George Elliot (1813–1901) and Beau Travail

Admiral Sir George Augustus Elliot, KCB (25 September 1813 – 13 December 1901) was a British Royal Navy flag officer and politician.

Contents 1 Naval career 2 Family 3 Cricket 4 References 5 External links

Naval career

He was born in Calcutta, the son of Admiral Sir George Elliot. He entered the navy in November 1827, and was made lieutenant on 12 November 1834. Until 1837 he served aboard HMS Astraea along with Lord Edward Russell, also later to become a Member of Parliament. On 15 January 1838 he was made captain of the brig Columbine at the Cape and South Africa stations, under the direct command of his father, capturing six slavers in the two years he served in this position. In February 1840 he went to China with his father, and on 3 June was given command of HMS Volage after the death of its previous captain, returning to England in 1841 with his invalided father on board as a passenger.

From 1843 to 1846 Elliot commanded the frigate HMS Eurydice, designed by his father, on the North American station, and in December 1849 he was appointed to the frigate HMS Phaeton. She was removed from active duty in 1853, and in January 1854 Elliot commissioned the HMS James Watt, one of the first screw battleships, which he commanded in the Baltic campaigns of 1854 and 1855, despite the poor performance of the ship, and the dissatisfaction of Vice-Admiral Charles John Napier. On 24 February 1858 Elliot became rear-admiral, and was then captain of the fleet to Sir Charles Fremantle, commanding the Channel Fleet.

Between 1859 and 1863 he was a member of the royal commission on national defences and signed a report which concluded that the Royal Navy would be unable to defend the British Isles in the event of an invasion. In 1861 he was considered for the post of controller of the navy, which was given to Robert Spencer Robinson. Between 1863 and 1865 he was superintendent of HMNB Portsmouth. On 12 September 1865 he became vice-admiral, and then was repeatedly on royal commissions on naval issues. In a dissenting report appended to the 1871 committee on designs, Elliot and Alfred Ryder, who believed that the ram was the primary weapon of naval combat, pressed for increased freeboard, the retention of sailing rig, and the concentration of armour. The direct result of this report was the construction of the battleship HMS Temeraire.

In 1870 Elliot reached the rank of admiral, and in 1874 he was elected Conservative MP for Chatham; but he resigned his seat in 1875, on being appointed Commander-in-Chief, Portsmouth. On 2 June 1877 he was nominated a KCB, and the following year, on 26 September, he was placed on the retired list. He continued to occupy himself with the study of naval questions after retirement, and published in 1885 A Treatise on Future Naval Battles and how to Fight them. He was an active member of the Royal United Services Institute

He died in London on 13 December 1901, after a brief illness. Family

On 1 August 1842 he married Hersey Susan Sidney Wauchope, daughter of Colonel Wauchope, with whom he had several children. Their daughter Elizabeth Georgina Frances Elliot married George Carnegie, 9th Earl of Northesk, while another daughter, Nina Helen, married Sir Thomas Butler. Cricket

Elliot played cricket as a young man and represented Cambridge University Cricket Club in two first-class matches in 1931.

Beau Travail and George Elliot (1813–1901)

Beau Travail (pronounced: , French for "good work") is a 1999 French movie directed by Claire Denis that is loosely based on Herman Melville's 1888 novella Billy Budd. The movie is set in Djibouti, where the protagonists are soldiers in the French Foreign Legion. Parts of the soundtrack of the movie are from Benjamin Britten's opera based on the novella.

Contents 1 Plot summary 2 Cast 3 Production 4 Reception 5 References 6 External links

Plot summary

Back in France, master sergeant Galoup (Denis Lavant) remembers the time in the desert, where he led his men under the command of Bruno Forestier (Michel Subor). His life had routine duties, such as supervising the physical exercise of his men.

One day, his troop is joined by Gilles Sentain (Grégoire Colin), whose physical beauty, social skills, and fortitude make Galoup envious. Repressed homosexual feelings of Galoup are suggested.

When Sentain helps another soldier, violating previous orders by Galoup, the sergeant sees a chance to destroy him. As a punishment, he drives Sentain out into the desert to make him walk back to the base. But Sentain does not return because Galoup has tampered with his compass, and the soldier is lost without it.

Even though Sentain is later found and rescued by a group of Djiboutis, Galoup is sent back to France by his commander for a court martial. It ends his career in the Foreign Legion. The final scene, a metaphoric dance, suggests his suicide. Cast Denis Lavant - Sergent Galoup Michel Subor - Commandant Bruno Forestier Grégoire Colin - Gilles Sentain Richard Courcet - Legionnaire Nicolas Duvauchelle - Legionnaire Production

In an interview, Denis said, "One of the cast had actually been in the Legion, so we took all their real exercises and did them together every day, to concentrate the actors as a group. We never said we were going to choreograph the film. But afterwards, when we started shooting, using Britten's music, those exercises became like a dance." Reception

The film was highly acclaimed in the United States, topping the Village Voice's Film Critics' Poll in 2000, with Claire Denis also placing at #2 for best director. Jonathan Rosenbaum of the Chicago Reader rated it a "masterpiece," giving it the paper's highest rating of four stars. Charles Taylor of wrote that "Beau Travail is the most extreme example of talent, baffling and exhilarating. I don't know when I've seen a movie that is in so many ways foreign to what draws me to movies and still felt under a spell." Peter Travers of Rolling Stone gave it the magazine's highest rating, calling it "unique and unforgettable." J. Hoberman of the Village Voice wrote that the film is "so tactile in its cinematography, inventive in its camera placement, and sensuous in its editing that the purposefully oblique and languid narrative is all but eclipsed."

The review aggregator website, Metacritic, gave the film a score of 91, which they characterized as "universal acclaim."
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