James B. Duke House

The James B. Duke House is a mansion at 1 East 78th Street, on the northeast corner of Fifth Avenue, on the Upper East Side of Manhattan in New York City. The building was designed by Horace Trumbauer, who drew heavily upon the design of Château Labottière [fr] in Bordeaux. Constructed between 1909 and 1912 as a private residence for businessman James Buchanan Duke and his family, the building has housed the New York University (NYU)'s Institute of Fine Arts since 1959.

The house has a limestone facade and was designed to look like a two-story structure from the street. An attic story is placed behind the balustrade on roof level. The house generally contains long windows and high ceilings and has a portico in the middle of the 78th Street facade. The interior of the first floor is designed in the French Classical style and consists of four large corner rooms, used as classrooms, which surround a main entrance hall. The second floor originally contained eight bedrooms while the third floor had servants' quarters; these later served respectively as a library and offices. The basement had service rooms, later converted into laboratories.

The James B. Duke House replaced the 1880s-era Henry H. Cook mansion. When Duke died in 1925, his wife Nanaline and daughter Doris continued to live in the house until 1958, when they donated the house to NYU. The New York City Landmarks Preservation Commission designated 1 East 78th Street as an official landmark in 1970, and it was added to the National Register of Historic Places in 1977.

## Site

The James B. Duke House is at 1 East 78th Street in the Upper East Side neighborhood of Manhattan in New York City. It is on the northeast corner of 78th Street to the south and Fifth Avenue to the west, directly across Fifth Avenue from Central Park. The land lot covers 13,325 square feet (1,237.9 m2) with a frontage of 82.17 feet (25.05 m) on Fifth Avenue and 150 feet (46 m) on 78th Street. The house is largely rectangular in plan, except at the northeast corner, where the house protrudes slightly on the north side. Nearby sites include the Payne Whitney House and the Harry F. Sinclair House to the north, the Stuyvesant Fish House to the east, and 960 Fifth Avenue to the south.

In the late 19th century, the site was owned by railroad magnate Henry H. Cook, who had acquired all lots on the city block between Fifth Avenue, Madison Avenue, and 78th and 79th Streets. Cook had acquired the site for \$500,000 and built a house on the southwest corner of the block in 1883. Cook intended the block to house first-class residences, not high-rises, and only sold lots for the construction of private dwellings. By the early 1910s, the value of the land had increased to \$6 million. Through the early 2000s, the block of Fifth Avenue remained largely intact, compared to other parts of Fifth Avenue's "Millionaire's Row".

## Architecture

The James B. Duke House was designed in the French Classical/Louis XV style by Horace Trumbauer. Built for the family of James Buchanan Duke, it has served as a building for the New York University (NYU)'s Institute of Fine Arts since around 1959. Trumbauer drew heavily upon the design of French architect Etienne Laclotte's Château Labottière [fr], built in 1773 in Bordeaux. Because Trumbauer did not have a formal architectural education, he delegated the details of his designs to other architects working for him. In particular, the Duke mansion was one of the early works of African American architect Julian Abele.

Comparing the house to the Edward S. Harkness House at 1 East 75th Street, Paul Goldberger wrote that the Duke House seemed "overwhelming". Conversely, Henry Hope Reed Jr. praised the house's "monumentality in what is, for New York, a low building".

### Facade

The facade is made of limestone, which is designed in a fine quality that looks like marble. From the street, the house was designed to look like a two-story structure. An attic story is placed behind the balustrade on roof level. To make the Duke mansion appear as an overscaled version of the Château Labottière, Trumbauer hid the service rooms in the basement and the servants' bedrooms in the attic. The Duke House occupies nearly its entire land lot. On Fifth Avenue, the house is slightly recessed behind an areaway. A stone balustrade separates the areaway from the sidewalk. There is a yard on the north side of the house, separating it from the Payne Whitney House at 972 Fifth Avenue directly to the north. Another alley on the east side, measuring 10 feet (3.0 m) wide, separates the Duke House from a neighboring building at 3 East 78th Street. The Duke House's facade contains seven vertical bays of openings on the south, facing 78th Street, and four bays of openings on the west, facing Fifth Avenue. The house generally contains long windows and high ceilings to give it the impression of a large mansion.

The main entrance is in the center bay on 78th Street. It contains a double-story portico flanked by vertical pilasters with quoins. The entrance is recessed within the portico and is flanked by Doric-style columns on the ground floor. It is accessed by a short flight of steps with a balustrade that contains low relief panels. Inside the opening is a set of double doors in a round-arched opening, with stone bas-reliefs in the spandrels at the top corners. The keystone above the door has a console bracket with a relief depicting a woman's head. At the second story is a balcony with an iron railing and Ionic-style columns. There is a French window behind the balcony, topped by a carved swag and a panel with a swag and ribbons. The top of the portico contains a triangular pediment supported by corbels, within which is a tympanum containing carved figures.

The remainder of the facade is similarly ornate. Each corner of the facade contains pilasters with quoins, similar to those surrounding the portico. The windows at the ground floor are surrounded by banded moldings and have balustrades at the bottom. The balustrades of each ground-story window are visually connected by band courses within the spaces between each window. On the second story, each window is surrounded by a banded molding and has a wrought-iron window guard at the bottom, as well as a carved swag atop the window. The spaces between the windows on both stories are made of stone panels in low relief, while a band course separates the floors horizontally. The facade is topped by a large entablature and a cornice supported by modillions. The entablature has talon and egg-and-dart moldings as well as a blank frieze; at the portico, the entablature projects slightly from the facade.

### Interior

The house has 32 rooms in total. According to the New York City Department of City Planning, the Duke House has a gross floor area of 31,089 square feet (2,888.3 m2). However, media sources have described the house as having 40,000 square feet (3,700 m2). Originally, numerous artworks were displayed throughout the house. These included Portrait of Raphael Franco (Thomas Gainsborough, 1780), Portrait of Lord Peter Burrell, Lord Gwydyr (Gainsborough, 1787), and Gentleman in a Red Coat (Henry Raeburn, 1800). Many of the house's original architectural records are in the collection of Duke University Libraries.

#### First floor

The communal interiors on the first floor, which guests could visit, were designed in the French Classical style. On each side of the main entrance were reception rooms for guests. These were converted respectively to a development office to the west and a directors' office to the east. On the ground floor, the Duke mansion was designed around a grand entrance hall, officially known as the Marica Vilcek Great Hall. This main hall contains stone reliefs, which are carved to resemble classical figures such as putti. The floor is made of polychrome tile. On the northern wall is a U-shaped marble staircase leading to the second floor. North of the staircase is a kitchen. East of the main staircase, an additional stair leads up to the second floor and down to the basement, while an elevator leads to all stories. The elevator was originally outfitted in rose and gold decoration.

The former public rooms, including the dining, drawing, and music rooms, were arranged at the four corners of the ground floor. They retain many of the original furnishings and decorations. The library was in the southwest corner, the dining room in the northwest, the music room in the northeast, and the drawing room in the southeast. Because of the shape of the house, the music room was slightly larger than the other corner rooms. The former music room has arched openings with swags, fluted pilasters with capitals, relief panels, and an architrave with festoons and a cornice; many of the decorations are gilded. The music room has an arched opening with a small performers' balcony that contains an iron railing. As of 2020, the Loeb Room, Marble Room, Lecture Hall, and Seminar Room respectively occupy the southwest, northwest, northeast, and southeast rooms.

#### Other stories

The second floor had eight large bedrooms. Also on the second floor was a linen room, dress closet, clothes rooms, a pantry, and bathrooms. The attic had twelve suites for servants. The Institute of Fine Arts has a library in the second-floor bedrooms and faculty offices in the attic. Two stairs connect the second and third floors, one on either side of a skylight on the north side of the house.

Service rooms such as the laundry, kitchen, and servants' dining room were placed in the basement. The kitchen and servants' dining room was placed in the western side of the basement, while the laundry was in the northeast corner. Other rooms such as a pantry, storerooms, and linen rooms were arranged around a corridor connecting the kitchen and dining room with the laundry. Servants' suites were placed on smaller corridors leading off the main basement corridor. When the Institute of Fine Arts took over the building, these rooms were converted to laboratories. As of 2020, the basement has several offices. A fire stair replaced a dumbwaiter to the kitchen, but the basement furnishings remain largely intact. From the basement, another staircase and the elevator lead to the sub-basement, which has a multi-purpose room and more offices.

## History

James Buchanan Duke was a wealthy businessman from North Carolina. In 1890, he became president of the American Tobacco Company, formed by the merger of several U.S. tobacco companies. James moved to 4 East 52nd Street in what is now Midtown Manhattan in 1907, shortly before he married Nanaline Inman. At the time, Duke was already considering buying Cook's 78th Street mansion "as a present for his bride", according to The New York Times. Even after the American Tobacco Company was dissolved by antitrust action in 1911, Duke remained a wealthy businessman, organizing competing companies and founding the Southern Power Company (later Duke Power) and Duke University.

### Construction

In January 1909, Duke purchased the Henry H. Cook mansion for \$1.5 million. He initially planned to alter the house, with C. P. H. Gilbert designing the alterations. By August 1909, Duke planned to construct an entirely new residence on the Cook site and was already demolishing the Cook house. Trumbauer had been hired to design a new residence there, and John T. Brady & Co. had been hired as the general contractor. Referring to the Cook house's relatively young age, The New York Times wrote at the time, "Is it possible that twenty-five years hence people will be talking about the 'old' Duke house?" Many of the furnishings in the Cook mansion were sold at deep discounts: for instance, a \$15,000 fireplace was sold for \$300 and panels worth \$55 apiece were sold for \$3 each. The demolition contractor called it "the best-built house ever torn down in New York City".

In September, Duke sold a small parcel on the north side of the site, measuring 20 by 100 feet (6.1 by 30.5 m), to his neighbor William Payne Whitney. The next month, Trumbauer filed plans for a three-story Renaissance-style residence on the site, to cost \$365,000. By mid-1910, the masonry at the ground story had been laid. The final design elements of the James B. Duke House were being installed by June 1912.

### Duke residence

During 1912, Duke and his pregnant wife Nanaline moved into the house with their fourteen servants; the house had ultimately cost \$1 million. Their only child, Doris Duke, was born the same November. Among the events the Dukes hosted in their new house was a dinner dance in March 1913. The New York Times dedicated a page in an illustrated supplement to photographs of the house, which it dubbed the "costliest home opened on Fifth Avenue within a year". According to New York state census records from 1915, the three Dukes lived with two relatives and thirteen servants. The 1920 United States census showed that all of the servants working at the house at that point had been hired after 1915, except for their 50-year-old cook Mathilda Andrews. The 78th Street house, while spacious, was the Dukes' secondary residence; their primary residence was Duke Farms in New Jersey.

James B. Duke died at his 78th Street home on October 10, 1925, having suffered from pneumonia for several weeks. In James's will, Doris received a large part of her father's \$150 million estate (which she could access when she attained the age of majority), while Nanaline received the 78th Street house; the Rough Point estate on Newport, Rhode Island; and the family's Charlotte, North Carolina, house. Due to an unusual clause in the will, James had stipulated that these properties be sold immediately, but Doris was to be given sufficient funds to purchase the properties back. As a result, Doris successfully sued her mother for control of the house in early 1927 as part of a "friendly" lawsuit. Doris wished to avoid the formality of placing the residence through an auction, which would entail having guests enter the home to assess the furnishings, potentially damaging it. The then-14-year-old Doris received both the house itself, valued at \$1.6 million, and its furnishings, valued at \$600,000. Doris was placed in charge of paying off the \$615,000 mortgage and Nanaline in charge of interest payments on the mortgage.

As a teenager, Doris continued to reside in the family house on 78th Street, referring to it as "the rock pile" in her adulthood. By the late 1920s, apartment buildings were being constructed on the adjacent blocks. This prompted Nanaline Duke to ask the New York Supreme Court in 1929 to reduce the house's valuation from \$1.6 million to \$970,000, citing the apartment construction. The house was assessed at \$1.5 million in 1931, prompting Nanaline to sue again to reduce the value to \$975,000. When Doris Duke turned twenty-one years old in 1933, she received a substantial part of the bequest that had been held in trust for her. A little more than a year later, Doris married James H. R. Cromwell at the 78th Street house. Even when Doris Duke remarried to Porfirio Rubirosa in 1947, she retained ownership of the 78th Street house and several other properties. However, the house was mostly used by Nanaline in later years.

### Institute of Fine Arts

In January 1958, Nanaline and Doris Duke donated the building to the NYU Institute of Fine Arts. The building was valued at the time at \$1.6 million. The donation allowed the institute to more than double its space from 19,000 square feet (1,800 m2), at their old location on 17 East 80th Street, to 40,000 square feet (3,700 m2) at the Duke House. The architecture firm of Robert Venturi, Cope & Lippincott renovated the building for academic use. The renovation, Venturi's first project, involved preserving most of the interior spaces. NYU dedicated the institute's new quarters in the Duke House in February 1959. The dedication party was reportedly the first time the house had hosted a party in twenty years. NYU's occupancy of the Duke House preserved it for the time being, especially when other mansions on Fifth Avenue's "Millionaires' Row" were being demolished.

The New York Landmarks Conservancy praised the Duke House's "superb adaptive reuse" when the NYU renovation was completed. As early as 1966, the New York City Landmarks Preservation Commission (LPC) was considering designating the Duke House as part of a city historic district. The LPC designated the house as an individual landmark on September 15, 1970, calling it "one of the adornments of Fifth Avenue and one of the last reminders of the Age of Elegance". The house was added to the National Register of Historic Places on November 10, 1977. The same year, the LPC designated the house as part of the Metropolitan Museum Historic District, a collection of 19th- and early 20th-century mansions around Fifth Avenue between 78th and 86th Streets.

Richard Foster renovated the house again in the late 1970s, adding an 80,000-volume library on the second floor. John L. Loeb and the Hagop Kevorkian Fund financed the renovation, which cost \$1.2 million. For his work, Foster received an award in 1978 from the Connecticut Society of Architects, and the New York Landmarks Conservancy gave the project an award for "excellence in the redesign of a landmarks building". By the 1990s, the house was visibly deteriorating, and sidewalk sheds had to be erected to protect visitors. Next door at 3 East 78th Street, former institute chairman Sheldon Solow acquired a ground-floor condominium in 1999. Solow ultimately bought two floors in the adjacent building and donated them to NYU in 2007. The space was to contain a library named after him; the library would include several thousand art and architecture books that were being stored in the James B. Duke House and other locations.

The James B. Duke House was renovated starting in 2012. The facade, roof, and basement were preserved, and the existing materials were retained as much as possible. Also in 2012, NYU started negotiating with the condominium board of the neighboring 3 East 78th Street to expand into that building. In 2014, NYU proposed creating an enclosed breezeway slightly above the alley separating the Duke House and 3 East 78th Street. The move received opposition from residential condominium owners at 3 East 78th Street, who feared the move would damage their properties. The dispute was based on the fact that, while NYU owned the ground-floor condominium in the neighboring building, it did not own the exterior wall. After a 2016 lawsuit where NYU sued 3 East 78th Street's condominium board over delays to the renovation, NYU renovated the neighboring condominium unit in 2020.

## See also

- List of New York City Designated Landmarks in Manhattan from 59th to 110th Streets
- National Register of Historic Places listings in Manhattan from 59th to 110th Streets

Mansion in Manhattan, New York

Houses on the National Register of Historic Places in Manhattan

New York State Register of Historic Places in New York County


2008 Giro d'Italia

The 2008 Giro d'Italia was the 91st running of the Giro d'Italia, one of cycling's Grand Tours. It began in Palermo on 10 May and ended in Milan on 1 June. Twenty-two teams entered the race, which was won by Spaniard Alberto Contador of the cycling team. Second and third respectively were Italians Riccardo Riccò and Marzio Bruseghin.

Contador first took the race lead after the second mountain stage, to Marmolada, by finishing nearly fifteen minutes ahead of previous race leader Gabriele Bosisio. The race's overall classification had been headed for several days beforehand by Giovanni Visconti, who participated in a breakaway in the sixth stage which won him sufficient time to hold the race leader's pink jersey for more than a week. In the race's final week, Contador faced stern challenges from Riccò and defending Giro champion Danilo Di Luca. Though Contador did not win any stage, his performances were consistently strong enough to remain ahead through to the conclusion of the race.

Team appeared to perform quite well in the race, coming away with four stage wins and victory in the mountains classification and the Trofeo Fast Team. In August 2008, mountains classification winner Emanuele Sella was announced to have tested positive for methoxy polyethylene glycol-epoetin beta (better known as Mircera, an erythropoietin derivative) at an out-of-competition control held by the Union Cycliste Internationale (UCI). He subsequently admitted his doping, and named teammate Matteo Priamo as his supplier. Both riders were subsequently suspended. Though as of April 2010 no definitive positive results have come to light from samples taken during the Giro, retesting of those samples has reportedly revealed six to seven presumptive positives for Mircera. Riccò, who tested positive for the drug at the 2008 Tour de France, is among those suspected of having given positive tests in the Giro, as is Sella.

## Teams

Twenty-two teams participated in the 2008 Giro. These included 16 UCI ProTour teams, and six UCI Professional Continental teams. Of the 18 ProTour teams, the two left out were and . Two other ProTour teams, and , were left off the first list of teams announced by RCS Sport, the organizers of the Giro. This list also included a further Professional Continental team, , which was later excluded. Astana and Team High Road were both later added, with Astana's invitation coming just six days before the event began.

The 22 teams who took part in the race were:

## Race previews and favorites

The 2008 Giro featured an assortment of contenders for the overall victory. Defending champion Danilo Di Luca had faced potential bans which would have kept him out of the race, after investigations into his involvement with the Oil for Drugs scandal and an irregular doping test given after stage 17 of the 2007 Giro d'Italia, either of which could have resulted in a two-year suspension. Though he was suspended for three months because of Oil for Drugs, he was cleared by the Italian National Olympic Committee of any wrongdoing in the 2007 Giro, and was thus permitted to start.

The late invitation of to the race provided three potential contenders: 2007 Tour de France winner Alberto Contador, third-place finisher from that race Levi Leipheimer, and Andreas Klöden. One analysis of pre-race favorites considered Klöden to be the strongest of them, while another considered Contador to be the race's biggest favorite after his wins at the recently run Vuelta al País Vasco and Vuelta a Castilla y León. Both Di Luca and Contador had strong domestiques (support riders) by their sides, with Di Luca joined by two-time Giro d'Italia champion Paolo Savoldelli, Gabriele Bosisio, and Alessandro Spezialetti, and Contador by Leipheimer and Klöden. Other riders named as overall contenders included Denis Menchov, Gilberto Simoni, Vincenzo Nibali, Riccardo Riccò, Mauricio Soler, Marzio Bruseghin, Emanuele Sella, Evgeni Petrov, Franco Pellizotti, and Juan Manuel Gárate. Unibet.com's odds-on favorite was Klöden. 2004 Giro d'Italia winner Damiano Cunego chose to skip the race to better prepare for the Tour de France, adding to speculation that this would be the first Giro since 1996 to feature a non-Italian winner.

Six stages were classified as flat and likely to be contested by sprinters. Italian sprinter Alessandro Petacchi, who had notably won nine stages in the 2004 race, did not plan to enter this Giro because of bouts with influenza and bronchitis which hindered his training. He was later suspended from the sport, and his contract with Team Milram terminated, as a result of his controversial doping case from the 2007 Giro. Sprinters identified as being favorites in the bunch finishes that the Giro would offer included Alexandre Usov, Dimitry Muravyev, Enrico Gasparotto, Maximiliano Richeze, Robert Förster, Mark Cavendish, André Greipel, Daniele Bennati, Paolo Bettini, Graeme Brown, Robbie McEwen, Julian Dean, Erik Zabel, and Alberto Loddo. Richeze was withdrawn by his team the day before the race began after a positive doping test, though he would later be cleared of any wrongdoing. His name remained on the start list, and he was not replaced, meaning entered the race with only eight riders instead of the customary nine.

## Route and stages

The race began for the second year in succession with a team time trial on one of Italy's islands, in this case Sicily (in 2007 it had been Sardinia). The route contained only four stages that were officially deemed mountain stages, but several of the seven intermediate stages contained selective climbs. The Giro had four time trials, three of which were individual and one a team event. Six stages were classified as flat.

The sixth stage was originally scheduled to be 265 km (165 mi) in length, but it was shortened the day before it was to be run. This decision was made because many riders in the race had become upset over the lengths of transfers from the end of one stage to the beginning of the next and that this afforded them little rest to prepare for such long stages. The 34 km (21 mi) Circuito del Gargano was eliminated.

Of the four official mountain stages, three ended with climbs: stage 14 to Alpe di Pampeago, stage 15 to Passo Fedaia, and stage 19 to Presolana. Stage 20 earned its mountain designation by way of the Passo di Gavia and the Passo del Mortirolo, respectively the highest point reached and the steepest climb of this year's Giro. Two other stages had summit arrivals, stage 7 to Pescocostanzo and the demanding stage 16 climbing time trial to Plan de Corones, the summit of which the Giro had never before visited. It was hoped that the number of time trials, including one on the race's last day, would keep the race hotly contested to the end.

## Race overview

The Giro started with a team time trial in Sicily. There was pre-race speculation that this stage would result in an American rider wearing the pink jersey for the first time in twenty years, as , , and were among the biggest favorites to win and all had strong American time trialists on their squads. The victory went to , which put their team leader, American Christian Vande Velde, in the first pink jersey. With a hilly stage ahead on day two of the Giro, Vande Velde's race lead was far from secure. He lost it to Franco Pellizotti, who finished sufficiently ahead of Vande Velde on the stage to take a lead of a single second in the overall classification. Pellizotti retained the race lead for the next three days, as those stages were flat and were contested by sprinters, with the overall favorites finishing together with the peloton in each.

The sixth stage was shortened from its original length of 265 km (165 mi) to 231.6 km (143.9 mi). This was still the race's second-longest stage, and it featured a breakaway which shook up the race standings. Eleven riders finished nearly twelve minutes in front of the peloton, and reigning Italian national road race champion Giovanni Visconti assumed the race lead, by a margin of less than one second over fellow breakaway member Matthias Russ. Russ had begun the stage 13 seconds ahead of Visconti in the overall classification, but with Visconti gaining seven seconds on Russ at the finish line and six in bonification on the stage's intermediate sprint, the young Italian became the next to wear the pink jersey. Visconti and his team ably defended the jersey for nine days, keeping it through the hilly seventh and eighth stages, as well as in the individual time trial in stage 11 and in three flat stages. Visconti eventually lost the lead on stage 14, the Giro's first stage categorized as high mountain, as he finished more than eighteen minutes behind stage winner Emanuele Sella. The race lead passed to Gabriele Bosisio after that stage, but he was unable to hold it the next day, finishing fifteen minutes behind Sella, again the stage winner. It was on this stage that Alberto Contador took the lead that he would never relinquish.

Contador faced repeated challenges from Riccardo Riccò and Danilo Di Luca in the race's final week. They were separated by less than a minute after stage 15, and though Di Luca would falter slightly in the Giro's second individual time trial, the time gap among the three of them was just 21 seconds heading in to the Giro's final mountain stage. Di Luca faltered further in that last mountain stage, losing almost five minutes and any chance to repeat as Giro champion, but Contador and Riccò finished together and were separated by only four seconds going into the Giro's final stage, another individual time trial. Contador's superior time trial skills provided the difference in the Giro's finale. Though he finished 11th on the stage, he gained almost two minutes over Riccò, winning the Giro overall without taking any individual stage.

Emanuele Sella of won three stages in the race's final week and took a convincing victory in the mountains classification, leading it for the entire race. His subsequent positive tests and confessions to the use of performance-enhancing drugs outside the Giro cast serious doubt on the legitimacy of these results, however. Daniele Bennati was nearly as dominant in winning the points classification, taking three stage wins and six other top-ten finishes. He led the classification after every stage except the second and eighth, which were both won by Riccò, who thereby gained the mauve jersey for one day on two separate occasions. Though Riccò was never able to take the overall race lead, he was the winner of the youth classification, taking the white jersey from Visconti when he lost the overall lead and holding it through the conclusion of the race. That jersey had also previously passed over the shoulders of Chris Anker Sørensen and Morris Possoni.

Five teams repeated as stage winners. Four individual riders won multiple stages. In addition to Sella's three victories in the final week, the riders who won more than once were Riccardo Riccò in stages 2 and 8, Daniele Bennati in stages 3, 9, and 12, and Mark Cavendish in stages 4 and 13. also won multiple stages, with Pavel Brutt in stage 5 and Vasil Kiryienka in stage 19, after both figured into early morning breakaway groups.

, , , , and all won one stage apiece. won the opening team time trial, rider Marzio Bruseghin won the Giro's first individual time trial, rider Gabriele Bosisio won stage 7 from a morning escape, 's Alessandro Bertolini took stage 11 from a breakaway, and veteran Jens Voigt was the winner of stage 18.

Success was achieved by only a handful of teams, meaning that other teams did not achieve much in the race. Though they nearly took the race lead with Matthias Russ in stage 6, had just two riders finish the race, and were never otherwise close to a notable result. had only four riders finish the race. Two other ProTour teams, and , similarly failed to be at all competitive in the Giro. None of them would return to the Giro in 2009; Gerolsteiner folded in 2008 after being unable to locate a new sponsor while , , and all made it known that they did not wish to participate and were thus declined invitations.

### Doping

Several notable riders in the Giro were announced to have tested positive for banned performance-enhancing drugs after the race concluded. Prominent amongst them was rider Emanuele Sella, a triple stage winner, winner of the mountains classification, and a key rider to 's victory in the teams classification. It was announced on 5 August that Sella had tested positive for Methoxy polyethylene glycol-epoetin beta, better known as Mircera, a third-generation form of the banned blood booster erythropoietin. At the time the Giro was run, the test for Mircera was still in development. An out-of-competition control was taken on 23 July, just days after positives from the 2008 Tour de France had come to light, and samples were sent to labs in Paris for analysis. UCI President Pat McQuaid said that Sella had been targeted in the control and that "[i]t wasn't rocket science" to conclude that Sella's performances in the Giro could have been artificially enhanced.

Sella confessed his doping to the Italian National Olympic Committee (CONI) and named teammate Matteo Priamo, also a stage winner in this Giro, as his supplier. Though Priamo never tested positive for anything, and though the Italian National Anti-Doping tribunal originally exonerated him, the Court of Arbitration for Sport ruled, upon appeal by CONI, that he should be suspended for four years.

Riccardo Riccò, a double stage winner and the best young rider, tested positive for Mircera during the Tour de France, and was subsequently expelled with his team . This control was taken just days before the one at which Sella gave his positive. Since it took place during the Tour de France, Riccò's results from that race have been removed, but the results for Sella, Priamo, and Riccò all still stand as no positive tests from controls taken during the Giro have come to light. Riccò claims to have only taken the drug before the Tour, but there has been speculation that his performances in the Giro were not legitimate. Sella has similarly confessed to taking the drug while not confessing to have used it during the Giro.

After repeated positives over the summer, including tests from Leonardo Piepoli and Bernhard Kohl at the Tour de France, and Davide Rebellin and Stefan Schumacher from the 2008 Olympic Games, the UCI has sought to have samples taken during the Giro retested. In October 2009, it was announced that six to seven riders from this Giro had presumptive positives, while further untestable doping involving ozone was also suspected. In total, 82 samples were retested, and the presumptive positives have been compared to values stored at an anti-doping lab in Lausanne, Switzerland. The identities of those riders who tested positive have not yet been revealed. It is believed that Rebellin and Sella are among the riders to have presumptive positives.

## Classification leadership

In the 2008 Giro d'Italia, four different jerseys were awarded. For the general classification, calculated by adding each cyclist's finishing times on each stage, and allowing time bonuses for the first three finishers on mass start stages, the leader received a pink jersey. This classification is considered the most important of the Giro d'Italia, and the winner is considered the winner of the Giro.

Additionally, there was a points classification, which awarded a mauve jersey. In the points classification, cyclists got points for finishing in the top 15 in a stage. The stage win awarded 25 points, second place awarded 20 points, third 16, fourth 14, fifth 12, sixth 10, and one point less per place down the line, to a single point for 15th. In addition, some points could be won in intermediate sprints.

There was also a mountains classification, which awarded a green jersey. In the mountains classifications, points were won by reaching the top of a mountain before other cyclists. Each climb was categorized, either first, second, or third category, with more points available for the higher-categorized climbs. The highest point in the Giro (called the Cima Coppi), which in 2008 was the Passo di Gavia in Stage 20, afforded still more points than the other first-category climbs.

The fourth was the young rider classification which awarded a white jersey. This was decided the same way as the general classification, but only riders born after 1 January 1983 were eligible.

There were also two classifications for teams. The first is the Trofeo Fast Team. In this classification, the times of the best three cyclists per team on each stage are added, and the team with the lowest time is leading team. The Trofeo Super Team is a team points classification, with the top 20 placed riders on each stage earning points (20 for first place, 19 for second place and so on, down to a single point for 20th) for their team.

The rows in the following table correspond to the jerseys awarded after that stage was run.

## Final standings

### General classification

### Mountains classification

### Points classification

### Young rider classification

### Trofeo Fast Team classification

### Trofeo Super Team classification

### Minor classifications

Other less well-known classifications were awarded during the Giro, whose leaders did not receive a special jersey. These awards were based on points earned throughout the three weeks of the tour. Each mass start stage had one intermediate sprint, awarding points to the Expo Milano 2015 classification. These sprints gave bonus seconds towards the general classification, points towards the regular points classification, and also points towards the Expo Milano 2015 classification. This award was known in previous years as the Intergiro, and was previously time-based, awarding a blue jersey. rider Fortunato Baliani won this classification.

Additional minor classifications included the combativity classification, which was a compilation of points gained for position on crossing intermediate sprints, mountain passes and stage finishes. Mountains classification winner Emanuele Sella took this award. The Azzurri d'Italia classification was based on finishing order, but points were only awarded to the top three finishers in each stage. Like the overall points classification, it was ' Daniele Bennati who won this. Also, the Trofeo Fuga Cervelo rewarded riders who took part in a breakaway at the head of the field, each rider in an escape of ten or fewer riders getting one point for each kilometre that the group stays clear. Along with the Expo Milano 2015, Fortunato Baliani also finished first in this classification. Additionally, teams were on occasion given penalty points for technical infringements. avoided any penalties, and so was the winner of the Fair Play classification.


Scott & Bailey

Scott & Bailey is a British police procedural series that debuted on ITV on 29 May 2011 and concluded on 27 April 2016. The series stars Suranne Jones, Lesley Sharp, Amelia Bullmore, Nicholas Gleaves, Danny Miller and Pippa Haywood. The show, mainly written by Sally Wainwright, revolves around the personal and professional lives of Detectives Janet Scott (played by Sharp) and Rachel Bailey (played by Jones). Both characters are members of the Syndicate Nine Major Incident Team (MIT) of the fictional Manchester Metropolitan Police.

Despite continued good reception and strong viewership, it was decided to end the series after an abbreviated fifth series in 2016 for creative reasons. In March 2018, Canadian TV remade the series as The Detail but the show was cancelled after one season.

## Episodes

## Cast and characters

### Starring

- Lesley Sharp as Detective Constable Janet Scott, a Detective Constable within Syndicate 9 who also briefly acts as Detective Sergeant during Series 3.
- Suranne Jones as Acting Detective Inspector Rachel Bailey, an officer within Syndicate 9 who serves as a Detective Constable from Series 1-3 before being promoted to Detective Sergeant and Deputy Senior Investigating Officer of Syndicate 9 in Series 4. She is later promoted to Acting Detective Inspector in Series 5 and concurrently serves as the Senior Investigating Officer of Syndicate 9.
- Amelia Bullmore as Detective Chief Inspector Gill Murray (Series 1–4), the Senior Investigating Officer of Syndicate 9.
- Nicholas Gleaves as Detective Sergeant Andy Roper (Series 1–2), a Detective Sergeant and the Deputy Senior Investigating Officer of Syndicate 9.
- Danny Miller as Detective Sergeant Rob Waddington (Series 3–4), a Detective Sergeant and the Deputy Senior Investigating Officer of Syndicate 9.
- Pippa Haywood as Detective Superintendent Julie Dodson (Series 5; supporting, Series 2–4), an officer who serves as a Detective Chief Inspector and Senior Investigating Officer of Syndicate 3 in Series 2. She is later promoted to Detective Superintendent by Series 3 and gains oversight of multiple syndicates, including Syndicate 9, within the Murder Investigation Department.

### Also starring

- David Prosho as Detective Constable Ian "Mitch" Mitchell, a Detective Constable within Syndicate 9.
- Delroy Brown as Detective Constable Lee Broadhurst, a Detective Constable within Syndicate 9.
- Tony Mooney as Detective Constable Pete Readyough, a Detective Constable within Syndicate 9.
- Ben Batt as Detective Constable Kevin Lumb (Series 1-3), a Detective Constable within Syndicate 9.
- Rupert Graves as Nick Savage (Series 1), a CPS barrister.
- Sean Maguire as Police Constable Sean McCartney (Series 2-3), a Police Constable within Manchester Metropolitan Police and later boyfriend/husband of Rachel Bailey.
- Steve Toussaint as Detective Superintendent Will Pemberton (Series 4), a Detective Superintendent within the Vice Unit and boyfriend of Rachel Bailey.
- Danny Webb as Detective Constable Chris Crowley (Series 4), a Detective Constable within Syndicate 9 and later boyfriend of Janet Scott.
- Jing Lusi as Detective Constable Anna Ram (Series 5), a Detective Constable within Syndicate 9.

### Recurring

- Sally Lindsay as Alison Bailey, the daughter of Sharon Bailey and sister of Rachel and Dominic Bailey.
- Harriet Waters as Taisie Scott, the daughter of Adrian and Janet Scott.
- Tony Pitts as Adrian Scott (Series 1-3), the husband of Janet Scott and father of Taisie and Elise Scott.
- Vincent Regan as Detective Chief Superintendent Dave Murray (Series 1-2), the Head of the Review Unit whose team are occasionally called in to review the progress of Syndicate 9 in murder enquiries. He is also the ex-husband of Gill Murray.
- Kevin Doyle as Geoff Hastings (Series 1-2), an old school friend of Janet Scott who brings a cold case to her attention.
- Julia Deakin (Series 2) & Judy Holt (Series 3-5) as "Scary" Mary Jackson, a Home Office pathologist.
- Judith Barker as Dorothy Parsons (Series 2-5), the mother of Janet Scott.
- Shannon Flynn (Series 1) & Olivia Fenton (Series 2-4) as Elise Scott, the daughter of Adrian and Janet Scott.
- Liam Boyle as Dominic Bailey (Series 2), the son of Sharon Bailey and brother of Rachel and Alison Bailey.
- Tracie Bennett as Sharon Bailey (Series 3-4), the mother of Rachel, Alison and Dominic Bailey.
- Nicola Walker as Helen Bartlett (Series 3), a person of interest in an investigation surrounding her parents Joe and Eunice Bevan.
- George Costigan as Joe Bevan (Series 3), a person of interest to Syndicate 9 following the death of his wife Eunice Bevan.
- Gabrielle Reidy as Assistant Chief Constable Karen Zelinski (Series 3), a senior ranking officer within the Manchester Metropolitan Police.
- Ellie Haddington as Evie Pritchard (Series 4), a person of interest to Syndicate 9 following the death of a missing man near her farm.
- Gregg Chillin as Detective Sergeant Neil Simpson (Series 5), an officer within the Serious Crime Unit.

## Production

Scott & Bailey was commissioned after the concept was introduced to executive producer Nicola Shindler, who brought it to writer Sally Wainwright. The series is produced by Manchester-based Red Production Company and is largely filmed in the Greater Manchester area.

### Concept

Scott & Bailey is based on an original idea by Suranne Jones and Sally Lindsay, with Jones commenting that there needed to be more roles for women "that weren't wife-of, sidekick-to, mother-of, mistress-to, etc." Jones remarked, "We were just chatting away over a bottle of wine in a pub" when the idea came to fruition. Lindsay, a fan of television programmes such as Cagney & Lacey, was interested in the concept of a programme detailing the lives of two professional women. Jones later spoke of the programme, saying it is "the Cagney & Lacey of Manchester", though she acknowledged that Scott & Bailey as a drama was more "gritty" and "real".

Upon taking the idea to Nicola Shindler of Red Productions, Shindler contacted Sally Wainwright, who wrote a script for an episode and, according to Jones, they "loved it". Despite the positive reaction, the project "kind of got a bit lost" until ITV discovered it and requested that Wainwright rewrite the script.

Subsequently, Wainwright paired up with Diane Taylor, a former Detective Inspector from Greater Manchester Police, to create the programme, and the production expanded from Jones and Lindsay's original concept. From Taylor's perspective, police procedurals were often filled with not only technical inaccuracies, but what she felt were inaccuracies of how officers behaved, saying: "that's what really irritates me in other dramas – detectives crying over dead bodies and getting drunk senseless. You'd last about two weeks". She said, of her time as a police officer in comparison to portrayals on television, that "reality is much more interesting. I could pull a thousand cases out of my head people would say would never happen. People need drama because they would not believe the reality".

### Production team

Scott & Bailey is produced by Manchester-based Red Production Company, which itself is majority owned by StudioCanal following an acquisition estimated at £30 million in December 2013. Nicola Shindler, who founded the company in 1998, is the programme's executive producer alongside writer Sally Wainwright and Tom Sherry. When speaking of Shindler, Wainwright said: "Nicola is just a genius. She makes you raise your game. So if you're good, she'll make you better".

The role of producer was undertaken by Yvonne Francas for Series 1, and from Series 2–3, Tom Sherry. Sherry, who has worked for Red Productions for over 15 years, described his job as "the opportunity to meddle in all departments – it's about being able to have a passable stab at everyone's job and to be able to empathise with what they're trying to achieve". For the production of Series 4, Sherry undertook the role of executive producer alongside Wainwright and Shindler, while the position of producer is staffed by Juliet Charlesworth. For the fifth series, filmed in 2015, Suranne Jones became an executive producer alongside Shindler.

The involvement of Diane Taylor as a consultant producer is credited with maintaining Scott & Bailey's "rigorous authenticity". According to Jessamy Calkin of The Telegraph, "the attention to detail is more extreme on this series, say many of the crew, than others they have worked on". During the filming of Unforgiven in 2008 (written by Wainwright and also starring Suranne Jones), Wainwright was told to meet Taylor by Grant Montgomery, the show's designer. After meeting, the production was given the green light by ITV and the script was largely re-written, with Wainwright commenting: "I wasn't writing a single line of dialogue that Diane hadn't influenced". Wainwright is responsible for writing the majority of episodes.

Amelia Bullmore, who plays Gill Murray, wrote three episodes; Wainwright had wanted to get other writers involved in the process. For her first episode as writer, "Bullmore was given a brief – that everything must be from Scott and Bailey's point of view – and she was given a murder". Though she had been a professional writer for almost two decades, Scott and Bailey marked the first instance of Bullmore writing and starring in the same production. Due to Wainwright's increased workload on her other drama series Last Tango in Halifax and Happy Valley, Bullmore was chosen to be the head writer for Scott and Bailey's fourth series in 2014. She was joined on the writing team by Lee Warburton, who wrote two episodes of the fourth series. and returned to write Scott & Bailey's fifth series in 2015.

The directing of Scott & Bailey is undertaken in a method whereby "each director directs a 'block' of two or three episodes, dictated by the schedule – when each episode has finished shooting, the director goes into the edit and a new director takes over for the next block", according to Calkin. The most prolific director of Scott & Bailey is Morag Fullerton, who directed seven episodes.

### Casting

Jones, who had always envisaged herself playing Rachel Bailey when the idea of the project came in to mind, was given the role, though at the programme's pre-production stages the character had a different first name, Cathy. It was originally intended that Lindsay would star with Jones in Scott & Bailey, but she became pregnant with twins, so the role of Janet was given to Lesley Sharp instead; Lindsay received the smaller role of Rachel's sister, Alison. Lindsay approved of Sharp playing the role; Jones also felt pleased at the prospect of working with Sharp, saying "I was really excited on the day of the read-through". Regarding the casting of her husband Nicholas Gleaves as Scott's lover DS Andy Roper, Sharp stated that it was not a contributing factor in his casting, stating: "Nick's an actor and I'm an actress — we don't have the same agent. There's a script with a role in it that was right for him and it so happened that there was a role that was right for me and we both got cast, but it wasn't a conversation that we had that it would be a good idea if we did a television series together because that's not the way life works".

Both Rachel and Janet are Detective Constables in the Major Incident Team of the fictional Manchester Metropolitan Police Service, with the team headed by DCI Gill Murray (Amelia Bullmore), who is loosely based on Diane Taylor. Producers were undecided on what age DCI Murray would be, but had originally pictured an actress older than Bullmore. After auditioning, Bullmore returned a month later, intent on playing Murray "tough", however, when meeting casting director Beverley Keogh in the toilets beforehand, Bullmore recounted that Keogh said to her: "That's not what we've got you back for. We were interested in seeing a warmer side".

Danny Miller joined the cast as series regular Rob Waddington in series 3 and Tracie Bennett also appeared in the third series as DC Bailey's estranged mother, Sharon. In a continuing story arc for the third series, Nicola Walker was cast in the role of Helen Bartlett, a character driven to emotional instability by past events unearthed by the Manchester Metropolitan Police. In preparation for the role Walker visited a psychologist in order to build upon her characterisation.

### Filming

Principal photography for the first series took place in a twelve-week window from November 2010 onwards, it was reported by Female First. The series was filmed on location in and around Greater Manchester. Jones mentioned that "On the first day of filming [she and Sharp] were stuck in a car on the moors". Oldham was another location chosen for filming, with local press reporting that Beal Lane in Shaw was used for filming. The Oldham Evening Chronicle supplied specially mocked-up newspapers to be used as props in filming. Other locations such as Manchester Crown Court were used for filming. The Major Incident Team's headquarters for the first three series were filmed in an old Barclays branch on Silver Street, Bury. The filming location used the team's new station, the fictional Oldham Road police station, took place at former Greater Manchester Police Grey Mare Lane police station in Beswick. A local mortuary was also used for filming scenes. The programme was also granted permission to film in HM Prison Risley in Cheshire, where locations manager James Muirhead and a crew of 35 filmed for a day.

When discussing the filming of Scott & Bailey, Jones said "I can't pretend it wasn't a tough shoot, both emotionally and physically, because it was", before adding that on the last day of filming she had to shoot a gruelling scene involving her chasing a suspect from a crime scene, while Sharp and Bullmore "were having massages and facials ready for the wrap party".

When Scott & Bailey was recommissioned for a second series it was announced that production on the series would commence at the end of October 2011, to be aired in 2012. In November it was reported that while filming on Hamilton Road, Whitefield—the set of DC Scott's home—that an emergency call was made after a member of the television crew, a lighting technician, became stranded on top of a "cherry-picker style platform" 12 metres (39 ft) above the ground. Fearing the mechanism could fail and cause the crew member to fall to the ground, they sought assistance from firefighters, who safely brought the technician to the ground.

Filming for series 3 began in November 2012, with an airing date scheduled for May 2013. As the fourth series had a different air date (its television broadcast began in September, unlike May for the three previous series) it became the first series not to be filmed in the winter months. A longer break in production between series 3 and 4 was the reason that the fourth series was instead filmed in summer.

## Home media

### Region 1 (U.S. and Canada)

Scott & Bailey: Season 1, 279 (270 + 9 bonus) minutes; 17 June 2014

Scott & Bailey: Season 2, 370 (359 + 11bonus) minutes; 16 September 2014

Scott & Bailey: Season 3, 382 (364 + 15 bonus) minutes; 6 October 2015

Scott & Bailey: Season 4, 359 (363 + 17 bonus) minutes; 15 March 2016

Scott & Bailey: Season 5, 130/135 (135 + 0 bonus) minutes; 11 October 2016

## Reception

### Critical reception

Debuting to strong viewing figures and with a fairly positive critical reception, Scott & Bailey ran from 29 May 2011 until 3 July over the course of six episodes. The second series premiered 12 March 2012 and consisted of eight episodes. A third series was announced 28 May 2012, began filming November 2012, and premiered on 3 April 2013. In August 2013, it was announced that a fourth series had been commissioned, with production set to begin in the spring of 2014. With filming several months earlier in the year, series 4 began broadcasting on ITV on 10 September 2014 and finished on 29 October 2014. On 31 July 2015, ITV renewed Scott & Bailey for a three-part fifth series. Scott & Bailey has received generally good reviews thus far. Tom Sutcliffe of The Independent remarked that although it was a "less-than-courageous decision" for ITV to commission a detective drama for Sunday nights, Scott & Bailey had "genuine signs of life in the thing". Sam Wollaston of The Guardian, however, questioned the plausibility of the idea that the character of Rachel would not realise her partner of two years was already married, considering she was a detective, and described the series as "Lewis with skirts on". However, Grace Dent, also of The Guardian, described it as "of great televisual comfort". Alexandra Heminsley, another writer for The Guardian, described it as "a genuinely gripping crime series" and added: "what about a second series?" Euan Ferguson of The Observer stated that it was "actually rather gripping". Horatia Harrod, reviewing the third series for The Daily Telegraph, praised the programme's script and its likeness to reality in portraying the professional conduct of modern policing, stating: "this is a beautifully engineered programme: it's both pleasingly sudsy and deliciously grisly, but manages to transcend both the soap and detective genres [...] Somehow Sally Wainwright, the show's creator and writer, has made the traditionally dull quality of professional competence seem positively thrilling".

John Preston of The Daily Telegraph gave a mixed review: though he commended the acting of Sharp and Jones, he stated that "it badly needs some shape and tension". The Metro took a decidedly critical stance, with its reviews getting progressively worse with each new episode; first describing it as "comforting but could have been so much better", then later quipping that "Scott & Bailey will never be compelling TV", and that the programme was "a mediocre crime drama amidst a saturated market of mediocre crime dramas".

One of the more persistent criticisms of the show (especially its first two series) has been its indifferent or decidedly negative depiction of male characters. Dianne Butler, who reviewed the programme upon its airing in Australia, made a similar point, questioning the relevance of the show's male characters: "there are some men in this but they're fairly incidental". The Guardian's John Crace expressed his belief that most of the programme's male characters are deficient in some way, writing: "surely it must be possible to make a show with women lead characters without having to make every male a complete dork? From Janet's useless husband and Rachel's idiot brother who can't boil an egg without burning down the kitchen".

The performances of Amelia Bullmore and Nicola Walker in the Series 3 finale were highly praised. Julia Raeside of The Guardian commented that both "give an incredible acting masterclass that will take your breath away. Truly gripping and the jewel in ITV's increasingly impressive drama crown. Splendid stuff." The series was nominated for the BAFTA TV award for Best Drama Series in both 2012 and 2013.

### Television ratings

Since Scott & Bailey's debut it has fared well in the ratings. The programme's closest rival was a broadcast of the film Pirates of the Caribbean: Dead Man's Chest, which received 20.9% of the audience share. Scott and Bailey aired as the follow-on programme from Britain's Got Talent, which had received 9.86 million viewers and a 40.4% audience share in its timeslot.

The Broadcasters' Audience Research Board (BARB) later released consolidated information stating that the first episode had received 8.31 million viewers on ITV, with a further 801,000 tuning in on ITV HD, and 310,000 on ITV1+1, totalling the viewing figures to 9.42 for the first episode. The episode was 2011's fourth highest-rating drama broadcast, as well as the highest-rating broadcast for a new drama. By episode two it was reported that Scott & Bailey has dropped nearly 1.8 million viewers from episode one, with overnight figures suggesting 6.14 million (23.6%) tuned in, though it was still the number one rated programme in its timeslot. The programme continued to outperform its competitors in its timeslot until its end, beating competition including BBC One dramas Case Histories and Stolen.

## Novel

Random House published a novel based on the characters of Scott & Bailey in 2012.

British television drama series

2010s British police procedural television series

Television series by Red Production Company

Television series created by Sally Wainwright


Rushmore (film)

Rushmore is a 1998 American comedy film directed by Wes Anderson about a teenager named Max Fischer (Jason Schwartzman in his film debut), his friendship with rich industrialist Herman Blume (Bill Murray), and their shared affection for elementary school teacher Rosemary Cross (Olivia Williams). The film was co-written by Anderson and Owen Wilson. The soundtrack features multiple songs by bands associated with the British Invasion of the 1960s. Filming began in November 1997 around Houston, Texas, and lasted 50 days, until late January 1998.

While the box office results were modest, the film had a positive reception among film critics. The film helped launch Schwartzman's career while establishing a "second career" for Murray as a respected actor in independent cinema. At the 1999 Independent Spirit Awards, Anderson won the Best Director award and Murray won Best Supporting Male award. Murray also earned a nomination for the Golden Globe Award for Best Supporting Actor – Motion Picture. Starting from Rushmore, Murray became one of Anderson's most frequent collaborators, appearing in his eight subsequent films. In 2016, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being deemed "culturally, historically, or aesthetically significant".

## Plot

Eccentric 15-year-old scholarship student Max Fischer participates extensively in extracurricular activities at the prestigious Rushmore Academy in Houston, but struggles academically. Max's middle-class background, which contrasts with the wealthy and privileged lives of most Rushmore students, feeds his determination to make his name known. Headmaster Nelson Guggenheim places him on "sudden death academic probation", warning him that if he fails one more class, he will be expelled. At a school assembly, Max meets Herman Blume, a disillusioned parent and local industrialist who despises his twin sons Ronny and Donny, both students at Rushmore. Herman befriends Max and takes him under his wing.

Upon reading an intriguing written message left in a book he read in the library, Max tracks down the book's previous borrower, Rosemary Cross, a widowed first-grade teacher at Rushmore, and soon becomes obsessed with her. Attempting to woo her, he successfully petitions to have the Latin curriculum kept at Rushmore, and later confesses his love for her; she rejects his affection due to their age difference. Rosemary and others, including Max's younger friend Dirk Calloway, are impressed by Max's tenacity, while other students, including the brash and aggressive Magnus Buchan, resent Max's ability to manipulate authority, seemingly on a whim, to the point where the entire school body is affected. Max then attempts to court Rosemary by building an aquarium on the school's baseball field, noting her interest in marine life due to the fish tanks in her classroom and the library book by Jacques Cousteau they had both read, but is stopped by Guggenheim at the ground-breaking ceremony and subsequently expelled from Rushmore for having never sought the school's approval for the project.

Afterward, Max enrolls at Grover Cleveland High School, a local public school. Classmate Margaret Yang shows interest in him, but he ignores her. Eventually, Max begins to settle in and participate in extracurricular activities again, with Rosemary and Blume supporting him. Blume encourages him to give up pursuing Rosemary but eventually becomes attracted to her himself, and they begin to see each other behind Max's back.

Eventually, Dirk discovers the relationship between Rosemary and Blume and informs him as payback for a rumor Max started about his mother. Max confronts Blume, declaring their friendship over, and they soon begin scrapping. Max informs Blume's wife of her husband's affair, forcing him to move into a hotel. Then he puts bees in Blume's room, leading to his running over Max's bicycle with his car. Max is eventually arrested for cutting the brake lines on Blume's car. He later attempts to get revenge on Rosemary by taking damaging photos of her and Blume together but learns from Guggenheim that she had already resigned.

Max eventually gives up, meeting Blume at the grave of his mother, Eloise, who died of cancer when Max was seven years old. He explains that revenge no longer matters because even if he wins, Rosemary would still love Blume. Max becomes reclusive and begins to skip school to work at his father, Bert's, barbershop. One day, Dirk stops by the shop to apologize, bringing him a Christmas present. He then reveals to Max that Guggenheim suffered a stroke and suggests he visit him at the hospital, knowing Blume will also be there. Max and a washed-up Blume meet and are courteous. Blume tells him that Rosemary broke up with him because she's still in love with her dead husband Edward Appleby, a former Rushmore student, whose death the previous year directly influenced her decision to teach there. Max eventually returns to school and begins to improve his grades.

Taking his final shot at Rosemary, Max pretends to be injured in a car accident, but she sees through his ruse and rebuffs him again. He then decides to help Blume and Rosemary reconcile, first by inviting her to another aquarium groundbreaking ceremony, but she does not show up. Max then invites both of them to attend his Vietnam War-themed play at Grover Cleveland. The performance touches Blume, himself a Vietnam veteran, and he and Rosemary later appear to reconcile. At the after-play party, Max reveals to Blume and Rosemary that he and Margaret are dating. Max and Rosemary then share a dance together.

## Cast

- Jason Schwartzman as Max Fischer
- Bill Murray as Herman Blume
- Olivia Williams as Rosemary Cross
- Seymour Cassel as Bert Fischer
- Brian Cox as Nelson Guggenheim
- Mason Gamble as Dirk Calloway
- Sara Tanaka as Margaret Yang
- Connie Nielsen as Mrs. Calloway
- Luke Wilson as Peter Flynn
- Stephen McCole as Magnus Buchan
- Kumar Pallana as Mr. Littlejeans
- Andrew Wilson as Coach Beck
- Marietta Marich as Mrs. Guggenheim
- Alexis Bledel as Student

## Production

With Rushmore, Wes Anderson and Owen Wilson wanted to create their own "slightly heightened reality, like a Roald Dahl children's book". Like Max Fischer, Wilson was expelled from his preparatory school, St. Mark's School of Texas, in the tenth grade. He also shared Max's ambition, lack of academic motivation, and crush on an older woman. Anderson and Wilson began writing the screenplay for Rushmore years before they made Bottle Rocket. They knew that they wanted to make a film set in an elite preparatory school, much like St. Mark's, which Owen had attended along with his two brothers, Andrew and Luke (Luke being the sole graduate), and St. John's School in Houston, Texas which Anderson had attended. The film featured M. B. Lamar High School. According to the director, "One of the things that was most appealing to us was the initial idea of a 15-year-old kid and a 50-year-old man becoming friends and equals". Rushmore was originally going to be made for New Line Cinema but when they could not agree on a budget, Anderson, Wilson and producer Barry Mendel held an auction for the film rights in mid-1997 and struck a deal with Joe Roth, then-chair of Walt Disney Studios. He offered them a \$10 million budget. The film was distributed by Touchstone Pictures, and produced by Barry Mendel and Paul Schiff for American Empirical Pictures.

### Casting

Anderson and Wilson wrote the role of Mr. Blume with Bill Murray in mind but doubted they could get the script to him. Murray's agent was a fan of Anderson's first film, Bottle Rocket, and urged the actor to read the script for Rushmore. Murray liked it so much that he agreed to work for scale, which Anderson estimated to be around \$9,000. The actor was drawn to Anderson and Wilson's "precise" writing and felt that a lot of the film was about "the struggle to retain civility and kindness in the face of extraordinary pain. And I've felt a lot of that in my life". Anderson created detailed storyboards for each scene but was open to Murray's knack for improvisation.

Cast directors considered 1,800 teenagers from the United States, Canada, and Britain for the role of Max Fischer before finding Jason Schwartzman. Macaulay Culkin was considered for the role. In October 1997, approximately a month before principal photography was to begin, a casting director for the film met the seventeen-year-old actor at a party thanks to Schwartzman's cousin, film-maker Sofia Coppola. He came to his audition wearing a preparatory-school blazer and a self-made Rushmore patch. Anderson almost did not make the film when he could not find an actor to play Max but felt that Schwartzman "could retain audience loyalty despite doing all the crummy things Max had to do". Anderson originally pictured Max, physically, as Mick Jagger at age 15, to be played by an actor like Noah Taylor in the Australian film Flirting—"a pale, skinny kid". When Anderson met Schwartzman, he reminded Anderson much more of Dustin Hoffman and decided to go that way with the character. Anderson and the actor spent weeks together talking about the character, working on hand gestures and body language.

Seymour Cassel stars as Bert Fischer, Max's dad. Brian Cox stars as Dr. Nelson Guggenheim, the school's headmaster. Mason Gamble plays Dirk Calloway, Max's friend. Sara Tanaka plays Margaret Yang, the girl who has a crush on Max. Alexis Bledel is an extra as a Grover Cleveland High School student.

### Principal photography

Filming began in November 1997 and lasted for 50 days, until late January 1998. On the first day of principal photography, Anderson delivered his directions to Murray in a whisper so that he would not be embarrassed if the actor shot him down. However, the actor publicly deferred to Anderson, hauled equipment, and when Disney denied the director a \$75,000 shot of Max and Mr. Blume riding in a helicopter, Murray gave Anderson a blank check to cover the cost, although ultimately, the scene was never shot.

At one point, Anderson toyed with the idea of shooting the private school scenes in England and the public school scenes in Detroit in order to "get the most extreme variation possible," according to the director. Instead, the film was shot in and around Houston, Texas where Anderson grew up. His high school alma mater, St. John's School, was used for the picturesque setting of Rushmore Academy. Lamar High School in Houston was used to depict Grover Cleveland High School, the public school. In real life, the two schools are across the street from each other. Richard Connelly of the Houston Press said that the Lamar building "was ghetto'd up to look like a dilapidated inner-city school." Many scenes were also filmed at North Shore High School. The film's widescreen, slightly theatrical look was influenced by Roman Polanski's Chinatown. Anderson also cites The Graduate and Harold and Maude as cinematic influences on Rushmore.

Initially, the character of Margaret Yang was supposed to have a wooden finger, having been blown off in a science experiment. The idea was abandoned, but later on used in Anderson's The Royal Tenenbaums, where Margot has a wooden finger.

### Cinematography

Rushmore uses the unique style of cinematography that Wes Anderson has become well known for. The film has a singular sense of colour, focusing mainly on blues, greens, and reds in order to create a heightened reality. The montage sequence near the beginning of the film is strongly influenced by the rapid transitions used by French New Wave film-makers. The shot of Max in the go-kart also resembles a photograph by Jacques Henri Lartigue. Disney executives almost cancelled the montage sequence as they did not believe that these short singular shots were necessary due to the film's restrictive budget and time frame. Therefore, the sequence was shot quickly whenever the crew were at a suitable location.

## Themes

Anderson confirmed that the protagonist Max is a semi-autobiographical version of himself, including his tendency to write school plays, except that Max is not shy. Anderson has come to be known as an auteur for this distinct style and frequent collaborations with the same actors and production members. Devin Orgeron claims that Anderson's auteurship is interesting in his consistent "cinematic and extracinematic confrontation with the very question of auteurship". In Anderson's films, and especially Rushmore, the protagonist is a "flawed but ultimately redeemable" auteur. However, in both the protagonists' and Anderson's ties to their communities, an idea of "collective auteurship" is proffered.

Mark Olsen writes that Anderson observes his characters chasing "their miniaturist renditions of the American Dream" and that "they embody both sides of William Carlos Williams' famous edict that the pure products of America go crazy".

Deborah J. Thomas argues that Rushmore has a certain level of deliberate artifice. She observes a tension between irony and affect, and the clash "between these aesthetic modes destabilises normative assumptions and expectations in relation to character engagement." For her Anderson uses a "series of strategies in relation to framing, camera angles, shot scales, sound and performance that are designed to unsettle the audience's experience of proximity to, and hence intimacy with, the characters".

In the film, Anderson frequently employs the visual device of a stage, or stage curtains, to present the action. Rachel Joseph speculates that there is a link between these "screened stages" and the theme of mourning, for this "framed theatricality ... parallels the grieving process of reenacting and repeating the traumatic". She also draws a connection between this style of presentation and the "cinema of attractions" that Tom Gunning theorised.

## Soundtrack

Wes Anderson originally intended for the film's soundtrack to be entirely made up of songs by the Kinks, feeling the music suited Max's loud and angry nature and because Max was initially envisioned to be a British exchange student. However, while Anderson listened to a compilation of other British Invasion songs on the set, the soundtrack gradually evolved until only one song by the Kinks remained in the film ("Nothin' in the World Can Stop Me Worryin' 'Bout That Girl"). According to Anderson, "Max always wears a blazer and the British Invasion sounds like music made by guys in blazers, but still rock 'n' roll". In his review for Entertainment Weekly, Rob Brunner gave the soundtrack record an "A−" rating and wrote, "this collection won't make much sense if you haven't seen the movie. But for anyone who left the theater singing along to the Faces' "Ooh La La", it's an essential soundtrack". Anderson also pays homage to the Charles Schulz/Bill Melendez Peanuts television specials, playing "Hark The Herald Angels Sing" from the famous Charlie Brown Christmas in one of the film's scenes.

## Reception

Rushmore had its world premiere at the 1998 Toronto International Film Festival on September 17, and also screened at the 25th Telluride Film Festival where it was one of the few studio films to be screened and be well received by both critics and audiences. The film was also screened at the 1998 New York Film Festival and the Toronto International Film Festival where it was a hit with critics. The film opened in New York City and Los Angeles for one week in December in order to be eligible for the Academy Awards.

### Box office

Rushmore opened for a week at single theaters in New York City and Los Angeles on December 11, 1998. In one weekend, it earned a combined US\$43,666, selling out 18 of 31 showings. The film opened in wide release on February 5, 1999. It expanded from 103 to 830 theaters by March 5, 1999, grossing \$2.45 million in its first week. Its domestic total gross was \$17,105,219, and its international box office was \$1,975,216.

### Critical response

On Rotten Tomatoes the film holds an approval rating of 90% based on 105 reviews and an average rating of 8.20/10. The site's critical consensus reads, "This cult favorite is a quirky coming of age story, with fine, off-kilter performances from Jason Schwartzman and Bill Murray." On Metacritic, the film has a weighted average score of 86 out of 100 based on 32 critics, indicating "universal acclaim". Audiences surveyed by CinemaScore gave the film a grade B on scale of A to F.

In his review for the Daily News, film critic Dave Kehr praised Rushmore as "a magnificent work" and picked it as the best movie of the year. USA Today gave the film three out of four stars and wrote that Bill Murray was "at his off-kilter best". Todd McCarthy, in his review for Variety, admired the film's deep-focus widescreen compositions, and felt that it gave the story "exceptional vividness". In his review for Time, Richard Schickel praised Rushmore as a "delightfully droll comedy", but felt it indulges in itself a little too much. He observed the film brought up "many dark and weighty emotional objects", and tried to conclude them in a "satisfying way".

In her review for the New York Times, Janet Maslin wrote that Anderson is smart enough to avoid turning sentimental, observing how Max "starts off on top of the Rushmore world and experiences a wonderfully welcome comeuppance". In his review for The Independent, Anthony Quinn thought Rushmore was different than all the many "high-school flicks every week", describing it as a "adolescent tragi-comedy, neurotic-romantic triangle" and a "study in loss and loneliness". He praised Schwartzman for playing a character who has not emotionally matured yet, and thought Murray gave an "emotional turnaround" performance. In her review for the Washington Post, Rita Kempley praised Schwartzman's performance for winning "sympathy and a great deal of affection for Max, never mind that he could grow into Sidney Blumenthal". Entertainment Weekly gave Rushmore an "A" rating and opined that Anderson used the 1960s British Invasion hits to "further define Max's adolescent dislocation". Jonathan Rosenbaum, in his review for the Chicago Reader, wrote that Anderson and Wilson do not "share the class snobbery" in much of Salinger's work, but still thought that they "harbor a protective gallantry toward their characters" which is, at the same time, the film's greatest strength and weakness.

In Time Out New York, Andrew Johnston called it one of the year's finest films and thought it reminds him of Harold and Maude but also added that the "complexity of Max and the audacity of the film's set pieces place it in a league of its own." Film critic David Ansen ranked Rushmore the 10th best film of 1998.

Some critics did not review the film as positively. In his review for the Los Angeles Times, Kenneth Turan criticized Max's overtly "snooty" personality as "too off-putting to tolerate", which could potentially discourage audiences when identifying with the film. Film critic Roger Ebert gave the film two-and-a-half stars out of four citing an issue with the film's shift in tone in the final act, stating "the air goes out of the movie" in regards to "stage-setting and character development". He further wrote that the film is torn between being structured like a comedy and having "undertones of darker themes", remarking that he wished the film had "allowed the plot to lead them into those shadows".

A lifelong fan of film critic Pauline Kael, Anderson arranged a private screening of Rushmore for the retired writer. Afterwards, she told him, "I genuinely don't know what to make of this movie". It was a nerve-wracking experience for Anderson but Kael did like the film and told others to see it. Anderson and Jason Schwartzman traveled from Los Angeles to New York City and back on a touring bus to promote the film. The tour started on January 21, 1999, and went through 11 cities in the United States.

### Legacy and accolades

Rushmore won two Independent Spirit Awards: Wes Anderson for Best Director, and Bill Murray for Best Supporting Actor. Murray was also nominated in the Best Supporting Actor category for the Golden Globes.

The Los Angeles Film Critics Association named Bill Murray Best Supporting Actor of the year for his performance in Rushmore. Wes Anderson was named the New Generation honoree. The National Society of Film Critics also named Murray as Best Supporting Actor of the year as did the New York Film Critics.

Rushmore is on Bravo's "100 Funniest Movies". The film was also ranked on Entertainment Weekly magazine's "The Cult 25: The Essential Left-Field Movie Hits Since '83" list and ranked it on their Top 25 Modern Romances list. Spin hailed the film as "the best comedy of the year". Empire also named it the 175th greatest film of all time in 2008. Four years later, Slant Magazine ranked Rushmore on its list of the 100 Best Films of the 1990s, and it was ranked the decade's ninth best film in two polls – one for The A.V. Club and the other for Paste. Time Out included it among the 50 best movies of the 1990s, calling it Anderson's "most perfectly imagined film".

According to ShortList, it is one of the 30 coolest films ever. Ryan Gilbey of The Guardian listed it as the eighth best comedy film ever made. In November 2015, the film was ranked the 39th funniest screenplay by the Writers Guild of America in its list of 101 Funniest Screenplays.

Murray's career experienced a renaissance after the film, and he established himself as an actor in independent film.

In 2016, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being deemed "culturally, historically, or aesthetically significant".

## Home media

Buena Vista Home Entertainment released the film on VHS and DVD on June 29, 1999, the DVD with no supplemental material. This was followed by a special edition DVD on January 18, 2000, by the Criterion Collection with remastered picture and sound, along with various bonus features, including an audio commentary by Wes Anderson, Owen Wilson, and Jason Schwartzman, a behind-the-scenes documentary by Eric Chase Anderson, Anderson and Murray being interviewed on The Charlie Rose Show, and theatrical "adaptations" of Armageddon, The Truman Show, and Out of Sight, staged specially for the 1999 MTV Movie Awards by the Max Fischer Players.

A Criterion Collection Blu-ray was released on November 22, 2011.

American coming-of-age comedy-drama films

United States National Film Registry films