Sommaire P


Lire Plus…

Pyke Fortesque Mrs



P. Fortesque (Sciences)

Magnetic stimulation of human peripheral nerve and brain:
response enhancement by combined magnetoelectrical technique.

Neurosurgery 1987 Jan;20(1):110-6   (ISSN: 0148-396X)
Bickford RG; Guidi M;
Fortesque P; Swenson M

The authors describe the technique of magnetic stimulation from a pulsed induction coil (4.0 T) and the enhanced (5-fold) electromyogram response from hyperthenar muscles obtained when electric and magnetic stimuli are applied simultaneously. The enhancement results have been confirmed for central brain vertex stimulation using the Sheffield magnet. Results obtained with slow (1 to 6 seconds) depth electrode stimulation and recording in humans are compared and are used to predict probable developments in the magnetic field. Because magnetic and magnetoelectrical techniques are painless, noninvasive, and noninjurious, it is believed that they are an important advance in both research and clinical applications of instrumental modification of brain circuits and behavior. There are many diagnostic and therapeutic uses at peripheral and central levels, and some ethical problems need consideration.
Capture d’écran 2017-09-24 à 16.55.07

Indexing Check Tags: Human
anguage: English MEDLINE Indexing Date: 198705 Publication Type: JOURNAL ARTICLE

Magnetic stimulation of human peripheral nerve and brain: response enhancement by combined magnetoelectrical technique.
 Bickford RG; Guidi M;
Fortesque P; Swenson M


Peter W. Fortescue (Sciences)

Books on Astronautics,
Spacecraft Design and Spacecraft Systems
• P. Fortesque and J. Stark, Spacecraft Systems Engineering, John Wiley and Sons, 1995.

by Peter W. Fortescue (Editor), John P. W. Stark (Editor)
Spacecraft Systems Engineering, 2nd Edition

Paperback - 600 pages 2 edition (August 30, 1995) John Wiley & Sons; ISBN: 0471952206 ; Dimensions (in inches): 1.47 x 9.58 x 6.60


Book Description
The material in this book is essential for engineers studying and working in the field of spececraft design. The unique feature of this book is that its coverage aims at giving the breadth which is needed by system engineers, with an emphasis on the bus aspect rather than on the payload. This second edition is an updated of the first, and includes two estra chapters. The first is on Mechanisms, and the second is on the subhject of Systems Engineering, and it includes examples of applications to different types of missions.

Spacecraft Systems Engineering, 2nd Edition
Peter W. Fortescue (Herausgeber), John P. W. Stark (Herausgeber)


Raumfahrt und Satellitentechnik
Space Mission, Satellite Technology

Syllabus for M.Sc. degree programmes 1999/2000

Recommended Texts

Capture d’écran 2017-09-24 à 16.18.41

Credits: 15 Level M
Organiser: Dr Craig Underwood (CIU)
Lecturers: Dr Craig Underwood (CIU), Dr G Richardson (G
Semester: Spring
Day: Friday
Time: pm
Linked UG:
EE4.sps (L4SS15)
Prerequisites: EEM.spd

Recommended Texts :
A Maral & ousquet Satellite Communications Systems, 3rd ed Wiley 1998 0-471-97166-9
A Fortesque & Stark Spacecraft Systems Engineering, 2nd ed Wiley 1995 0-471-95220-6
A Boden & Larson Cost-Effective Space Mission Operations McGraw Hill 1996 0-07-006379-6
C Larson, W.J Space Mission Analysis & Design 2nd ed Kluwer Ac Pubs 0-7923-19982

Spacecraft Systems

AE 523 -- Spacecraft Design


Spring 2000

COURSE OBJECTIVES: The main course objective is to learn how to design a generic spacecraft mission, to include: mission definition, launch system selection, spacecraft design, communication with the spacecraft, and recovery of data and/or the spacecraft itself. An ancillary objective is to design a satellite for earth observation via laser altimetry. A major element of this task is the design of a prototype to be operated on the KUAE Cessna 182. This prototype will have sensors provided by the EECS department, a command computer, a solar power subsystem and a downlink to the KUAE hangar. Note: To achieve the main course objective, many topics which are not important for the satellite design will be studied and must be mastered. This will take away time from the design effort, but may be important to students who go on to careers in the spacecraft industry.
INSTRUCTOR: Dr. Ewing, room 2004B Learned Hall; Phone, 864-4267, and email,
MEETING TIMES: 2:30-4:00 in room 2027, Learned Hall, for lecture on Tuesday and Thursday,
plus, 4:00-5:50 as needed for group design meetings.
Spacecraft Systems Engineering, 2nd Edition, edited by Peter Fortescue and John Stark, Wiley, 1995.
1. Mission Definition and Planning, to include: Spacecraft History, Space Environment, Astrodynamics, Atmospheric Flight, Launch System Selection, Scheduling and cost estimation
2. Spacecraft Subsystems, to include: Propulsion, ,Attitude Determination & Control, Power, Thermal Control, Command, Communications, Configuration, Structures, Materials, and Specialized Mission Equipment
3. Recovery Systems, to include: Data reception, storage & analysis, Spacecraft recovery
COURSE REQUIREMENTS: Each student will be required to master analysis and design techniques for mission design as well as to participate in the major design project. With regard to the design project, each student will prepare a
technology assessment and a simulation report in support of the design task. Each student must prepare portions of two group reports: a preliminary design report and a final design report. Each student will also present portions of two group oral presentations: a conceptual design briefing and a critical design briefing. Each oral presentation will precede submission of a written report and provide an opportunity for the instuctor to technically critique the proposals.
EVALUATION: The course grade will be based upon homework (20%), an exam (20%), a simulation report (20%) and contributions to the oral and written design reviews (40%). Design review evaluations will be influenced by the instructor=s impression of an individual=s contribution to the group, partially evidenced by regular attendance at group design meetings.

AE 523--Introduction to Spacecraft Design
Syllabus, Spring 2000
Note: Readings from Fortesque and Stark are in parenthesis
week of Tuesday Thursday

Capture d’écran 2017-09-24 à 16.30.32
Capture d’écran 2017-09-24 à 16.30.53





FORTESQUE Spacecraft Systems Engineering 0-471-95220-6 John Wiley £29.95 A STARK 2nd Ed, 1995
Lecture Component Spacecraft Dynamics, Attitude Determination and Control
Fortesque & Stark, eds.,Spacecraft Systems Engineering, 2nd ed. John Wiley & Sons, 1995. ISBN 0-471-95220-6 £29.95
Lecture Component Payload Engineering
Fortesque & Stark, eds., Spacecraft Systems Engineering, 2nd ed. John Wiley & Sons, 1995. ISBN 0-471-95220-6.
Lecture Component Spacecraft Engineering II (Spacecraft Sub-Systems & Manufacture)
Fortesque & Stark, eds., Spacecraft Systems Engineering, 2nd ed. John Wiley & sons, 1995. ISBN 0-471-95220-6 £29.95


Spacecraft production and operation are very expensive with typical program costs amounting to hundreds of millions of pounds. Mission costs may be divided into three main phases, each contributing a significant proportion of the total: the design and construction of the spacecraft, the launcher and launch program costs, and the cost of operations over the spacecraft life.
The main driving factor is the cost of spacecraft launch. Launchers are extremely expensive to build and use. A guided rocket, capable of delivering a spacecraft into orbit is an extremely large, complex, multi-stage device, subject to an extreme range of temperatures and burning highly corrosive and hazardous fuels. Guidance is complex, the launcher providing huge amounts of thrust in one axis, while also controlling the other axes to direct the rocket into the correct orbit. Launch opportunities are often limited by season or by the need to clear the vicinity of the rocket launch site and flight path. Launchers must be designed to be as highly reliable as possible. In the event of failure, even if another spare spacecraft exists, another launch opportunity may not exist for months or years. Despite this, launch failures are surprisingly common: 8% of all spacecraft fail to start operations (and 11% of those destined for high orbit). Current launch insurance policies cost about 13B17% of the spacecraft replacement value and relaunch. While competition for business between launch-vehicle consortia is fierce, with European, Japanese, Russian, Chinese and American launchers all competing for business, no one has yet been able to improve significantly launch reliability, reduce launcher cost and offer a rapid service. Russian and Chinese systems are less expensive than their western counterparts (Chinese rockets quoted as 30% cheaper), but their reliability and orbital injection precision has been questioned. Arianespace’s Ariane 4 launcher now receives favourable insurance treatment because of its 90.1% success rate, but has only managed a maximum of 8 launches in one year. The same companies recent launch failure on the maiden flight of the new Ariane 5 rocket, only illustrates the difficulties of making vehicles reliable.
The cost of the launch has implications for the design of the spacecraft. With the exception of communications missions requiring constellations of spacecraft, missions (and in particular, science missions) tend to be unique—a single spacecraft being launched to carry out a particular experiment or task, with no spare or alternative mission to carry out the same task in case of failure. If a spacecraft fails then the mission is unlikely to be repeated for years, if ever. Spacecraft must therefore be highly reliable, first surviving the harsh vibration environment of launch, and then operating successfully for long lifetimes without servicing and despite large radiation doses. The design and manufacturing processes must be rigorous, ensuring the correct operation of the spacecraft the first and only time it will be used. The systems and electronics are analysed down to a component level to ensure that the failure of any particular constituent part will not jeopardise the longevity of the whole mission. Design concepts must also be continually re-examined to verify their validity. Construction is to the highest quality with no expense spared.
The current design trend is towards simple, well-tested, conservative design, producing large, heavy systems that ignore new technologies. This further spirals mission costs—the size and cost of the launcher being proportional to the size and mass of the spacecraft.
High spacecraft and launch costs also affect the cost of mission operations. Support teams monitor spacecraft around the clock, to ensure continuing operation. At the first signs of failure, a network of experts is assembled to ensure that the best expertise is available to deal with ensuing problems. During normal operation, commands and instructions are carefully vetted to ensure that they do not jeopardise the spacecraft’s performance, before they are communicated to the spacecraft. Every aspect of the spacecraft operation is documented in minute detail, producing hundreds of volumes of technical manuals that describe courses of action for all considered eventualities. Communication with spacecraft is maintained during most phases of operation often as a matter of course. For non-earth orbiting spacecraft this is particularly expensive, requiring the use of large antennae in strategic locations around the world.


All of these contributing factors drive the costs of space programs into many millions of US dollars. Mission costs can be broadly estimated from the mass of the spacecraft (Figure 1-1), small spacecraft (around 1000 kg) costing hundreds of millions of dollars and large spacecraft (around 10000 kg) costing billions (Data from Jane's Space Directory). With such large programs, management is extremely complex, and there is a tendency for costs to spiral. Mission failures and cost over-runs are embarrassing for the organisations involved.
Recently, there has been considerable political pressure to reduce or to cap program costs, shifting emphasis from scientific ideals to science value-for-money. A budding micro-satellite industry offers budget priced access to space, providing a radical alternative to conventional spacecraft development programmes, but is only suitable for missions with modest objectives. NASA administrator Daniel Goldin announced his vision of "Faster, Better, Cheaper" conventional missions, which led to NASA’s Discovery Program intended to "accomplish high quality, focused planetary science, with innovative, streamlined, and efficient management approaches". The approach limits design and manufacture to 18 months, with operations limited to three years. Mission costs are capped to $185 million (fiscal year 1992).
Such new approaches to spacecraft design require new technologies to drive costs down while still producing more reliable spacecraft. New techniques are needed to guard against system failure. Increased spacecraft autonomy is required to allow the scaling down of ground activity and hence the reduction of mission support costs. Spacecraft must make better use of fewer, lower quality instruments and sensors to make them lighter and cheaper. NASA’s lead has sparked a general trend towards smaller, more advanced spacecraft for science and technology missions that require less expensive launch vehicles.


Selected Texts

P. Fortescue and J. Stark, pp 145, John Wiley, 1995, ISBN 0-471-952206.
Moss J. B., "Launch Vehicles", Spacecraft Systems Engineering, 2nd Edition, ed.
  • The Space review, Airclaims, June 1992.
  • "Long March Crash to End Insurance Discounts", Interspace, European Satellite and Space News Ltd, pp 1 & 4, 21 February 1996.
  • Wilson A., "Launchers", Jane’s Space Directory, 11th Edition, Jane’s Information Group Ltd, 1995, ISBN 0-7106-12591.
  • and Stark J., Failures, Spacecraft Systems Engineering, 1st Edition, pp 396-397, John Wiley, 1991, ISBN 0-471-927945.
    Fortescue P.
  • and Stark J., Spacecraft Systems Engineering, 1st Edition, pp 6, John Wiley, 1991, ISBN 0-471-927945.
    Fortescue P.
  • The Discovery Project Statement of Objectives, NASA policy statement, NASA,, 1992.



    ERR050 Rymdteknik

    (2,5 poäng) (Space Techniques) 0741 - Radio- och rymdvetenskap
    Examinator: Susanne Aalto Bergman
    Rymdteknik är ett område med snabbt växande betydelse för Sverige liksom internationellt. Det är därför viktigt att vara medveten om problem och principer för rymdvetenskap och rymdteknik.
    Avsikten med kursen är att introducera några av de grundläggande aspekterna på rymdteknik, från en elektroteknisk synvinkel. Kursen är delvis översiktlig samtidigt som vissa problem av grundläggande intresse får en fördjupad analys. Tillämpningar kommer att ges utgående bl. a. från aktuella ESA-projekt. Kursen kan följas av teknologer i 3:e året. För vidare analys hänvisas t ex till ERR060 Satellite links, ERR011 Radar och fjärranalys .
    Rymdhistorik, Sveriges roll i rymden. Satellitens omgivning: vakuum, tyngdlöshet, jordens atmosfär och jonosfär, geomagnetism, strålningsbälten, mikrometeorider och rymdskrot, solstrålning och solvind. Satellitbanor: Keplers lagar, banstörningar och korrektion av dem, geostationära banan. Satellitens läge på himlen. Raketer och raketuppskjutning. Satellitkonstruktion: materialval, energikällor, temperaturreglering, attityd- och banreglering, telemetri, telekommando och baninmätning, tillförlitlighetsaspekter, rymdkvalifikation. Satellitkommunikation: antenner, mottagare, bruskällor, länk-beräkningar.
    Satellittillämpningar: Fjärranalys, navigering, astronomi, aeronomi, materialvetenskap.
    I kursen ingår en obligatorisk inlämningsuppgift som utföres med hjälp av dator.
    P. Fortescue & J. Stark (red.): Spacecraft Systems Engineering, Wiley, 1995.
    Skriftlig tentamen.



     AAE 490E Course Details


    • ECE 201 and Junior-level standing
    • Fortesque and Stark, Spacecraft Systems Engineering, Wiley Publishing Co., 1995.
    • The course will stress course notes, so good class attendance practices are strongly encouraged.
    • Assignments handed out each week (approximately) and due one week later at the beginning of class.
    • NO late assignments will be accepted for any reason.
    • Collaboration on assignments is encouraged assuming the final product is distinct.
    Satellite of the Week:
    • Groups of 3-4 students will provide 20 minute presentation on selected satellites (more detailed description to follow)
    • Two exams will be scheduled during the semester.
    • A comprehensive final will be given during the scheduled time.
    Course Grade:
    Satellite of the Week Lecture
    Mid-semester Exams
    Final Exam

    0131204963.m 0486600610.m


    Plates (Curiosité)



    These 2 limited edition dinner pltes are in perfect s 42 & 45 of 170.MILLENIUM 2000 PLATE.showing the Royal & Fortescue Hotel..part of the Brend Hotel group..the reverse shows a crown & bone china.there are no chips etc..although these are only 2 years someone,they could become a collectors item in the future..thank you for looking.
    (Ebay auction 2004)


    Percy Alexander Fortescue - 1879-



    Percy Fortescue - 1856-1928



    Percival Trosse Fortescue - 1843-1892


    He died on 11 January 1892. Capt New Zealand Militia. No Issue
    Henry Reymundo FORTESCUE Rector of East Allington and Ellen (Helen) WALSH.
    Was born on 16 March 1843 in Churchstowe, Devon.
    Trosse FORTESCUE were married on 5 February 1867.
    Spouse: Agnes Crocker JENKINS.
    Agnes Crocker JENKINS and Percival


    Percey Fortesque


    Music by Arthur Schwartz: Lyrics by Albert Stillman: Book by Owen Davis and Lawrence Stallings
    Opened Center Theatre 2 September, 1937 (60 perfs)
    Fortesque of Drury Lane comes to America in 1775 with a company of London actors, he also brings with him a letter for General Washington. The loyalists attempt to prevent the letter's delivery but Fortesque quietly passes it to his leading lady, Sylvia Lawrence who, in turn, passes it on to Colonel Richard Fairfax, her American admirer. Although the British seize Fairfax he manages to get the letter through.
    Good and Lucky
    If You Were Somebody Else
    I'll Be Sittin' In De Lap O' De Lord
    It's Our Duty To Meet the King
    Meet Me At the Fair
    My Bridal Gown
    My Heart Is Dancing
    An Old Flames Never Die
    Send One Angel Down
    We Had To Rehearse
    You And I Know


    Book by Frank Norman, Music and Lyrics by Lionel Bart
    Produced under the direction of Joan Littlewood at the Theatre Royal, Stratford, London 1959 and subsequently at the Garrick Theatre, London
    Fred Cochran, the hero, is a down-at-heel gangster, trying to make a comeback. Lil Smith is his loyal moll, a tart with a heart of gold, who longs for respectability and keeps a marriage licence ready for her lucky day. Fred's shpieler (gambling den) provides a refuge for the failures of the underworld: Paddy the gambler, Tosher the ponce with his girls Betty and Rosey, and Redhot, a sad little burglar who never manages to get warm. They all look to Fred for a living and when he wins on the horses it seems the gang may be back in business. Fred redecorates his place, all "contempery" and at the opening the Horrible
    Percey Fortesque comes to gamble and a rival leader, Meatface, is beaten in a razor fight. The play ends with a wedding - Lil and Fred are giving up crime to go straight; handing over the shpieler to the constable on the beat who has long wanted to go crooked!
    The author admits that the final published version of Fings owes much to the improvisation that took place during rehearsals by the Theatre Workshop Company who originally staged it. It was conceived as a straight play with music rather than a musical play; but it does provide opportunities for extras and for some lively ensembles. The music is all in unison and the play is therefore specially suited to the dramatic society looking for a musical show.
    Singing Principals
    Sergeant Collins

    Smaller roles
    A priest
    a "Mystery"
    the Brass Upstairs
    Police Constable
    Teddy Girls and Boys.

    The Scenes
    There is one setting which represents the interior of Fred Cochran's gambling den in a back street in Soho. The front of the stage represents the street outside

    Band parts are not available

    Paul Francis Fortescue (A Soldier's Daughter Never Cries)


    A Soldier's daughter never cries

    (….) Voor het tweede deel, Francis, nemen we een klein sprongetje en zijn de kinderen ondertussen als 15 jaar. Billy is nog steeds zwijgzaam en blijkt zich niet echt te kunnen aanpassen aan zijn omgeving. Channe daarentegen gaat een hechte vriendschap aan met Francis Fortesque. Francis is anders als de andere jongens. Hij geeft zich helemaal over aan de opera en is stiekem verliefd op Channe. (….)

    Sven van Beir

    A Soldier's daughter never cries

    Growing up with James Jones

    Novelist's daughter actionalizes her expatriate childhood(R)
    By MARSHALL FINE Gannett Suburban Newspapers
    "A Soldier's Daughter Never Cries" stands somewhere in the middle of the abundance of films this fall about families, as told from the children's point of view.
    Directed by James Ivory and adapted from a novel by Kaylie Jones, "Soldier's Daughter" is a loosely fictionalized version of Jones' life. The daughter of novelist James Jones, she used the book to look back at the life of her family in the 1960s and early 1970s, when they lived in Paris.
    The fictional version of Jones is Bill Willis (Kris Kristofferson), an expatriate American writer in France, where he lives with his wife, Marcella (Barbara Hershey) and daughter Channe (Leelee Sobieski). The story is broken into thirds, each covering a few years of the Willis family life.
    The first section deals with the family's adoption of a little boy named Benoit (Samuel Gruen), the son of a French teen who has put him out to foster care for the first seven years of his life. The Willises' attempt to adopt him is complicated by the mother's refusal to sign the final papers, out of some lingering sense of regret.
    Benoit at first regards the Willis household as one more tentative stop. He drags around his packed suitcase, assuming that he eventually will be forced to move again, as he so often has in the past.
    He and the maturing Channe initially are at odds. But they begin to develop an empathy and friendship that turns into full-blown sibling acceptance, even as Benoit announces that he wants to assume an American name: Billy.
    The film jumps ahead a few years: Billy, now speaking flawless English, has grown into a teen (Jesse Bradford). And Channe has been befriended by a new boy at the American school she attends in Paris: Francis Fortescue (Anthony Roth Costanzo). Francis and Channe hit it off because Channe enjoys Francis' eccentricity: his love of opera, his outlandish clothing, his ability to sing soprano arias.
    But the behavior of the effeminate Francis, who has made himself an outsider at school, begins to wear thin when Channe starts to develop an interest in the opposite sex. She wants to fit in and be accepted; Francis, knowing he never will, begins to act out his anger against her.
    Their inconclusive relationship comes to an abrupt end when Bill announces that he is moving the family back to the United States. His congenital heart problem is worsening; he wants to be in the care of American doctors when his health begins to fail.
    They move to Long Island, where Channe and Billy are outsiders because of their French childhood. Billy becomes a TV-watching recluse; Channe, to gain acceptance, begins having sex with a variety of boys in the back seats of cars.
    Crisp and succinct in its storytelling, this film focuses on the changing dynamics of a single family -- both as Americans abroad and as parents and teens coping with the shifts that puberty and aging bring. Ivory tells this elliptical story as well as possible, given the sketchy script he co-wrote with Ruth Prawer Jhabvala.
    But that sketchiness is a problem. Too much of the film centers on Channe, who is portrayed with little color by Sobieski, a bland presence who can't even summon a decent dose of teen petulance.
    By contrast, Kristofferson, as the rugged and gruffly loving Willis, brings a gravity and humor to an underwritten role. He makes a strong counterpoint to Hershey, as the flamboyant Marcella, who dresses like a vamp and isn't afraid to go toe-to-toe with her kids' French teachers.
    In the end, however, "A Soldier's Daughter Never Cries" seems like one of those lengthy family stories that are only of interest to other members of the family.

    t to other members of the family.


    A Soldier's daughter never cries


    Though the title reeks of melodrama, don't go into A Soldier's Daughter Never Cries expecting a three-hankie tearjerker. After all, this is the world of Merchant Ivory, the producer-director team who gave us A Room With A View, Howard's End, and The Remains of the Day—you know, meticulous period detail and complex, nuanced characters. Their latest literary adaptation is based on the 1990 novel of the same name by Kaylie Jones (daughter of World War II novelist James Jones who wrote From Here to Eternity and The Thin Red Line), which is based in part on her own childhood in the '60s and '70s. There's not a corset in sight; A Soldier's Daughter is filled with halter tops and bellbottoms.
    The film charts the childhood of young Channe Willis (Leelee Sobieski), who grows up with her expatriate family in Paris and experiences major cultural upheaval when they return to Long Island, N.Y., just as she's reaching puberty. Richly textured and subtly played, the film has the melodic complexity of a Serge Gainsbourg album (in fact, the French jazz composer's presence is keenly felt in the casting of his former collaborator, singer-actress Jane Birkin, as a flaky free-spirit).
    In Paris, Channe lives in a bubble of half-assimilation. By night, her parents—gruff, but tender Bill (Kris Kristofferson) and effervescent Marcella (Barbara Hershey)—hold chic Yankee cocktail parties in their spacious apartment; and by day, Channe attends an English-speaking lycee. Even her adopted brother, Benoit (Jesse Bradford), prefers to be called Billy. Channe's closest friends are Candida (Dominique Blanc), the family's fiercely loyal Portuguese maid, and Francis Fortescue (played by teen opera star Anthony Roth Costanzo), her gloriously foppish classmate who's ostracized by the rest of the school. Once back in the States, Channe finds herself an outsider, sexing boys in the backseats of their cars because she can't make real friends. As lost in America as the rest of her family, she must come to terms with both her cultural and her personal identity as her beloved father becomes seriously ill.
    In her first lead role, Leelee Sobieski (who appeared in Deep Impact and co-stars in Stanley Kubrick's upcoming Eyes Wide Shut) is a total natural—she looks like a young Helen Hunt and has a similar knack for underplaying. She's affecting because she's as truthful as the film, which never telegraphs its big emotional moments. Kris Kristofferson is all bluster and heart as the proud papa; his Bill Willis is kind of a cussing Atticus Finch. Similarly, Barbara Hershey projects warmth and vitality as Channe's fun-loving mother. And though he's only in the film's first half, Anthony Roth Costanzo is divine as a flamboyant adolescent too ahead of his time to overcome his self-hatred.
    A Soldier's Daughter Never Cries is destined to appeal largely to art-house crowds. Its elliptical narrative structure eludes the sappy but popular cliches that plague most coming-of-age flicks and period family epics. (It's considerably less heavy-handed and kitschy than Ang Lee's The Ice Storm, but just as rarefied in its appeal.) The film does have its flaws. Some subplots are left dangling and audiences may find it too austere for its own good. But to the credit of Merchant and Ivory, their latest, more contemporary endeavor is also their best picture in a long time (remember Jefferson In Paris or Surviving Picasso?). A Soldier's Daughter is one of the best mosaics of family life on-screen we're likely to see because it's populated by kind, good-hearted characters who are somehow never less than thoroughly intriguing.
    --Kevin Maynard

    'Daughter' a Sensitive Look at Love, Acceptance
    Friday September 18, 1998


    The first of those is called "Francis," after Paul Francis Fortescue (beautifully played by Anthony Roth Costanza), a flamboyant young man whose close teenage friendship with Channe is threatened when she starts to take a romantic interest in other boys. Again, the awkwardness and entanglements of those years is tricky material to handle well, but Ivory, who's said that in creating this character "I sometimes drew on myself," knows how to make it valid.



    The story begins by portraying Willis and his wife Marcella (Barbara Hershey, as always without vanity), as boozy American expatriates in 1960s Paris. The family's life is shown mostly from the perspective of young Channe (Leelee Sobieski), who is becoming a writer herself. She is befriended by a schoolmate in Paris, a stranger who opens a magnificent, exotic, different world, the self-dramatizing and sexually ambiguous Francis Fortescue (the frighteningly poised Anthony Roth Costanzo), whom Ivory has said he let take over the narrative, identifying with "the clever sissy who knew from the first grade he would take up a 'life of art.'"