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Hogwarts hijinks
By Geoff Boucher
May 3, 2009 12 AM PT
WATFORD, ENGLAND —
Daniel Radcliffe has spent half his life in the role of boy wizard Harry Potter, so it's difficult to imagine any surprises presenting themselves on the set of the sixth film, "Harry Potter and the Half-Blood Prince," which arrives in theaters July 15.
"You would think that, but truly every film is different, and this time around the refreshing aspect was the adolescent romantic core of this film, which should be absolutely charming and very funny," Radcliffe said during a break from shooting. "So from that point of view, it is quite a different film, because we haven't had anything that has had this sort of light and warm and funny a core before."
Radcliffe had just finished shooting a holiday party scene on an especially vibrant set at an airplane factory that a decade ago was converted into the stone-walled Hogwarts School of Witchcraft and Wizardry.
It was a brisk February afternoon in 2008, and the actor had no idea that a Christmas would come and go before "Half-Blood Prince" appeared in theaters; the sixth Potter adventure was scheduled for release last November but, to the disappointment of fans, Warner Bros. executives announced last summer that they would postpone the film for eight months to maximize its market position.
It remains to be seen whether fans will hold a grudge against the film for the delay -- many pledged to boycott it or at least skip the opening weekend to express their ire -- but it's hard to imagine the popcorn juggernaut can be slowed, much less stopped. The last film, "Harry Potter and the Order of the Phoenix," pulled in $938 million worldwide, making it the most successful edition since the first installment, "Harry Potter and the Sorcerer's Stone" in 2001, pulled in $974 million. The franchise has brought in close to $4.5 billion, a number that would make any muggle studio executive believe in magic.
There were seven "Potter" novels published, but the studio and filmmakers will split the final book into two films, a decision they attribute to the action-packed density of the story, not to the allure of squeezing out one more box-office jackpot from the series. Those closing chapters of Potter's grand cinema adventure are scheduled for release in November 2010 and July 2011.
While the fifth Potter film was dedicated largely to the title character, "Half-Blood Prince" will bundle plot lines for a wider section of the ensemble and set the stage for the intense crescendos that will dominate the final two movies.
This sixth installment delves into the creepy past of villain Voldemort (Ralph Fiennes), introduces a key newcomer in bon vivant Horace Slughorn (Jim Broadbent) and also climaxes, as readers of the novels know, with one of the major characters giving up the ghost.
Despite that grim loss, director David Yates, who also directed the fifth film and has been contracted to helm the franchise through to its conclusion, said there is "a charm and sweetness" to this particular installment of the J.K. Rowling literary series, and that will be reflected on-screen. The status-obsessed Slughorn and his machinations inject plenty of humor into the film (and may remind some viewers of the comic relief provided by Kenneth Branagh and his vainglorious Gilderoy Lockhart in "Harry Potter and the Chamber of Secrets"), and a centerpiece moment is Ron's slapstick debut as a Quidditch player.
Radcliffe said the scene will be a hilarious treat for franchise fans, but not everyone was thrilled during the filming -- Rupert Grint, as Ron, had long envied the actors who got to swoop across the screen in the sport that is a sort of flying-broomstick version of lacrosse.
"I found out it was not as much fun to film as I hoped," said Grint, who was left weary and sore by the mechanized broom handle and had headaches from staring at the giant green screen that provides the backdrop canvas for computer artists to later fill in with crowds and the towering playing field. "It's going to be more fun to watch than it was to film."
There's also all that romance as the students, now in their late teens, learn the bittersweet lessons of love. Emily Watson, who fills out the trio of pals as Hermione, said that after so many years of battling magical beasties it was a treat for the students of Hogwarts to tussle with their own passions and enjoy some pratfalls.
"It's so much fun, and I'm really enjoying it," Watson said sitting in her pink-bedecked dressing room. "And it makes a change, because the last one was very heavy, and it is really nice to have that. . . . It's a nice break for me. And for the fans, I think it's going to be very, very funny."
geoff.boucher@latimes.com
SUMMER MOVIE MOMENTS
'They're heeeere.'
"Poltergeist," June 4, 1982
latimes.com/sneaks
Be very afraid
Sam Raimi returns to his horror roots with "Drag Me to Hell," just one of several scary films releasing this summer. See what Raimi has to say about that and mark your calendars for the release dates of Rob Zombie's "H2," the latest "Final Destination" installment, and more.


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Posted on October 11, 2016 by Vincent Hanley
A Room With a View
THE HISTORICAL/LITERARY BACKGROUND
This review and notes are based on the Merchant Ivory Film of A Room with a View, which was directed by James Ivory and produced in 1986. It is based on the novel of the same name, which was written by E.M. Forster in the early 1900s and set in 1907, at the end of the Edwardian era. This was a moment in British history when Britain was still an imperial power. It is an old love story with a happy ending (much like Pride and Prejudice). The film was shot on location in Tonbridge Wells, Kent and in Florence, Italy. In 1987 the film won three Oscars (and a further six nominations) and also won five BAFTA Awards and one Golden Globe.
Lucy Honeychurch, a young English lady, is on a visit to Florence in Italy, chaperoned by her cousin Miss Charlotte Bartlett. They had been led to believe that they would have a wonderful view at the Pensione Bertolini, but this is not the case when they arrive. Another couple, a father and son, overhear them when they express their dissatisfaction and they promptly offer to exchange rooms. Charlotte is offended at this presumption for her young cousin's sake, especially when the young man is dangerously attractive. However, the Reverend Beebe, the rector of Lucy's parish at home in England, happens to be staying there as well. He offers to act as an intermediary and the rooms are exchanged without further ado.
The next morning, Charlotte tours the city with Eleanor Lavish, a lady novelist whom she had met at dinner the night before. Lucy goes for a walk alone and she witnesses a violent street fight where a young man is seriously injured. She becomes weak and faints from the shock. Luckily, George Emerson, the young man she had met in the Pensione, is there to help her back to her room.
The following day, the visitors in the Pensione arrange to go sightseeing as a group and the Emersons also are part of the group. George and Lucy become separated from the others and he kisses her in a cornfield. Charlotte witnesses what happened between them and after they return to the city she arranges for them to leave their rooms the next day. The women agree not to tell anyone what has happened to Lucy.
Back in England, Lucy accepts a proposal of marriage from Mr. Cecil Vyse, who is a rather pompous, arrogant snob. By a chance arrangement, the Emersons take a house in the area, close to the Honeychurch residence. Lucy's brother Freddy, and the Rector, Mr. Beebe, invite George to go swimming in a nearby 'lake' on his first day in Summer Street. The men are quite spirited, and they chase each other around the lake for fun. Unfortunately, this occurs at the same time as the ladies are taking their afternoon walk in the woods and they see the men in all their naked glory!
Now that George has arrived and Freddy befriends him, he is invited to the Honeychurch home regularly to play tennis. Lucy is perturbed by George's renewed proximity. The contrast between George and the stuffy Cecil is very obvious and this unsettles Lucy.
When Charlotte comes to stay with the family, she is very concerned for Lucy in case the presence of George will do harm to her engagement to Cecil. One day, Cecil is reading and criticising what he considers to be a dreadful novel and both Lucy and George are listening. The book happens to be by Eleanor Lavish, the woman who stayed in the same pensione in Florence as they did. The novel is set in Florence and Cecil reads a paragraph describing exactly where and when George kissed Lucy. On the way back into the house, George kisses Lucy again out of sight of the others.
Lucy is upset by this and hurt that Charlotte has told Eleanor Lavish after they had agreed not to tell anyone about what had occurred in Italy. Lucy asks George in the presence of Charlotte to leave. George gives a passionate account of his love for her and tries to make her see that Cecil only cares for her as he would a prize possession. Lucy denies the fact that she may love George, but all the same, she breaks off her engagement with Cecil soon after this.
When George sees that Lucy will not have him, he decides to leave Summer Street because he cannot bear to be near her. Lucy is surprised and shocked to see the furniture being removed from the house. Mr. Emerson talks to her and makes a heartfelt plea to her to stop denying the truth. Realisation dawns on her that she does love George after all and the film ends with the two lovers on their honeymoon back in the Pensione Bertolini in Florence. They kiss passionately at the window of A Room with a View.
The themes which we will consider and touch on here are: Love versus hatred, The importance of social class and self-deception and self-realisation.
A Room with a View, deals with the discovery that real love is a powerful and regenerative force: essentially it is a love story with a happy ending. In the film, Lucy Honeychurch experiences a transition from a superficial understanding of love to a full understanding of its power and potential. The film uses many devices to illustrate this change:
The language of the characters
Their actions and gestures
The symbolic use of landscape and flowers
The metaphor of a room with a view.
Unlike a play and a novel, which rely heavily on the reader's ability to interpret the subtlety and significance of images or references made in the texts, A Room with a View can guide the viewer to their meaning by using effective cinematography.
In the opening sequence of the film, the courtyard view which Lucy has from her window is very disappointing. She was expecting a spectacular view of Florence and this indicates to the viewer Lucy's desire for new experiences. The room with a view becomes a metaphor for Lucy's desire to live an exciting and full life.
Lucy's disappointment with the restricted view is captured by the close-up camera shot of her face. This is intensified by her costume and by the incessant chatter of her cousin Charlotte.
In the dinner sequence, the camera focuses on a large question mark which George Emerson has arranged with the food on his plate. He deliberately shows this question mark to Lucy so that it becomes a symbolic representation for the viewer of their quest to find a meaningful and passionate existence.
The film clearly shows, even in the opening sequences, that the conventions which govern English society are useless in Italy. This is reflected in the open and direct manner of Mr. Emerson who offers Lucy and Charlotte the opportunity to change rooms. Mr. Emerson's passionate plea that they should have a view indicates his emotional nature and affinity with the workings of the human heart: 'I don't care what I see outside. My vision is within. Here is where the birds sing; here is where the sky is blue.'
To emphasise Emerson's passionate nature even further, the camera focuses on his face, which changes from a look of congeniality when he first suggests the switch, to a rising colour in his cheeks and a pleading look in his eyes. The shot also captures his emphatic gesture of beating his chest with his fork as he speaks, to indicate that his heart is where he feels life most powerfully.
The dialogue between Lucy, Charlotte, Mr. Beebe and the Misses Alan, as they discuss Mr. Emerson's proposal, illustrates the conflict between the dictates of society and individual free will. Miss Catherine Alan's opinion, that things which are indelicate can sometimes be beautiful, is a philosophy which Lucy adopts for her stay in Italy.
When Charlotte accepts the Emerson's offer, she takes the larger of the two rooms for herself, explaining to Lucy that it belonged to George: 'In my small way I am a woman of this world and I know where things can lead to.'
The ambiguity of this statement is apparent and hints at the physical attraction which exists between Lucy and George. It is also quite a pathetic statement, and though the viewer is not prone to like Charlotte at this stage in the film because of her ramrod stature, her severe hairstyle and her irritating personality, it does evoke a sense of empathy with her for her repressed emotions.
This shot is followed by the image of Lucy lying on the bed the next morning with a vertical strip of sunlight partly illuminating her face and body. This sensual image is enhanced when she rises from the bed and opens the window onto a panoramic view of Florence.
These images of Lucy along with her passionate piano playing indicate her desire to be free to experience all aspects of life and also to be free from the constraints and petty rules of society.
The sequence of shots in Santa Croce illustrates the Emersons rejection of social norms and the religious hypocrisy of people like the Rev. Cuthbert Eager. Mr. Emerson even makes fun of Giotto's frescoes because he sees no truth in them. While this statement might appear like ignorance to art historians or religious zealots, it is not meant to be blasphemous; rather it reflects his belief that spirituality alone, faith without emotion, cannot sustain the human heart.
The close-up camera shots which move rapidly from fresco to fresco illustrates their disproportion to real life figures. These shots can be contrasted with the opening of this sequence where, through a high camera angle, Lucy wanders through the vast space of the church on her own. This contrast emphasises Lucy's individualistic nature, which instinctively reacts against society's expectations. This point is also highlighted in her dialogue with Mr. Emerson who pleads with her to help his son to stop brooding: 'I don't require you to fall in love with my boy but please try to help him'.
The ambiguity of this exchange is further emphasised by Mr. Emerson's reference to the 'everlasting why' which he says George is trying to answer and also to his belief that there is 'a yes and a yes and a yes' which lies at the side of the everlasting why. These statements reflect an inner sensibility in Emerson to recognise an openness to love and passion in his son and most importantly a recognition of these qualities when he finds them in Lucy. Emerson's riddles are comparable to the cryptic language of the Fool in King Lear, the purpose of which is to provoke deep, soul-searching contemplation and honest interaction between characters.
While the Santa Croce sequence is taking place, Miss Lavish is leading Charlotte on a tour of the 'real' Italy. The camera follows them down little alleys and side streets, soaking up the atmosphere of Florence. As they pass down one side street, three local Italian men try to catch their attention. The individual responses of the women are interesting. Miss Lavish seems to be oblivious to them but the camera focuses on Charlotte's face, which reflects a sense of repulsion and scorn. This reaction illustrates Charlotte's inability to cope with raw passion and desire. Miss Lavish, on the other hand, seems to have a rather lax attitude towards the rules which govern society. They both try to be individualistic, self-sufficient and daring and both are opinionated and headstrong. There is, however, a sense of innocence about them, as though they know the theory about love but have little actual experience of it. This is illustrated by the over-sentimentalised love story which Miss Lavish writes, using Lucy and George as her protagonists. Her philosophy that 'one has always to be open, wide open to physical sensation', is applied to Lucy when she describes her as a 'young English girl transfigured by Italy'.
The irony of this statement is emphasised in the next sequence which catapults Lucy into this very 'transfiguration'. The camera, having cut to Lucy, follows her across the piazza, widening into a high angle shot so that the frame encompasses the width and breadth of the square and Lucy is swallowed up into the crowd. The camera then focuses on close up shots of various sculptures of classical figures holding decapitated heads and figures bearing swords and clubs, engaged in various acts of barbarity. These shots, accompanied by ominous background music, are indicative of the terrible violence which Lucy is about to witness. What looks like a fist fight between two young Italian men, suddenly turns to murder when one of them is stabbed. The stabbing indicates the evil nature of humanity when passion overrides moral judgement. It is juxtaposed with Lucy's discovery of real love and thus serves to contrast the struggle between the destructive power of hatred and the transforming power of love.
After the brawl in the piazza there is a low camera angle and close up shot of the victim's face, so that the frame encompasses his mouth which is covered in blood and his eyes which reflect the horror of his attack. The impact of this scene on Lucy is captured in the slow camera movement which lingers on the victim's face in a moment of tension and drama, indicated by the swell of dramatic music in the background. It is as if the blood which drains from the young man's body is also being drained from Lucy, and the high camera angle which captures her fainting spell illustrates the subconscious impact which the event will evoke in her. When George Emerson rescues Lucy from the frenzied crowd, the camera cuts back and forth between the victim's predicament and Lucy's attempt to disengage herself, both mentally and physically, from George. Her awkwardness at this point reflects the intimacy that has occurred between them, an intimacy which would be frowned upon by society.
Her attempt at aloofness fails because he tells her that something tremendous has happened between them. Lucy's notion that after the upheavals experienced by people in their lives, they return to their old life is rejected by George, who tells her that this is not so with him. His words are graphically illustrated by their close proximity to each other on the bridge and when he throws her pictures, which are covered in the victim's blood, into the river. The camera follows the pictures as they are swept away by the swift flowing waters, metaphorically representing the passion which has been ignited between them. From this moment onwards every time Lucy and George encounter each other, the viewer is aware of the attraction that lies between them. This is evident in their gestures and interactions with each other and most particularly in the amorous eye contact made between them. All these relationships are highly charged with dramatic tension because of their forbidden nature. They illustrate very effectively the possibility of desire creating strong characters or contemptible individuals.
In the sequence where the company drive out in two carriages to see a view, the theme of love versus hatred is evident. As they drive, Rev. Eager reprimands Phaethon, the young Italian coachman, for his intimacy with the young girl who accompanies him. Their display of affection conflicts with Eager's clinical unemotive personality and his patronising attitude to Lucy. Ironically, while he points out various buildings and houses which he recognises, the driver and his companion continue to caress each other and it is obvious that Lucy finds their actions much more interesting than Rev. Eager's conversation.
Her curiosity is illustrated when the camera focuses on her as she spies on the lovers through Miss Lavish's binoculars. In this interesting shot the camera allows the viewer to see Lucy's point of view. The frame is confined to the close-up of the lovers' kiss. This emphasis on Lucy's curiosity parallels her desire to experience passion and prepares the viewer for her climactic encounter with George later on in the sequence.
Later George and Lucy encounter each other in a secluded part of the view and finally succumb to their desires and they embrace passionately. Their abandonment of proper etiquette is reflected in the scenery, which is untamed and surrounded by luscious greenery. Ironically, it was Phaethon, the young Italian driver, who guided Lucy to George. The paralleling of the Italian and his lover with George and Lucy emphasises the importance of love in the film. The comparison between the Italian's relaxed image in the carriage when Lucy comes upon him and her sensuous image in bed at the beginning of the film, reiterates her latent desire.
When Charlotte finds George and Lucy embracing, the look of repulsion on her face symbolises her suppression of emotion but when compared to her earlier conversation with Miss Lavish about a woman marrying a lover ten years younger than her, this seems contradictory. The tone of the lovers' conversation infers the scandalous nature of such behaviour but it also illustrates the emptiness of Charlotte's existence; she can only talk about such passion while Lucy actually experiences it with George. However liberating this experience is for Lucy, it becomes a burden which she must hide from her own conscience, her family and the other guests in the pensione.
It is interesting that after this episode, Charlotte continually orders Lucy away from the window in her room, but symbolically Lucy is drawn back to it again. It is as if having once experienced such passion she is ensnared by it and wants to explore it more fully.
The sequence which takes place in England allows the viewer to contrast the dull conventionalism of English society with the open and unpretentious society of Italy. This contrast is reinforced by the formality of Cecil Vyse's proposal to Lucy. The stylised position of their bodies as he proposed illustrates the emotional distance between them and is emphasised by the camera movement out through the drawing-room window to give the viewer Mrs. Honeychurch's point of view of the setting. The dialogue between Lucy and Cecil cannot be heard because the dialogue Mrs. Honeychurch has with her son has precedence. Their dialogue implies Freddy's dislike of Cecil's pomposity and unsuitability for Lucy. Her acceptance of Cecil's proposal is her attempt to purge herself of the memory of George Emerson.
Cecil's unsuitability for Lucy is reflected very well in Mr. Beebe's face when Cecil tells him about the engagement. The camera holds on Mr. Beebe and the viewer witnesses the mingling of his shock and sadness.
Subconsciously Cecil is probably aware of his unsuitability for Lucy because it is inferred when he suggests that she is more comfortable with him in a room than in the open countryside. It is most definitely evident in the way he kisses her. This shot reflects his inexperience and sexual indifference to her, while Lucy displays an avid desire for a passionate embrace. Lucy's disappointment with Cecil is reflected by the close-up camera shot of Lucy's face, which highlights her bewilderment at expressing so much unrequited passion. It is also evident in the dissolving of this frame into the sequence in the Italian countryside where George Emerson first kissed her.
In the London sequence when Cecil and his mother talk about Lucy it is in the tone of having acquired a possession. This attitude is highlighted when Mrs. Vyse watches the reactions of her guests to Lucy's piano playing. The claustrophobic room where this sequence takes place also illustrates that the acquisition of objects is more important to the Vyses than self-knowledge or real feelings.
The shot which focuses on the faces of Cecil and his mother captures their conspiratorial gaze and also forces Mrs. Vyse to look up at Cecil while he is talking. This inference of Cecil's superior attitude is reflected in his dialogue about the education of his children in the future. The sense of confined space in this frame, suggested by the vast array of ornaments in the room, is paralleled to Lucy's encounter with Cecil on the landing before she retires to bed. The sense of awkward anticipation in her gestures underlines her inner frustration with Cecil's lack of passion. Their incompatibility is carried into the next sequence which contrasts the Vyses' home with the Honeychurch's' sprawling house and gardens and the horseplay of Freddy and Lucy.
The arrival of the Emersons in Summer Street propels the theme of love into the foreground of this sleepy, contented little place. The first suggestion of the upheaval which their arrival will bring about is the swimming sequence. The close camera shots of Freddy, Mr. Beebe and George Emerson frolicking and carousing about the place naked is symbolic of the raw and primitive passion which exists in human beings and which must find expression. The seclusion of the frame with the three men surrounded by bushes and trees is contrasted with the long-distance shot of Cecil, Mrs. Honeychurch and Lucy.
When Lucy, Cecil and Mrs. Honeychurch come face to face with George and Freddy, their reactions are typical. Only Lucy, who makes a tentative effort to shield her eyes with her umbrella, finds the episode humorous, while Cecil attempts to beat an escape route through the undergrowth with his cane, in order to avoid confrontation.
Constantly in this film Cecil is used as a medium through which the upper classes are ridiculed and this is obvious in his self-delusion and his blindness about what is really going on around him. He becomes a source of fun and is ridiculed. This is illustrated in the sequence where Lucy and George embrace in the garden while Cecil reads Miss Lavish's book about their first encounter in Italy. Cecil is incapable of seeing things as they really are. He is content in his delusion but outside influences force him to suffer for his ignorance. Cecil is very pompous, dismissive and critical of other people.
Lucy finally breaks off her engagement with Cecil. This sequence takes place at night and Lucy's delivery of the bad news, while she tidies the drawing room, begins politely but increases in vehemence.
The final sequence of the film reiterates the symbolic importance of a room with a view. The close-up camera shot of George and Lucy, framed by the open window, against the backdrop of Florence in the distance, captures their love for each other. The evils which exist in A Room with a View, therefore, are found in the repression of society, the snobbery of class distinction and the inability to express openly the passions of the heart.
LITERARY GENRE
This film is a classic romance, a love story with a happy ending. Before the end, however, both Lucy and George Emerson must overcome obstacles to their love and in the end, they are happily reunited once again.
The viewer is expected to suspend disbelief concerning the numerous rather extravagant coincidences in the plot – the initial confusion over the room, meeting with George at the street fight, the great coincidence that there was a novelist present to enshrine the illicit kiss in fiction, and the even greater coincidence when that novel is read by Cecil in the presence of Lucy and George, etc. ….. !
The plot of the film is straightforward. The heroine and hero meet in a hotel in Florence and are attracted to one another. The hero falls in love immediately but the heroine will not allow herself to do so. They meet again in England and eventually marry despite their social backgrounds.
The film is set in Florence and Summer Street in England. It begins and ends in Florence, and it begins and ends with the view from the hotel window as the main focus. The rest of the film is set in England. There is only one brief visit to London when Lucy goes to stay with Cecil's family.
The Florentine scene with the view as the main focus is a striking part of the film. When the tourists go on their day trip the attractions of the Italian countryside are emphasised. Art is an important topic and there are many shots of the architecture of Florence. The stone carvings on the streets and the inside of a church, Santa Croce, are examined. Pictures in the Art Gallery in London feature and Cecil compares Lucy to a Leonardo painting. George and Lucy kiss in a beautiful cornfield and later on in a green countryside. The colour green is evident everywhere. The lush landscape of England is seen in the season of swimming and tennis parties.
CAMERA SHOTS/ANGLES
There is nothing unusual about the camera shots or angles: they reinforce and aid the leisurely flow of the story. There is one flashback sequence when Cecil is clumsily venturing to kiss Lucy on the mouth and she cannot help remembering George's passionate embrace in Italy. This is shown briefly on screen accompanied by passionate music. This is a very effective device as the difference between the two men is revealed and from here on in the film, the audience become alienated from Cecil.
There is clever use of camera shots in the cathedral in Florence. An obedient crowd of tourists rotate their heads in the required direction when their guide indicates an important feature of its architecture. The camera switches to the particular feature and back to the crowd in readiness for the next swivel of heads. This happens a few times and it arouses the viewer's curiosity.
When the men are bathing in the lake near Summer Street their enjoyment of the afternoon is clearly established in the viewers' minds before the ladies and Cecil are introduced. The camera changes from the men to the women a couple of times to heighten the suspense of the approaching discovery.
There are no major changes in the lighting in the film. Italy and England in the summer time are awash with light. England indoors is often in shadow, this sometimes varies depending on the scene. When Lucy is breaking up with Cecil the room is particularly dark. Most of the shadowy lighting reflects their relationship.
The music varies with the scenes. When emotional scenes are being shown, it is often subtle, and particularly romantic when Lucy and George are kissing. There is a strong beat which heightens the drama when the fight occurs. Near the conclusion, the music reaches a crescendo when Lucy realises who she really loves.
The accents of the actors are clearly distinguished. Cecil Vyse, in particular, has what he considers to be a superior accent. His speeches are in a haughty tone and this is more exaggerated when he is criticising or demeaning someone. His affected language makes him both sound and look ridiculous. Mr. Emerson speaks with a plain and unadorned accent to indicate a more honest character who speaks his mind. He stands out in contrast to Cecil, and in particular to the company he meets in Florence and in England.
The piano is a key symbol in the film. Lucy plays it regularly, expressing her strongest emotions through her playing. It is Mr. Beebe who is struck by the fact that her personality does not match the way she plays. He makes the point that if Lucy lives as she plays, 'it will be very exciting for us, and for her'. He suspects that she will break out someday and, 'One day music and life will mingle.'
CULTURAL CONTEXT
Society is a central issue in the film. For the Edwardians, social position was everything. English hypocrisy and pretentiousness is highlighted here. Social snobbery is rife. Charlotte's attitude towards Mr. Emerson in the pensione is a striking example of this. The Miss Alans, an elderly couple, also illustrate this. They both sympathise with Charlotte and Lucy for having to endure Mr. Emerson's insistence on exchanging rooms. Cecil is depicted as an insufferable snob, who sneers at everything that does not match his standards. Ironically he shows how social standings and gentility do not always go together. He is quite rude about Lucy's brother Freddy because he is not an academic. He also makes Lucy's mother feel that she is not good enough for him.
Social snobbery at its worst is evident when Lucy visits Cecil's home. When Cecil and his mother discuss Lucy's potential, it is as if they are discussing the potential of a new household acquisition. In the end, however, Lucy has the courage to overcome the social barriers that divide her and George and she decides to follow her instincts. Much of the film concentrates on Lucy's emancipation from the restrictions imposed upon her by the society that surrounds her.
The culture of England and Italy are also contrasted in the film. The English visitors are restrained by their code of behaviour. The Italians, who are only briefly introduced, are uninhibited, and are puzzled and slightly amused by the prudish behaviour of the English. Charlotte Bartlett typifies this particularly English approach. The rector, Mr. Eager, is also easily horrified at what he considers to be a blatant show of sexuality when he sees the young Italian driver embracing his girlfriend.
Therefore the viewer is presented with two very different cultures in this film: upper-class England and Florence. England is emotionally restricted, bourgeois and staid. Certain codes of behaviour are rigidly adhered to and women have to travel with a chaperone. The stiffness and formality of this lifestyle is represented in the clothes of the time, manners, language and physical movement. Florence, on the other hand, is rich, relaxed and flamboyant. The social atmosphere is open and bright with streets full of life and endlessly fascinating. The viewer sees the beautiful, airy streets and squares, stunning monuments and impressive architecture.
The colour and variety of the Italians engage the viewer, and the contrast between the social mores of the English visitors is marked. The Italians chat easily to foreigners and just as easily get caught up in violent street fights.
And so, in the end, realisation dawns on Lucy that she does love George after all and the film ends with the two lovers on their honeymoon back in the Pensione Bertolini in Florence. They kiss passionately at the window of A Room with a View – and like all good love stories, they both live happily ever after!
Posted in A Level English, Film Studies, Leaving Cert English, Main MenuTagged A Merchant Ivory Film, A Room with a View, Charlotte Bartlett, E.M. Forster, Florence, George Emerson, Lucy Honeychurch, Pensione Bertolini, Santa Croce, Summer Street
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At Sanand, Tata Motors offers roses, then continues to reap thorns
Tata Motors' mini car Nano, launched in 2009, thought to be a gamechanger in those days, didn't quite live up to the expectations. But the company has far from given up on the Nano, which it feels has a huge brand recall globally. According to sources, Tata is actively working on developing a new car based on an upgraded Nano platform, which would sport a 1000 cc engine and would be positioned in between the Nano and the company's latest hatchback Tiago.
Multiple sources close to the development claimed that a car is under development which has been codenamed Pelican, that would be based on an upgraded Nano platform and would reflect the company's new Impact Design philosophy. This would sport a bigger sized engine of around 1000 cc (the Nano runs on a 624 cc two-cylinder engine). The car is likely to roll out from the Sanand plant in Gujarat. While the Nano was known for its frugal engineering and focus on cost-cutting strategy, the new car is likely to be positioned in a more stylish avatar. The company has already communicated the same to most of its vendors, as changes in engine along with a new exterior look would require bigger wheels, bigger batteries, etc.
Tata also has a two-cylinder 800 cc diesel engine ready for the Nano, but the project was put on the back burner as the company thought the engine needed refinement. However, after Maruti Suzuki India launched a diesel variant of the Celerio, is the company likely to rethink its decision of bringing out a diesel Nano?
When asked about the projects, a company spokesperson said: "At any given time, we work on a number of projects. However, in the context of the ongoing debate of diesel technology, the diesel engine for the Nano is currently not being considered. Nano remains an important brand and we constantly continue to evaluate the best market-suited variants for it."
Reiterating its faith on the Nano brand, Tata Motors said: "We are pleased with the good sales momentum for the GenX Nano, launched last year, finding a good response with the customers. The Nano has been a visionary and ground-breaking decision that changed the passenger vehicle business in the Indian market. It set a different pace and created a new segment and is a testimony to our commitment to offer innovative mobility solutions."
In fact, the company also claimed that the Nano is actually among the top 5 brands in the hatchback market to have crossed the 2.5 lakh sales mark in five years.
This perhaps is because of the initial bookings of 100,000 cars priced at Rs 1 lakh. Sales of the car have continued to fluctuate ever since. Tata sold 21,012 units of the Nano in 2015-16. However, the year-on-year sales for April 2016 was down to 1,100 units from 1,480 in 2015. Sales in April, however, have grown by over 50% on a month-on-month basis from March this year, and the company hopes to build on this momentum.
"We are delighted with the response for the GenX Nano launch in 2015 and the overall re-positioning of the brand. We continue to see fresh set of customers, first time car buyers visiting our showrooms. Moreover, the Nano registered a 50% month-on-month growth in April 2016 over March 2016 and we are hoping to further build on this momentum," said the spokesperson.
Tata feels that the growing response to GenX Nano validates that the right product features and positioning bring in customers even in challenging market conditions. Ever since the launch, Tata has continued to add features to the car, from power steering, to openable boot, to now an AMT version. From a frugal common man's car, Nano has been repositioned as a smart city car, which has found favour among women. In FY11, 14% of the owners of Nano cars were women whereas that number has jumped to 23% in FY16 with the introduction of GenX Nano.
Therefore, even after the launch of the Tiago earlier this year, which has so far seen some traction in the domestic market thanks to its disruptive pricing, the Sanand plant continues to make around 2000-2500 Nanos a month.
Around 42,561 Nano cars were produced from the Sanand factory from January 2014 to December 2015, the state government had informed at the assembly in response to a question in March. The company is working to change that. Tata is now also planning to cash in on the global interest in the Nano brand.
The spokesperson said: "Ever since its first showcase at the Auto Expo in Delhi in 2008, the Nano drew attention and generated interest among global audiences and the brand recall continues across the globe." She added: "Though our focus with the Nano is to cater to the domestic market first, we have also been exporting it to Sri Lanka, Bangladesh and Nepal, and have received positive market response."
In fact, Nano exports have grown 177% (as per data from the Society of Indian Automobile Manufacturers) year-on-year to 1126 units in 2015-16, from just about 406 units in the previous fiscal.
Nano's Journey so far
March 2009: Tata Nano launched in India (Priced Rs 1 lakh for first 1 lakh bookings)
June 2010: Nano rolls out from Sanand plant
May 2011: Tata starts exporting the Nano
October 2013: CNG Nano launched (current price around Rs 2.65 lakh)
January 2014: Nano Twist launched
May 2015: Gen X Nano launched, priced Rs 2.06 lakh to Rs 3.03 lakh
First Published: Tue, May 17 2016. 12:47 IST


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Home Arts/Leisure Wags & Wings Family Fun Fest a Huge Success
Wags & Wings Family Fun Fest a Huge Success
Tony Centonze
Clarksville's Humane Society hosted the 1st annual Wags & Wings Saturday.
Clarksville, TN – The Clarksville Regional Airport (CRA) in partnership with the Humane Society of Clarksville-Montgomery County began a new tradition this weekend with the 1st Annual Wags & Wings Family Fun Fest on Saturday, October 14th, 2017.
Humane Society's Courtney Berlyak talked about the success of the event and the fortuitous timing of CRA's John Patterson's proposal, coming just as Humane Society leaders had decided to end its annual Wags to Witches Fur Ball Bash.
Clarksville's Humane Society hosted the 1st annual Wags & Wings Saturday.
"Wags to Witches had a great 10-year run, but we decided to try something new, so today was our first ever Wags & Wings Family Fun Fest, and honestly, it has turned out to be bigger than we had anticipated," Berlyak said. "We had a huge turnout, and a beautiful day, it was great."
The event drew some major sponsors this year, including primary sponsorship from Fortera Credit Union, and a car show hosted by James Corlew which drew dozens of show-quality Corvettes.
In addition to the car show, there were numerous airplanes on display, an inflatable play area for the kids, and live entertainment for the whole family, including the Disc-Connected K-9's, a group of rescue dogs who amazed audiences with their Frisbee catching abilities.
"People really enjoyed the variety of entertainment," Berlyak said. "All the vendors and food trucks were a big hit, the Frisbee dogs were great, and of course the airplane and helicopter rides were very popular.
Wags & Wings Family Fun Fest primary sponsor Fortera Credit Union.
"I just want to thank all our volunteers, John Patterson and the CRA team, and Jeff Bibb and Frank Lott of BLF Marketing, for helping put this together and making it such a successful inaugural event."
John Patterson was excited about CRA's involvement in Saturday's event, and where he sees this going in the coming years.
"When Theresa Harrington announced the end of Rivers & Spires, she talked about other community events being organized to take its place," Patterson said. "We see this as a great opportunity for CRA. Wags & Wings could certainly become a signature event for Clarksville-Montgomery County."
Patterson says that a portion of Saturday's proceeds will benefit the Humane Society of Clarksville-Montgomery County, and a portion of the profits will be reinvested for next year's event.
"We are already looking forward to next year," Patterson said. "We want to make this bigger and better, and as long as the people are enjoying it, we want it to continue. We are going to have an after-action meeting and start looking at how we can grow each component of the show for next year."
Patterson wanted to mention it was advertised that the Commemorative Air Force was bringing a P-51D Mustang to Saturday's show. Unfortunately, a mechanical malfunction prevented them from doing so. CAF sent its apologies and announced that it will be making a donation directly to the CMC Humane Society.
The activities of the day ended at 4:00pm, but as night fell, many gathered for a 21-and-over Hangar Party which featured food from Zaxby's, beverages, desserts, and music by the Beagles. All proceeds from Saturday's Hangar Party will go to the Humane Society of Clarksville-Montgomery County.
BLF Marketing
Clarksville Regional Airport
Clarksville-Montgomery County Humane Society
Courtney Berlyak
Disc-Connected K9s
Fortera Credit Union
Frank Lott
James Corlew Chevrolet Cadillac
Jeff Bibb
Wags and Wings Family Fun Fest
Wags to Witches
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LeGrand Music Studios was contacted with a proposal by US Film Works in February of 2014. The film company encouraged us to shoot a promotional video, as we did. This video is not all inclusive, but gives viewers an idea of what we do at LeGrand Music Studios.
The staff at US Film Works are highly trained, thoughtful and professional. We recommend their expertise to anyone in the Knoxville area. They used state-of-the-art equipment and were able to shoot hours of footage with efficiency and ease. We are happy with the finished product.


The Condensed Consolidated Financial Statements as of and for the periods ended May 5, 2018 and April 29, 2017 are unaudited. The Condensed Consolidated Balance Sheet as of February 3, 2018 has been derived from the audited Consolidated Financial Statements included in our 2017 Annual Report. The interim Condensed Consolidated Financial Statements should be read together with the Consolidated Financial Statements and related footnote disclosures contained in our 2017 Annual Report.
Our business, like that of other retailers, is subject to seasonal fluctuations. Our sales are typically higher during our Anniversary Sale in July and the holidays in the fourth quarter. Our Anniversary Sale will shift to the second quarter in 2018 compared with the second and third quarters in 2017. Results for any one quarter are not indicative of the results that may be achieved for a full fiscal year.
In February 2016, the Financial Accounting Standards Board ("FASB") issued Accounting Standards Update ("ASU") No. 2016-02, Leases. This ASU increases transparency and comparability by recognizing a lessee's rights and obligations resulting from leases by recording them on the balance sheet as right-of-use assets and lease liabilities. The new standard requires lessees to apply a dual approach, classifying leases as either finance or operating leases based on the principle of whether or not the lease is effectively a financed purchase by the lessee. This classification dictates whether lease expense is to be recognized based on an effective interest method or on a straight-line basis over the term of the lease. Additional qualitative and quantitative disclosures will be required to give financial statement users information on the amount, timing and judgments related to a reporting entity's cash flows arising from leases. This ASU is effective for us beginning in the first quarter of fiscal 2019. The standard requires recognizing and measuring leases using a modified retrospective approach. However, the FASB recently proposed an optional transition alternative, currently subject to approval, which would allow for application of the guidance at the beginning of the period in which it is adopted, rather than at the beginning of the earliest comparative period presented. We continue to monitor and evaluate the impact this guidance would have on our adoption methodology and anticipate that this standard will have a material impact on our Consolidated Financial Statements.
In February 2018, the FASB issued ASU No. 2018-02, Income Statement — Reporting Comprehensive Income: Reclassification of Certain Tax Effects from Accumulated Other Comprehensive Income. This new guidance allows a reclassification from accumulated other comprehensive loss to accumulated deficit for certain tax effects resulting from the 2017 Tax Cuts and Job Act ("Tax Act"), which could not be recorded under prior guidance. We elected to early adopt this standard and reclassified $5 of tax impacts resulting from the change in the federal corporate tax rate, decreasing the beginning accumulated deficit for the quarter ended May 5, 2018.
We recognize sales revenue net of estimated returns and excluding sales taxes. Revenue from sales to customers shipped from our fulfillment centers, stores and directly from our vendors ("shipped revenues"), which includes shipping revenue when applicable, is recognized at shipping point, the point in time where control has transferred to the customer. Shipping and handling costs incurred when shipped to the customer are expensed as a fulfillment activity and commissions from sales at our full-line stores are expensed as incurred and both are recorded in selling, general and administrative expenses. Prior to 2018, shipped revenues were recognized upon estimated receipt by the customer.
We reduce sales and cost of sales by an estimate of customer merchandise returns, which is calculated based on historical return patterns, and record a sales return reserve and an estimated returns asset. Our sales return reserve is classified in other current liabilities and our estimated returns asset, calculated based on the cost of merchandise sold, is classified in prepaid expenses and other on the Condensed Consolidated Balance Sheet. Prior to 2018, the estimated cost of merchandise returned was netted with our sales return reserve in other current liabilities.
Upon adoption of the new Revenue Guidance, the remaining unamortized balances of the investment in contract asset and deferred revenue associated with the sale of the credit card receivables to TD in 2015 and 2017 were eliminated as part of a cumulative-effect adjustment reducing the opening balance of accumulated deficit for 2018. As a result, the asset amortization and deferred revenue recognition are no longer recorded in credit card revenues, net. Prior to 2018, investment in contract asset was classified in prepaid expenses and other and other assets, while the deferred revenue was classified in other current liabilities and other liabilities on the Condensed Consolidated Balance Sheet.
As our customers earn points and Notes in the loyalty program, a portion of underlying sales revenue is deferred until the Notes are ultimately redeemed and revenue recognized. The related deferred revenue is estimated based on the stand-alone selling price, including loyalty points and alterations and included in other current liabilities on the Condensed Consolidated Balance Sheet. Other benefits of the loyalty program, including shopping and fashion events, are recorded in selling, general and administrative expenses as these are not a material right of the program.
Our outstanding performance obligation for the Nordstrom Rewards loyalty program consists of unredeemed points and Notes and was $146 as of May 5, 2018. Almost all Notes are redeemed within six months of issuance. We record breakage revenue of unused points and unredeemed Notes based on expected customer redemption. We estimate, based on historical usage, that 5% of Notes will be unredeemed and recognized as revenue. Prior to 2018, we recorded the cost of Notes and points in cost of sales.
As of May 5, 2018, our outstanding performance obligation for unredeemed gift cards was $314. Almost all gift cards are redeemed within two years of issuance. We record breakage revenue on unused gift cards based on expected customer redemption. We estimate, based on historical usage, that 2% will be unredeemed and recognized as revenue. Prior to 2018, gift card breakage was recorded in selling, general and administrative expenses and was estimated based on when redemption was considered remote.
The amount of revenue recognized from our beginning contract liability balance was $150 in the first quarter ended 2018.
1 We present our sales for 2018 and 2017 to align with how management views our results internally, including presenting 2018 under the new Revenue Guidance and allocating our sales return reserve to our Full-price and Off-price businesses. For 2017, Other primarily included unallocated sales return reserve, in-transit reserve and loyalty related adjustments necessary to reconcile sales by business to total net sales.
2 Total net sales in the first quarter of 2018 increased approximately 250 basis points due to the shift of a Nordstrom Rewards loyalty event into the first quarter of 2018 relative to the second quarter of 2017 and the adoption of the new Revenue Guidance. Full-price and Off-price net sales increased approximately 200 basis points and 100 basis points for the same impacts as total company, in addition to allocating sales return reserve and loyalty related adjustments to the Full-price and Off-price businesses.
Digitally enabled sales, comprised of sales from Nordstrom.com, Nordstromrack.com/HauteLook and Trunk Club, as well as digitally assisted store sales, which include Buy Online, Pickup in Store ("BOPUS"), Reserve Online, Try on in Store (Store Reserve) and Style Board, a digital selling tool, were 29% and 25% as a percent of total net sales for the first quarter of 2018 and 2017.
We continually monitor and review our segment reporting structure in accordance with authoritative guidance to determine whether any changes have occurred that would impact our reportable segments. In the first quarter of 2018, as a result of the evolution of our operations, our reportable segments have become progressively more integrated such that we have changed to one reportable "Retail" segment to align with how management operates, evaluates and views the results of our operations. Our principal executive officer, who is our chief operating decision maker ("CODM"), reviews results on a total company, Full-price and Off-price basis and uses earnings before interest and taxes as a measure of profitability. We completed the reporting and budgeting in the first quarter of 2018 to better align with how the CODM allocates resources and assesses business performance. As part of this evolution, we now allocate our previous Credit segment results across our other businesses while credit assets are now included in Corporate/Other.
Our Retail segment aggregates our two operating segments, Full-price and Off-price. Full-price consists of Nordstrom U.S. full-line stores, Nordstrom.com, the Canadian operation, Trunk Club, Jeffrey and Nordstrom Local. Off-price consists of Nordstrom U.S. Rack stores, Nordstromrack.com/HauteLook and Last Chance clearance stores.
Our Full-price and Off-price operating segments each earn revenue as a leading fashion retailer by offering customers an extensive selection of high-quality, brand-name and private label merchandise which includes apparel, shoes, cosmetics and accessories for women, men, young adults and children. We continue to focus on omni-channel initiatives by integrating the operations, merchandising and technology necessary to be consistent with our customers' expectations of a seamless shopping experience regardless of channel or business. Full-price and Off-price have historically had similar economic characteristics and are expected to have similar economic characteristics and long-term financial performance in future periods. They also have other similar qualitative characteristics, including suppliers, method of distribution, type of customer and regulatory environment. Due to their similar qualitative and economic characteristics, we have aggregated our Full-price and Off-price operating segments into a single reportable segment.
1 Amounts related to segment change have been recast for the quarter ended April 29, 2017 to conform to current period presentation. Amounts related to adoption of the new Revenue Guidance have not been recast for any prior periods due to the modified retrospective method of adoption described in Note 2: Revenue.
During the first quarter of 2017, we issued $350 aggregate principal amount of 4.00% senior unsecured notes due March 2027 and an additional $300 aggregate principal amount of 5.00% senior unsecured notes due January 2044. With the proceeds of these new notes, we retired our $650 senior unsecured notes that were due January 2018. We incurred $18 of net interest expense related to the refinancing, which included the write-off of unamortized balances associated with the debt discount, issue costs and fair value hedge adjustment resulting from the sale of our interest rate swap agreements in 2012. It also included a one-time payment of $24 to 2018 Senior Note holders under a make-whole provision, which represents the net present value of expected coupon payments had the notes been outstanding through the original maturity date.
As of May 5, 2018, we had total short-term borrowing capacity of $800 under our senior unsecured revolving credit facility ("revolver") that expires in April 2020. Under the terms of our revolver, we pay a variable rate of interest and a commitment fee based on our debt rating. The revolver is available for working capital, capital expenditures and general corporate purposes. We have the option to increase the revolving commitment by up to $200, to a total of $1,000, provided that we obtain written consent from the lenders.
The revolver requires that we maintain an adjusted debt to earnings before interest, income taxes, depreciation, amortization and rent ("EBITDAR") leverage ratio of no more than four times. As of May 5, 2018, we were in compliance with this covenant.
As of May 5, 2018, we had no issuances outstanding under our commercial paper program and no borrowings outstanding under our revolver.
Our wholly owned subsidiary in Puerto Rico maintains a $52 unsecured borrowing facility to support our expansion into that market. The facility expires in Fall 2018 and borrowings on this facility incur interest based upon the LIBOR plus 1.275% per annum and also incur a fee based on any unused commitment. As of May 5, 2018, we had $47 outstanding on this facility, which is included in the current portion of long-term debt.
We also measure certain non-financial assets at fair value on a nonrecurring basis, primarily goodwill and long-lived tangible and intangible assets, in connection with periodic evaluations for potential impairment. We estimate the fair value of these assets using primarily unobservable inputs and, as such, these are considered Level 3 fair value measurements. There were no material impairment charges for these assets for the quarters ended May 5, 2018 and April 29, 2017.
Plans for our Nordstrom NYC store, which we currently expect to open in 2019, ultimately include owning a condominium interest in a mixed-use tower and leasing certain nearby properties. As of May 5, 2018, we had approximately $289 of fee interest in land, which is expected to convert to the condominium interest once the store is constructed. We have committed to make future installment payments based on the developer meeting pre-established construction and development milestones. In the event that this project is not completed, the opening may be delayed and we may be subject to future losses or capital commitments in order to complete construction or to monetize our investment in the land.
In February 2017, our Board of Directors authorized a program to repurchase up to $500 of our outstanding common stock through August 31, 2018. During the quarter ended May 5, 2018, we repurchased 0.3 shares of our common stock for an aggregate purchase price of $13 and had $401 remaining in share repurchase capacity as of May 5, 2018. The actual timing, price, manner and amounts of future share repurchases, if any, will be subject to market and economic conditions and applicable Securities and Exchange Commission ("SEC") rules.
In May 2018, subsequent to quarter end, we declared a quarterly dividend of $0.37 per share, which will be paid on June 4, 2018 to holders of record as of May 18, 2018.
These and other factors, including those factors described in Part I, "Item 1A. Risk Factors" in our 2017 Annual Report on Form 10-K and Part II, "Item 1A. Risk Factors" in this Quarterly Report on Form 10-Q could affect our financial results and cause actual results to differ materially from any forward-looking information we may provide. We undertake no obligation to update or revise any forward-looking statements to reflect subsequent events, new information or future circumstances, except as may be required by law.
We had a solid start to the year, reflecting strong digitally enabled sales growth, continued inventory and expense execution and strength in regular price selling trends. Our first quarter net earnings were $87, or $0.51 per diluted share. Net sales increased 5.8% for the first quarter, which was consistent with our expectations. This reflected an increase of approximately 250 basis points due to the shift of a Nordstrom Rewards loyalty event into the first quarter this year relative to the second quarter last year and the adoption of the new Revenue Guidance.
We reached a significant milestone in our history with the opening of our full-line Men's store in New York City ("NYC"). This store features our latest service experiences to help serve customers on their terms, including express returns kiosks, same-day delivery, 24/7 Buy Online & Pick Up in Store, and unique brand partnerships.
We expanded our presence in Canada with the introduction of Nordstrom Rack, opening three stores in the Toronto and Calgary markets. Similar to our experience in the U.S., we expect strong synergies between our Full-price and Off-price businesses.
We increased sales enabled through our digital capabilities by 18% in the first quarter compared with the same period last year. Digitally enabled sales represented 29% of first quarter sales, up from 25% in the same period last year.
Our Nordstrom Rewards customers contributed 53% of sales, compared with 47% a year ago.
In our top markets, we continue to integrate our supply chain, technology, marketing, and merchandising capabilities to deliver differentiated services and experiences. This year we will launch efforts to link our capabilities in our largest market, Los Angeles, and recently kicked off our efforts with a group of highly engaged customers to co-create unique customer shopping journeys. We intend to apply our learnings to scale to other markets.
We anticipate operating improvements as our generational investments in Canada and Manhattan and our acquisitions of HauteLook and Trunk Club continue to scale.
We plan to benefit from productivity gains as a result of foundational investments in our capabilities. We expect ongoing opportunities for improved expense leverage, particularly in marketing and technology. In supply chain, we continue to invest in creating end-to-end value and improving the customer experience.
Our strategic brand partnerships represent another lever that enables us to provide a compelling product offering and strengthen our regular-price selling.
As we aspire to be the best fashion retailer, our customer strategy is centered on three strategic pillars: providing a compelling product offering, delivering exceptional services and experiences, and leveraging the strength of our brand. We are well-positioned to execute on our customer strategy and remain focused on improving the customer experience.
In our ongoing effort to enhance the customer experience, we are focused on providing customers with a seamless experience across our channels. We invested early in our omni-channel capabilities, integrating our operations, merchandising and technology across our stores and online, in both our Full-price and Off-price businesses. While our customers may engage with us through multiple channels, we know they value the overall Nordstrom brand experience and view us simply as Nordstrom, which is ultimately how we view our business. We have one Retail reportable segment in 2018 and analyze our results on a total Company basis.
During the first quarter of 2018, we adopted the new revenue recognition guidance using the modified retrospective adoption method. Results beginning in the first quarter of 2018 are presented under the new guidance, while prior period amounts are not adjusted. Also beginning in 2018, we aligned our sales presentation with how we view the results of our operations internally and how our customers view us, by our Full-price and Off-price businesses.
1 For 2017, Other primarily included unallocated sales return reserve, in-transit reserve and loyalty related adjustments necessary to reconcile sales by business to total net sales.
Total Company net sales increased 5.8% for the quarter ended May 5, 2018, compared with the same period in 2017, including an increase of approximately 250 basis points due to the shift of a Nordstrom Rewards loyalty event into the first quarter of 2018 relative to the second quarter of 2017 and the adoption of the new Revenue Guidance. Digitally enabled sales increased 18% in the first quarter of 2018 compared with the same period in 2017. To date in fiscal 2018, we opened our Nordstrom Men's Store NYC, opened seven Nordstrom Rack stores and closed one full-line store.
Full-price net sales increased 3.9% for the quarter ended May 5, 2018, compared with the same period in 2017, which includes a net increase of approximately 200 basis points in the first quarter of 2018 due to the shift of a Nordstrom Rewards loyalty event, the adoption of the new Revenue Guidance and the allocation of sales return reserve and loyalty related adjustments. The top-ranking merchandise categories were Kids' Apparel and Men's Apparel.
Off-price net sales increased 6.7% for the quarter ended May 5, 2018, compared with the same period in 2017, which includes a net increase of approximately 100 basis points in the first quarter of 2018 due to the shift of a Nordstrom Rewards loyalty event, the adoption of the new Revenue Guidance and the allocation of sales return reserve and loyalty related adjustments. Shoes was the top-performing merchandise category.
Credit program revenues, net includes our portion of the credit card revenue, net of credit losses, from credit card receivables pursuant to our program agreement with TD. Credit card revenue, net was $92 for the quarter ended May 5, 2018, compared with $75 for the same period in 2017. The increase of $17 was a result of our strategic partnership with TD to responsibly grow our receivables and associated revenues as well as efforts to drive new account growth.
Our gross profit rate decreased 21 basis points for the first quarter ended 2018, compared with the same period in 2017, due to higher occupancy expenses related to U.S. and Canada Rack openings in addition to planned pre-opening expenses associated with the Nordstrom Men's Store NYC. Continued inventory execution led to improvements in inventory turnover rate as of May 5, 2018.
For the quarter ended May 5, 2018, SG&A increased $72 primarily due to higher supply chain and marketing costs associated with our sales growth. Our SG&A rate increased 32 basis points primarily due to planned pre-opening expenses associated with the Nordstrom Men's Store NYC.
For the quarter ended May 5, 2018, EBIT increased $2 primarily due to an increase in digitally enabled sales. Our EBIT rate decreased 18 basis points primarily due to planned pre-opening expenses associated with the Nordstrom Men's Store NYC.
Interest expense, net was $28 for the first quarter ended 2018, compared with $48 for the same period in 2017. The decrease was primarily due to a net interest expense charge of $18 related to the $650 debt refinancing completed in the first quarter of 2017 (see Note 4: Debt and Credit Facilities in Item 1).
The effective tax rate decreased for the quarter ended May 5, 2018, compared with the same period in 2017, primarily due to the lower statutory tax rate enacted under the 2017 Tax Cuts and Job Act ("Tax Act").
Earnings per diluted share increased $0.14 for the quarter ended May 5, 2018, compared with the same period in 2017 due to an increase in revenues and a decrease in the tax rate, partially offset by an increase in higher supply chain and marketing costs. Additionally, in the first quarter of 2017, there was an interest expense charge of $18, or $0.06 per diluted share related to the $650 debt refinancing.
The shift in the Anniversary Sale event into the second quarter relative to the second and third quarters in 2017 and the adoption of the new revenue recognition guidance is expected to impact total sales percentage by an increase of approximately 150 basis points in the second quarter and a decrease of approximately 150 basis points in the third quarter.
Credit card revenue growth in the mid-teens range.
We believe that Adjusted ROIC is a useful financial measure for investors in evaluating the efficiency and effectiveness of the capital we have invested in our business to generate returns. Adjusted ROIC adjusts our operating leases as if they met the criteria for capital leases or we had purchased the properties. This provides additional supplemental information that reflects the investment in our off-balance sheet operating leases, controls for differences in capital structure between us and our competitors and provides investors and credit agencies with another way to comparably evaluate the efficiency and effectiveness of our capital investments over time. In addition, we incorporate Adjusted ROIC into our executive incentive measures and it is an important component of shareholders' return over the long term.
We define Adjusted ROIC as our net operating profit after tax divided by our average invested capital using the trailing 12-month average. Adjusted ROIC is not a measure of financial performance under generally accepted accounting principles ("GAAP") and should be considered in addition to, and not as a substitute for, return on assets, net earnings, total assets or other financial measures prepared in accordance with GAAP. Our method of determining non-GAAP financial measures may differ from other companies' methods and therefore may not be comparable to those used by other companies. Estimated depreciation on capitalized operating leases and average estimated asset base of capitalized operating leases are not calculated in accordance with, or an alternative for, GAAP and should not be considered in isolation or as a substitution of our results as reported under GAAP. The financial measure calculated under GAAP which is most directly comparable to Adjusted ROIC is return on assets.
For the 12 fiscal months ended May 5, 2018, our Adjusted ROIC increased to 9.9% compared with 8.7% for the 12 fiscal months ended April 29, 2017. Results for the prior period were negatively impacted by approximately 320 basis points due to the Trunk Club non-cash goodwill impairment charge in the third quarter of 2016.
1 Results for the 12 fiscal months ended May 5, 2018 include a $42 impact related to the Tax Act.
4 Results for the 12 fiscal months ended April 29, 2017 include the $197 impact of the Trunk Club non-cash goodwill impairment charge in the third quarter of 2016, which negatively impacted the prior period return on assets by approximately 240 basis points and Adjusted ROIC by approximately 320 basis points.
Over the long term, we manage our cash and capital structure to maximize shareholder return, maintain our financial position, manage refinancing risk and allow flexibility for strategic initiatives. We regularly assess our debt and leverage levels, capital expenditure requirements, debt service payments, dividend payouts, potential share repurchases and other future investments. We believe that as of May 5, 2018, our existing cash and cash equivalents on-hand of $966, available credit facility of $800 and potential future operating cash flows and borrowings will be sufficient to fund these scheduled future payments and potential long-term initiatives.
Net cash used in operating activities was $28 for the quarter ended May 5, 2018, compared with net cash provided by operating activities of $89 for the quarter ended April 29, 2017, primarily due to the timing of payroll and increased incentive compensation payouts, which included $16 for our one-time investment in employees in response to the Tax Act.
Net cash used in investing activities increased $5 for the quarter ended May 5, 2018, compared with the same period in 2017, primarily due to the acquisitions of two retail technology companies, which were classified in other investing activities, net (see Note 1: Basis of Presentation in Item 1), partially offset by a decrease in capital expenditures.
Net cash used in financing activities decreased $261 for the quarter ended May 5, 2018, compared with the same period in 2017, primarily due to decreased share repurchase activity.
During the first quarter of 2017, we issued $350 aggregate principal amount of 4.00% senior unsecured notes due March 2027 and $300 aggregate principal amount of 5.00% senior unsecured notes due January 2044. We recorded debt issuance costs incurred as a result of the issuance in other financing activities, net in the Condensed Consolidated Statements of Cash Flows in Item 1. With the proceeds of these new notes, we retired our $650 senior unsecured notes that were due January 2018.
Free Cash Flow is one of our key liquidity measures, and when used in conjunction with GAAP measures, provides investors with a meaningful analysis of our ability to generate cash from our business. For the quarter ended May 5, 2018, we had Free Cash Flow of ($130) compared with ($85) for the first quarter ended 2017.
Beginning in the first quarter of fiscal 2018, we no longer adjust free cash flow for cash dividends paid. We believe that no longer reducing free cash flow by dividends paid is more reflective of our operating performance and more consistent with the way we manage our business, how our peers calculate free cash flows, and prevailing industry practice. Prior period Free Cash Flow financial measures have been recast to conform with current period presentation.
Adjusted earnings before interest, income taxes, depreciation and amortization ("EBITDA") is our key financial metric to reflect our view of cash flow from net earnings. Adjusted EBITDA excludes significant items which are non-operating in nature in order to evaluate our core operating performance against prior periods and increase comparability with our peers. The financial measure calculated under GAAP which is most directly comparable to Adjusted EBITDA is net earnings. As of May 5, 2018 and April 29, 2017, Adjusted EBITDA was $301 and $293.
Our wholly owned subsidiary in Puerto Rico maintains a $52 unsecured borrowing facility to support our expansion into that market. The facility expires in Fall 2018 and borrowings on this facility incur interest based upon the LIBOR plus 1.275% per annum and also incur a fee based on any unused commitment. As of May 5, 2018, we had $47 outstanding on this facility.
The revolver requires that we maintain an adjusted debt to earnings before interest, income taxes, depreciation, amortization and rent ("EBITDAR") leverage ratio of no more than four times (see the following additional discussion of Adjusted Debt to EBITDAR). As of May 5, 2018, we were in compliance with this covenant.
Adjusted Debt to EBITDAR is one of our key financial metrics, and we believe that our debt levels are best analyzed using this measure. Our goal is to manage debt levels to maintain an investment-grade credit rating and operate with an efficient capital structure. In evaluating our debt levels, this measure provides a reflection of our credit worthiness that could impact our credit rating and borrowing costs. We also have a debt covenant that requires an adjusted debt to EBITDAR leverage ratio of no more than four times. As of May 5, 2018, our Adjusted Debt to EBITDAR was 2.6, and as of April 29, 2017, it was 2.3.
1 The components of Adjusted Debt are as of May 5, 2018 and April 29, 2017, while the components of Adjusted EBITDAR are for the 12 months ended May 5, 2018 and April 29, 2017.
3 Non-cash acquisition-related charges for the 12 months ended April 29, 2017 include the goodwill impairment charge of $197 related to Trunk Club.
4 Results for the period ended April 29, 2017 include the $197 impact of the Trunk Club goodwill impairment charge, which approximates 260 basis points.
The preparation of our financial statements requires that we make estimates and judgments that affect the reported amounts of assets, liabilities, revenues and expenses, and disclosure of contingent assets and liabilities. We base our estimates on historical experience and other assumptions that we believe to be reasonable under the circumstances. Actual results may differ from these estimates. We believe that the estimates, assumptions and judgments involved in the accounting policies referred to in our Annual Report on Form 10-K for the year ended February 3, 2018 have the greatest potential effect on our financial statements, so we consider these to be our critical accounting policies and estimates. Our management has discussed the development and selection of these critical accounting estimates with the Audit Committee of our Board of Directors.
Except as disclosed in Note 2: Revenue of Item 1, pertaining to our adoption of the new Revenue Guidance, there have been no significant changes to our significant accounting policies as described in the our Annual Report on Form 10-K filed with the SEC on March 19, 2018.
We discussed our interest rate risk and our foreign currency exchange risk in Part II, "Item 7A. Quantitative and Qualitative Disclosures About Market Risk" in our 2017 Annual Report on Form 10-K filed with the SEC on March 19, 2018. There have been no material changes to these risks since that time.
As of the end of the period covered by this Quarterly Report on Form 10-Q, the Company performed an evaluation under the supervision and with the participation of management, including our principal executive officer and principal financial officer, of the design and effectiveness of our disclosure controls and procedures (as defined in Rules 13a-15(e) or 15d-15(e) under the Exchange Act). Based upon that evaluation, our principal executive officer and principal financial officer concluded that, as of the end of the period covered by this Quarterly Report, our disclosure controls and procedures were effective in the timely and accurate recording, processing, summarizing and reporting of material financial and non-financial information within the time periods specified within the SEC's rules and forms. Our principal executive officer and principal financial officer also concluded that our disclosure controls and procedures were effective to ensure that information required to be disclosed in the reports that we file or submit under the Exchange Act is accumulated and communicated to our management, including our principal executive officer and principal financial officer, to allow timely decisions regarding required disclosure.
There have been no changes in our internal control over financial reporting (as defined in Rules 13a-15(f) or 15d-15(f) of the Exchange Act) during our most recently completed fiscal quarter that have materially affected, or are reasonably likely to materially affect, our internal control over financial reporting.
We are subject from time to time to various claims and lawsuits arising in the ordinary course of business, including lawsuits alleging violations of state and/or federal wage and hour and other employment laws, privacy and other consumer-based claims. Some of these lawsuits include certified classes of litigants, or purport or may be determined to be class or collective actions and seek substantial damages or injunctive relief, or both, and some may remain unresolved for several years. We believe the recorded reserves in our Condensed Consolidated Financial Statements are adequate in light of the probable and estimable liabilities. As of the date of this report, we do not believe any currently identified claim, proceeding or litigation, either alone or in the aggregate, will have a material impact on our results of operations, financial position or cash flows. Since these matters are subject to inherent uncertainties, our view of them may change in the future.
On March 20, 2018, the Special Committee of the Board of Directors of Nordstrom announced the termination of discussions with members of the Nordstrom family of a possible "going private transaction." There have been no other material changes to the risk factors we discussed in Part I, "Item 1A. Risk Factors" of our 2017 Annual Report on Form 10-K filed with the SEC on March 19, 2018 for the quarter ended May 5, 2018.
In February 2017, our Board of Directors authorized a program to repurchase up to $500 of our outstanding common stock through August 31, 2018. The actual timing, price, manner and amounts of future share repurchases, if any, will be subject to market and economic conditions and applicable SEC rules.
Exhibits are incorporated herein by reference or are filed or furnished with this report as set forth in the Exhibit Index on page 26 hereof.
Chief Financial Officer of Nordstrom, Inc.
A signed original of this written statement required by Section 906 has been provided to Nordstrom, Inc. and will be retained by Nordstrom, Inc. and furnished to the Securities and Exchange Commission or its staff upon request.


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Codemasters has explained its decision to drop legendary rally driver Colin McRae's name for the title and box of upcoming racer DiRT 3.
McRae, who along with his sons and two family friends died in a tragic September 2007 helicopter accident, has long been the face of Codemasters' much-loved rally series.
The 2009 game was called Colin McRae: Dirt 2 in all territories except the US. Now, with DiRT 3, McRae's name is nowhere to be seen.
"DiRT 2 was very much our tribute to Colin," communications manager Andy Gray told Eurogamer. "It had a tribute section right at the end as well.
"It's been a few years now since Colin passed away, so the time had come to remove his name from the box, but still keep his influence in the game, not just in terms of the content but in the ethos."
While McRae's name is no longer a part of DiRT's title and box art, his influence is still keenly felt in the game's design, chief games designer Paul Coleman explained.
"Colin's cars are still in the game. We still work closely with his estate. We've made sure we were in dialogue with his wife and agent, who still represents him, at all stages of development.
"His charity is represented in the game. We've given one of our racing teams you can compete in during the career a full livery dedicated to his charity.
"And Colin's ethos of, if in doubt, flat out, that drives the way we design the game. We want players to not think of consequences, to just go as fast as they can. Our flashback tool allows players to do that. If they make a simple mistake they can quickly rectify that.
"We want players to be all about the racing and not worrying too much about the management and repair aspect of the game. That's something we're looking into for future titles, but right now it's all about just getting into the best car for the stage and then racing it as hard as you can, which is what Colin was about."
Coleman went in-depth on the evolution of the series in a recent DiRT 3 interview with Eurogamer.
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text:
Le World Series 2009 sono state la 104ª edizione della serie di finale della Major League Baseball al meglio delle sette partite tra i campioni della National League (NL) 2009, i Philadelphia Phillies, e quelli della American League (AL), i New York Yankees. A vincere il loro ventisettesimo titolo furono gli Yankees per quattro gare a due.

A causa della presenza del World Baseball Classic 2009 a marzo e il conseguente spostamento in avanti della stagione, queste furono le prime World Series disputate in novembre. Questa finale fu una riedizione delle World Series 1950. MVP delle serie fu Hideki Matsui, che divenne il primo battitore designato ad ottenere tale riconoscimento, pur avendo giocato solo la metà delle partite, quelle allo Yankee Stadium, poiché nella National League non viene applicata la regola del battitore designato.

Sommario
New York ha vinto la serie, 4-2.

Hall of Famer coinvolti
 Yankees: Derek Jeter, Mariano Rivera
 Phillies: Pedro Martínez

Note

Altri progetti

Collegamenti esterni

World Series
Baseball nel 2009

redpajama_set_name: RedPajamaWikipedia


text:
29 Apr 2021 12:31 PM +00:00 UTC
Tone-deaf Warner Bros releases 4K Josstice League trailer as fans campaign for SnyderVerse
In an extremely tone-deaf move, Warner Bros have released a 4K trailer for the abomination fans refer to as Josstice League.
Warner Bros really wants you to know it doesn't care for the SnyderVerse. Following the start of fan campaigns to restore Snyder's full vision, the company has released a new Justice League trailer. However, the trailer isn't for the movie fans like, but instead the theatrical cut now referred to as Josstice League.
Not only have fans declared that this promotion of Josstice League is one-deaf, but also problematic. With the abuse cast and crew received from director Joss Whedon common knowledge, it shows WB standing for abusers.
Warner Bros stands for Josstice League
As fans campaign for Warner Bros to RestoreTheSnyderVerse, the studio is making it clear that they are firmly against it. In response, the studio has released a new 4K trailer for the theatrical cut of Justice League. Not only are fans obviously annoyed at the studio promoting the worse film, but also at how the studio is standing behind abusers like Joss Whedon.
What makes things worse is that this new trailer is not all from the theatrical cut of Justice League. In fact, the trailer includes multiple shots from Zack Snyder's version of the movie. These shots were not a part of the theatrical cut, commonly referred to as Josstice League. It's quite noticeable; this new trailer doesn't have a creepy mannequin Henry Cavill mouth.
At the time of writing, the trailer has 20,000 dislikes on YouTube. The dislikes make up over 12% views; 0.8% of viewers liked the trailer. The comments section is flooded with fans slating WB for slapping fans in the face with the studio support on the worse cut.
On Twitter, fans have also expressed disdain for Warner Bros. One user called the studio "the most unaware, tone deaf, head in the sand, ass in the air, ludicrously idiotic, hilariously out of touch movie studio on the planet". Others highlight WB refusing to promote the Snyder Cut while giving a full trailer "directed by a gaslighting abuser they just kicked out".
Warner Bros hates the SnyderVerse
Warner Bros is allegedly killing all mention of the SnyderVerse for future projects. Known leaker Grace Randolph revealed that the studio higher-ups are taking the release of the Snyder Cut personally. If anything proves that, this new trailer does.
While The Rock is allegedly fighting to have SnyderVerse characters involved in Black Adam, that's not WB's decision. Instead, the movie's backing by AT&T for HBO Max will decide whether or not The Rock gets his wish.
Instead, Warner Bros wants a clean slate. Robert Pattinson as Batman is just one part of this. However, the studio is reportedly planning a Superman reboot, a DC multiverse film and more. It's obvious that WB is attempting to move on, even if they were behind most of the SnyderVerse's problems.
Read More:Snyder Cut writer disgusted at Whedon's cut and studio interference
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