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scsu1975

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  1. From May 27-29, the Poli ran Mothers of Men, starring Claire Whitney as Marie Helmar. The film’s release date is uncertain, but it was five reels, and is presumed lost. I could not find any stills. Plot: While living in Austria, penniless Marie Helmar is ravaged by Captain Von Pfaffen. She flees to her wealthy cousin’s family in France, where she is given a home. There, she falls in love with Lieutenant Gerome De La Motte. Happily, his parents approve. Just before they are to be married, Marie writes Gerome a letter, explaining what happened to her in Austria. She sends a servant to deliver the note, but then he returns it, claiming he could not obey her order. Marie decides to bury the issue, and continues with the marriage. Then war is declared, and her husband and father-in-law are sent to the front. A new servant is hired for the home. Marie quickly recognizes the man as Von Pfaffen, who has been placed there as a spy. Pfaffen blackmails Marie, threatening to expose her past unless she obtains some battle plans from her husband; plans which had been discussed by French officers at their home. Marie passes along false information to Pfaffen, which results in a disastrous outcome for the Germans. Pfaffen decides to commit suicide, but also decides to kill Marie. During a struggle, Pfaffen is killed. Gerome arrives, and Marie hands him the note she had written to him, now begging him to read it. Gerome confesses that he had read the note on the eve of their wedding. He also admits he had the letter returned to her as though it had not been delivered; his love for her was so strong that her past did not matter to him. Marie then proudly announces she is going to be a mother. Parisian-born Gaston Glass, who portrayed Gerome De La Motte, received his stage training from Sarah Bernhardt. When his acting career started to wind down, he joined 20th Century-Fox as an assistant director, then later become a production manager. In June of 1923, Glass ran afoul of the law when he, director Louis J. Gasnier, and two women were arrested at a rooming house, charged with “vagrancy and lewdness.” The women were identified as Mrs. Helen McCloskey, “said to have been a 1922 Follies girl,” and Miss Alma Rhoades, a film extra. The party was broken up by three officers from the Hollywood division, who stated they had been watching the house for several hours before raiding it. Each person was released on $100 bail. Gasnier told reporters he had been framed, and had been simply calling on Glass when he was arrested. He claimed he had read an ad for a house for rent, and had gone to investigate. He had picked up Glass along the way, after Glass claimed he knew the owner, Mrs. McCloskey. “Arriving at the house I met Mrs. McCloskey and Miss Rhoades for the first time,” Gasnier stated. “We were invited to stay for supper and I left the house shortly afterwards. I returned later and was arrested. Why did they arrest me? I don’t know. It’s terrible.” Glass corroborated Gasnier statements, simply remarking “isn’t it terrible?” B. P. Schulberg, who owned the studio were Glass and Gasnier were currently working, declared “it’s just another attempt to get picture men in bad. Other professional men can get away with anything, while, we of the motion-picture profession, are always singled out for notoriety. I know Mr. Gasnier would not commit the acts charged. I have known him for years and have seen his morality tested many times. Mr. Glass also is an honorable man and I know that he too is innocent.” A few days later, McCloskey filed for divorce from her husband, charging cruelty. She claimed he struck her with his golf clubs “after she chided him for staying out too late on the links.” In early July, Glass’ case was heard by a jury, but no verdict was reached. In late July, Glass announced he was retiring from the screen until he was either judged innocent or guilty by a jury. In a letter to Schulberg in which he offered to give up his contract, Glass wrote “I have decided to face the situation squarely, to fight for complete vindication, not only in the courts but at the hands of the public, and to abandon all other considerations until I have accomplished this purpose. Consequently, I feel that I cannot again appear before the camera until I can face the world without a blemish on my name.” Schulberg, in a reply, wrote that Glass would still have a job waiting for him.” The case took another turn in August, when Police Officer H. K. Freeman, who had been one of the arresting officers, claimed he was being threatened. “I’ve been told to lay off Glass and Gardner (another case). I’ve been told that there’s a lot of money to be made if I use my head. But I’m doing my best to be an honest officer and keep my feet clean. I’ve been harassed because I won’t let up on the Glass and Gardner cases. Policemen and civilians have ragged me, and now I walk my beat in fear that I’ll be killed.” The second trial began in mid-September, with hilarious scenes. One of the defense attorneys called Freeman “a moron and a coward.” He referred to another of the arresting officers as a “coyote.” Another defense attorney also took aim at the officers, declaring “are you going to sanction an act such as theirs – the peeping under the blinds of your home?” The prosecutor struck back, telling the jury “it is such men as Gaston Glass who give black eyes to the communities in which they thrive. He is of that class that goes through life contaminating everything and everybody around him.” As in the first trial, the jury could not reach a decision. On September 21, the charges were dropped against Glass, Gasnier, and the two women. Later that day, B. P. Schulberg signed Glass to a new contract. “If there was any doubt about Gaston’s complete vindication, it has been removed by the flood of telegrams of congratulations that already have reached him from every part of the country,” Schulberg said. “Personally, I was never in doubt about the outcome of the misdemeanor charge against him.” For his part, Glass said “every expression that has reached me since this affair has convinced me that the public is fair-minded enough to accept the truth, and is not influenced by the words of those who refuse to see anything but evil in the most trifling act.”
  2. Yeah, that was funny seeing Greer rolling UPHILL.
  3. Greer's first appearance was as an extra in Jesse James, in 1939. The movie was mainly filmed in Pineville, Missouri, near Greer's hometown. In a 2002 interview, Greer said "they were paying $5 a day - a day! - to local people for being extras. That was really good money in those days, more money than we had seen in a long time."
  4. Yeah. that was the episode where the "bad" Dabbs had a metal plate in his head. He was also in several other episodes of the series, including the first, where he was hanging from a dirigible.
  5. Well, to add to your confusion, my aunt (who was of Hungarian descent) used to call Dana Andrews "Donna" Andrews. Maybe it's an ethnic thing?
  6. From May 23-26, the Poli ran Out of the Storm¸ starring Barbara Castleton as Margaret Hill, John Bowers as John Ordham, and Sidney Ainsworth as Al Levering. The film’s release date is uncertain, but it was five reels, and is presumed lost. Plot: Margaret Hill, a poor singer, works at a Seattle low class cabaret. There she meets Al Levering, who falls for her. He pays for her voice lessons, using money he has embezzled. Levering is eventually arrested for his crime and sent to prison. Margaret decides to travel to San Francisco to study music. She is caught in a shipwreck, and is rescued by John Ordham, the son of a noble British family. During the rescue, the two become separated and go their ways, neither knowing the other is alive. A few years later, Margaret is a famous opera singer in London. Levering escapes from prison and sets out to find Margaret. Ordham again meets Margaret, and falls for her, even though he is engaged. Levering locates Margaret and forces her to choose between him and Ordham. Scotland Yard detectives, who have trailed Levering, shoot him. Ordham, who has broken off his engagement, forgives Margaret for her past. Margaret and Ordham find happiness together. The stills below could not be placed in context. The first shows John Bowers and Doris Pawn, who portrayed Ordham’s fiancée Mabel Cutting. The second shows Walter Driscombe, an unidentified actress, Barbara Castleton, and Lincoln Stedman. The film was based upon a novel by Gertrude Atherton, entitled The Tower of Ivory. Exhibitor’s Herald praised the shipwreck scene (as did other magazines), but was a bit rough on Barbara Castleton, writing “the principal fault with the picture is unnatural and stilted acting of Miss Castleton in the principal role. We have seen this young lady give a very good account of herself in other vehicles, but here she rarely unbends, and throughout is the most unnatural and unsympathetic of the entire cast.” Sidney Ainsworth, who portrayed Al Levering, died a few years after this film was released. You can read my short bio of him here at the IMDb website: https://www.imdb.com/name/nm0014742/bio?ref_=nm_ov_bio_sm Also on the bill was a Mack Sennett two-reeler entitled Let ‘er Go, starring Louise Fazenda. The short was released on May 23, 1920, and is presumed lost. Apparently most of the action takes place on a farm. One character attempts to milk a cow, and tries to keep the cow’s tail still by tying it to his suspenders. When the cow is startled, predictable slapstick ensues. In another scene, Teddy the Dog is playing blind man’s bluff with a human couple, when the man is knocked into a beehive. There are various chase scenes involved cars and bicycles. In another scene, Louise Fazenda is swimming when she is plucked from the stream by the hook of a young man’s fishing pole. The Moving Picture World remarked “Louise Fazenda was never more attractive than in this picture, in which she combines personal charm with the grotesqueness of farce-comedy makeup.” Exhibitor’s Herald wrote that the film “contains more laughs in the first reel than have been present in the last half dozen of Sennett’s program subjects.” Another act on the bill was Joe Darcey, a singer and comic who appeared in blackface. I don’t know how his act went over in Bridgeport, but in early January of 1920, he appeared at a theatre in New York City, with a reviewer from Variety in attendance. During the act, Darcey told a joke about a black lad yelling “Oh, Boy,” in a southern theatre. The manager of the southern theatre then warned the boy that if he yelled again, he would be strung up to a tree outside of the theatre. “From the way the large audience received this,” the reviewer wrote, “I think I am justified in taking exception to the “joke” in fairness to colored performers.” Darcey was still doing his blackface act into the 1930s. In 1931, he was running an inn in New York. He was just about to close for the night when he received a phone call. The caller asked if Darcey could keep the place open for a few minutes. Darcey agreed. Shortly thereafter, four men came in and robbed him of $200, as well as several hundred dollars’ worth of jewels. Darcey, in full makeup, is pictured below:
  7. This may be a "restored" version, according to the bill.
  8. From May 20-22, 1920, the Poli featured Black is White¸ with Dorothy Dalton as Margaret Brood and Holmes Herbert as Jim Brood. The film was released on February 22, 1920, at five reels. Complete copies are held in the Library of Congress and the UCLA Film and Television Archive. Plot: Young Margaret Brood is driven from her home by her jealous husband, Jim. He believes she is unfaithful and even begins to doubt whether he is the father of their son. Margaret has a report published that she is dead. She goes to her invalid sister Theresa, to whom she bears a great resemblance. Theresa dies, and Margaret learns that Theresa was about to be adopted by Baron Strakosch and his daughter. So Margaret takes her sister’s place and becomes a mature Parisian woman. Fifteen years later, Jim comes to Paris and meets Margaret at a banquet. He is attracted to her, because of her resemblance to his “dead” wife. The two marry and return to America. Margaret plans to exact revenge on Jim, but at the same time, cares for her son. Then Jim mistakes Margaret’s love for their grown son Frederick as a romantic interest, and shoots the lad. After nursing Frederick back to health, Margaret tells Jim the truth, and forgives him. The still below could not be placed in context, but there was a character named Ranjab (played by Joseph Granby), so this is probably him along with Dorothy Dalton: Exhibitor’s Herald took a measured approach in their review, writing “it is not a pretty story, yet there is a unique angle – that of her remarrying her husband under an assumed name without his knowing her true identity – which lends a special force to the production. It gives Dorothy Dalton a wide range for the display of her emotional ability.” Wid’s Daily pulled no punches, remarking “they show you a man married and a father. The man is jealous and finally comes to doubt the parentage of his baby. Fifteen years later he marries again and doesn’t know that she’s the same woman. Doctor, please have the gentleman’s eyes examined.” Picture-Play Magazine was succinct, stating “this production’s caliber may be measured by the fact that a man marries the same woman twice and fails to wake up until she tells him. Such men need alienists*, not plots, particularly when the woman is Dorothy Dalton.” *psychiatrists As with most of Dorothy Dalton’s pictures, Variety weighed in with their opinions of her outfits. “An evening gown of black and silver cloth was gorgeous. Made plain, slightly draped round the ankles, hung from the side, with three small feathers at the waist, the only trimming. Another evening dress was made very similar, only of velvet, with gold lace for the bodice, edged with the velvet. … Miss Dalton looked well in an afternoon gown of dark blue chiffon brocaded in silver, it having the draped skirt with a train flowing at the side. Sleeves opened at the elbow, the ends hanging loosely. A squirrel wrap was handsome, with gray fox for the collar.” Also on the bill was a Charlie Chaplin short entitled Work. The film was released in 1915 and is available on YouTube, running around 28 minutes. Charlie and his boss attempt to do some home improvements for a bickering couple. They mess up the place. I didn’t find the movie particularly funny, except for a running gag about an exploding kitchen stove. Lowlights include Charlie hauling his boss around in a rickshaw-type vehicle (and getting hit with a stick to boot). The scene might have been funny for a few moments, but it goes on way too long and becomes painful to watch.
  9. Joel Crothers and Tom Selleck
  10. From May 16-19, 1920, the Poli ran The Silver Horde, directed by Frank Lloyd, and featuring Myrtle Stedman as Cherry Malotte, Curtis Cooksey as Boyd Emerson, and Betty Blythe as Mildred Wayland. The film’s release date is uncertain, but it was seven reels. A copy is held in the MGM archives. In 1930, another version of the film was released, starring Joel McCrea, Evelyn Brent, and Jean Arthur. That version is available on YouTube. Plot: Boyd Emerson wants to marry Mildred Wayland, but her wealthy father wishes her to marry a man of good position. So Emerson seeks his fortune in the Alaskan salmon fisheries. There, he teams with Cherry Malotte and George Holt, who are fighting for a claim in “the silver horde” (salmon). They are opposed by Marsh, who is backed by powerful Wall Street interests. Emerson asks Mildred’s father for help in financing the project, but the man refuses. Cherry goes to Seattle and is able to secure the capital necessary to back their project. But Marsh, assisted by Mildred’s father, works against them. Marsh is after Mildred’s money, and also wants to create a split between Mildred and Boyd. While Boyd and his partners are waiting for the arrival of the salmon, Marsh attempts to blow up their nets, but is unsuccessful. Finally, the salmon arrive by the millions and fill Boyd’s nets. Marsh then plays his last hand, claiming that Boyd is really the father of Marsh’s half-breed child. But the child’s mother proves that Marsh is the father. Boyd turns from Mildred to Cherry. The stills below could not be placed in context. The first shows a fight on the docks: The next shows Myrtle Stedman, as Cherry, and two unidentified actors: The next is probably part of the same sequence, with the trio of actors from above, as well as Curtis Cooksey, as Emerson: The final still shows an unknown actor menacing Myrtle Stedman: The film was based upon a novel of the same name, written by Rex Beach. The character of Cherry Malotte also appears in Beach’s novel The Spoilers. Photoplay wrote “few pictures have been more convincingly atmospheric, thanks to the frequent cutting in of scenery bits showing the Canadian lakes and rivers and a fine set of salmon-fishing views.” Wid’s Daily remarked “Director Lloyd has given the production all the realism that could be desired and maintained an artistic and altogether appropriate atmosphere throughout.” Exhibitor’s Herald pronounced the film “spectacular, virile, and well produced.” But Motion Picture News criticized the movie, noting that “the principal fault … lies in the fact that “it doesn’t stay anywhere.” The story begins in Alaska, jumps to New York and then goes back to its starting place, with a stop over at Seattle. … There is some action, of course, but it is incidental and not vital. Nevertheless the offering is a lot better than the average picture of today. There may not be much drama in viewing thousands of salmon departing from their native element through the ingenuity of man or in watching what happens to them before they reach the “canned” stage, but the process is interesting.” For some snow scenes, Director Frank Lloyd had a 50-foot hill made, and covered it with salt. The crew used 800 pounds of paraffin for ice. The photos below show the effect: Betty Blythe attained notoriety a year after this film was released, playing the title role in 1921’s The Queen of Sheba. No prints are known to survive. Blythe wore long strings of pearls in some scenes (and little else). In an interview, Blythe once said “Sheba was my world. I understood it. I had been educated in France, knew the Left Bank as well as the Louvre. It was all very artistic.” She reportedly got her start in films when she accompanied her roommate to the Vitagraph Studios in Flatbush, and the director asked her if she could play a lead. “I can play that part better than any actress in the world,” she replied. At one point, she was earning one million dollars a year. Blythe’s career spanned silent and sound features, her final appearance being in My Fair Lady. She died in 1972, at the Motion Picture Country Home and Hospital in California. Her obituary mentioned she had received a special Academy Award in 1938 for her “contributions to the motion picture industry during its pioneer days.” I could not verify this with any other sources.
  11. From May 13-15, 1920, the Poli ran Circumstantial Evidence¸ starring Glen White as Tex. The film was released on March 15, 1920, at five reels. An incomplete copy is held in the Library of Congress. Plot: Tex visits his old friend Jack Nelson. Nelson’s wife, Edna, is also an old acquaintance of Tex. That night, Nelson gets into an argument with his butler and fires him. During the night, Tex is awakened by a whistle. When he goes out into the hallway, he meets Edna’s maid, and notices she is fully dressed and about to leave the house. He returns to bed. In the morning, Nelson is found stabbed to death. Edna, hysterical, attempts to kill herself with the same knife, but Tex stops her. He throws the knife out the window. When the police arrive, Tex tells them about the quarrel between Nelson and the butler, and also about seeing the maid in the hallway in the middle of the night. The maid then accuses Tex of the murder, claiming that he was fond of Edna, and that he tossed the knife out the window. Tex is convicted on this circumstantial evidence and sentence to life in prison. A few years later, the prison catches fire, and when the guards open the cells, there is a jail break. Tex stays behind, and saves the warden’s wife and child from death. He is pardoned, and sets out to clear his name. He visits Edna, but she and others reject him because of his alleged crime. He then traces the butler, and finds the man is now an underworld character. He brings the butler to justice, but discovers he was not the murderer. When he hears Edna is dying, he arrives just in time to hear her confess to her husband’s murder. He then decides to devote his life to solving crimes and saving innocent people who were convicted on “circumstantial evidence.” This was the first in a series of twelve films (all at five reels) under the broader title of “Tex; Elucidator of Mysteries.” Most of the films were released in 1920. Glen White (shown below, as Tex) played the character for most, if not all, of these films. White took on an interesting role in 1917, playing Quasimodo in The Darling of Paris, which was VERY loosely based on The Hunchback of Notre Dame. In this version, Quasimodo undergoes surgery and is cured of his hump by Claude Frollo, who is a surgeon. In the finale, he marries Esmeralda, played by Theda Bara. The film was released by William Fox, but is lost. This movie sounds like a hoot. As one reviewer noted, “this is not going to please persons who still read Victor Hugo … but it will probably get a tidy bit of money for Mr. Fox, the great disrespecter of authors.” Jane McAlpine, who portrayed Edna Nelson, made only a handful of films. She acted under several different names. Born Julien A. Dolezal, she appeared in the Ziegfeld Follies as Julien Beaubien. She also used that name for a few films, but also used Jane McAlpine. (IMDb lists McAlpine and Beaubien as separate actresses.) McAlpine died on October 19, 1947, at Monmouth Memorial Hospital in Long Branch, New Jersey. She is shown below in a scene from the film, with Marie Treador playing the maid:
  12. The Flight That Disappeared (1961) Prime Video The entertainment disappears about halfway through this thing, but at least the film is somewhat intriguing to start off. A plane carrying a nuclear scientist, rocket designer, female mathematician, the woman who had those pulsating veins in her head in the Star Trek pilot, and normal people, inexplicably starts gaining altitude. Air Traffic Control has no idea what the hell is going on, which is probably the most realistic event in the film. Eventually the plane arrives at a foggy purgatory containing a few rocks. There, a guy with no personality puts the trio on trial for just thinking about creating an awesome weapon. It seems the scientist is the father of the beta-thermonuclear bomb. What is not revealed is that he is also the father of the beta-max, which was an even worse bomb. The three are convicted of something, but then they are let off the hook. The cast does nothing to distinguish themselves. Dayton Lummis, as the scientist, looks like he is either bored or suffering from constipation. Paula Raymond, as the mathematician, doesn’t get to do any mathematics. However, Craig Hill, as the rocket designer, does give his part a good try. Veteran character actor Addison Richards has a bit as “The Sage.” Now if the film only had characters named “Parsley,” “Rosemary,” and “Thyme,” this could have been interesting.
  13. From May 9-12, 1920, the Poli ran The Lone Wolf’s Daughter, starring Louise Glaum as the title character. The film was released on December 14, 1919, at seven reels. Some incomplete copies are held in foreign archives. Plot: In a prologue set a few decades before the present, Princess Sonia divorces Prince Victor and marries Michael Lanyard, aka “The Lone Wolf.” But the Princess dies giving birth to their daughter, whom they have also named Sonia. Now, in the present day, Prince Victor is the head of a criminal gang in London. The child Sonia is not aware of her parentage. Victor tells Sonia he is her father, and takes her home. There, she falls for his secretary, Roger Karslake. In actuality, Karslake works for Scotland Yard, and is trying to trap Victor and his band. Karslake enables the Lone Wolf, now disguised, to get a position as butler in Victor’s home. Victor is summoned to a Limehouse rendezvous with his gang, and Sonia accompanies him. There she learns of Victor’s treachery and is held captive by the gang. But she is able to summon Karslake and his men to battle the gang. In the course of the fight, Victor is killed. Sonia, trapped on a burning roof, is rescued by Karslake with the help of a derrick from a passing steamer. Wid’s Daily praised the film, writing “the story has been picturized in a big way – lavish sets, a magnificent display of wealth in furnishings and enough of the spectacular to create a dramatic climax. … There is some swift action in here and the spectacular finale, a fire, works up a dramatic climax preceding the happy ending.” Exhibitor’s Herald remarked that the film was “probably the high-spot in Miss Glaum’s screen career. The entire production is of the stuff that a genuinely popular attraction is built of – elaborate, and very rich settings, mystery and intrigue, flashes of melodrama and a sustaining heart interest. … Technically the production is of the first order.” Photoplay had a different take, writing “the attempt … to take the interest away from the Lone Wolf himself and center it on the daughter is nullified by the fact that he is much the more interesting figure of the two. Louise Glaum has difficulty sustaining interest in the girl. This weakness, added to those forced situations in which underground passages, Chinese criminals and boats that seem to plow through the streets of London … minimizes the picture’s chances for anything resembling a lasting popularity.” The magazine did remark, however, that “Miss Glaum is an attractive heroine.” For the fire scene, Louise Glaum was filmed being rescued from a burning building. The extras were told to generate excitement during the scene. After Glaum’s close-up was finished, the camera turned to the crowd, who, unfortunately, had lost some of their enthusiasm by then. Glaum jumped into the crowd of people, and began shouting and yelling, which stirred the extras to get excited again. Thus, Glaum became an extra in her own film. An interesting facet of the film involves the appearance and use of a telautograph, an instrument that reproduces messages sent by telegraph. The villainous Victor keeps one in his luxurious London home, while his gang keeps another in the Limehouse district of London. Messages are sent using a Chinese script, which is then decoded. Sonia, held captive by one of the gang, manages to open a secret cabinet, and locates the machine as well as a message. Louise Glaum retired from films in the late mid 1920s. She had made several comedies for Mack Sennett, but was also known for her “vamp” roles. In 1916’s Hell’s Hinges, which starred William S. Hart, she portrayed a loose woman who seduces a parson with liquor. After her film career ended, Glaum worked on the New York Stage. She became a dramatic instructor and appeared at her own playhouse in Los Angeles in the 1930s. She died of pneumonia in 1970. Bertram Grassby portrayed the Lone Wolf, but his character seems to have been minimized in this story. Thomas Holding portrayed Roger Karslake. In a 1920 newspaper column, Louis Glaum wrote that the actor “suggested to me, in the part he played in “The Lone Wolf’s Daughter,” the popularly accepted type of the “perfect gentleman.”” Karslake made his final film appearance in 1928. He died in 1929, while appearing in New York City in the play “Mystery Square.” The actor collapsed in his dressing room, stricken by a heart attack. The stage manager took over Holding’s part for the show that night. Holding’s death added a macabre note to the play. In the third act, the cast were all seated around a table in a “suicide club,” drawing for a death card. According to the Los Angeles Evening Express, Holding’s death “created a grewsome [sic] and nerve-lacerating situation” for the players. In Detroit, the Majestic Theater came up with an interesting gimmick to put the film over. George Guise, who was the press representative for the theater, hooked up with Marjorie Daw, who ran the daily movie section in the Detroit Journal. The newspaper published a puzzle-drawing known as a “Kalogram,” and offered prizes for anyone who could give the name of the movie star represented by the drawing. The original is shown below: The newspaper received 1,873 replies, including solutions from Mae Marsh and Theda Bara. Some participants even enclosed color drawings of the puzzle. The solution is shown below (although it is easier to see the solution in the original):
  14. Lisa from 1962 is probably relevant. TCM has shown it.
  15. Give Fahrmann Maria a shot (it's on YouTube). This is the original version of the story, by the same director.
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