Classic Film Photo of the Week: Suzanne Pleshette and Troy Donahue

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Suzanne Pleshette and Troy Donahue were married in a civil cermony at the Beverly Hills Hotel on January 4, 1964. The guests included Rock Hudson, Richard Chamberlain, Gig Young, and Carl Reiner. The couple divorced just nine months later.

Parrish: Our Choice for the Classic Comfort Movie Blogathon

Troy Donahue as Parrish.

A "comfort movie" is like a good friend who is always a welcomed visitor, no matter how long it's been since you seen him or her. It's fun to share familiar characters, plots, and settings and remember how one felt when that movie first became your chum. That's certainly the case with Parrish (1961), which I first saw on TNT in the early 1990s.

I think I inherited an enjoyment of big-screen soaps from my mother. Make no mistake, Parrish is unabashedly a soap, but don't let that sway you from watching this opus about young Parrish McLean (Troy Donahue) and the four women in his life. The first of those is his mother Ellen, who has perhaps kept her son too close in the ten years following her husband's death. That changes when Ellen (Claudette Colbert) takes a job as a chaperone for the daughter of Connecticut tobacco farmer Sala Post (Dean Jagger).

Diane McBain as Alison.

Parrish winds up working for Sala and quickly falls for Lucy (Connie Stevens), one of his fellow crop workers. Lucy has the hots for Parrish, too, but is reluctantly seeing someone else. However, what  really cools their passion is the arrival of Sala's debutante daughter Alison (Diane McBain). She wants three things in life: wealth, fun, and Parrish. 

Meanwhile, Ellen is being wooed by Sala's tobacco rival Judd Raike (Karl Malden). Judd is a ruthless, powerful man, but he genuinely cares for Ellen and, as she admits to her son, Judd's fortune is an attraction, too. While the Raike sons, wimpy Wiley and hateful Edgar, make quick enemies of Parrish, Judd's teenage daughter Paige develops a crush on him. 

Who will Parrish end up with? The passionate Lucy, the sultry Alison, or the sweet Paige? Or none of the above?

Troy Donahue and Connie Stevens.

Parrish is a faithful adaptation of Mildred Savage's 1958 bestseller. According to Diane McBain's autobiography, Warner Bros. originally purchased the film rights for director Joshua Logan (Picnic). Logan wanted Vivien Leigh as Ellen and Clark Gable as Judd. He also screen tested Warren Beatty for the lead role. McBain says that Logan rejected the first draft of the screenplay and he was replaced by Delmer Daves. The latter was coming off A Summer Place, a big hit which shared a lot in common with Parrish (e.g., parents experiencing romance as well as the youths, star Troy Donahue).

I can't imagine a more appropriate cast than the one assembled by Daves. Troy Donahue certainly lacks Beatty's dramatic chops, but he brings sincerity and naivety to the lead role. Colbert (in her final film appearance) and Jagger add a nice touch of class.

Malden looking intense as Judd.

But the film belongs to Karl Malden and the young actresses who play Parrish's loves. Malden is delightfully over-the-top as Raike and makes him the most demanding movie boss this side of Everett Sloane in Patterns. Connie Stevens shines as the vulnerable, free-spirited Lucy, her performance earning her the lead in another Daves-Donahue collaboration Susan Slade (1961). Diane McBain smolders as Alison, although she was subsequently typecast as the bad girl in films like Claudelle Inglish (1961). (Interestingly, McBain claims there was a bit of a rift on the set between the young performers and the older ones.)

Actress Susan Hugueny, who played Paige, met producer Robert Evans (Chinatown) while making Parrish. She was 17 and he was 30, but they were married (though it was short-lived). It was the first of seven marriages for Evans, who once described Hugueny as "so pure I felt guilty kissing her."

Susan Hugueny as Paige.

In addition to the cast, Parrish's other virtues are its colorful outdoor photography (a staple of Daves' latter films) and another fabulous score from frequent Daves' collaborator Max Steiner. The famed composer includes separate themes for each of the four female characters, with my favorite being the lilting melody for Paige.

I saved one of the most fascinating facts about Parrish for last. Hampton Fancher, who played Edgar, was relegated to TV guest star roles for much of his career. In 1982, though, he tried his hand as a screenwriter and adapted Blade Runner. He also penned the story and co-wrote the script for Blade Runner 2049 (2017). As always, should this knowledge net you a large cash prize on Jeopardy!, be sure to show your gratitude to the Cafe.


Click here to check out the rest of the awesome schedule the Classic Comfort Movie Blogathon in support of National Classic Movie Day.

Different Kinds of Heroes: "A Distant Trumpet" and "Four Feathers"

A Distant Trumpet (1964). I recognize that Troy Donahue's thespian skills were limited. Yet, in the right role--such as one of the naive lovers in A Summer Place--he performed more than satisfactorily. As I've noted before, Warner Bros. didn't do Troy any favors by typecasting him as a wholesome, contemporary good guy. Yet, when he got the rare change-of-pace role, he didn't always succeed. He was creepily effective as a subtle psycho in My Blood Runs Cold, but he seems totally out of place in the Raoul Walsh Western A Distant Trumpet. Is it just me or does a Troy Donahue-Raoul Walsh film sound like an oxymoron?

A lobby card with Troy Donahue and Suzanne Pleshette.

Donahue plays Lieutenant Matthew Hazard, a recent West Point graduate, who has been sent to Fort Delivery in the Arizona Territory. The local Apaches, led by a their charismatic leader War Eagle, have "jumped" the reservation and threaten to start war with the Cavalry. The young officer finds the military installation manned by sloppy troops. He soon whips them into shape. He also makes an instant connection with pretty Kitty Mainwarring (Suzanne Pleshette). Unfortunately, she is married to another officer and--to everyone's surprise--Matt's Eastern girlfriend Laura (Diane McBain) shows up at the fort.

I was looking forward to Suzanne and Diane engaging in a good old catfight over Troy. Alas, everyone remains stiff and proper. That leads to the major problem with A Distant Trumpet: It takes itself too seriously. With this cast, Walsh (directing his final film) should have thrown in the towel, injected some humor, and concentrated on producing an entertaining film. Instead, he gives us a poor man's Broken Arrow without the script and actors that gave that 1950 classic emotional heft.

A Distant Trumpet is not a total waste of time. Max Steiner delivers another convincing score and Claude Akins makes a strong impression in a small role as a "businessman" running a mobile brothel.

John Clements and June Duprez.

The Four Feathers (1939). The best adaptation of A.E. Mason's grand old adventure novel remains the 1939 version directed by Zoltan Korda. Set mostly in Sudan in 1895, Four Feathers balances several impressive action sequences with an appealing tale of personal courage.

We first meet the film's protagonist, Harry Faversham, as a young boy surrounded by military traditions and old soldiers who recount their exaggerated exploits. Harry has no taste for the Army, however--even though he grows up to become a British officer. When he learns of his regiment's deployment to fight the Mahdist Sudanese, Harry resigns his commission. His three closest friends, all fellow officers, perceive his decision as an act of cowardice. They each send him a white feather attached to their calling cards. When Harry turns to his fiancee for support, she offers none. Knowing that she must think him a coward, too, he plucks a white feather from her fan--hence, the the four feathers of the title.

I find it interesting that Harry's fiancee and friends are so quick to brand him a coward when it's clear that he has never embraced the military life. I almost wish that he had stood his ground and rejected the urge to prove his courage. Of course, that would have been a very different film indeed. Four Feathers is first and foremost an impressively crafted, exciting tale of derring-do in the tradition of Beau Geste and Gunga Din. It differs from those pictures in that it's more of a star vehicle than an ensemble piece.

That star is John Clements, whose performance as Harry Faversham was one of only 30 acting credits for the silver screen. He spent most of his career on the British stage, as a performer, a producer, and a playwright. His work in the theatre earned him a knighthood in 1968. It's a shame he didn't make more movies as a leading man. He's quite convincing as Faversham, conveying his character's inner turmoil, resilience, and ingenuity.

There have been numerous other versions of The Four Feathers. Richard Arlen and William Powell starred in a 1929 silent version. Storm Over the Nile (1955) was a B-movie version with a young Laurence Harvey (though Anthony Steel played Faversham). Beau Bridges played the lead in a decent 1978 made-for-TV adaptation. The worst version to date has to be the ludicrous 2002 Four Feathers with Heath Ledger as Harry and a horribly miscast Kate Hudson.

Get Ready for a Palm Springs Weekend!

Stefanie Powers and Troy Donahue.

As soon as Troy Donahue starts warbling "Live Young" over the opening credits, it's clear that you'll either find Palm Springs Weekend to be nostalgic fun or a dated disaster. I fall into the former camp; I hold a special affection for the fluffy teen pics of the 1960s, from classics like Beach Blanket Bingo to lesser-known imitations like A Swingin' Summer. Unlike many of those youth films, Palm Springs Weekend isn't a musical, though it does boast the only known duet between Ty (Bronco) Hardin and Jerry Van Dyke. Plus, it offers something that its competitors can't--a wealth of promising young performers who were all under contract to Warner Bros. at the time.

Ty Hardin and Connie Stevens.

Written by Earl Hamner, Jr. (who would later create The Waltons), Palm Springs Weekend opens with the spring vacation invasion of the famed California resort city. College basketball star Jim Munroe (Donahue) and his teammates believe they have elluded their coach en route from L.A. to Palm Springs. Alas, their crafty coach (Jack Weston) is onboard the bus, too, and his presence puts a crimp in their plans. That doesn't stop Jim from meeting Gail (Connie Stevens), who also claims to be a college student seeking fun in the sun.

Robert Conrad as the rich bad boy.

But romance isn't in the cards for Jim and Gail. She becomes wooed by both a rich bad boy (Robert Conrad) and a nice Hollywood stunt man named Stretch (Hardin). Meanwhile, Jim hooks up with Palm Springs local Bunny (Stefanie Powers), whose father is the grumpy chief of police. As if there was any doubt that love is the air, Coach Campbell becomes smitten with the motel owner (Carole Cook) and Jim's pal Biff (Van Dyke) finds love with Gail's roommate Amanda (Zeme North). Just to make sure things don't get too icky with all the romance, there's a young brat named Boom Boom (Billy Mumy), who wreaks havoc by turning the swimming pool into a giant bubble bath.

Yes, Palm Springs Weekend is frequently silly, but the peppy young cast keeps it entertaining and never lets the proceedings turn into a spoof. There's even a modest amount of depth to some of the characters. Conrad's troublemaker turns out to be a lonely lad dealing with an absentee father. Connie Stevens' Gail is actually a high school student named Jane, whose identity crisis almost leads to a bad situation. Still, Palm Springs Weekend has no illusions of being taken seriously, not even to the point of Gidget or Where the Boys Are (both of which dealt fleetingly with more mature themes).

Jerry Van Dyke and Zeme North, whose
career fizzled in the late 1960s.

Interestingly, about half the Palm Springs Weekend cast was appearing in Warner Bros. TV series concurrently and the other half were set to launch long-running TV careers. Ty Hardin was starring in the Western Bronco, a spinoff of Cheyenne that was created when Clint Walker had a contract dispute with Warners. Robert Conrad and Connie Stevens both appeared in the exotic detective series Hawaiian Eye (Conrad later starred in Wild, Wild West). Troy appeared in the Miami-set private eye series Surfside 6. Stefanie Powers would become The Girl from U.N.C.L.E. before the decade ended and Billy Mumy would gain fame as Will Robinson in Lost in Space. Jerry Van Dyke appeared in many sitcoms, the most unususal being My Mother the Car, in which his deceased mother was reincarnated as a 1928 antique auto voiced by Ann Sothern. Decades later, he'd have greater success as a supporting player on the sitcom Coach.

The bottom line is that if you like these performers and enjoy the "1960s teen pic" genre, Palm Springs Weekend is a celluloid gretaway for you.

Douglas Sirk vs. Delmer Daves for the "King of the Movie Soaps" Title

OK, Douglas Sirk fans, I'm calling you out! It's not that I don't enjoy Douglas Sirk soaps like Imitation of Life and All That Heaven Allows. They're glossy, well-crafted, and entertaining. It's just that Sirk has been anointed as "King of Movie Soaps" (helped in large part by 2002's Far from Heaven, a classy Sirk homage which sparked renewed interest in his films). I'm contending that there's another director with a claim to the Movie Soap crown--and that's versatile writer-director and Stanford law school graduate Delmer Daves. So let's get down to this clash among movie soap titans (ignoring their work in other genres, of course):

Sirk's favorite leading man and Daves' principal star.

Round 1 - Daves did more with less in regard to his stars. For a leading man, Douglas Sirk had Rock Hudson...but Daves had Troy Donahue. While good-looking and likable, one could never confuse Troy with a good actor. Cinema history validated Rock as a genuine star and Troy, well, he pretty much faded after the 1960s. It's not a knockdown, but this round goes to Daves. (Of course, Sirk did use Troy as a bad boy in Imitation, but that doesn't count.)

Round 2 - Delmer Daves did a masterful job of integrating story locations into his films. The most lasting image from A Summer Place is of Troy and Sandra Dee holding each other passionately on the beach... desperately in love, aching to be together, trying to find a secret place to be alone...as the ocean splashes on the shores (OK, it's not From Here to Eternity, but it's still memorable). Likewise, the New England tobacco fields in Parrish and the stunning California coast of Susan Slade enhance these tales of young love. In contrast, it seems like the settings are incidental in Sirk's films, with the possible exception of Written on the Wind (and even then, most of the action takes place indoors).

Susan Slade: An example of Daves' integration of location.

Round 3 - Douglas Sirk used film like a canvas, skilfully employing color, framing, and objects to enhance character traits and themes. In Written on the Wind, Lauren Bacall's conservative character sports a wardrobe of muted colors while the "bad girl" (Dorothy Malone) drives a bright red car. At the end of the film, Malone's character--who has lost Rock to Lauren--clutches a phallic model oil well in her office. Delmer Daves' soaps are lushly photographed, but the nod here goes to Sirk.

Hudson and Bacall in muted colors in Written on the Wind.

Round 4 - No soap director used music better than Delmer, but then he had a great composer come up with great themes: Max Steiner's Theme from A Summer Place is still the best-selling instrumental of the rock'n'roll era and I'll never understand why Steiner's equally melodic love theme from Parrish seems to have been forgotten. Sirk, on the other hand, frequently employed Frank Skinner, whose scores ranged from lush (All That Heaven Allows) to mush (Magnificent Obsession).

Round 5 - Sirk's admirers claim that his soaps are rife with subtext: All That Heaven Allows is an indictment on social conformity; Imitation of Life takes aim at racial inequality, etc. Of course, one could make similar arguments for Daves' films: out-of-wedlock pregnancies play a key role in Parrish, A Summer Place, and Susan Slade. In the latter two films, the teenage mothers become social outcasts (societal conformance is so strong in Susan Slade that the pregnant girl's mother passes the child off as her own!). This is pretty much a draw, but I'll give the edge to Sirk because his films have garnered more documented critical acclaim--and even got the Criterion treatment.

Grant Williams worked for both directors.

Round 6 - Both directors were adept at peppering their films with great supporting actors. Sirk's soaps featured Agnes Moorehead, Juanita Moore, and Dan O'Herily. Delmer Daves had Dean Jagger, Dorothy Maguire, Lloyd Nolan, Dub Taylor, and Constance Ford. This round is a close one; we'll call it a draw. (Interestingly, in addition to Troy Donahue, both directors used Grant Williams. He played Conn White in Susan Slade and Biff Miley in Written on the Wind--gotta love those character names!)

If you've followed my scoring of this fight, it's three rounds to Delmer, two to Doug, and one tie. The winner--by decision--is Delmer Daves. He's now the undisputed "King of the Movie Soaps." It's a title he has long deserved. Anyone interested in staging a rematch? If so, I'd love to hear your thoughts.

Connie and Troy Find Love (Eventually) in "Susan Slade"

This third collaboration between writer-director Delmer Daves and teen heartthrob Troy Donahue lacks the youthful passion of A Summer Place and the entertaining subplots of Parrish. Still, it’s a diverting big-screen soap with all the elements of Daves’s polished formula: beautiful scenery (the Monterey coast line), first-time love, affluent people, well-developed relationships between young people and their parents, and a lovely music score by Max Steiner (though it’s not as memorable as the ones he did for the previous two films).

Connie Stevens (graduating from a supporting role in Parrish) plays the title character, a naïve young woman who has spent her teenage years in Chile with her parents. Her father, Roger Slade (Lloyd Nolan), has worked as a chief engineer for a mine company, earning his boss, Stanton Corbett, over $20 million. To show his gratitude, Corbett has bought a home along the Monterey coast for Roger’s family and provided a substantial pension.

Connie Stevens in the title role.

On the ocean cruise to California, Susan falls in love with rich playboy Conn White (Grant Williams), who climbs mountains in lieu of a job. It’s hard to tell initially if Conn (I love that name) truly cares for Susan, but he is physically attracted to her. Believing that she has found her true love, Susan gives in to Conn’s desires. As is inevitable in any good soap, Susan becomes pregnant. When fate intervenes to keep Susan and Conn apart, Susan’s mother devises an unintentionally cruel plan to protect the family from scandal.

Dorothy McGuire as Susan's mother.

A strong cast puts their all into this melodrama, especially Connie Stevens who is winningly vulnerable and believable in her best film role. As her mother, the ever-elegant Dorothy McGuire gets the picture’s juiciest part—her Leah Slade is a well-meaning parent whose motives for helping her daughter ultimately become questionable. Surprisingly, Troy’s role is pretty much a supporting one, a slight variation of the chip-on-his-shoulder young man he played in Parrish. Still, as in that film, he and Connie share a natural chemistry that brings a sweetness to their scenes together.

TV fans can also take delight in seeing Natalie Schafer giving what amounts to a dress rehearsal for her most famous role—as Mrs. Howell on Gilligan’s Island. Almost as rewarding is the opportunity to see future game show host Bert Convy as Wells (another great name), Susan’s snobby, stinking-rich suitor (you just know that he doesn’t have a chance).

After Susan Slade, Delmer Daves and Troy Donahue would pair up one last time. However, the travelogue romance Rome Adventure broke from the successful soap formula and, perhaps as a result, its boxoffice failed to match A Summer Place, Parrish, and Susan Slade. It could also be that—as always happens with teen heartthrobs—Troy’s popularity was beginning to fade. Still, Rome Adventure had one positive result for Troy: It introduced him to his wife Suzanne Pleshette.

Warner Bros. Classic TV Detectives Were the "Ginchiest" - Part 2

Inspired by the success of 77 Sunset Strip, Warner Bros. launched three other TV detective series over the next two years. They all featured the same formula: attractive performers, exotic locales, straightforward mysteries, and a healthy dose of humor. Characters often crossed over from one series to another, a nifty way to promote the less successful shows on the more popular ones.

The biggest hit of the new series was Hawaiian Eye (1959-63), which starred Anthony Eisely and Robert Conrad (whose character was supposed to be half-Hawaiian) as private investigators in Honolulu. They worked out of the posh Hawaiian Village Hotel. They were often aided--even when they didn't want it--by Cricket (Connie Stevens), a nightclub singer/photographer, and ukulele-playing cabbie Kim (Poncie Ponce). One of the running gags of the show was that Kim had relatives all over the island. That often proved handy when looking for a missing person or gathering evidence to solve a murder.

Later in the first season, the agency hired another investgator played by Grant Williams (The Incredible Shrinking Man). When Eiseley left after three years, Troy Donahue joined the cast as the social director of the hotel for the fourth and final season.

Although it never captured the public fancy to the extent of 77 Sunset Strip, Hawaiian Eye was a solid hit and laid the groundwork for future private eye shows set in the islands (e.g., Hawaii Five-O, Magnum, P.I.).

Duggan, Howell, Williams, and Long.

Bourbon Street Beat (1959-60) starred Andrew Duggan and Richard Long as private detectives in New Orleans. They operated the agency Randolph and Calhoun Special Services on the second floor of The Old Absinthe House restaurant in the French Quarter. Kenny Madison (Van Williams), a young law student, assisted them on some cases and Melody Lee Mercer (Arlene Howell) keep the office running. When the series was cancelled after one season, Richard Long's character, Rex Randolph, joined 77 Sunset Strip. Van Williams returned as Kenny Madison the following year in a new series called Surfside 6. Ironically, his new show even stayed in the same slot of Monday, 0830-9:30.


Sierra, Donahue, Patterson, McBain,
and Williams.

Set in Miami, Surfside 6 (the title is a telephone exchange) cast Van Williams with Lee Patterson and Troy Donahue as a trio of young private detectives who worked out of a houseboat that doubled as their digs. They also received their share of unwanted help from ditzy socialite Daphne Dutton (Diane McBain), whose yacht was anchored next door, and Cha Cha O'Brien (Margarite Sierra), who sang in the Boom Boom Room in the ritzy Fountainebleau Hotel. Surfside 6  lasted for two seasons.
While these TV series were still on the air, Warner Bros. capitalized on the popularity of its young stable of stars by casting them in theatrical films--even at the risk of overexpose. Troy Donahue, Connie Stevens, and Diane McBain all appeared in Parrish (1961). Stevens and Donahue paired up again for Susan Slade (1961), with Grant Williams making a brief appearance as well. Donahue and Conrad played adversaries in Palm Springs Weekend. And Diane McBaine got a starring role (and was very good) as Claudelle Inglish (1961), an  Erskine Caldwell Southern tale about a girl with a bad reputation.

Diane McBain.

While none of the Warner Bros. detective series could be described as great television, they were all diverting and provided great experience for a number of likable young actors who continued to appear on the big screen and small screen. Richard Long surfaced opposite Barbara Stanwyck in the TV series The Big Valley. Robert Conrad landed his most famous role in Wild, Wild West. Connie Stevens had a #3 hit song with "Sixteen Reasons" and parlayed that into a long-lasting career as an entertainer. Troy Donahue's film career gradually declined, though he later appeared in a supporting role in The Godfather Part II. Finally, Van Williams starred in The Green Hornet TV with Bruce Lee. The show only lasted a season and Williams retired from acting shortly afterwards. However, he used his business savvy to amass a tidy fortune.

A Month of Mysteries: Is Troy Donahue a Psycho in "My Blood Runs Cold"?

While speeding down a coastal highway in her convertible, Julie Merriday (Joey Heatherton) almost runs over motorcyclist Ben Gunther (Troy Donahue). Although Ben is shaken up, he appears to be okay—except that he keeps staring at Julie and calling her Barbara.

Ben eventually reveals that he believes Julie is the reincarnation of her great grandmother Barbara Merriday and that he was Barbara’s lover in a previous life. Ben gives Julie an antique locket with an authentic portrait of Barbara…who looks just like Julie. Ben also seems to know details of the Merriday family history heretofore only known to Julie’s Aunt Sarah (Jeanette Nolan). Are Ben and Julie really reincarnated lovers? Is this a scam perpetrated by someone with intimate knowledge of the family—like Aunt Sarah? Is Ben just plain crazy? But if he is, how does he know so much about Julie’s family?

For most of its running time, My Blood Runs Cold holds its cards closely and functions nicely as a low-budget thriller. Actor William Conrad (TV’s Cannon, radio’s Matt Dillon) directed a lot of TV episodes in the 1960s, but this was one of his few feature films at the helm. He takes advantage of the seaside setting, using the waves and washed-up seaweed, for example, to hide most of the corpse on the beach. He also recognizes that his picture is targeted toward teens and thus doesn’t miss an opportunity to show hunky Troy with his shirt off or shapely Joey Heatherton in a bathing suit.

Heatherton is quite appealing as Julie, often reminding one of Donahue’s frequent co-star Connie Stevens. Her best scene is a conversation with Nolan as Aunt Sarah, in which Julie confesses that she doesn’t know what to do with her life. She wants to do something meaningful and Ben provides her with an opportunity. My Blood Runs Cold turned out to be one of Heatherton’s few films. She fared better as a Vegas entertainer and on USO tours (and TV specials) with Bob Hope.

As for Donahue, it’s easy to see why the role of Ben appealed to him. He had just completed four “soaps” with director Delmer Daves, a teen comedy (Palm Springs Weekend), and a Western directed by Raoul Walsh (the cult pic A Distant Trumpet). In My Blood Runs Cold, he got to headline a contemporary thriller in which it’s not obvious if he’s the hero or the villain. Never a strong actor, Donahue succeeded because of his natural appeal and good looks. He might have developed into a better actor had he been groomed by the studio system. But by the time he came along in the late 1950s, Warner Bros. was content to cast him in anything. He was being overexposed on TV in Surfside 6 and Hawaiian Eye while concurrently starring in films like Parrish and Susan Slade (both 1961).

My Blood Runs Cold isn’t an unknown classic thriller waiting to be discovered. It has its flaws (especially the drawn-out ending), but still works as a consistently interesting B-film with two likable leads. It’s the kind of movie you might have seen as a second feature at the drive-in in the 1960s…and driven home thinking: “That was better than I expected.”