title: Letter of credit

text: Some banks will offer to "Telex for Approval" or similar. This is where the Nominated Bank holds the documents, but sends a message to the Issuing Bank asking if discrepancies are acceptable. This is more secure than sending documents in trust.


title: Letter of credit

text: To receive payment, an exporter or shipper must present the documents required by the LC. Typically the letter of credit will request an original bill of lading as the use of a title document such as this is critical to the functioning of the Letter of Credit. However, the list and form of documents is open to negotiation and might contain requirements to present documents issued by a neutral third-party evidencing the quality of the goods shipped, or their place of origin or place. Typical types of documents in such contracts might include:


title: Letter of credit

text: The range of documents that may be requested by the applicant is vast, and varies considerably by country and commodity.


title: Letter of credit

text: Several methods of verifying the documents exist, each provides different variations of risk to the fact that the documents are legitimate. A Documentary Credit provides security for both buyer and seller. Outlined in the "UCP 600", the bank will give an undertaking (or promise), on behalf of buyer (who is often the applicant) to pay the beneficiary the value of the goods shipped if acceptable documents are submitted and if the stipulated terms and conditions are strictly complied with. The buyer can be confident that the goods he is expecting only will be received since it will be evidenced in the form of certain documents, meeting the specified terms and conditions. The supplier finds his confidence in the fact that if such stipulations are met, he will receive payment from the issuing bank, who is independent of the parties to the contract.


title: Letter of credit

text: In some cases, a letter of credit will require the documents to be collected. Subject to ICC's URC 525, sight and usance, for delivery of shipping documents against payment or acceptances of draft, where shipment happens first, then the title documents are sent to the buyer's bank by seller's bank, for delivering documents against collection of payment/acceptance. Other forms of effected payment is the direct payment where the supplier ships the goods and waits for the buyer to remit the bill, on open account terms.


title: Letter of credit

text: Letters of Credit are often used in international transactions to ensure that payment will be received where the buyer and seller may not know each other and are operating in different countries. In this case, the seller is exposed to a number of risks such as credit risk, and legal risk caused by the distance, differing laws and difficulty in knowing each party personally. Some of the other risks inherent in international trade include:


title: Letter of credit

text: The payment will be obtained for nonexistent or worthless merchandise against presentation by the beneficiary of forged or falsified documents.


title: Letter of credit

text: There is the possibility that performance of a documentary credit may be disturbed by legal action relating directly to the parties and their rights and obligations under the documentary credit or performance may be prevented by government action outside the control of the parties. Alternatively, performance of a contract – including an obligation under a documentary credit relationship – could also be prevented by external factors such as natural disasters or armed conflicts. These risks, however, are often seen as secondary to the risk of non-payment.


title: Letter of credit

text: Several risks could relate to the parties of the applicant themselves. These may include situations where there is a non-delivery of Goods, Short shipment, the goods are of inferior quality, are damaged, or are late. The applicant is also exposed to the failure of the bank to make payment.


title: Letter of credit

text: The issuing bank is also exposed to risks which he may seek to mitigate through various techniques. He will be exposed to the insolvency risk of the applicant, that is, the risk the applicant runs insolvent before he is able to repay the letter of credit. Secondly, the bank will be exposed to a risk of fraud by the seller, who may provide incorrect or falsified documents to receive payment. If the bank ought to have known that the documents were a fraud, then the bank will be exposed to a fraud.


title: Letter of credit

text: The beneficiary will be exposed to the risk of its own failure to comply with credit conditions or failure of, or delays in payment from, the issuing bank. These risks are considered remote. Crucially, the beneficiary is not exposed to the risks of set-off by the applicant where the goods are damaged or are of inferior quality. While he may be sued by the applicant at a later point, the issuing bank cannot reduce the payment owed to correspond with the damage occurred. This is crucial in mitigating the risk to insolvency. Crucial to a letter of credit is the beneficiary's (the seller) attempt to isolate itself from the credit risk of the buyer. That is to say, it is concerned primarily with the ability of the buyer to pay for the goods.


title: Letter of credit

text: Issuance charges, covering negotiation, reimbursements and other charges are paid by the applicant or as per the terms and conditions of the LC. If the LC does not specify charges, they are paid by the Applicant. Charge-related terms are indicated in field 71B.


title: Letter of credit

text: The fundamental principle of all letters of credit is that letters of credit deal with documents and not with goods. The payment obligation is independent from the underlying contract of sale or any other contract in the transaction.


title: Letter of credit

text: The bank’s obligation is defined by the terms of the LC alone, and the contract of sale is not considered.


title: Letter of credit

text: The specified documents are often bills of lading or other 'documentary intangibles' which 'A' and 'B' have previously specified in their original contract.


title: Letter of credit

text: The actions available to the buyer arising out of the sale contract do not concern the bank and in no way affect its liability. Article 4(a) of the UCP600 states this principle clearly.


title: Letter of credit

text: This is confirmed within the market-practice documents stated by Article 5 of UCP600. As is a core tenet of Financial law, market practice comprises a substantial portion of how parties behave. Accordingly, if the documents tendered by the beneficiary or their agent are in order, then, in general, the bank is obliged to pay without further qualifications.


title: Letter of credit

text: As a result, it is the issuing bank who bears the risk that is linked with non-payment of the buyer. This is advantageous because the issuing bank often has a personal banking relationship with the buyer. The whole commercial purpose for which the system of confirmed irrevocable documentary credits has been developed in international trade is to give to the seller an assured right to be paid before he parts with control of the goods under sale.


title: Letter of credit

text: It further does not permit of any dispute with the buyer as to the performance of the contract of sale being used as a ground for non-payment or reduction or deferment of payment.


title: Letter of credit

text: The only exception to this may be fraud. For example, a dishonest seller may present documents which comply with the letter of credit and receive payment, only for it to be later discovered that the documents are fraudulent and the goods are not in accordance with the contract. This would place the risk on the buyer, but it also means that the issuing bank must be stringent in assessing whether the presenting documents are legitimate.


title: Letter of credit

text: Similar to other Financial law instruments, a Letter of Credit utilises several legal concepts to achieve the economic effect of shifting the legal exposure from the seller to the buyer. The policies behind adopting this principle of abstraction are purely commercial. Whilst the bank is under an obligation to identify that the correct documents exist, they are not expected to examine whether the documents themselves are valid. That is to say, the bank is not responsible for investigating the underlying facts of each transaction, whether the goods are of the sufficient – and specified – quality or quantity.


title: Letter of credit

text: Because the transaction operates on a negotiable instrument, it is the document itself which holds the value - not the goods to which the reference. This means that the bank need only be concerned with whether the document fulfils the requirements stipulated in the letter of credit.


title: Letter of credit

text: Documents required under the LC, could in certain circumstances, be different from those required under the sale transaction. This would place banks in a dilemma in deciding which terms to follow if required to look behind the credit agreement. Since the basic function of the credit is to provide a seller with the certainty of payment for documentary duties, it would seem necessary that banks should honor their obligation in spite of any buyer allegations of misfeasance.


title: Letter of credit

text: If this were not the case, financial institutions would be much less inclined to issue documentary credits because of the risk, inconvenience, and expense involved in determining the underlying goods.


title: Letter of credit

text: Financial institutions do not act as 'middlemen' but rather, as paying agents on behalf of the buyer. Courts have emphasized that buyers always have a remedy for an action upon the contract of sale and that it would be a calamity for the business world if a bank had to investigate every breach of contract.


title: Letter of credit

text: With the UCP 600 rules the ICC sought to make the rules more flexible, suggesting that data in a document "need not be identical to, but must not conflict with data in that document, any other stipulated document, or the credit", as a way to account for any minor documentary errors. If this were not the case, the bank would be entitled to withhold payment even if the deviation is purely technical or even typographical.


title: Letter of credit

text: However, in practice, many banks still hold to the principle of strict compliance, since it offers concrete guarantees to all parties. The general legal maxim "de minimis non curat lex" (literally "The law does not concern itself with trifles") has no place in the field.


title: Letter of credit

text: However, whilst the details of the letter of credit can be understood with some flexibility the banks must adhere to the “principle of strict compliance” when determining whether the documents presented are those specified in the letter of credit. This is done to make the banks' duty of effecting payment against documents easy, efficient and quick.


title: Letter of credit

text: Legal writers have failed to satisfactorily reconcile the bank’s obligation to pay on behalf of the applicant with any contractually-founded, academic analysis. That is to say, they have not examined legal effect of the banks obligation through a conclusive theoretical lens. This has produced several conflicting theories as to the contractual effect of a letter of credit. Some theorists suggest that the obligation to pay arises through the implied promise, assignment, novation, reliance, agency, estoppel and even trust and the guarantees. Although documentary credits are enforceable once communicated to the beneficiary, it is difficult to show any consideration given by the beneficiary to the banker prior to the tender of documents. In such transactions the undertaking by the beneficiary to deliver the goods to the applicant is not sufficient consideration for the bank’s promise because the contract of sale is made before the issuance of the credit, thus consideration in these circumstances is past. However, the performance of an existing duty under a contract may be a valid consideration for a new promise made by the bank, provided that there is some practical benefit to the bank A promise to perform owed to a third party may also constitute a valid consideration.


title: Letter of credit

text: It might also be feasible to typify letters of credit as a collateral contract for a third-party beneficiary, because three different entities participate in the transaction: the seller, the buyer, and the banker. Jean Domat suggests that because letters of credit are prompted by the buyer’s necessity, the cause of a LC is to release the buyer of his obligation to pay directly to the seller. Therefore, a LC theoretically fits as a collateral contract accepted by conduct or in other words, an implied-in-fact contract where the buyer participates as the third party beneficiary with the bank acting as the stipulator and the seller as the promisor. The term "beneficiary" is not used properly in the scheme of an LC because a beneficiary (also, in trust law, "cestui que use") in the broadest sense is a natural person or other legal entity who receives money or other benefits from a benefactor. Note that under the scheme of letters of credit, banks are neither benefactors of sellers nor benefactors of buyers and the seller receives no money in gratuity mode. Thus is possible that a “letter of credit” was one of those contracts that needed to be masked to disguise the “consideration or privity requirement”. As a result, this kind of arrangement would make letter of credit to be enforceable under the action assumpsit because of its promissory connotation.


title: Letter of credit

text: A few countries have created statutes in relation to letters of credit. For example, most jurisdictions in the United States (U.S.) have adopted Article 5 of the Uniform Commercial Code (UCC). These statutes are designed to work with the rules of market practice including UCP and ISP98. These rules of practice are incorporated into the transaction by agreement of the parties. The latest version of the UCP is the UCP600 effective July 1, 2007. Since the UCP are not laws, parties have to include them into their arrangements as normal contractual provisions. However, they still form a substantial part of market practice and underpin Financial law crucially.


title: Letter of credit

text: "Bürgerliches Gesetzbuch", the German civil code, does not directly address letters of credit. German case law indicates that the relationship between the issuing bank and customer is a contract for execution of a transaction, while the relationship between the issuing bank and the beneficiary is a promise of a debt.


title: Letter of credit

text: The Swiss Civil Code of 1911 did not directly address letters of credit, which were still rare in the country at the time. Courts eventually dealt with the device by treating it as a hybrid of a mandate ("Auftrag") and authorization-to-pay contract ("Anweisung").


title: Letter of credit

text: Letters of credit came into general domestic use in the United States during World War I, although they had been used in American foreign trade for some time prior. The state of New York has historically had the most substantial and consistent body of case law in the United States with regard to letters of credit, due to the prominence of New York banks in international trade. The New York Bankers Commercial Credit Conference of 1920 provided the first set of voluntary L/C regulations for major banks in the United States, but these banks transitioned to the international UCP standard by 1938.


title: Letter of credit

text: Article 5 of the Uniform Commercial Code, drafted in 1952, provided a basis for codifying many UCP principles into state law and created one of the only extensive specific legal regulations of letters of credit worldwide, although the UCC rules do not cover all aspects of letters of credit. New York effectively subjugated the UCC rules to the existing UCP rules, and as a result the UCP rules continued to govern letters of credit under New York law. Article 5 was revised in 1995 to reflect the latest international practices as codified in the UCP.


title: Letter of credit

text: Letters of credit are sometimes used to defraud banks through presentment of false documentation indicating that goods were shipped when they actually were not. Letters of credit are also sometimes used as part of fraudulent investment schemes.


title: Letter of credit

text: In the international banking system, a Letter of Undertaking (LOU) is a provisional bank guarantee, under which a bank allows its customer to raise money from another bank's foreign branch in the form of a short term credit. The LOU serves the purpose of a bank guarantee. However, to be able to raise the LOU, the customer is supposed to pay margin money to the bank issuing the LOU and accordingly, he is granted a credit limit. In 2018, PNB suffered from such a breach of documentation protocols.


title: Around the World in 80 Days (1956 film)

text: Around the World in 80 Days (sometimes spelled as Around the World in Eighty Days) is a 1956 American epic adventure-comedy film starring David Niven, Cantinflas, Robert Newton and Shirley MacLaine, produced by the Michael Todd Company and released by United Artists.


title: Around the World in 80 Days (1956 film)

text: The epic picture was directed by Michael Anderson and produced by Mike Todd, with Kevin McClory and William Cameron Menzies as associate producers. The screenplay, based on the classic 1873 novel of the same name by Jules Verne, was written by James Poe, John Farrow, and S.J. Perelman. The music score was composed by Victor Young, and the Todd-AO 70 mm cinematography (shot in Technicolor) was by Lionel Lindon. The film's six-minute-long animated title sequence, shown at the end of the film, was created by award-winning designer Saul Bass.


title: Around the World in 80 Days (1956 film)

text: Broadcast journalist Edward R. Murrow presents an onscreen prologue, featuring footage from "A Trip to the Moon" (1902) by Georges Méliès, explaining that it is based loosely on the book "From the Earth to the Moon" by Jules Verne. Also included is the launching of an unmanned rocket and footage of the earth receding.


title: Around the World in 80 Days (1956 film)

text: In 1872, an English gentleman Phileas Fogg claims he can circumnavigate the world in eighty days. Met with scepticism, he makes a £20,000 wager (worth about £ today) with four fellow members of the Reform Club (each contributing £5,000 to the bet) that he can make the journey and arrive back at the club eighty days from exactly 8:45 pm that evening.


title: Around the World in 80 Days (1956 film)

text: Together with his resourceful French valet, Passepartout, Fogg goes hopscotching around the globe generously spending money to encourage others to help him get to his destinations faster so he can accommodate tight steamship schedules. Having reached Paris they hear that a tunnel under the Alps is blocked. The Thomas Cook agent who assists them offers to hire or sell them his hot air balloon. Fogg buys it and they fly over the Alps drinking champagne.


title: Around the World in 80 Days (1956 film)

text: Blown off-course, the two accidentally end up in Spain, where we see a table-top flamenco sequence performed in a bar. Later, Passepartout engages in a comic bullfight. Next, they go to Brindisi in Italy. Meanwhile, back in London, suspicion grows that Fogg has stolen £55,000 (around £ today) from the Bank of England so Police Inspector Fix is sent out by Scotland Yard to trail him (starting in Suez) but must keep waiting for a warrant to arrive so he can arrest Fogg in the British controlled ports they visit.


title: Around the World in 80 Days (1956 film)

text: In India, Fogg and Passepartout rescue beautiful young widow Aouda from being forced into a funeral pyre with her late husband. The three then travel to Hong Kong, Yokohama, San Francisco, and the Wild West (including the Sioux Nation). Reaching New York, they arrange their passage on a cargo steamship travelling to Venezuela - Fogg bribes the captain to go to England. Alas, they run out of coal mid-ocean and the ship stops. Fogg buys the ship and then instructs the crew to take everything that burns, including lifeboats, to provide fuel.


title: Around the World in 80 Days (1956 film)

text: They arrive in Liverpool, where, still with just enough time left to travel to London and win his wager, Fogg is promptly arrested by the diligent yet misguided Inspector Fix.


title: Around the World in 80 Days (1956 film)

text: Detaining Fogg at the police station, the humiliated Fix discovers that the real culprit has already been apprehended by police in Brighton. Although Fogg is exculpated and free to go, he now has insufficient time to reach London before his deadline, and so has lost everything but the enduring love of the winsome Aouda. Upon returning to London, Fogg asks Passepartout to arrange a church wedding for the next day, Monday. Salvation comes when Passepartout is shocked to be informed that the next day is actually Sunday. Fogg then realizes that by traveling east towards the rising sun and crossing the International Date Line, he has gained a day. Thus, there is still just enough time to reach the Reform Club and win the bet. Fogg rushes to the club, arriving just before the 8:45 pm chime. Passepartout and Aouda then arrive behind him, shocking everyone, as no woman has ever entered the Reform Club before.


title: Around the World in 80 Days (1956 film)

text: The film boasts an all-star cast, with David Niven and Cantinflas in the lead roles of Fogg and Passepartout. Fogg is the classic Victorian upper-class English gentleman, well-dressed, well-spoken, and extremely punctual, whereas his servant Passepartout (who has an eye for the ladies) provides much of the comic relief as a "jack of all trades" for the film in contrast to his master's strict formality. Joining them are Shirley MacLaine as the beautiful Indian Princess Aouda and Robert Newton as the determined but hapless Detective Fix, in his last role. Suzanne Alexander and Marla English were initially the finalists for the role of Princess Aouda, but it was given to MacLaine, who accepted the role after having turned it down twice. Others who pursued the role included Sylvia Lewis, Lisa Davis, and Jaqueline Park.


title: Around the World in 80 Days (1956 film)

text: The role of Passepartout was greatly expanded from the novel to accommodate Cantinflas, the most famous Latin-American comedian at the time, and winds up as the focus of the film. While Passepartout describes himself as a Parisian in the novel, this is unclear in the filmhe has a French name, but speaks fluent Spanish when he and his master arrive in Spain by balloon. In the Spanish version, the name of his character was changed from the French Passepartout to the Spanish Juan Picaporte, the name the character has in the early Spanish translations of the novel. There is also a comic bullfighting sequence which was especially created for Cantinflas and is not in the novel. Indeed, when the film was released in some Spanish-speaking nations, Cantinflas was billed as the lead. According to the guidebook, this was done because of an obstacle Todd faced in casting Cantinflas, who had never previously appeared in an American movie and had turned down numerous offers to do so. Todd allowed him to appear in the film as a Latin, "so," the actor said himself, "...to my audience in Latin America, I'll still be Cantinflas."


title: Around the World in 80 Days (1956 film)

text: More than 40 famous performers make brief cameo appearances, including Marlene Dietrich, Ronald Colman, Noël Coward, George Raft, and Frank Sinatra. The film was significant as the first of the so-called Hollywood "make work" films, employing dozens of film personalities. John Wayne turned down Todd's offer for the role of the Colonel leading the Cavalry charge, a role filled by Colonel Tim McCoy. James Cagney, Gary Cooper, and Kirk Douglas—along with Wayne—were considered for the role, but according to Michael Todd, "they all wanted to kid it." Promotional material released at the time quoted a Screen Actors Guild representative looking at the shooting call sheet and crying: "Good heavens Todd, you've made extras out of all the stars in Hollywood!" As of 2022, Shirley MacLaine and Glynis Johns are the last surviving members of the billed cast, as well as the unbilled Marion Ross.


title: Around the World in 80 Days (1956 film)

text: "Around the World in 80 Days" was produced by Broadway showman Michael Todd based on a book by Orson Welles. Todd had never before produced a film. The director he hired, Michael Anderson, had directed the highly acclaimed British World War II feature "The Dam Busters" (1955), George Orwell's "Nineteen Eighty-Four" feature (1956), and other classic films. Todd sold his interest in the Todd-AO format to help finance the film.


title: Around the World in 80 Days (1956 film)

text: Because Todd-AO ran at 30 frames per second, which was incompatible with the 35mm standard of 24 fps, "Around the World in 80 Days" was filmed twice, like the first feature in Todd-AO, "Oklahoma!". Unlike "Oklahoma!", however, which was filmed additionally in 35mm CinemaScope, "Around the World in 80 Days" was filmed simultaneously in Todd-AO at 24 frames per second so that from this negative, 35mm reduction prints could be produced for general release. After these two films, the specification for Todd-AO was altered after the third film in the format, "South Pacific", to 24 fps running, making it unnecessary to film subsequent productions twice.


title: Around the World in 80 Days (1956 film)

text: In his 1972 autobiographical book "The Moon's a Balloon", actor David Niven discussed his meeting with Todd and the subsequent events that led to the film being produced. According to Niven, when Todd asked him if he would appear as Fogg, Niven enthusiastically replied, 'I'd do it for nothing!' He later admitted to being grateful that Todd did not hold him to his claim. He also described the first meeting between Todd and Robert Newton (who had drinking problems) when the latter was offered the role of the detective, Fix; Niven alleged that Newton was offered the part on condition that he did not drink any alcohol during the filming, and that his celebration following the completion of his role led to his untimely demise (he did not live to see the film released).


title: Around the World in 80 Days (1956 film)

text: Filming took place in late 1955, from August 9 to December 20. The crew worked fast (75 actual days of filming), producing of film, which was edited down to of finished film. The picture cost just under $6 million to make, employing 112 locations in 13 countries and 140 sets. Todd said he and the crew visited every country portrayed in the picture, including England, France, India, East Pakistan (now Bangladesh), Spain, Thailand, and Japan. According to "Time" magazine's review of the film, the cast, including extras, totaled 68,894 people; it also featured 7,959 animals, "including four ostriches, six skunks, 15 elephants, 17 fighting bulls, 512 rhesus monkeys, 800 horses, 950 burros, 2,448 American buffalo, 3,800 Rocky Mountain sheep and a sacred cow that eats flowers on cue". There is also a cat at the Reform Club. The wardrobe department spent $410,000 to provide 74,685 costumes and 36,092 trinkets. This is allegedly the most costumes ever required for a Hollywood production.


title: Around the World in 80 Days (1956 film)

text: Some 10,000 extras were used in filming the bullfight scene in Spain, with Cantinflas as the matador; Cantinflas had previously done some bullfighting. They used all 6,500 residents of a small Spanish town called Chinchón, from Madrid, but Todd decided there were not enough spectators, so he found 3,500 more from nearby towns. He used 650 Indians for a fight on a train in the West. Many were indeed Indians, but some were Hollywood extras. All 650 had their skin color altered with dye. Todd used about of orange-coloured dye for those extras.


title: Around the World in 80 Days (1956 film)

text: Todd sometimes used models of boats, ships, and trains in the film, but he often decided that they did not look realistic so he switched to the real thing where he could. The scene of a collapsing train bridge is partly without models. The overhead shot of a train crossing a bridge was full scale, but the bridge collapse was a large-scale miniature, verifiable by observing the slightly jerky motion of the rear passenger car as the train pulls away, as well as the slowed-down water droplets which are out of scale in the splashing river below. All the steamships shown in the first half are miniatures shot in an outdoor studio tank. The exception is the American ship shown at the intermission point, which is real. The "American" ship is the Japanese training barque Kaiwo maru. A tunnel was built for a train sequence out of paper mache. After the train filming was complete, the "tunnel" was pushed over into the gorge. Many of the special effects are described and pictured in a 1956 "Popular Mechanics" article.


title: Around the World in 80 Days (1956 film)

text: The scenes of the crossing of the Atlantic Ocean by steamship took place off San Francisco and were shot on a specially built prop steamer, a converted barge mocked up to resemble a small ocean-going steamship, with mock paddles driven by the electric motor from an old streetcar. In his memoirs, Niven described the whole thing as being dangerously unstable (though stability improved as it was dismantled as though to feed it into its own furnaces as the plot required).


title: Around the World in 80 Days (1956 film)

text: One of the most famous sequences in the film, the flight by hydrogen balloon, is not in the original Jules Verne novel. Because the film was made in Todd AO, the sequence was expressly created to show off the locations seen on the flight, as projected on the giant curved screen used for the process. A similar balloon flight can be found in an earlier Jules Verne novel, "Five Weeks in a Balloon", in which the protagonists explore Africa from a hydrogen balloon.


title: Around the World in 80 Days (1956 film)

text: Many of the balloon scenes with Niven and Cantinflas were filmed using a crane. Even that height bothered Niven, who was afraid of heights. Tom Burges, who was shorter than Niven, was used as a stand-in for scenes where the balloon is seen from a distance. Many of the lots used in the film are now on the land occupied by Century City, an office complex in the Los Angeles area.


title: Around the World in 80 Days (1956 film)

text: In his memoirs, Niven related that Todd completed filming while in considerable debt. The post-production work on the film was an exercise in holding off Todd's creditors long enough to produce a saleable film, and the footage was worked upon under the supervision of Todd's creditors and returned to a secure vault each night, as if it were in escrow.


title: Around the World in 80 Days (1956 film)

text: The film premiered on October 17, 1956, at the Rivoli Theater in New York City and played to full houses for 15 months. It ran for 102 weeks at the theatre, with 1,564 performances, 2,173,238 patrons and a gross of $4,872,326.


title: Around the World in 80 Days (1956 film)

text: It topped "Variety" monthly box office chart for seven months during 1957. By the time of Todd's death in a private plane crash, 18 months after the film had opened, it had grossed $33 million.


title: Around the World in 80 Days (1956 film)

text: By November 1958, the film had earned worldwide rentals of $22 million including $4.6 million from overseas from just 280 engagements. None of the overseas engagements at that date had been in Todd-AO.


title: Around the World in 80 Days (1956 film)

text: In Spanish and Latin American posters and programs of the movie, Cantinflas is billed above the other players because he was very popular in Spanish-speaking countries. There were two souvenir programmes sold in theatres. For Roadshow screenings Todd-AO is mentioned, though for general release those pages are not contained in the book. The programme was created by Todd's publicist, Art Cohn, who died in the plane crash with him. His biography, "The Nine Lives of Michael Todd", was published after their deaths which put a macabre spin on the title.


title: Around the World in 80 Days (1956 film)

text: Bosley Crowther called the film a "sprawling conglomeration of refined English comedy, giant-screen travel panoramics and slam-bang Keystone burlesque" and wrote that Todd and the film's crew "commandeered the giant screen and stereophonic sound as though they were Olsen and Johnson turned loose in a cosmic cutting-room, with a pipe organ in one corner and all the movies ever made to toss around".


title: Around the World in 80 Days (1956 film)

text: "Time" magazine called it "brassy, extravagant, long-winded and funny" and the "Polyphemus of productions," writing "as a travelogue, "Around the World" is at least as spectacular as anything Cinerama has slapped together". "Time" highlighted the performance of "the famous Mexican comic, Cantinflas [who in] his first U.S. movie ... gives delightful evidence that he may well be, as Charles Chaplin once said he was, "the world's greatest clown".


title: Around the World in 80 Days (1956 film)

text: Rotten Tomatoes retrospectively collected 43 reviews and gave the film an aggregate score of 70%, with an average rating of 5.90/10, with the site's consensus stating: "It's undeniably shallow, but its cheerful lack of pretense -- as well as its grand scale and star-stuffed cast -- help make "Around the World in 80 Days" charmingly light-hearted entertainment".


title: Around the World in 80 Days (1956 film)

text: The development of the film and the personal life of actor Mario Moreno during that time were dramatized later in the 2014 film "Cantinflas".


title: Around the World in 80 Days (1956 film)

text: The film was nominated for eight Academy Awards, winning five (including Best Picture), beating out critically and publicly praised films: "Friendly Persuasion", "Giant", "The King and I" and "The Ten Commandments". It is also one of the few Best Picture winners not to be nominated in any acting category.


title: Around the World in 80 Days (1956 film)

text: Although not nominated for Best Original Song, the film's theme song "Around the World" (music by Victor Young; lyrics by Harold Adamson), became very popular. It was a hit for Bing Crosby in 1957, and was a staple of the easy-listening genre for many years: "Around the world, I searched for you / I traveled on when hope was gone to keep a rendezvous ... No more will I go all around the world / For I have found my world in you."


title: Around the World in 80 Days (1956 film)

text: The film was screened at the 1957 Cannes Film Festival, but was not entered into the main competition.


title: Around the World in 80 Days (1956 film)

text: On the first anniversary of the film's release, Todd threw a party at the Madison Square Garden attended by


title: Around the World in 80 Days (1956 film)

text: 18,000 people; "Time" magazine called the party a "spectacular flop" though Todd shrugged off the remark, saying, "You can't say it was a little bust." The event, featured on a 90-minute CBS telecast, could boast of "a colossal hodgepodge of bagpipers, folk dancers, Philadelphia Mummers, Russian wolfhounds, oxen, Siamese cats, elephants, clowns, a fire engine, and a symphony orchestra."


title: Around the World in 80 Days (1956 film)

text: The film was originally distributed by United Artists in two Todd-AO 70 mm versions, one for Todd-AO 70 mm release at 30 frames per second, and an alternative 70 mm version at 24 frames per second reduced to 35 mm for general release.


title: Around the World in 80 Days (1956 film)

text: The original Todd-AO 70mm running time without the extra music was 179 minutes. However, after the Chicago showing Todd cut four minutes out of the Western sequence where Cantinflas is pursued by Indians. The 70mm print shown at The Rivoli theatre in NYC was 175 minutes. However, the original 35mm Technicolor/anamorphic magnetic stereo and mono optical prints ran the complete 179 minutes with the chase scene intact. Although the leaders on the optical sound prints were labelled for Perspecta directional encoding, the prints do not contain the signal and were standard mono.


title: Around the World in 80 Days (1956 film)

text: In 1968, additional cuts were made including removing most of the prologue with the changing aspect ratios. Only a brief few shots with Edward R. Murrow remained and the entire "Trip to the Moon" clips were cut. Since the opening shot of Murrow was 1.33 window boxed in the wide frame, they had to crop and blow up that shot for the 2.35 ratio which made it very grainy. The intermission was also cut for the 1968 re-release which included the freeze frame of the ship and fade into the second half. The reels just


title: Around the World in 80 Days (1956 film)

text: jump cut with an awkward sound gap between the first and second half. The chase scene was missing from this version too which reduced the running time to 167 minutes. However, some uncut 179-minute 35mm Technicolor prints were struck too which meant at least some theatres played the Roadshow version even though the vast majority showed the shorter cut. 35mm IB/Scope copies of both versions exist from 1968. The 24 frames per second 70mm prints were also the 167-minute version in that year too. As a publicity stunt, Todd Jr. called the press when he removed a 70mm copy from a bank vault claiming it had been stored there since 1956 for safe keeping and was being shown at a theatre again. The copy they exhibited was the cut re-issue 167-minute version.


title: Around the World in 80 Days (1956 film)

text: Around 1976, after its last network television broadcast on CBS, UA lost control of the film to Elizabeth Taylor, who was the widow of producer Michael Todd and had inherited a portion of Todd's estate. In 1983, Warner Bros. acquired the rights to the film from Taylor, and reissued the film theatrically in a re-edited 143-minute version (this version would subsequently air only once on Turner Classic Movies, this was before any restoration on the movie was announced). In the years that followed, a pan-and-scan transfer of the alternative 24 frame/s version (presented at its full 183-minute length) was shown on cable television.


title: Around the World in 80 Days (1956 film)

text: In 2004, WB issued a digitally restored version of the 24 frame/s incarnation on DVD, also at its full 183-minute length, but also including the original intermission, Entr'acte, and exit music segments that were a part of the original 1956 theatrical release, and for the first time on home video at its original 2.2:1 aspect widescreen ratio.


title: Around the World in 80 Days (1956 film)

text: This restored version was reconstructed from the best available elements of the 24 frame/s edition WB could find, and was subsequently shown on Turner Classic Movies. The original elements from the 30 frame/s/70 mm Todd-AO version (as well as the original prints derived from these elements) still exist, albeit in faded condition due to the passage of time, but remain to be formally restored by WB. There is some missing footage in the India train ride where the image artificially fades in and out to compensate for the missing shots.


title: Around the World in 80 Days (1956 film)

text: Warner's retained Andy Pratt Film Labs who in conjunction with Eastman Kodak developed a method to remove the cracked and faded-to-brown, clear lacquer from the original 65 mm Technicolor negative. Warners did nothing further to restore the negative. Due to costs of making a 70 mm release print even without magnetic striping, using DTS disk for audio, there are no immediate plans for any new prints. The 65 mm roadshow print negative was used for the DVD release. Had any 35 mm Anamorphic elements been used the aspect ratio would have been 2.35:1. Mike Todd had limited 35 mm anamorphic prints made with a non-standard compression ratio to provide a 2.21:1 viewing experience. These special 35 mm prints are called Cinestage, the same name of Mike Todd's showcase theatre in Chicago.


title: Around the World in 80 Days (1956 film)

text: Best available prints of the 30 frame/s/70 mm version have recently been exhibited in revival movie houses worldwide. As of the present time, WB remains the film's rights holder.


title: Around the World in 80 Days (1956 film)

text: The DVDs for "Around the World in 80 Days" include four hours of supplemental material, in addition to the restored three-hour wide-screen presentation. Included on one of the disks is a documentary film, about 50 minutes long, about Michael Todd.


title: Around the World in 80 Days (1956 film)

text: The soundtrack was commercially released on vinyl and audio tape. Two CD versions were released as well, including a digital remastering of the original Decca Records album on MCA in the 1980s and an expanded version with extra tracks on the Hit Parade Records label in Canada in 2007. There was also a model kit of the balloon, a board game, and a Dell Comics adaptation. A Cantinflas puppet was released separately, dressed in an outfit similar to the Passepartout costume.


title: Mr. Darcy

text: Fitzwilliam Darcy Esquire, generally referred to as Mr. Darcy, is one of the two central characters in Jane Austen's 1813 novel "Pride and Prejudice". He is an archetype of the aloof romantic hero, and a romantic interest of Elizabeth Bennet, the novel's protagonist. The story's narration is almost exclusively from Elizabeth's perspective; the reader is given a one-sided view of Darcy for much of the novel, but hints are given throughout that there is much more to his character than meets the eye. The reader gets a healthy dose of dramatic irony as Elizabeth continually censures Mr. Darcy's character despite the aforementioned hints (via the narrative voice and other characters' observations) that Mr. Darcy is really a noble character at heart, albeit somewhat prideful. Usually referred to only as "Mr. Darcy" or "Darcy" by characters and the narrator, his first name is mentioned twice in the novel.


title: Mr. Darcy

text: Mr. Darcy is a wealthy young gentleman with an income exceeding £10,000 a year (equivalent to over £13,000,000 a year in relative income) and the proprietor of Pemberley, a large estate in Derbyshire, England. Darcy first meets Elizabeth Bennet at a ball, where he makes rather demeaning remarks about her while she is within earshot. Gradually he becomes attracted to her and later attempts to court her while simultaneously struggling against his continued feelings of superiority. Darcy disapproves when his friend Bingley, develops a serious attachment to Elizabeth's elder sister Jane, and persuades Bingley that Jane does not return his feelings (which Darcy honestly but wrongfully believes). He later explains this seeming hypocrisy by asserting "I was kinder to [Bingley] than to myself". Although he doesn't realise it, Mr. Wickham's tale of how Darcy mistreated him and Elizabeth's later discovery of Darcy's interference in Bingley and Jane's budding relationship, along with Elizabeth's previous observations of Darcy's arrogance, conceit, and selfish disdain of the feelings of others, has caused her to dislike him intensely.


title: Mr. Darcy

text: Eventually, Mr. Darcy declares his love for Elizabeth and asks for her hand. He reminds her of the large gap in their social status. Elizabeth is offended and vehemently refuses him, expressing her reasons for disliking him, including her knowledge of his interference with Jane and Bingley and the account she received from Mr. Wickham of Darcy's alleged unfair treatment toward him. Insulted by Darcy's arrogant retorts, Elizabeth says that his proposal prevented her from feeling concerns for him she "might have felt had you behaved in a more gentlemanlike manner". Darcy departs in anger and mortification and the next morning, writes and hand delivers a letter to Elizabeth in which he defends his wounded honour, reveals the motives for his interference in Jane and Bingley's relationship, and gives a full account of his dealings with Wickham, who had attempted to seduce and elope with Darcy's younger sister, Georgiana, the previous summer.


title: Mr. Darcy

text: Although initially angered by Elizabeth's vehement refusal and harsh criticism, Darcy is shocked to discover the reality of how his behaviour is perceived by others, particularly Elizabeth, and commits himself to re-evaluate his actions. A few months later, Darcy unexpectedly encounters Elizabeth when she is visiting his estate in Derbyshire with her aunt and uncle. Elizabeth is first embarrassed to be discovered at Pemberley, having only visited on the belief that Darcy was absent; however, she is surprised to discover a marked change in Darcy's manner. Having responded to Elizabeth's criticism, Darcy is now determined to display the "gentlemanlike manner" she accused him of lacking and astonishes her with his kindness towards both her and her relations.


title: Mr. Darcy

text: On discovering that Elizabeth's youngest sister Lydia has fallen prey to and run off with Mr. Wickham, Darcy tracks them down and induces Wickham to marry Lydia, thus saving both Lydia and her family from social disgrace. Darcy's intervention was done not to win Elizabeth—he attempted to keep her from knowing of his involvement—but rather to ease her distress (the narrator hints through Mr. Bennet that Darcy's intervention to help Elizabeth may have cost him as much as a year's income: ""Wickham's a fool if he takes [Lydia] with a farthing less than ten thousand pounds""). Darcy also felt partially responsible for failing to warn Elizabeth's family and the public of Wickham's true character.


title: Mr. Darcy

text: Darcy then releases Bingley to return to Longbourn and to Jane, accepting his misjudgement of her character. Accompanying his friend to Longbourn, Darcy proposes to Elizabeth again, who accepts his proposal.


title: Mr. Darcy

text: Mr. Darcy is a proud and arrogant man, particularly to those that he considers of lower social status. It is suggested that he is a member of the old Anglo-Norman aristocracy, as indicated by his own name as well as that of his aunt, Lady Catherine de Bourgh. At the dance, he does not dance with any ladies outside his own party because he believes them to be beneath him in class and beauty. He does, however, mention later on to Elizabeth that he does not find it easy to make new acquaintances and finds it hard to converse with people he does not know. This shows a sort of shy, perhaps even reclusive nature in Darcy that is not illustrated before this point in the book. After receiving Mr. Darcy's letter of explanation, Elizabeth notes: that she has never "seen anything that betrayed him to be unprincipled or unjust—anything that spoke him of irreligious or immoral habits; that among his own connections he was esteemed and valued". For example, his behaviour with Bingley is more than brotherly as he rescues him from a bad marriage and is a constant companion at his side. Through Elizabeth, he learns to be less boastful and arrogant because he realizes that his actions have deeply affected others. This arrogance is seen in his first proposal to Elizabeth whereby he acts with more pride rather than in a loving manner. Despite the way in which Elizabeth often mocks him, she is surprised by his "gallantry" as he persists in pursuing her.


title: Mr. Darcy

text: Vivien Jones notes that Darcy's handsome appearance, wealth and original arrogance signify to the reader that he is the hero of a romance novel. Wickham's irresponsible elopement with Lydia allows Darcy to demonstrate that he now feels responsible for Wickham's continued bad behaviour by his silence – if he had made Wickham's bad character known, Lydia would have been safe. Darcy chooses to involve himself in arranging Lydia's marriage, risking his own reputation. Elizabeth dismisses him at first as "intricate", though she adds that "intricate" men are at least "amusing". Though Darcy treats Elizabeth with contempt, he always finds her to be "uncommonly intelligent by the beautiful expression of her dark eyes" and is "caught by the easy playfulness of her manner". At one point, Elizabeth notes that "Mr. Darcy is all politeness" and speaks of his "grave propriety". The term "grave propriety" is meant ironically, noting that Darcy is polite, but only in the sense that he possesses the mere civility of "the proudest, most disagreeable man in the world". However, despite his barely tactful behaviour, it is implied he has deeper feelings of affection for Elizabeth, which he has difficulty in expressing and which she often does not notice.


title: Mr. Darcy

text: The 18th century had been a time of a "Cult of Courtesy", a time that prized delicacy, refinement and exaggerated politeness above all, leading in the words of the British writer Adam Nicolson to a situation where "wide swathes of English 18th century life become fragile and dainty, in a way that no age in England, before or since, has managed. ... In some ways, natural human dignity had been sacrificed on the altar of a kind of rococo politeness. ... Acceptable behaviour had become toy-like and it was not long before the anti-heroic fashion for a delicate sensibility ran out of control. Manliness, or even the ability to survive had in fact almost entirely deserted those [who] were suffering from the cult of sensibility". In the 18th-century idea, a man was expected above all to be pleasant and pleasing, and so it was better for a man to lie rather than say anything which might offend. By the early 19th century, a tougher, more brooding version of masculinity was starting to come into vogue and the character of Mr. Darcy exemplifies the trend. Nicolson described the differences between Mr. Bingley and Mr. Darcy as follows: "Mr. Bingley is a[n] 18th century man: handsome, young, agreeable, delightful, fond of dancing, gentlemanlike, pleasant, easy, unaffected and not entirely in control of his own destiny. Darcy is fine, tall, handsome, noble, proud, forbidding, disagreeable and subject to no control but his own. ... Darcy is a 19th-century man, manliness itself, uncompromising, dark and sexy. And it is Darcy, of course, whom the novel ends up loving".


title: Mr. Darcy

text: The character of Mr. Darcy very much reflects the changing standards of English masculinity as, unlike the heroes of the 18th century with their excessive politeness and unwillingness to offend, Mr. Darcy says whatever he likes, which shows his authenticity and honesty, which were the most important attributes for a man in the new Romantic age. Even after Mr. Darcy apologises to Miss Bennet for his brusque rudeness, his honesty means that the change of heart is sincere, and not the polished words of a follower of the cult of sensibility. More broadly, the character of Mr. Darcy showed the emergence of a new type of rawer masculinity that could not tolerate the foppish, superficial values of the previous century. Nicolson called Darcy "the template on which the severe and unbending model of Victorian manliness is founded". Nicolson concluded that: "The implication of the novel is that there is something better than politeness and that the merely civil is inadequate. ... Darcy is 'silent, grave and indifferent', words in this new moral universe which signal pure approval". At one point, Darcy states "disguise of every sort is my abhorrence" reflecting the fact he never pretends to be anything other than what he is. When the lightweight and pretentious Miss Bingley lists all the attributes of "an accomplished woman", Darcy says "To all this she must yet add something more substantial, in the improvement of her mind by extensive reading", indicating he wants more from a woman than what Miss Bingley thinks is necessary.


title: Mr. Darcy

text: Nicolson further argued that a character like Mr. Darcy reflects changes in British life as the Romantic age was a time when "What mattered was authentic, self-generated worth". In this regard, the novel says "Of this she was perfectly unaware; to her he was only the man who made himself agreeable nowhere, and who had not thought her handsome enough to dance with". Darcy is attracted to Elizabeth early on, but he sees her as unfit socially as a wife; however his feelings for her are such that he decides to forgo convention to marry the woman he loves, fitting him into the mould of a Romantic hero. After Darcy gets over his prejudices against marrying the middle-class Elizabeth, the scholar Bernard Paris wrote that Darcy "becomes the most romantic figure in the book" while at the same time upholding traditional British values as "he uses his great power in the service of both order and desire". Darcy is equally opposed to the "anarchistic tendencies" of Wickham on one hand and the "tyranny" of Lady Catherine on the other. The scholar Alison Sulloway noted that Darcy has little patience for polite society with its false courtesies and superficial talk, and much prefers to be running Pemberley or to be outdoors. Darcy's heroic stance is shown by the way he pursues Elizabeth despite her rejection of his first offer of marriage, showing the depth of his feelings that he often has trouble expressing properly. Even though Darcy is sometimes clumsy at expressing his love for Elizabeth, his tendency to speak only what he really feels stands in marked contrast to the polished words of Wickham who never means what he says. The scholar Josephine Ross wrote that the picture today of Darcy as asexual says more about the standards of our time rather than of the Romantic era, noting when Elizabeth tells him that Wickham has seduced her sister Lydia, he can only "observe her in compassionate silence"; despite clearly wanting to touch Elizabeth he does not as that would not be proper for a gentleman. Ross wrote: "Had he taken her in his arms and covered her with kisses, the atmosphere of that critical scene could not have been more thrillingly charged".


title: Mr. Darcy

text: In the Romantic age, those who prefer the "authentic" world of the outdoors are usually seen as the more sincere and passionate in their emotions, and in this sense, Darcy's preference for being in his garden at Pemberley or otherwise on the grounds of the estate shows him as a Romantic hero. The very fact that Elizabeth is impressed by the beauty of Pemberley's gardens, hills, forests, fields, valleys, streams and pastures, which show Darcy's commitment to appreciating the beauty of nature, further underlines the point. Like all of Jane Austen's heroes, Darcy wore the standard dress of a Regency gentleman, described as a darkly coloured, double-collared coat over a waistcoat together with breeches and riding boots in the day and a darkly coloured tailcoat, light breeches or dark trousers in the evening. In the 18th century, it was normal for spouses to address each other by their surnames, and Elizabeth Bennet's parents, for example, address each other as Mr. Bennet and Mrs. Bennet despite having been married for 20 years; by contrast after his engagement, Darcy for the first time calls his fiancée Elizabeth, which shows the depth of his love. A sign that this is a marriage based on love is the fact that Darcy is described as having an annual income of 10,000 pounds, yet Elizabeth refuses to marry him until she finally decides she loves him.


title: Mr. Darcy

text: The British cultural critic Robert Irvine described the appeal of Mr. Darcy to women as that of an "absolute and unconditioned male need for a woman". Irvine argued that this was a female "fantasy" that was only possible in a context of general powerlessness on the part of women. At the time of the French Revolution when elites all over Europe felt threatened, there was a tendency in British literature to glorify the aristocratic and gentry classes as the personification of British values in contrast to the French who guillotined their old elite to create the grasping, vulgar new elite of Napoleonic France. For the British middle class or "middling sort" as Austen called them, to emulate the landed elite, however, retained its social superiority. The character of Mr. Darcy reflects this trend. When Mr. Bingley suggests that he might like to one day build an estate like Pemberley, he is informed by Mr. Darcy that it is not the estate itself, but rather what it contains, its cultural heritage like the family library that makes Pemberley special. Mr. Bingley cannot be the heir to a family library built up over generations like the one Mr. Darcy is the heir to. In this way, Austen suggests that there is more to Mr. Darcy than the proud and sneering man at the Meryton assembly, that there is a deepness to him as people like him are custodians of the national culture. The scholar C. C. Barfoot described Pemberley as the "marvelous accretion of all the choices made by his predecessors", providing as the novel calls it "a kind of model" for how to live properly. Barfoot argued that for Austen "civilization is not a gift, but is a possession that needs to be earned and sustained by practice"; in this regard, the fact that Darcy takes good care of his estate shows his basically civilised nature which he hides under his veneer of snobbery and coldness.


title: Mr. Darcy

text: A sign of the depth of Darcy's love for Elizabeth can be seen in that he tracks down Lydia and Wickham despite all of the costs. The scholar James Brown observed that at the time transport via the mud roads of Britain was hugely expensive, citing the remark by the novelist Sir Walter Scott that it had cost him 50 pounds to travel from Edinburgh to London in 1828; in today's money the sum was equal to 2,500 pounds. Brown wrote that the readers in Austen's time would have known it had been an expensive burden for Darcy to go off searching for Wickham and Lydia, and readers today almost miss the significance of Darcy's financial sacrifice caused by his love for Elizabeth. However, Brown wrote that Scott himself had admitted that he insisted on travelling in style on his trip, staying at the most expensive hotels and eating at the most expensive restaurants as befitting a gentleman of means, and that not all travellers at the time would have stayed and eaten at the same sort of establishments patronised by Scott.


title: Mr. Darcy

text: Irvine argued that for someone like Darcy to live about half of the year in London, which is a glittering and far-away place for people of Meryton, proves his social superiority as his "London manners" are described variously in the novel as "fashionable" and "elegant". Irvine argued that the union of Elizabeth and Darcy at the end of the novel was meant by Austen as a symbol of the union of the national and regional elites in England, forging together a united nation. One scholar, Rachel Brownstein, noted that of all the Austen romances, that of Darcy and Elizabeth is the only one where the couple began as complete strangers at the beginning of the book, making "Pride and Prejudice" the most romantic of the Austen novels.


title: Mr. Darcy

text: Irvine argued that Elizabeth appears to be unworthy of Darcy not because of their differences in income level, but because of the class divide as she contemplates the glories of Pemberley. Against the interpretation that "Pride and Prejudice" is primarily a novel about class, the American scholar Susan Morgan argued the novel is about character, stating Mr. Wickham may not be as wealthy as Darcy, but his commission in the militia would have made him an eminently respectable man to marry in Regency England. Morgan wrote that though Darcy is rich, he does not represent "society" as some would have done, because he is reserved, vain, and quasi-isolated from society. Morgan argued that Austen's message in "Pride and Prejudice" is that one should marry for love rather than money as Wickham disqualifies himself as a potential groom owing to his bad character, not his income. Morgan observed that for most of the novel Darcy loves Elizabeth even when she loathes him and also when she comes to return his feelings. Austen writes that it was because of "a motive within her of goodwill which could not be overlooked. It was gratitude—Gratitude, not merely for having loved her once, but for loving her still well enough, to forgive all the petulance and acrimony of her manner in rejecting him, and all the unjust accusations accompanying her rejection". Morgan argued that the growth of Elizabeth's feelings for Darcy is a sign of her intellectual growth, as she comes to understand that freedom means the freedom to appreciate and understand the value of love. In this sense, Darcy, by seeking to improve himself, by ignoring repeated slights and insults, and by paying off Wickham's debts to rescue Lydia from her ill-conceived marriage just to impress her, proves himself worthy of Elizabeth's love. Morgan wrote that the gratitude that Austen meant for Elizabeth to feel for Darcy "...is a gratitude that, despite all the obstacles which realism can provide, despite time, conventions, and misunderstanding, despite her wrongs and his own limitations, Mr. Darcy can see Elizabeth honestly and can love her as well." One critic, Wilbur Cross, wrote that at first Darcy displays outrageous arrogance to Elizabeth, but the novel ends with an "almost pitiable humiliation of Darcy", which was a testament to the power of women to tame men.


title: Mr. Darcy

text: The character of Fitzwilliam Darcy has appeared in and inspired numerous works. Both Mr. Darcy and Elizabeth Bennet feature as part of science fiction author Philip Jose Farmer's fictional 'Wold Newton family', which links numerous literary characters (such as Tarzan and Sherlock Holmes) via an interconnected family tree of people and events. According to Farmer's works, both were exposed to radiation from a meteorite that struck Wold Newton in Yorkshire in the 1790s (a documented event). This allowed them to be the ancestors of many other famous literary characters, some of whom possessed unusual or even superhuman gifts and abilities. Numerous re-imaginings of the original work written from the perspective of Mr. Darcy have also been published, among them American writer Pamela Aidan's "Fitzwilliam Darcy, Gentleman" trilogy, and English author Janet Aylmer's successful novel "Darcy's Story" published in the UK () and later in the United States ().


title: Mr. Darcy

text: Helen Fielding has admitted she "pillaged her plot" for "Bridget Jones's Diary" from "Pride and Prejudice". In "Bridget Jones's Diary" and its sequel " ", Bridget Jones is constantly mentioning the 1995 BBC adaptation and repeatedly watches the scene in the fourth episode where Darcy (Colin Firth) emerges from a pond wearing a wet white shirt, and refers to the Darcy and Elizabeth of the TV series as "my chosen representatives in the field of shagging, or, rather, courtship". When in "The Edge of Reason" Bridget becomes a journalist, she is flown to Italy where she is to interview Firth about his (then upcoming) film "Fever Pitch", but finds herself only asking him questions about Mr. Darcy and the filming of the "pond scene". This scene was shot but not included in the film adaptation of "". This scene can be seen in the DVD's extra features. Colin Firth's "pond scene" made it into Channel 4's Top 100 TV Moments. Colin Firth has found it hard to shake off the Darcy image, and he thought that playing Bridget Jones's Mark Darcy, a character inspired by the other Darcy, would both ridicule and liberate him once and for all from the iconic character.


title: Mr. Darcy

text: Darcy's status as a romantic hero transcends literature. In 2010 a protein sex pheromone in male mouse urine, that is sexually attractive to female mice, was named "Darcin" in honour of the character.


title: Mr. Darcy

text: On 9 July 2013, a 12-foot (3.7 m) fibreglass statue of the figure of Mr. Darcy emerging from the water was installed in the Serpentine Lake of London's Hyde Park for a promotion of British television's UKTV channel. Modelled on actor Colin Firth who played the role in the 1995 BBC miniseries, the statue made the rounds of several English lakes before its final installation in Lyme Park, a location where the programme was partly filmed and already a pilgrimage site for "Pride and Prejudice" fans.


title: Andrey Arshavin

text: Andrey Sergeyevich Arshavin ( ; born 29 May 1981) is a Russian former professional footballer who played as a winger or midfielder.


title: Andrey Arshavin

text: Arshavin began his career at Zenit Saint Petersburg in 2000. He went on to win numerous trophies with the club such as the Russian Premier League, League Cup, Russian Super Cup, UEFA Cup and the UEFA Super Cup. During his time with Zenit, Arshavin was also named as the Russian Footballer of the Year.


title: Andrey Arshavin

text: He had a breakout performance at UEFA Euro 2008 where he impressed throughout Russia's run to the semi-final of the tournament, and also finished 6th in the 2008 Ballon d’Or. Arshavin thereafter signed for English Premier League club Arsenal during the 2008–09 winter transfer window, becoming the most expensive player in Arsenal's history at the time, with a fee of £15 million. Arshavin eventually rejoined Zenit, at first on loan and then permanently in 2013.


title: Andrey Arshavin

text: Arshavin was born in Leningrad, now Saint Petersburg, on 29 May 1981. His father Sergey Arshavin played as an amateur footballer. Arshavin survived an accident that could have killed him when he was hit by a car as a child. His parents divorced when he was 12, with Andrey having to sleep on the floor of a cramped flat with his mother. It was his father who persuaded him to pursue a career in football after his own failure to become a professional football player.


title: Andrey Arshavin

text: Arshavin began playing football at an early age and at seven years of age, he was enrolled in the Smena football academy of Zenit, his hometown club. As a schoolboy before football became his sole focus, he was a talented draughts player. Arshavin's father died of heart failure at age 40. He has written three books, including one titled "555 Questions and Answers on Women, Money, Politics and Football". Arshavin also has a degree in Fashion Design. He often misbehaved at school, commenting, "I behaved badly at school. When I was in the second grade, I tore down the registering journal of the class." It was this incident described by Arshavin that saw him expelled.


title: Andrey Arshavin

text: In 2000, Arshavin was included in the Zenit first-team squad, making his debut in a 3–0 away win over English side Bradford City in the Intertoto Cup, coming on as a first-half substitute for Andrey Kobelev. He played in various positions on the field, starting as a right midfielder, then as an attacking midfielder, and finally adopted the second striker's role playing on a flank or behind the target man.


title: Andrey Arshavin

text: In the 2007 Russian Premier League season, "Shava" ("Шава" in Russian), as he was nicknamed by Zenit fans, guided his Zenit side to the title in starting all 30 matches, scoring 11 goals and providing 11 assists which was the most in the Russian Premier League that year en route. It was the club's first league title since winning the now-defunct Soviet Top League in 1984. Arshavin was also a key player during Zenit's 2007–08 UEFA Cup triumph and was named Man of the Match in the final, again topping the list for assists in that season's UEFA competition. In October 2008, Arshavin was nominated for the prestigious Ballon d'Or award, along with 29 others in a list that included compatriot Yuri Zhirkov.


title: Andrey Arshavin

text: Arshavin's performances in the UEFA Cup and UEFA Euro 2008 brought him to the attention of several European clubs. However, interest had already been expressed in January 2008 by Newcastle United boss Sam Allardyce, but he was sacked as manager as the transfer window opened. In June 2008, Barcelona had their €15 million offer for the player turned down by Zenit. Additionally, Tottenham Hotspur's £16 million offer in August also fell short of Zenit's £22 million asking price. Zenit's unwillingness to compromise on their asking price caused discontent from both Arshavin and his agent Dennis Lachter.


title: Andrey Arshavin

text: During the January 2009 transfer window, Arshavin was persistently pursued by English Premier League club Arsenal. On 2 February, transfer deadline day, Arshavin was staying in a Hertfordshire hotel, just a few miles from the Arsenal training ground. At around 10 am, he left the hotel and was rumoured to be heading back to Russia, but with less than an hour of the transfer window left, a bid from Arsenal was finally accepted by Zenit. By this point, he had agreed personal terms and passed a medical, but a compensation payment by Arshavin himself to Zenit was supposedly holding up the deal. The deal was further complicated by a snowstorm in England that had delayed the Premier League's registration process, eventually forcing the league to extend the deadline beyond 5 pm. The deal was not confirmed until the following day (3 February), nearly 24 hours after the formal transfer deadline had passed, with Arsenal announcing "a long-term deal" for an undisclosed fee. On the same day, Zenit's official web site claimed that Zenit received an official FA letter confirming Arshavin's registration as an Arsenal player.


title: Andrey Arshavin

text: At Arsenal Arshavin wore the number 23 shirt, last worn by Sol Campbell. As Arshavin had played for Zenit in the 2008–09 Champions League, he was cup-tied and could not play for Arsenal in the knockout phase. Arshavin made his debut for Arsenal against Sunderland on 21 February 2009 in the Premier League, which ended 0–0. On 3 March 2009, Arshavin made his first contribution in a Premier League game against West Bromwich Albion by setting up a goal for Kolo Touré in the 38th minute via a free-kick, the second goal in a 3–1 victory. On 14 March 2009, Arshavin scored his first Arsenal goal in a very tight angle going solo against Blackburn Rovers in the 65th minute of the game. He later provided an assist to Emmanuel Eboué for the third goal of the game, which ended 4–0 to Arsenal.


title: Andrey Arshavin

text: On 21 April 2009, Arshavin was named Man of the Match when he scored all four Arsenal goals in a tight match against Liverpool at Anfield, which ended 4–4. It was a thrilling encounter, and the first time Arshavin had scored four goals in one match in his entire career. He also became the first away player to score four goals in a single league match at Anfield since Dennis Westcott for Wolverhampton Wanderers in 1946, and the first Arsenal player to score four goals in any match since Júlio Baptista in 2007, who also achieved the feat against Liverpool at Anfield. Additionally, he became only the sixth player in Premier League history to score four goals in an away match. Arshavin captained Arsenal for the first time on 2 May 2009 in an away match against Portsmouth, where they won 3–0 with Arshavin gaining two assists and a contentious penalty. On 8 May, he was named Premier League Player of the Month for April. He was also voted as Arsenal's Player of the Month for April and May and came second in Arsenal's Player of the Season poll, despite only playing in the second half of the season and playing in fewer than a quarter of Arsenal's matches all season.


title: Andrey Arshavin

text: Arshavin came off the bench to score two goals in Arsenal's 2–1 pre-season victory on 1 August over Atlético Madrid in the Emirates Cup. Manager Arsène Wenger commented afterward that "[Arshavin] knows how English football works", adding, "He knows as well that now he's part of the team from the start. I believe the team knows as well how important (he is) and how big an impact he can have on the results." On 26 August 2009, Arshavin scored his first UEFA Champions League goal for Arsenal in the 74th minute in a 3–1 win over Celtic. He also scored a 30-yard shot against Manchester United at Old Trafford on 29 August 2009, which was his first goal of the season although Arsenal lost the match 2–1. In early December, Arshavin put in an excellent display against Stoke City, playing in an unfamiliar role as centre-forward left vacant after Robin van Persie's injury. He won a penalty which Fàbregas missed before scoring himself and later assisted the second goal, with Arsenal winning the match 2–0.


title: Andrey Arshavin

text: On 13 December 2009, Arshavin scored his fifth goal against Liverpool as Arsenal came from behind to beat Liverpool 2–1 at Anfield again, also winning the Man of the Match award in the end again. On 20 January 2010, he scored again in Arsenal's 4–2 victory over Bolton Wanderers, which helped Arsenal reach the top of the Premier League for the first time since August.


title: Andrey Arshavin

text: However, he suffered a calf strain against Barcelona, ruling him out for three weeks. Arshavin missed one of two games in May due to injury, but scored for the last time of the season against Fulham, in a match which Arsenal won 4–0.


title: Andrey Arshavin

text: On 17 July 2010, Arshavin scored the opening goal against Barnet in Arsenal's first pre-season friendly match of the season, which Arsenal won 4–0. He then won the Man of the Match award for best performance by Arsenal fans according to Arsenal's official website. On 21 August 2010, Arshavin scored his first goal of the season via a penalty for Arsenal in a 6–0 win over Blackpool after Marouane Chamakh was fouled by Ian Evatt in the penalty area. He also scored in Arsenal's very next game on 28 August 2010, scoring the winning goal against Blackburn Rovers for the third time when Cesc Fàbregas' shot was blocked and fell into the path of Arshavin, Arsenal winning the match 2–1.


title: Andrey Arshavin

text: On 15 September 2010, Arshavin scored and provided two assists against Braga in Arsenal's first Champions League group stage match, with Arsenal winning 6–0. On 18 September 2010, Arshavin scored his first League Cup goal, which was also Arsenal's fourth goal during extra time, to defeat Tottenham in the third round of the League Cup, with Arsenal winning against their arch rivals 4–1. He later scored Arsenal's first goal in a 3–1 midweek Champions League away win against FK Partizan in the 15th minute after a backheel pass by Jack Wilshere. Vladimir Stojković saved Arshavin's penalty in the second half after Marouane Chamakh was fouled in the penalty area.


title: Andrey Arshavin

text: On 27 November 2010, Arshavin scored his first goal since September, which was the opening goal against Aston Villa in a 4–2 away win. On 29 December 2010, Arshavin scored a scissor kick volley to bring Arsenal level when they were 1–0 down to Wigan Athletic. He later made an assist for Nicklas Bendtner to put Arsenal 2–1 up, but after a Sébastien Squillaci own goal, the match ended 2–2. He then won the Man of the Match award for best performance by Arsenal fans for the second time.


title: Andrey Arshavin

text: On 1 February 2011, Arshavin came off the bench in the 62nd minute and scored his first 2011-goal and first goal since December just 8 minutes later to make Arsenal level when they were 1–0 down to Everton in a game that Arsenal won 2–1. He then won the Man of the Match award for best performance by Arsenal fans for the third time. On 16 February 2011, Arshavin scored as Arsenal beat Barcelona for the first time in their history in a 2–1 win in the Champions League round of 16. This was Arshavin's first Champions League goal for Arsenal not scored in the group stage. The next day, Arsenal centre back Johan Djourou stated that "Arshavin showed he is a great player," because of his winning goal and his rising performance from his recent dip in form. During his goal celebration against Barcelona, Arshavin memorably lifted up his jersey to reveal a t-shirt with an image of himself performing his normal finger-to-the-lips celebration.


title: Andrey Arshavin

text: On 20 February 2011, Arsenal faced Leyton Orient for The FA Cup fifth-round, a 1–1 draw in which Arshavin won the Man of the Match award for best performance by Arsenal fans for the fourth time, even though he did not score, though he did come close numerous times. Arshavin's next Premier League goal was away to West Bromwich Albion, bringing the score to 2–1 after West Brom had earlier taken a 2–0 lead. He also provided the cross for Robin van Persie's late equaliser in that game.


title: Andrey Arshavin

text: On 10 September 2011, Arshavin scored his first goal of the season against Swansea City after a bizarre mistake by goalkeeper Michel Vorm. His other performances in the season were riddled with criticism about his refusal to track back and help with defense. During a home game against Manchester United, Arshavin was booed when he came on for Alex Oxlade-Chamberlain although it is believed that the booing was directed at the decision to make a substitution and not at Arshavin himself.


title: Andrey Arshavin

text: On 11 February 2012, Arshavin provided Thierry Henry with the winning goal in the match against Sunderland. After coming on during the second half, Arshavin found space to deliver a cross during injury time, from the left side of the pitch despite being marked by two players. The cross found Henry's foot and made it into the back of the net.


title: Andrey Arshavin

text: After intense speculation about joining Anzhi Makhachkala and reuniting with former Russian national team coach Guus Hiddink, Arshavin sealed a loan move to his boyhood club Zenit Saint Petersburg for the remainder of the 2011–12 season, just 40 seconds before the end of the deadline day of the Russian transfer window. An intention to hold on to a place in Russia's Euro 2012 squad was the reason behind Arshavin's move to Luciano Spalletti's side in Saint Petersburg.


title: Andrey Arshavin

text: On 3 March, Arshavin made his loan debut for Zenit in an away fixture against CSKA Moscow which ended in a 2–2 draw. Arshavin wasn't eligible to feature in Zenit's 2–0 loss to Benfica in the last 16 of the Champions League. In total, Arshavin made 11 appearances in his second spell at Zenit, scoring three goals.


title: Andrey Arshavin

text: Arshavin returned to Arsenal for the start of the 2012–13 season. He appeared as a 77th-minute substitute in their first game of the season, a 0–0 draw against Sunderland on 18 August 2012. On 26 September, Arshavin was handed his first start of the season in the League Cup. He scored the third goal and assisted two others in a 6–1 win over Coventry City. On 20 October, Arshavin made his 100th Premier League appearance for Arsenal in a 1–0 loss against Norwich City. He also played in Arsenal's 2–1 loss against Olympiacos in the Champions League on 4 December. Arshavin went on to leave Arsenal in June 2013.


title: Andrey Arshavin

text: All in all Arshavin scored 31 goals with a sum of 41 assists which came from 143 caps for the club altogether.


title: Andrey Arshavin

text: On 27 June 2013, it was announced that Arshavin signed a two-year deal with Zenit, moving on a free transfer. Arshavin stated that he was "very happy to put on Zenit's shirt again."


title: Andrey Arshavin

text: Arshavin scored on his second league appearance for the club, opening a 1–1 draw at home to Kuban Krasnodar on 26 July, before netting again on 7 August, in a 5–0 win in the Champions League third qualifying round against FC Nordsjælland. In a total of 21 Russian Premier League appearances in 2013–14, he scored only one more goal, in a 4–0 away win at Rostov on 22 September, and Zenit finished the season as runners-up.


title: Andrey Arshavin

text: On 13 July 2015, Arshavin signed for Kuban Krasnodar on a one-year deal. His contract was dissolved by mutual consent on 1 February 2016.


title: Andrey Arshavin

text: On 18 March 2016, Arshavin signed for FC Kairat on a one-year deal, with the option of a second year. He also won the Kazakhstan Premier League's Player of the Month award for July 2016, and again in September 2016. Arshavin extended his stay at the club for an additional year on 9 November 2016.


title: Andrey Arshavin

text: On 5 November 2018, Kairat announced that Arshavin will leave the club after his farewell game on 11 November 2018.


title: Andrey Arshavin

text: Arshavin debuted for the Russian national team on 17 May 2002, but was overlooked for the Russia squads at the 2002 FIFA World Cup and Euro 2004. His first goal with the squad came in a friendly match versus Romania on 13 February 2003. Since then, he has managed to score or assist in every competition which Russia has participated in. He was Russia's captain in a Euro 2008 qualifier against Estonia. On 11 June 2009, Arshavin was made first-choice captain for Russia by manager Guus Hiddink.


title: Andrey Arshavin

text: Arshavin was included in Russia's Euro 2008 squad by Guus Hiddink, despite being unable to play in the first two group matches due to suspension. He announced his return by setting up the first goal and scoring the second in Russia's final group game against Sweden at Tivoli Neu, Innsbruck, which helped his team qualify for the next round.


title: Andrey Arshavin

text: In the next match, the quarter-final against the Netherlands, Arshavin repeated the feat with his part in Russia's two goals in the second half of extra time, providing the cross for Dmitri Torbinski's goal and scoring his own four minutes later. Russia consequently reached the semi-finals with a 3–1 victory. For both of these games, UEFA awarded him Man of the Match. However, Arshavin could not repeat the heroics in the semi-final against eventual winners Spain, which Russia lost 3–0. Despite this, Arshavin was named in UEFA's squad for Euro 2008. He, along with the rest of the Russian team, received a bronze medal.


title: Andrey Arshavin

text: Arshavin captained the team to a second-place finish in their group, scoring three goals in ten games. He provided the assist for Diniyar Bilyaletdinov's second goal to seal a 2–1 win over Slovenia in the first leg of the qualification play-offs. Despite this, Russia lost the second leg 1–0, knocking them out of the World Cup finals on away goals.


title: Andrey Arshavin

text: Arshavin was confirmed for the finalized UEFA Euro 2012 squad on 25 May 2012. He started all three of their games in the group stage of Group A, as Russia were eliminated in the group stage, finishing third place behind on the head-to-head ruling. Nonetheless, Arshavin was statistically named the best midfielder of the tournament by UEFA, having earned the most assists in the fewest minutes on the pitch (270 minutes). After the tournament, Russian fans were left disappointed by comments from Arshavin, who said: "the fact that we [Russian national team] hadn't exceed your [fans] expectations is not our [the players'] problem, it is your [fans'] problems." Arshavin later apologized for his comment as well as Russia's early exit from the tournament.


title: Andrey Arshavin

text: After playing in new manager Fabio Capello's first match in charge, a friendly match with Ivory Coast, Arshavin was omitted from Russia's squad for the entirety of its 2014 World Cup qualification campaign.


title: Andrey Arshavin

text: On 2 December 2010, Arshavin made a speech during Russia's presentation of its successful bid for the 2018 World Cup.


title: Andrey Arshavin

text: Arshavin carried the Olympic Flame during the St. Petersburg leg of the torch relay for the 2008 Summer Olympics.


title: Andrey Arshavin

text: Arshavin and his former common-law wife Julia Baranovskaya met in 2003. They have three children, two sons named Artyom and Arseniy. and daughter Yana. On 14 August 2012, Arshavin confirmed on his official website that he and Julia had their second son, Arseniy. In September 2016, he married Alisa Arshavina, with whom he has a daughter. After a year of marriage, the couple reportedly divorced.


title: Julia the Elder

text: Julia the Elder (30 October 39 BC – AD 14), known to her contemporaries as Julia Caesaris filia or Julia Augusti filia (Classical Latin: or ), was the daughter and only biological child of Augustus, the first Roman Emperor, and his second wife, Scribonia. Julia was also stepsister and second wife of the Emperor Tiberius; maternal grandmother of the Emperor Caligula and the Empress Agrippina the Younger; grandmother-in-law of the Emperor Claudius; and maternal great-grandmother of the Emperor Nero. Her epithet 'the Elder' distinguishes her from her daughter, Julia the Younger.


title: Julia the Elder

text: At the time of Julia's birth, 39 BC, Augustus had not yet received the title "Augustus" and was known as "Gaius Julius Caesar Divi Filius", though historians refer to him as "Octavian" until 27 BC, when Julia was 11. Octavian divorced Julia's mother on the day of her birth and took Julia from her soon thereafter. Octavian, in accordance with Roman custom, claimed complete parental control over her. She was sent to live with her stepmother Livia and when she was old enough learned how to be an aristocrat. Her education appears to have been strict and somewhat old-fashioned. Thus, in addition to her studies, Suetonius informs us, she was taught spinning and weaving. Macrobius mentions "her love of literature and considerable culture, a thing easy to come by in that household".


title: Julia the Elder

text: Julia's social life was severely controlled, and she was allowed to talk only to people whom her father had vetted. However, Octavian had a great affection for his daughter and made sure she had the best teachers available. Macrobius preserves a remark of Augustus: "There are two wayward daughters that I have to put up with: the Roman commonwealth and Julia."


title: Julia the Elder

text: In 37 BC, during Julia's early childhood, Octavian's friends Gaius Maecenas and Marcus Vipsanius Agrippa concluded an agreement with Octavian's great rival Mark Antony. It was sealed with an engagement: Antony's ten-year-old son Marcus Antonius Antyllus was to marry Julia, then two years old.


title: Julia the Elder

text: The engagement never led to marriage because civil war broke out. In 31 BC, at the Battle of Actium, Octavian and Agrippa defeated Antony and Cleopatra. In Alexandria, the defeated couple both committed suicide, and Octavian became sole ruler of the Roman Empire.


title: Julia the Elder

text: As with most aristocratic Roman women of the period, expectations of Julia focused on marriage and on the resulting family alliances. Moreover, Augustus desired a male issue; as his only living child, Julia's duty would be to provide her father with grandsons whom he could adopt as his heirs.


title: Julia the Elder

text: In 25 BC, at the age of fourteen, Julia married her first cousin Marcellus, the son of her father's sister Octavia, who was some three years older than she. Augustus himself was not present for the wedding as he was fighting a war in Spain and had fallen ill. Instead, he commissioned Agrippa to preside over the ceremony and hold the festival in his absence.


title: Julia the Elder

text: The decision to marry Marcellus to Julia, and then Augustus's choice to raise Marcellus to the pontificate and curule aedileship, was perceived to be an indication that he would be Augustus's successor in power, despite his youth. This put him at odds with Agrippa, whom people believed would oppose Marcellus' accession to power; the apparent preference for Marcellus is allegedly the catalyst that led to Agrippa to withdraw to Mytilene, Greece.


title: Julia the Elder

text: In 21 BC, having now reached the age of 18, Julia married Agrippa, a man from a modest family who had risen to become Augustus's most trusted general and friend. This step is said to have been taken partly on the advice of Maecenas, who in counseling him remarked: "You have made him so great that he must either become your son-in-law or be slain." Agrippa was nearly 25 years her elder; it was a typical arranged marriage, with Julia functioning as a pawn in her father's dynastic plans. There is from this period the report of an infidelity with one Sempronius Gracchus, with whom Julia allegedly had a lasting "liaison" (Tacitus describes him as "a persistent paramour"). This was the first of a series of alleged adulteries. According to Suetonius, Julia's marital status did not prevent her from conceiving a passion for Augustus' stepson, and thus her stepbrother, Tiberius, so it was widely rumoured.


title: Julia the Elder

text: The newlyweds lived in a villa in Rome that has since been excavated near the modern Farnesina in Trastevere. Agrippa and Julia's marriage resulted in five children: Gaius Caesar, Julia the Younger, Lucius Caesar, Agrippina the Elder (mother of Caligula), and Agrippa Postumus (a posthumous son). From June 20 BC to the spring of 18 BC, Agrippa was governor of Gaul, and it is likely that Julia followed him across the Alps. Shortly after their arrival, their first child Gaius was born, and in 19 BC, Julia gave birth to Vipsania Julia. After their return to Italy, a third child followed: a son named Lucius. In 17 BC, Augustus adopted the newborn Lucius and the three-year-old Gaius. He took care of their education personally. Although Agrippa died in 12 BC, Augustus did not adopt the third brother, Marcus Vipsanius Agrippa Posthumus, until AD 4, after the exile of Julia - and after the deaths of both Gaius and Lucius.


title: Julia the Elder

text: Nicolaus and Josephus mention that during Julia's marriage to Agrippa, she travelled to meet Agrippa where he was campaigning. She was caught up in a flash flood in Ilium (Troy), and almost drowned. Agrippa was furious, and in his anger he fined the locals 100,000 drachmae. The fine was a heavy blow but no one would face Agrippa to request an appeal. Only after Herod, king of Judaea, went to Agrippa to request a pardon did he withdraw the fine. In the spring of 16 BC, Agrippa and Julia started a tour through the eastern provinces, where they visited Herod. In October 14 BC, the couple traveled to Athens, where Julia gave birth to her fourth child, Agrippina.


title: Julia the Elder

text: After the winter, the family returned to Italy. Julia quickly became pregnant again, but her husband died suddenly in March 12 BC in Campania at the age of 51. He was buried in the Mausoleum of Augustus. Julia named the son Marcus in his honor. He was to be known as Agrippa Postumus. Immediately after the boy was born, and while Julia was still in mourning, Augustus had her betrothed and then remarried to Tiberius, her stepbrother.


title: Julia the Elder

text: After the death of Agrippa, Augustus sought to promote his step-son Tiberius, believing that this would best serve his own dynastic interests. Tiberius married Julia (11 BC), but first had to divorce Vipsania Agrippina (daughter from a previous marriage of Agrippa), the woman he dearly loved. Suetonius alleges that Tiberius had a low opinion of Julia's character, while Tacitus claims that she disdained Tiberius as an unequal match and even sent his father a letter, written by Sempronius Gracchus, denouncing him. The marriage was thus blighted almost from the start, and the son that Julia bore him died in infancy. By 6 BC, when Tiberius departed for Rhodes, if not earlier, the couple had separated.


title: Julia the Elder

text: Because Augustus was her legitimate father, having married her mother with "conubium", Augustus had Patria Potestas over her. "Patria Potestas" lasted until the pater familias, Augustus, either died or emancipated his child. Marriage had no effect on "Patria Potestas", unless it was manus marriage which was rare at this point in time.


title: Julia the Elder

text: As the daughter of Augustus, mother (now legally the sister) of two of his heirs, Lucius and Gaius, and wife of another, Tiberius, Julia's future seemed assured to all. Yet in 2 BC she was arrested for adultery and treason; Augustus sent her a letter in Tiberius' name declaring the marriage null and void (Tiberius was at this time on the island of Rhodes and unable to respond quickly). He also asserted in public that she had been plotting against his own life. Though at the time Augustus had been passing legislation to promote family values, collectively known as the Leges Iuliae, he likely knew of her intrigues with other men but hesitated for some time to accuse her. Several of Julia's supposed lovers were exiled, most notably Sempronius Gracchus, while Iullus Antonius (son of Mark Antony and Fulvia) was forced to commit suicide. Others have suggested that Julia's alleged paramours were members of her city clique, who wished to remove Tiberius from favour and replace him with Antonius. This would explain the letter, written by Gracchus, asking Augustus to allow Julia to divorce Tiberius.


title: Julia the Elder

text: Reluctant to execute her, Augustus decided instead to confine Julia on Pandateria, an island that measures less than , with no men in sight and forbidden even to drink wine. Her mother, Scribonia, accompanied her into exile. She was allowed no visitor unless her father had given permission and had been informed of the stature, complexion, and even of any marks or scars upon his body.


title: Julia the Elder

text: Five years after her initial exile, around AD 4, Julia was moved to Rhegium on the mainland and Augustus appears to have granted her a "peculium" (property), a yearly income and permitted her to walk about the town. Despite these concessions, Augustus never forgave her nor ever allowed her to return to Rome. This choice appears to have been unpopular with the Roman people, who petitioned several times for her to be recalled. Julia's exile cast a long shadow over Augustus's remaining years. In AD 6, Julia's youngest son, Agrippa Postumus, was exiled for his growing unruliness. Then, in AD 8, her elder daughter Julia the Younger was exiled to Tremirus, likewise charged with adultery; it may also have been related to the attempted revolt by her husband Lucius Aemilius Paullus and one Plautius Rufus. It is said that at any mention of Julia or her two disgraced children, Augustus would remark of them: "If only I had never married, or had died childless", slightly misquoting Hector, in the Iliad. There is mention of at least one suppressed plot to take her from captivity; one Lucius Audasius and one Asinius Epicadus had planned to forcibly take her and her son Agrippa Postumus from where they were held and to the armies, presumably to stage a coup against Augustus.


title: Julia the Elder

text: Upon Augustus's death in AD 14, Tiberius ascended to the Principate. Despite having shown some sympathy towards Julia when she was initially exiled, he instead enforced harsher conditions upon her. He removed her dowry and yearly income, citing that Augustus had failed to make provisions for them in his will, and thus left her destitute. Furthermore, he denied her permission to leave her house or receive visitors.


title: Julia the Elder

text: Julia died in 14 AD, some time after Augustus's death. While it is generally agreed by contemporary historians that it was as a result of Tiberius's actions against her, the circumstances of her death are obscure. Dio Cassius indicates Tiberius had a direct hand in her death by imprisoning her until she died either from debility or starvation. Tacitus remarks that upon learning Postumus had been murdered, she succumbed to despair and her health slowly declined. Augustus had explicitly given instructions in his will that she should not be buried in his Mausoleum of Augustus.


title: Julia the Elder

text: Simultaneously, her alleged "paramour" Sempronius Gracchus, who had endured 14 years of exile on Cercina (Kerkenna) off the African coast, was executed either at Tiberius' instigation or on the independent initiative of L. Nonius Asprenas, proconsul of Africa.


title: Julia the Elder

text: Her daughter Julia died in AD 29, after 20 years of exile; like her mother, the younger Julia was forbidden by Augustus's will to be buried in his tomb.


title: Julia the Elder

text: Among contemporary writers, Julia is almost universally remembered for her flagrant and promiscuous conduct. Thus Marcus Velleius Paterculus (2.100) describes her as "tainted by luxury or lust", listing among her lovers Iullus Antonius, Quintius Crispinus, Appius Claudius, Sempronius Gracchus, and Cornelius Scipio. Seneca the Younger refers to "adulterers admitted in droves"; Pliny the Elder calls her an “"exemplum licentiae"” ("NH" 21.9). Dio Cassius mentions "revels and drinking parties by night in the Forum and even upon the Rostra" ("Roman History" 55.10). Seneca ("De Beneficiis" 6.32) tells us that the Rostra was the place where "her father had proposed a law against adultery", and yet now she had chosen the place for her "debaucheries". Seneca specifically mentions prostitution: "laying aside the role of adulteress, she there ["in the Forum"] sold her favours, and sought the right to every indulgence with even an unknown paramour." Modern historians discredit these representations as exaggerating Julia's behaviour.


title: Julia the Elder

text: Macrobius provides invaluable details of her witticisms and personality. Among the sassy ripostes he attributes to her is a retort to people's surprise that her children all resembled Agrippa - “I take on a passenger only when the ship’s hold is full.” On her character, he writes that Julia was extensively celebrated for her amiable, empathetic nature and studiousness despite her profligacy: "[S]he was abusing her standing as fortune’s darling, and her father’s, though in other respects she gained a great deal of credit for her love of literature and extensive learning... and her kindness, fellow-feeling, and lack of cruelty."


title: Julia the Elder

text: Sidonius Apollinaris, writing in the 5th century, was the first person to identify Julia as the figure Corinna in Ovid's "Amores".