable force.
|
en
|
/wp-content/themes/bsresponsive/img/favicon.ico
|
Business-Software.com
|
https://www.business-software.com/article/what-happened-to-siebel/
|
Oracle Rescues Siebel, and Gets Technology for Fusion CRM
Siebel had long been a force in the customer relationship management (CRM) market. With more than 3.4 million users at over 4,000 customer sites around the world, strong alliances with the likes of IBM and HP, a handful of strategic acquisitions aimed at closing major functionality gaps, market capitalization of over $4 billion, and a renewed focus on customer value and operational efficiency, Siebel seemed well-positioned to outlast many of its rivals. But, it soon became obvious that all was not well with the software giant.
Siebel was founded in 1993 by Tom Siebel. The company quickly became the undisputed leader among all vendors in the customer relationship management field, grabbing as much as 45 percent of market share by 2002. Siebel’s powerful platform and expansive feature stack won favor among customers and industry experts alike.
Before long, however, marketplace perception of on-premise CRM solutions began to shift. Less expensive on-demand applications that provided the same level of functionality, without the hassle of a long implementation or a large up-front investment, were being introduced.
These hosted solutions provided small and mid-sized businesses with a more affordable and cost-effective alternative to enterprise-scale CRM systems. Even large organizations began to believe that on-site customer relationship management came with a total cost of ownership that was way too high. In response to this trend, Siebel acquired hosted solution provider UpShot in 2003 and launched an on-demand, Web-based version of its CRM suite.
In spite of its efforts, Siebel would watch its reputation tarnish over the next several years. The primary cause was its poor service and support, which led to strained relationships with its customers, as well as key strategic partners.
The trouble really started brewing in 2005, when as early as January, industry analysts began to question Siebel’s viability and wonder about its future. Massachusetts-based IDC called Siebel a “sitting duck,” while AMR Research cited major flaws in some of the company’s go-to-market models and sales strategies. Additionally, competition from enterprise software vendors such as Oracle and SAP began to intensify, closing the market share gap. And, the popularity of cheaper on-demand offerings was picking up steam, and vendors like Salesforce.com began to make their presence known.
Then in April, Siebel Chief Executive Mike Lawrie left the company. Many experts felt that Lawrie was the company’s last hope to transform itself into the kind of customer-friendly, process-focused organization it needed to be. His abrupt departure came after less than one year on the job and immediately following some rather disappointing quarterly financial results.
After months of speculation, Oracle finally came to the rescue. By the end of the year, Oracle had solidified a deal to purchase Siebel for $5.8 billion. The acquisition, which went much smoother than Oracle’s hostile takeover of PeopleSoft, was finalized in early 2006. The Siebel product portfolio immediately began to form the foundation for Oracle’s yet-to-be-released Fusion CRM. Fusion CRM will integrate the various products Oracle obtained through its string of CRM-related acquisitions, including JD Edwards, Retek, and PeopleSoft.
|
||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 48
|
https://www.omni-academy.com/course-category/siebel-crm/
|
en
|
OMNI ACADEMY & CONSULTING
|
[
"https://www.omni-academy.com/wp-content/uploads/2019/11/Omni-Logo-Artwork-PNG-FILE.png",
"https://www.omni-academy.com/wp-content/uploads/2019/11/Omni-Logo-Artwork-PNG-FILE.png",
"https://www.omni-academy.com/wp-content/uploads/2019/11/careers-jobs-internships-opportunity.png",
"https://www.omni-academy.com/wp-content/uploads/2022/09/Portfolio-Management-Professional-PfMP-Training-Course-Thumbnil-omni.jpg.jpg",
"https://www.omni-academy.com/wp-content/uploads/2018/08/microsoft-power-bi-training-course.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
OMNI ACADEMY & CONSULTING
|
https://www.omni-academy.com/course-category/siebel-crm/
|
Siebel System Administration IP 19/ 20.x (Free Course)
Siebel System Administration IP 19/ 20.x This Siebel System Administration training gives you a chance to deep dive into Siebel CRM system administration and Installation hand-on experience. Expert Oracle University instructors will help you explore server configuration, as well as system and performance monitoring. It is appropriate for Siebel IP 15.x, 19.x and 20.x customers. Practices are performed using Open UI. Check out Our Free Videos SIEBEL CRM Installation IP17 20 Module 2: SIEBEL CRM Installation IP17 20 Module 3 SIEBEL CRM Installation IP17 20 Module 4 SIEBEL CRM Installation IP17 20 Module5: SIEBEL CRM Installation IP17 20 Module6: Siebel Configuration IP2019 SIEBEL […]
SIEBEL CRM Business Analyst Training🏷️
Siebel CRM Business Analyst This Siebel CRM Business Analyst training teaches business analysts techn ical skills and Siebel application knowledge to translate user requirements into detailed technical specifications. Learn methods for determining solutions to application gaps. Hands-on 100% practical activities based training course. This Siebel CRM Business Analyst training examines Siebel applications in two dimensions; The first dimension, breadth and functionality, is covered in the first two days of the course; you’ll become familiar with the defining features of Siebel applications, including Siebel Sales and Siebel Call Center. You’ll also explore administration and automation options, including Siebel Workflow, Assignment Manager, […]
Siebel CRM Project Implementation Expert Consultant
Siebel CRM Project Implementation Expert Consultant This Siebel CRM Project Implementation Expert Consultant training ideal for professional willing to purse career as CRM project manager/ implementation consultant ,course also teaches business analysts skills and Siebel application knowledge to translate user requirements into detailed business and technical specifications. Learn methods for determining solutions to application gaps. “Hands-on project management activities using Siebel CRM application.” SIEBEL CRM in-depth learning helps project managers and business analysts develop the knowledge and skills to participate in a Siebel implementation project. You will explore foundational aspects such as the architecture, business requirements mapping, gap analysis and […]
Oracle Fusion Cloud - Composers and Scripting Training
This Oracle Sales Cloud configuration training deep dives into tasks that allow you to tailor the as-delivered application to support your needs. Expert Oracle University instructors will teach you how to tailor existing objects, create new objects, modify business logic, and customize page layouts applying recommended practices. Course Key features Learn to Configure Oracle Fusion Sales Cloud Application Learn Cloud Application Changes by working with different objects Learn to Use Application Sand-Box Learn Fusion Cloud Application Configuration Best Practices Learn Changes Deployment, Versioning and Controls Get FREE Practice Exams to ensure your Success This Oracle Sales Cloud configuration training deep […]
Siebel Techno Functional Course - Order Management (CAD 1150)
Siebel Customer Order Management (Techno Functional Course) What you will learn Siebel Customer Order Management (Siebel Telco Course) LVC training walks you through a comprehensive suite of multichannel applications that enables companies to manage products, pricing, contracts, quotes, and orders. Oracle Certified instructors will teach you about product administration features and functions of Siebel Telecommunication that can be implemented as-delivered and administered through the client. Customer Order Management Overview Administering Simple Products Administering Attributes and Classes Pricing Overview Administering Catalogs and Categories Administering Component-Type Customizable Products Administering Constraints Administering Eligibility and Compatibility Administering Promotions Administering Recommendations Administering Multiple Product UIs Object Definitions Using […]
Siebel Open UI Foundations- LVC (AUD 1150)
Siebel Open UI Foundations (LVC) What you will learn This Siebel Open UI Foundations training first introduces students to the Siebel Open user interface and architecture. The second part of the course introduces the concept of the Open UI “manifest” and how to administer it, then describes presentation models and physical renderers. The final lesson of the course describes the Siebel mobile interface in both connected and disconnected modes. Learn To: Describe the Siebel Open UI architecture. Identify the key file types involved in customizing the Siebel Open UI client. Administer Siebel Open UI customizations. Make simple customizations in themes […]
Siebel Technical Foundations 15.5
Siebel Technical Foundations 15.5 What you will learn This Siebel Technical Foundations training is appropriate for Siebel 15.x and 8.x customers. It’s designed to introduce you to Siebel technical principles and contains information that’s essential to technical team members. Learn To: Navigate, query and edit data in the application. Use Siebel Tools to examine object definitions. Run server jobs. Inspect and test business services, web services and workflows. Administer list of values. Identify Siebel architecture components. Benefits to You You’ll develop a solid introduction to Siebel applications so you can better understand how to leverage the technical functionality of […]
Siebel System Administration Training - IP20.X
Siebel System Administration IP 19/ 20.x This Siebel System Administration training gives you a chance to deep dive into Siebel CRM system administration and Installation hand-on experience. Expert Oracle University instructors will help you explore server configuration, as well as system and performance monitoring. It is appropriate for Siebel IP 15.x, 19.x and 20.x customers. Practices are performed using Open UI. Learn To: Manage a Siebel Enterprise by modifying component parameters and editing configuration files. Monitor a Siebel Enterprise by examining log and performance information files. Use the command-line Server Manager interface. Migrate application customizations from one Siebel Enterprise […]
Siebel Marketing: Marketing Manager Rel 15.5
Siebel Marketing: Marketing Manager Rel 15.5 What you will learn This Siebel Marketing: Marketing Manager Rel 15.5 training is designed for those responsible for administering and managing marketing activities such as campaigns, programs and marketing plans using Siebel Marketing. You’ll develop an understanding of the Siebel Marketing architecture and its tight integration with Oracle Business Intelligence Enterprise Edition. Learn To: Create segments and segment trees and load them into campaigns. Use the List Format Designer to create export list formats. Utilize the Email Marketing Server to create personalized email campaigns. Create marketing plans, programs, campaigns and responses. Manage events and […]
Siebel Installation and System Administration Rel 15.5
Siebel Installation and System Administration Rel 15.5 What you will learn This Siebel Installation and System Administration courses teaches you how to install, configure, and deploy a Siebel CRM installation. Topics include adding servers and languages and unattended installations. You will also dive into administration topics such as the mechanisms for logging, performance monitoring, and migration. It is appropriate for Siebel 15.x and 8.x customers. Practices are performed using Open UI. Learn to: Install and configure a Siebel Enterprise, Siebel Gateway Name Server, Siebel Server, Siebel Web Server Extension, Siebel Clients, and Siebel Tools. Monitor and manage components and parameters. […]
Siebel Fundamentals Rel 15.5
Siebel Fundamentals Rel 15.5 What you will learn Students learn to navigate and maintain data in Siebel applications by using common entities. Students explore built-in functionality in Siebel Sales and Siebel Call Center and then other cross-application features. The course is appropriate for customers on Siebel 15.x and Siebel 8.x. Hands-on activities are performed using Open UI Learn To: Create, modify, delete, and search for records Work with common Siebel business entities Use basic functionality of Siebel Sales and Siebel Call Center Navigate Siebel applications Describe other cross-application features Describe best practices for a Siebel implementation Audience End Users Functional […]
Siebel Enterprise Integration Manager Rel 15.5
Siebel Enterprise Integration Manager Rel 15.5 What you will learn Students get hands-on practice: mapping external data to Siebel tables and columns; using EIM table reports to determine how to populate EIM tables and columns to load base tables; running EIM import, export, and delete jobs; and dealing with party data, user keys, primaries, and extensions. It is appropriate for Siebel 15.x and 8.x customers. Practices are performed using Open UI. Learn To: Import legacy data into the Siebel database Export Siebel data to an external system Mass delete Siebel data Audience Application Developers Database Administrators Developer Support Engineer Technical […]
Siebel Customer Order Management Rel 15.5 Ed 1
Siebel Customer Order Management Rel 15.5 Ed 1 What you will learn This Siebel 8.0 Customer Order Management training walks you through a comprehensive suite of multichannel applications that enables companies to manage products, pricing, contracts, quotes, and orders. Expert Oracle University instructors will teach you about product administration features and functions of Siebel COM that can be implemented as-delivered and administered through the client. Learn To: Create and administer simple products. Create component-based and attribute-based customizable products. Manage product promotions. Administer basic pricing policies. Configure pricing procedures. Implement attribute adjustments. Benefits to You You’ll walk away from […]
Siebel Business Automation 15.5
Siebel Business Automation 15.5 What you will learn In this course, students learn fundamental technologies and techniques for automating business processes in Siebel applications. The curriculum focuses on core technologies that are used in many Siebel automation facilities, such as business services and Siebel Workflow. Students get hands-on experience with Siebel automation and create solutions to simple and more complex automation problems. It is appropriate for Siebel 15.x and 8.x customers. Practices are performed using Open UI. Siebel business automation is implemented both in Siebel Tools and in the Siebel client, and this course presents a discussion of both. Students […]
Siebel Open UI Foundations
Siebel Open UI Foundations What you will learn This Siebel Open UI Foundations training first introduces students to the Siebel Open user interface and architecture. The second part of the course introduces the concept of the Open UI “manifest” and how to administer it, then describes presentation models and physical renderers. The final lesson of the course describes the Siebel mobile interface in both connected and disconnected modes. Learn To: Describe the Siebel Open UI architecture. Identify the key file types involved in customizing the Siebel Open UI client. Administer Siebel Open UI customizations. Make simple customizations in themes and […]
Siebel Core Consultant Course
Siebel Core Consultant Course What you will learn This Siebel Core Consultant Course is an intensive/ hands-on course that teaches you how to install and configure a Siebel Server, Siebel Enterprise, Siebel Web Server Extension, Siebel Management Server and Agent, Siebel Developer Web client and Siebel Work Space(IP2020), Siebel Tools. Expert Oracle Certified instructors will walk you through multi-server installation, multilingual installation, and LDAP support configuration through a combination of instruction and hands-on practices. Implementation team members will develop the technical knowledge and skills to install, configure and administer Siebel CRM applications in this comprehensive course. Taking this course will […]
|
|||||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 89
|
https://www.simplilearn.com/free-online-course-to-learn-sql-basics-skillup
|
en
|
Free SQL Course with Certificate [2024]
|
[
"https://www.simplilearn.com/ice9/assets/skillup-logo-new.svgz",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/app/IntroductiontoSQL_360x194.jpg",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png",
"https://www.simplilearn.com/ice9/assets/form_opacity.png"
] |
[] |
[] |
[
"learn sql free",
"sql certification free",
"free sql certificate",
"sql free course",
"free sql training",
"sql courses online free"
] | null |
[
"Mohd Rehbar"
] | null |
Discover the World of Databases: Learn SQL Free with Certificate - Enroll in our comprehensive course, master SQL skills, and earn a valuable certification today!
|
en
|
Simplilearn.com
|
https://www.simplilearn.com/free-online-course-to-learn-sql-basics-skillup
|
No, there is no cost associated with this free SQL course. It is provided by Skillup as a complimentary resource for individuals looking to learn and improve their skills in SQL. This means that learners can access the course content, including video lessons and materials, without any financial commitment. It's an excellent opportunity for anyone interested in gaining proficiency in SQL without incurring any expenses.
There are no specified prerequisites to learn this free course on SQL. It is designed to cater to a wide range of learners, including beginners with no prior experience in SQL as well as individuals with some familiarity with database management. This accessibility ensures that anyone interested in acquiring or enhancing their SQL skills can enroll in the course without any specific requirements. The free SQL training course content is structured in a way that allows participants to start from the basics and gradually progress to more advanced topics, making it suitable for learners of varying levels of expertise in SQL.
Upon successful completion of the free SQL course, you can expect to receive your certificate promptly. Skillup typically issues certificates soon after learners have finished the course, allowing you to showcase your newfound proficiency in SQL to prospective employers or on professional platforms like LinkedIn.
You will have 90 days of access to the free SQL course provided by Skillup. This extended period ensures that you have ample time to progress through the course content at your own pace. It allows for flexibility in learning, giving you the opportunity to revisit materials and reinforce your understanding of SQL concepts.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 92
|
https://www.mytectra.com/interview-question/siebel-crm-interview-questions-and-answers
|
en
|
Siebel CRM Interview Questions and Answers
|
[
"https://www.mytectra.com/hs-fs/hubfs/mytectra-logo/mytectra-logo-navi.png?width=150&height=50&name=mytectra-logo-navi.png",
"https://no-cache.hubspot.com/cta/default/6445933/88645e8e-bdb2-40a0-9584-1db16d84b435.png",
"https://no-cache.hubspot.com/cta/default/6445933/8780f248-e134-4931-b93a-d0b317eb68da.png",
"https://no-cache.hubspot.com/cta/default/6445933/1c5e618b-c622-43c4-b8a8-489f7be416c5.png",
"https://www.mytectra.com/hs-fs/hubfs/mytectra-logo/mytectra-logo-navi.png?width=150&height=50&name=mytectra-logo-navi.png",
"https://no-cache.hubspot.com/cta/default/6445933/88645e8e-bdb2-40a0-9584-1db16d84b435.png",
"https://no-cache.hubspot.com/cta/default/6445933/8780f248-e134-4931-b93a-d0b317eb68da.png",
"https://no-cache.hubspot.com/cta/default/6445933/1c5e618b-c622-43c4-b8a8-489f7be416c5.png",
"https://no-cache.hubspot.com/cta/default/6445933/0b866e6e-ad9f-43cd-9f14-6757333d941b.png",
"https://no-cache.hubspot.com/cta/default/6445933/8780f248-e134-4931-b93a-d0b317eb68da.png",
"https://www.mytectra.com/hs-fs/hubfs/website/images/vlog/Professional%20businesswoman%20receiving%20a%20customer%20in%20her%20office.jpeg?width=1000&name=Professional%20businesswoman%20receiving%20a%20customer%20in%20her%20office.jpeg",
"https://hkrtrainings.com/storage/photos/12/Capture%20siebel%201.PNG",
"https://www.mytectra.com/hubfs/beautiful-beauty-brazilian-woman-1102343.jpg",
"https://www.mytectra.com/hubfs/website/images/aathirai/aathirai-cut-mango-ads.png"
] |
[] |
[] |
[
""
] | null |
[
"Sachin"
] |
2022-06-30T11:30:49+00:00
|
Most frequently asked Siebel Interview Questions in the top companies with answers provided by the expert trainers help you to clear your interview.
|
en
|
https://www.mytectra.com/hubfs/favicon.ico
|
https://www.mytectra.com/interview-question/siebel-crm-interview-questions-and-answers
|
Ans
SIEBEL is the leading provider of Customer Relationship Management (CRM) software. Siebel CRM is a software technology provided with server frameworks that help to offer solutions like integration, development, deployment, diagnostic, and mobile service applications. This framework tool assures delivering comprehensive premises and on-demand solutions based on CRM products. Siebel CRM is first developed by Oracle corporations.
Q2 . What Is Siebel File System?
Ans
It is a shared directory that stores compressed files used by Siebel applications. Examples: Product literature, sales tools, presentations Read/write access is controlled by the File System Manager component on Siebel Server.
Q3. Explain what is CRM?
Ans
CRM stands for Customer Relationship Management. It is a strategy and practices that companies use to manage and analyze customer interactions and data throughout the customer lifecycle.
Q4. What is the difference between an organization and a division in Siebel?
Ans
You can see the hierarchical level in the Siebel CRM architecture, under the organization section the division will come.The main purpose of using an organization is to control the data visibility and where this cannot be possible with the division.
Q5. What are the different types of tables used in Siebel CRM?
Ans
There are 5 types of tables used in Siebel CRM;
Base tables
Interface tables
Extension table
EIM table
Intersection tables.
Q6. What Difference between fields and single value fields?
Ans
MultiValue field has the child values from a child BC for the parent record configured through MVL. single value field will be either from the base table or joined table.
The Difference between Single Value Field (SVF) and MultiValue Field(MVF)
SVF- a field in BC which references a column in a table.
MVF- a field in parent BC which references a field in child BC.
Field-Identifies and defines a field in a business component. All fields making up a business component record contain entries from both Single Value Field and MultiValue Field object types.
Q7. What are the advantages of using Siebel CRM?
Ans
Below are the various advantages of using Siebel CRM;
Offers speed sales cycle and improves selling performance across the organizations
Increases customer loyalty and improve customer marketing effectiveness.
Deliver great customer experience, improve efficiency, and drive profitability.
Empower customers to help themselves.
Helps to grow revenues by creating deep business insight into customer preferences.
Q8. What is the difference between horizontal and vertical in Siebel?
Ans
Q9. Mention distinct kinds of Customer Relationship Management?
Ans
CRM composes are grouped into three classifications
Operational CRM
Community CRM
Explanatory CRM
Q10. List out elements that are an impediment for CRM accomplishment to an association?
Ans
The snag for CRM accomplishment to an association incorporates
Non-attendance of a reasonable changeover process
The primary spotlight is on item deal and topographical division of advertisement.
Fundamental execution estimations are not followed
Feeble utilitarian association of an organization
Absence of reaction to clients input and suggestions
Presenting other innovation without actualizing the essential structure
Q11. Mention what is a portion of the difficulties that an association may need to confront while joining CRM?
Ans
A portion of the difficulties that the association needs to confront is
Database purging to guarantee that customer data is in rectify state.
Coordinating with different frameworks, unique or existing.
Now and then the framework is more confounded and expects the mentor to prepare outside coaches.
Anticipating that the merchant should deal with all components of your venture.
Q12. What Is Resonate?
Ans
Resonate is a third party software development tool, which is used for distributing the client request to the least laden Siebel server.
Q13.Optimization techniques in EIM?
Ans
Limit base tables and columns to be processed by using: only base Tables, ignore base Tables, only base Columns, ignore base Columns.
Always delete batches from EIM tables upon completion. Leaving old batches in the EIM table wastes space and can adversely affect performance. For other suggestions on working with batches.
Run independent EIM jobs in parallel. Two or more EIM processes can be started simultaneously by using the Siebel Server Manager.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
1
| 64
|
https://www.mytectra.com/interview-question/siebel-crm-interview-questions-and-answers
|
en
|
Siebel CRM Interview Questions and Answers
|
[
"https://www.mytectra.com/hs-fs/hubfs/mytectra-logo/mytectra-logo-navi.png?width=150&height=50&name=mytectra-logo-navi.png",
"https://no-cache.hubspot.com/cta/default/6445933/88645e8e-bdb2-40a0-9584-1db16d84b435.png",
"https://no-cache.hubspot.com/cta/default/6445933/8780f248-e134-4931-b93a-d0b317eb68da.png",
"https://no-cache.hubspot.com/cta/default/6445933/1c5e618b-c622-43c4-b8a8-489f7be416c5.png",
"https://www.mytectra.com/hs-fs/hubfs/mytectra-logo/mytectra-logo-navi.png?width=150&height=50&name=mytectra-logo-navi.png",
"https://no-cache.hubspot.com/cta/default/6445933/88645e8e-bdb2-40a0-9584-1db16d84b435.png",
"https://no-cache.hubspot.com/cta/default/6445933/8780f248-e134-4931-b93a-d0b317eb68da.png",
"https://no-cache.hubspot.com/cta/default/6445933/1c5e618b-c622-43c4-b8a8-489f7be416c5.png",
"https://no-cache.hubspot.com/cta/default/6445933/0b866e6e-ad9f-43cd-9f14-6757333d941b.png",
"https://no-cache.hubspot.com/cta/default/6445933/8780f248-e134-4931-b93a-d0b317eb68da.png",
"https://www.mytectra.com/hs-fs/hubfs/website/images/vlog/Professional%20businesswoman%20receiving%20a%20customer%20in%20her%20office.jpeg?width=1000&name=Professional%20businesswoman%20receiving%20a%20customer%20in%20her%20office.jpeg",
"https://hkrtrainings.com/storage/photos/12/Capture%20siebel%201.PNG",
"https://www.mytectra.com/hubfs/beautiful-beauty-brazilian-woman-1102343.jpg",
"https://www.mytectra.com/hubfs/website/images/aathirai/aathirai-cut-mango-ads.png"
] |
[] |
[] |
[
""
] | null |
[
"Sachin"
] |
2022-06-30T11:30:49+00:00
|
Most frequently asked Siebel Interview Questions in the top companies with answers provided by the expert trainers help you to clear your interview.
|
en
|
https://www.mytectra.com/hubfs/favicon.ico
|
https://www.mytectra.com/interview-question/siebel-crm-interview-questions-and-answers
|
Ans
SIEBEL is the leading provider of Customer Relationship Management (CRM) software. Siebel CRM is a software technology provided with server frameworks that help to offer solutions like integration, development, deployment, diagnostic, and mobile service applications. This framework tool assures delivering comprehensive premises and on-demand solutions based on CRM products. Siebel CRM is first developed by Oracle corporations.
Q2 . What Is Siebel File System?
Ans
It is a shared directory that stores compressed files used by Siebel applications. Examples: Product literature, sales tools, presentations Read/write access is controlled by the File System Manager component on Siebel Server.
Q3. Explain what is CRM?
Ans
CRM stands for Customer Relationship Management. It is a strategy and practices that companies use to manage and analyze customer interactions and data throughout the customer lifecycle.
Q4. What is the difference between an organization and a division in Siebel?
Ans
You can see the hierarchical level in the Siebel CRM architecture, under the organization section the division will come.The main purpose of using an organization is to control the data visibility and where this cannot be possible with the division.
Q5. What are the different types of tables used in Siebel CRM?
Ans
There are 5 types of tables used in Siebel CRM;
Base tables
Interface tables
Extension table
EIM table
Intersection tables.
Q6. What Difference between fields and single value fields?
Ans
MultiValue field has the child values from a child BC for the parent record configured through MVL. single value field will be either from the base table or joined table.
The Difference between Single Value Field (SVF) and MultiValue Field(MVF)
SVF- a field in BC which references a column in a table.
MVF- a field in parent BC which references a field in child BC.
Field-Identifies and defines a field in a business component. All fields making up a business component record contain entries from both Single Value Field and MultiValue Field object types.
Q7. What are the advantages of using Siebel CRM?
Ans
Below are the various advantages of using Siebel CRM;
Offers speed sales cycle and improves selling performance across the organizations
Increases customer loyalty and improve customer marketing effectiveness.
Deliver great customer experience, improve efficiency, and drive profitability.
Empower customers to help themselves.
Helps to grow revenues by creating deep business insight into customer preferences.
Q8. What is the difference between horizontal and vertical in Siebel?
Ans
Q9. Mention distinct kinds of Customer Relationship Management?
Ans
CRM composes are grouped into three classifications
Operational CRM
Community CRM
Explanatory CRM
Q10. List out elements that are an impediment for CRM accomplishment to an association?
Ans
The snag for CRM accomplishment to an association incorporates
Non-attendance of a reasonable changeover process
The primary spotlight is on item deal and topographical division of advertisement.
Fundamental execution estimations are not followed
Feeble utilitarian association of an organization
Absence of reaction to clients input and suggestions
Presenting other innovation without actualizing the essential structure
Q11. Mention what is a portion of the difficulties that an association may need to confront while joining CRM?
Ans
A portion of the difficulties that the association needs to confront is
Database purging to guarantee that customer data is in rectify state.
Coordinating with different frameworks, unique or existing.
Now and then the framework is more confounded and expects the mentor to prepare outside coaches.
Anticipating that the merchant should deal with all components of your venture.
Q12. What Is Resonate?
Ans
Resonate is a third party software development tool, which is used for distributing the client request to the least laden Siebel server.
Q13.Optimization techniques in EIM?
Ans
Limit base tables and columns to be processed by using: only base Tables, ignore base Tables, only base Columns, ignore base Columns.
Always delete batches from EIM tables upon completion. Leaving old batches in the EIM table wastes space and can adversely affect performance. For other suggestions on working with batches.
Run independent EIM jobs in parallel. Two or more EIM processes can be started simultaneously by using the Siebel Server Manager.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
2
| 31
|
https://www.mercurynews.com/2009/06/19/the-mercury-news-interview-tom-siebel-chairman-of-first-virtual-group-and-the-siebel-foundation/
|
en
|
The Mercury News Interview: Tom Siebel, chairman of First Virtual Group and the Siebel Foundation.
|
[
"https://www.mercurynews.com/wp-content/uploads/2020/09/mn-logo.svg",
"https://secure.gravatar.com/avatar/?s=85&d=mm&r=g",
"https://www.mercurynews.com/wp-content/plugins/dfm-trust-indicators/static/images/Trust-Logo-Horizontal.svg",
"https://www.mercurynews.com/wp-content/themes/scng/static/images/noimage.jpg",
"https://www.mercurynews.com/wp-content/uploads/2024/07/US-NEWS-911-SYSTEM-CRISIS-DMT.jpg?w=525",
"https://www.mercurynews.com/wp-content/uploads/2024/07/GettyImages-2161483356.jpg?w=525",
"https://www.mercurynews.com/wp-content/uploads/2024/07/US-NEWS-HEALTH-DENTAL-THERAPISTS-DMT.jpg?w=525",
"https://www.mercurynews.com/wp-content/uploads/2020/09/mn-logo.svg",
"https://www.mercurynews.com/wp-content/themes/wp-mason/static/images/site-logo/banglogo_small.png"
] |
[] |
[] |
[
""
] | null |
[
"Brandon Bailey",
"Mercury News"
] |
2009-06-19T00:00:00
|
The Mercury News Interview: Tom Siebel, chairman of First Virtual Group and the Siebel Foundation.
|
en
|
The Mercury News
|
https://www.mercurynews.com/2009/06/19/the-mercury-news-interview-tom-siebel-chairman-of-first-virtual-group-and-the-siebel-foundation/
|
There’s a lot of distance between a tony office on Palo Alto’s University Avenue and a working cattle ranch in Wolf Creek, Mont. But since he sold his namesake software company to Oracle four years ago, Tom Siebel has been hanging his hat in both Silicon Valley and Big Sky Country.
These days, the billionaire and former CEO of Siebel Systems invests his wealth quietly through a Palo Alto holding company called First Virtual Group. He’s making a bigger splash with his philanthropy, including an in-your-face ad campaign that Siebel initially bankrolled in Montana — and which has since been adopted in other rural states — aimed at warning people away from methamphetamine use.
Siebel, 56, said he commissioned the Meth Project (www.methproject.org), with its graphic depictions of strung-out teens, after learning how much damage the drug was causing in the state where he worked on ranches as a young man. Siebel also described his new energy project and explained why he’s no longer bullish on tech. The following transcript has been edited for clarity and length.
Q How did a former high-tech CEO from Silicon Valley get involved with fighting meth in rural states like Montana?
A We spend a lot of time in Montana. In the early part of this decade, you saw this disaster unfolding on just a massive scale. With half the people who are in prison, the cause of their incarceration is methamphetamine. Half the people in foster care are there because of methamphetamine. And most of law enforcement are spending the bulk of their time busting methamphetamine labs.
There’s a friend of mine in Montana named John Stevens. He’s a neighbor (and a deputy sheriff) in Cascade, and he would come over and he would tell me about the meth labs they were busting. I’ll never forget one day at lunch, he told me about how easily this stuff was made. For some reason that really got my attention.
I just wondered if the state had made the connection between this problem and the work the American Cancer Society and other groups had done over the years (to discourage) cigarette smoking. I wondered if there was an opportunity there.
Q Did you have any experience with family or friends who used meth?
A Until we launched the Meth Project, I don’t believe I’d ever met anybody who had firsthand experience. After we got involved in the project, I did meet people who were in various stages of recovery or even various stages of addiction. And it just rips your heart out, I tell you that.
Q How do you know the Meth Project is working?
A The hard data. The reduction in methamphetamine use and meth crimes in places where we’re running this campaign are staggering, and dramatically different from the same data in places where we’re not operating. So now the campaign is expanding to other states. The plan was always to do this in a way that it could be replicable, should it be effective.
Q I understand you are launching a new initiative in the area of clean energy.
A In both cases, of methamphetamine and energy, we are involved in activities that are properly the province of the government, and the government was simply failing to do its job. As of December 2008, if there was anything meaningful going on in terms of alternative energy or conservation, any rational policy as it relates to energy, it was not apparent to me.
So we convened a number of researchers, and a group called the Siebel Scholars — smart people from leading business and engineering schools around the United States. They conceived of this idea of a global technology challenge, focusing on the home. The home is something we can all relate to. And 40 percent of the energy we consume in the United States is associated with buildings. So we’re launching a $20 million technology contest to create the energy-free home. (See www.energyfreehome.org.)
We’re defining it as a typical American house, 2,000 square feet, three bedrooms, two baths. It can be connected to the utility grid, but at the end of 365 days, the meter reads zero — so effectively you have to give back whatever you take. And the cost of construction can be no greater than a conventional house.
Q The Web site of First Virtual Group says you’re involved in real estate, agribusiness and global investments. Do you have much invested in the tech industry?
A No. It’s a segment that from 1980 to 2000 grew at a 17 percent compounded annual growth rate, from virtually nothing to a business that became about $1.3 trillion. And I was able to participate in that process. It was the experience of a lifetime.
That being said, I think information technology as an industry is likely to grow going forward at about the rate of the economy. I just do not see the kind of innovation that we saw in the last two decades of the last century. In many respects, many of the interesting problems that we set out to solve have been solved.
Q You introduced Sarah Palin at a Republican fundraiser last fall. What’s your criteria for deciding to get involved in a political campaign, and given your family tie with Gavin Newsom (who is married to a distant relative of Siebel’s), are you likely to endorse in the California governor’s race?
A I tend to support people who believe in individual liberty, people who believe in human rights, people who believe in free-market economics. They can be Democrats, they can be Republicans, they can be Libertarian.
Q How about the governor’s race?
A I’m going to pass on that question.
Q Do you ever miss running a public company?
A I think that many of the regulatory changes that took place, from about 2000 on, kind of made running a public company pretty dreadful. I think the likelihood of me being involved in a public company again in a significant capacity is exceptionally low. Somewhere below even running for governor.
|
|||||
wrong_mix_domain_foundationPlace_00039
|
FactBench
|
3
| 84
|
https://cloudfoundation.com/blog/siebel-crm-interview-questions/
|
en
|
Siebel CRM Interview Questions
|
[
"https://www.facebook.com/tr?id=738997492892020&ev=PageView&noscript=1",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/11/Siebel-Crm-training-1.jpg",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/11/Siebel-Crm-training-1.jpg",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/SS_436-_Converted_-1.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/SS_436-_Converted_-1.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/8423118_3895895.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/8423118_3895895.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/11/Siebel-CRM.jpg",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/11/Siebel-CRM.jpg",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/Untitled-11.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/Untitled-11.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2019/06/logo_resize_color.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/Ankita.png",
"https://cloudfoundation.com/blog/wp-content/uploads/2023/06/Ankita.png"
] |
[] |
[] |
[
""
] | null |
[] |
2023-11-14T10:07:02+00:00
|
en
|
CloudFoundation | Blog
|
https://cloudfoundation.com/blog/siebel-crm-interview-questions/
|
In this blog, we provide best practices for interview preparation as well as frequently asked questions and answers about Siebel CRM.
We hope that this resource can assist in becoming an adept Siebel CRM user, no matter your experience level or stage of career development.
Customer relationship management (CRM) software such as Siebel CRM or Siebel Salesforce helps businesses manage customer interactions and data throughout their customer lifecycle.
Given its complexity and breadth of features, Siebel CRM interviews may cover an expansive spectrum of questions.
Here we discuss a selection of main ideas and characteristics related to Siebel CRM that should help prepare you for an interview.
1. What is CRM, and why was it developed?
CRM stands for customer relationship management, and it was developed to address the issue of data mismatches and overburdening different departments in a company.
Companies used sub-software or systems to store data, which led to errors and demerits, as the same data was kept in other systems, causing errors and burdening employees.
To address this issue, companies developed CRM systems that kept all data in one system, including marketing, sales, purchase, and support.
2. Why did companies develop CRM systems?
Companies developed CRM systems to address the problem of data mismatches and overburdening different departments in a company.
3. How can CRM systems improve efficiency in various sectors?
CRM systems can improve efficiency in various sectors by streamlining operations, integrating data from different departments, and simplifying workflows.
4. What are the benefits of using a single system to track all aspects of a business?
The benefits of using a single system to track all aspects of a business include accurate data management, improved decision-making, efficient tracking of operations, and streamlined communication.
5. What challenges may companies face during the implementation of CRM systems?
Companies may face challengeswhile implementing CRM systems,including resistance to change, data migration and integration issues, user adoption, and ensuring data security and privacy.
6. What is Siebel CRM?
Siebel CRM is a comprehensive suite of products designed to manage customer relationships.
7. What are some other CRM products available in the market besides Siebel CRM?
Other available CRM products besides Siebel CRM include Salesforce, Zoho CRM, SAP, Microsoft Dynamics, Oracle, and Sugar CRM.
8. What are the characteristics of Siebel CRM applications?
Siebel CRM applications are easy to use and customisable, designed to suit various industries, and divided into five layers: data layer, logical layer, physical layer, business logic layer, and presentation layer.
9. How can new tables be created in the logical layer of Siebel CRM applications?
New tables can be created in the logical layer of Siebel CRM applications by providing table names, column names, types, and spaces.
10. What is the role of the physical layer in Siebel CRM applications?
The physical layer in Siebel CRM applications serves as the database that connects the logical layer to the physical layer, where tables and columns are created and managed.
11. What are the different parts of the high-level architecture of Siebel CRM objects?
The high-level architecture of Siebel CRM objects is segmented into five parts: SQL, Sybil, data layer, business logic layer, and presentation layer.
12. Design a process for integrating data from external systems into Siebel CRM applications.
A process for integrating data from external systems into Siebel CRM applications can be designed by developing an object integration component and defining the integration rules and mechanisms.
13. What is the purpose of the login button in the Siebel application?
The login button in the Siebel application initiates the login process by sending the user-entered username and password to the SQL server.
14. How does the application object manager contribute to the functionality of the Siebel application?
The application object manager in the Siebel application is responsible for processing user requests, providing a master of the recommendations UI actions, and ensuring smooth navigation through the application.
15. What are the main components of the Siebel CRM e-business architecture, and how do they interact with each other?
The Siebel CRM e-business architecture’s main components are the industry, customer, and assembly applications. These three components interact with each other to provide a comprehensive suite of products for managing customer relationships.
16. What are the advantages of using Siebel CRM for managing customer relationships compared to other CRM software?
Siebel CRM offers unmatched functionality and scalability, making it a market-leading CRM software. Its comprehensive suite of products, core to every industry, customer, or employee application, ensures a holistic approach to managing customer relationships.
17. What are the three business entities introduced in the system?
The system introduces three business entities: account, contract, and open. The system keeps data on the customer’s preferences, questions, and requests, ensuring efficient and accurate business operations tracking.
18. What are the five layers of Siebel CRM applications?
The five layers of Siebel CRM applications are the data layer, the open data layer, the logical layer, the physical layer, and the automation layer.
19. What is the data layer in Siebel CRM applications?
The data layer in Siebel CRM applications is the logical layer, where users create tables and columns.
20. What is the open data layer in Siebel CRM applications?
The open data layer in Siebel CRM applications allows users to view the number of tables in the application and configure new tables.
21. What is the logical layer in Siebel CRM applications?
The logical layer in Siebel CRM applications allows users to create tables by providing table names, column names, types, and spaces.
22. What is the physical layer in Siebel CRM applications?
The physical layer in Siebel CRM applications is the database that connects the logical and physical layers.
23. What is the automation layer in Siebel CRM applications?
The automation layer in Siebel CRM applications involves assigning tasks to a specific component, such as a C and C will perform for the application. These tasks are defined and given to a civil, who will perform the tasks manually.
24. What is the high-level architecture of objects in Siebel CRM applications?
The high-level architecture of objects in Siebel CRM applications is segmented into five parts, including SQL and Sybil.
25. What is the role of the application object manager in Siebel CRM?
The application object manager in Siebel CRM is responsible for processing requests and providing a master of the request. It ensures that the customer can see any actions taken from the UI, such as clicking the “New” or “Query” buttons.
26. What tasks are performed by the application object manager in Siebel CRM?
The application object manager in Siebel CRM checks a database’s login name and password and sends a valid ID once corrected.
Once the login page is configured, it configures the home page, requires a repository file, and configures the web interface. If the login page succeeds, the homepage completes the page and sends an error message. A server component handles the signal.
27. What are the training projects assigned to participants in Siebel CRM?
The training projects assigned to participants in Siebel CRM include fire life signs, medical equipment delivery, apartment management, and significant fat payments.
Additionally, apartment management involves building a new apartment with various business entities, such as retail, flat, and registration. Lab setup involves installing local clients, installing civil IP 16, and providing an activity guide.
28. What are the three main components of the Siebel e-business architecture?
The three main components of Siebel’s business architecture are industrial applications, customer applications, and assembly applications.
29. What are the two main categories of Siebel CRM?
Siebel CRM can be categorised into customer applications, blue EE applications, and industry applications, either vertical or horizontal.
30. What are the modules and user interfaces available in Siebel CRM?
The modules and user interfaces available in Siebel CRM vary depending on the type of industry application and the specific product.
These Siebel CRM interview questions offer an in-depth view of the capabilities and knowledge needed for success when using this program in professional practice.
These interview questions offer valuable insights for both job hunters and enterprises looking for qualified Siebel CRM professionals to fulfill the increasing need for customer relationship management systems.
Wishing you success in all your future pursuits and hoping that our blog has proven useful in helping prepare for a Siebel CRM interview.
|