In the Musical Memory of Meena Kapoor

Guest article by Shalan Lal as Part II of the Remembrance Tribute to Meena Kapoor (c. 1930 – 23 November 2017)

(Shalan Lal wrote a comprehensive post on Meena Kapoor on her first death anniversary 23 November 2018. I didn’t know that she was planning to write a second part too. She sent me the Part II of her Remembrance Tribute a few days before 23 November 2019, but by that time I was committed to post some date-specific articles in the calendar year 2019. As such, this has spilled over in the new calendar year. But Shalan Lal has been very understanding, her only request was that I do not use the editor’s guillotine liberally.  In deference to her hard work and deep research, I have retained the entire article as it is, which gives the readers a lot of information about the films, their star cast and other related facts. She also gives a very good idea about Baburao Patel and his celebrated journal ‘Filmindia’. Thanks a lot Shalan for your exhaustive post. – AK)

“Here’s, looking at you, my listeners, from the heaven above!”

Meena Kapoor’s playback singing appeared in about eighty Hindi films. Then again, more films are discovered by the film buffs and connoisseurs as the time passes by. My efforts here are to cover them annually with ten films each year.

On 23 November 2018, i.e. her first death anniversary I wrote a tribute Part I covering the first ten films in which Meena Kapoor sang as a playback singer, films up to 1947 although I used her film song in the film Pardesi (1957) to point out that she had equal talent that Lata had during fifties and before.

In the second part I cover her ten more films until the end of the decade of the forties of the Bollywood. In this part I touch the Indian filmy culture, aka mahaul, giving information about the greatest Indian film magazine called Filmindia which created information and entertainment as the part of the Indian film-world along with some interesting information about Suraiya who was a singing actor and contemporary of Meena Kapoor.

The numbers attached to the films are the continuation of the films from the previous tribute.

11.) Aaj Ki Raat (1948)

‘Don’t do it’: Suraiya forbids Motilal from committing suicide

The film Aaj Ki Raat (1948) was made by the legendary ‘Famous Company’ with its team of DD Kashyap, Husnlal-Bhagatram and Suraiya. They made the blockbuster films Pyar Ki Jeet (1948) and Badi Bahan (1949) etc.

Following is the information about this film:

Dialogue and Lyrics: Rajendra Krishna, Music: Husnalal-Bhagatram, Photography: Surendra Pai, Audiography: PN Arora, Directed by: D. D. Kashyap, Cast: Motilal, Yaqub, Suraiya, Shah Nawaz, newly arrived Raj Mehra and Anita Sharma etc. It was released at the Minerva Theatre, Bombay, Date of Release: 23^rd January, 1948.

About Filmindia

I thought the SoY audience may like to read a specimen of the reviews of the films in the forties, fifties and sixties usually written by Baburao Patel, but occasionally by his third wife Sushila Rani Patel, KA Abbas, Karanjia and other guest writers, in the famous film magazine called ‘Filmindia’. There were no other seriously produced film journals and journalism in the thirties and forties. Filmindia was read by the elites and even the politicians of the fifties and sixties in India. Baburao published their photographs reading Filmindia in the magazine.

One of the seducing covers of the Filmindia
Artwork by the famous artist and painter SM Pandit

Right from the first issue of the Filmindia in the early thirties Baburao used the style of the Hollywood film journalism and also its presentation and publication. The front covers of the Filmindia had to be seductive and glossy and very artistically produced. He used art paper throughout the magazine. The magazines became alluringly dreamlike work and popularised the dreamy, faraway world of the Indian films.

Until Indian Independence Baburao’s lead articles were always about the film culture in India. But later on the lead articles became political. Most of them were targeted at Jawaharlal Nehru the first Prime Minister of India. At the end of the fifties he published them in a book form and titled the book ‘Burning Words’. The book, which was the first of its kind of heavy criticism of the Nehru politics, became very famous among the politicians. The present BJP’s stalwarts often use the information from the Burning Words to criticize the previous governments of Nehru and his dynasty.

The first BJP government wanted to put in the practice Baburao’s ‘Blue Print’ Plan of joining all the rivers to solve the chronic problem of drought and floods in India as it appeared in his lead article in the Filmindia. But “India Shining” the second term did not happen for the first BJP. During the Indira Gandhi’s rule Baburao Patel was elected to the Parliament for one term from a seat in the Central India and he published in the Filmindia the regular records of his activities in the Parliament. At the end of the late fifties the name of Filmindia was changed to Mother India. During the emergency he was jailed in the rough Arthur Road Prison. There he was very badly treated by the police.

The seducing covers of the Filmindia were the art-works of three Maharashtrian artists who used to do paintings and covers of the Marathi monthly magazines and the annual calendars’ 12 artworks for 12 months of the year. They were SM Pandit, Mulgaonkar and Dalal. Their past works are now collectors’ items. There was a studio for the exhibitions of the artworks of Pandit in Bandra of Bombay. I visited it in the eighties. Pandit’s art work was as seducing as the work of the Dutch artist Peter Paul Ruben and similar European artists like Titian.

The Filmindia had largest circulation in India, Ceylon, Indonesia, Hong Kong and Middle East and also competed with the glamorous magazines in the Hollywood.

Huge amount of money came to Baburao and he built an enormous Hollywood style house for himself and his guests on the Pali Hill. Baburao was the first filmy resident there when the area was just a wild growth on an empty forlorn land. Baburao’s House called ‘Girnar’ was extremely posh and he often rented it for the shooting of films. It had a vast library of all kinds of books. The house was surrounded by a botanical garden, a swimming pool and all the luxuries of a Hollywood film star. He always had visitors from the Hollywood film companies, directors and all kinds of VIPs in India.

Baburao was the first filmy person invited by the Warner Brothers to see the Hollywood at work. Such visits were followed by Mehboob and then Raj Kapoor, Nargis and Premnath etc. Dilip Kumar was also invited but he refused the invitation but later on went on his own to see America.

Indian films then were not taken seriously in India. They were not supposed to be worthy of a critical review by the famous newspapers like The Times of India, Indian Express, The Hindu etc. After the Independence the Times of India’s management went to Jain Trustees’ Organisation from the Bennet Coleman. Later on under the executive management of Girilal Jain, they created the Filmfare which copied the setup of the Filmindia for a while and employed the comic skills of IS Johar and other writers.

The Filmfare was not produced on art paper but on pulp paper and had a very cheap look. But it became popular as it started Hollywood-style annual gala festival of the Academy Award ceremony. Filmfare Awards became India’s Oscar.

Not on art-paper and not as effective as the Filmindia pictures!

After a few years they found their own style. The Filmfare had a huge backing of the Times of India Group of Journals. It started in 1952 and is still going on.

Filmindia started in 1935 and closed in 1980 after the death of Baburao. It had the capital from Baburao’s racing friend Parker. Once upon a time Baburao had many racing horses running on the race courses of Bombay and Poona.

Sushila Rani, the third wife of Baburao Patel, introduced reviews of the South Indian films as she had lived in Madras and had University degree and was well versed in both Carnatic and Hindustani music, herself being a very good singer. Her reviews of the South Indian films created great interest in the Hindi films watchers and also among the Bombay film makers. The big divide between North and South started closing.

Sushila Rani also acted in four or five films produced, written and directed by Baburao Patel in the early forties. She sang her own songs and they were lovely but did not make much impact on the film goers due to the ultra-publicity of the singing of Noorjehan, Shamshad Begum and Suraiya etc. Lata Mangeshkar did not attract much notice during the early period of the forties.

Here is in the typical style of Baburao – blatant, brash, uncouth, smutty and coarse. Baburao’s justification was complex and blunt and loutish as well. “These kinds of words and sentences bring attentions of the readers and make them watch the films again and again!” Baburao’s reviews were one of the popular features of his magazine. He became popular with the use of his literary English. People would say if you want to speak and use English language you must read Filmindia. (Baburao Patel’s English, and his ‘Filmindia’ need to be seen in perspective. His acerbic style, his venom and vitriol were not always literary irreverence, but often personal, targeted and without reason. In several issues I was surprised by his personal diatribe against V Shantaram – AK)

Review of the film Aaj Ki Raat (1948) in Filmindia

The Famous Pictures seem to be going up gradually in popularity and if the huge crowds at the Minerva are any indication of public approval, Aaj Ki Raat must be accepted as not only a very popular entertainment but quite an impressive picture technically.

The most striking feature of this picture is its unusually pleasant photography which has given in almost a new personality to Suraiya, one of our ugly ducklings of the screen. Even her usually silly eyes look less silly and her indistinct nostrils look less repulsive, that is definitely a point scored by Cameraman Surendra Pai and the pleasant impression thus created by this girl helps her to put over a couple of popular songs very effectively.

There is nothing very unusual in the plot but it contains quite a few sequences which are treated in an original manner.

Motilal wants to shoot himself having arrived at the end of his financial resources. Suraiya stops him from doing so and incidentally puts him on a slow-killing course –“Love”. Suraiya is a school teacher. Her father is a drunkard. Her earnings help to purchase drinks for him. Raj Mehra, a trustee of the school, where Suraiya works, has a benevolent and affectionate eye on the young teacher.

Motilal’s and Suraiya’s love soon finds an official excuse and Suraiya becomes Motilal’s secretary. Love marches on blindly towards an engagement date when Anita Sharma turns up with a child and we are introduced to her as Motilal’s wife.

Now love gets its proverbial tears and Suraiya puts them in a couple of tearful songs. The climax is soon hitched on to the serious illness of Motilal’s little son who brings Motilal back into the traditional home while Raj Mehra, who at one time looked like a probable ex-convict, becomes a good Samaritan and gives a foreign study ticket to Suraiya who boards a T.W.A. plane. Love thus ends in a practical manner instead of the usual “Laila-Majnu” tragedy.

Most of the songs in the film were dominated by the Suraiya’s “Nightingale notes”. However Meena Kapoor got two solo songs ’Kya jaane amiri jo garibi ka maza hai’ and ‘Chhoti si kahani zindagi ki’, which became as famous as those of the songs of Suraiya.

1. Chhoti di kahani zindagi ki by Meena Kapoor from Aaj Ki Raat (1948), lyrics Rajendra Krishna, music Husnlal-Bhagatram

12.) Dukhiyari (1948)

The film Dukhiyari was made by Jivan Jyot Kala Mandir, Bombay. It was directed by DK Ratan, music by Gyan Dutt and lyrics by FM Kaisar. The film had powerful cast comprising Surendra, Trilok Kapoor, Chandra Mohan, Majnu, Meena (later on Shorey), Cuckoo, Bhudo Adwani etc.

Trilok Kapoor was the step brother of Prithviraj Kapoor; both started in the New Theatres. He was as handsome as Prithviraj but did not get much publicity until he acted as a hero in that eternal Punjabi folk tale version in 1947 ‘Mirza Sahiban’ against Noor Jehan. The film’s songs and Trilok Kapoor shot up in the tinsel town’s golden dust. Surendra was already famous in many films since he acted in Mehboob’s ‘Aurat’ (1940), the first version of the Mother India. He was the nice son of Sardar Akhtar acting as the ‘Aurat’ who in real life was the wife of Mehboob Khan. Yaqub was the revengeful son and showed his acting talents.

It looks Raj Kapoor’s next door uncle Trilok Kapoor is kept well away from the Kapoor Khandan photos and functions.

From this film onward to the end of forties Surendra was top in his career. Surendra was a lawyer before he entered into the filmdom.

Chandramohan was a pinnacle hero in the Prabhat Films Company. He acted as Dushyant against Jaiyshree‘s ‘Shakuntala’ (1943), the first film of Rajkamal Kalamandir, Bombay, which V Shantaram had set up after he split from Prabhat. Chandramohan’s last film was Shaheed (1948) as the heart broken father of a revolutionary, acted by Dilip Kumar.

Meena was ’Khurshid Jehan’ and her first film was ‘Sikandar’ (1941). Soharb Modi gave her film name ‘Meena’ (later, Shorey). She acted in many films until Roop K Shorey put her as a heroine against Motilal in his film ‘Ek Thi Ladki’ and she lip-synced the song composed by music director Vinod, ‘Lara lappa lara lappa laayi rakhda’ that became India’s Rock ‘n’ Roll in the aisles of the cinema houses in India and Pakistan. Then she became “Lara Lappa” girl in comedy films.

But in Dukhiyari she was still one of the old fashioned heroines of the Hindi films and lip-synced two songs sung by Meena Kapoor:

1) Bole bole, baagon mein koyaliya bole, and 2) Mera dil jhoom raha hai”.

The film had a total of 12 songs composed by Gyan Dutt. The male songs were sung by Surendra, Durrani, and other female songs by Zohrabai Ambalewali, Sulochana Kadam and a bhajan by Lata Mangeshkar.

This shows that Meena Kapoor’s star was rising upward in the playback singing.

2. Mera dil jhool raha hai by Meena Kapoor from Dukhiyari (1948), lyrics Farooq Kaiser, music Gyan Dutt

13) Nai Reet (1948)

The film Nai Reet was made by the India Films Corporation with the direction by SK Oza and music by SK Pal. The lyricists were Ratan ‘Kumar’ Gupta + Bal Krishna ‘Gupta’.

The cast consisted of Krishnakant, Badri Prasad, Sulochana Chatterjee, Leela Mishra, Tiwari, Geeta Bali, and Chandabai who always acted as a bad woman or a comic character.

Meena Kapoor was the lead singer in this film, singing seven solos out of eight songs. In the eighth song which was a chorus, she lent her voice with Samshaad Begum. (HFGK mentions only Shamshad Begum’s voice in the chorus. – AK)

3. Do baat na ki chale gaye by Meena Kapoor from Nai Reet (1948), lyrics Kumar-Gupta, music SK Pal

14) Pyar Ki Jeet (1948)

 

 

 

 

 

By the time film ‘Pyar Ki Jeet’ was made, Suraiya achieved the stature of a glamorous star as any Hollywood Belle of the period. The filmy crowds of fans and lovers of Suraiya camped outside her Krishna Mahal residence, and kept day and night vigil for a glimpse of the ‘First Lady’ of the Indian films of the period. Never before scenes like this had happened in Bollywood. Some very enthusiastic lovers from the Punjab of Pakistan brought along their baaraat hoping to induce Suraiya to marry one of the star stuck Majnus.

At this time she was loved for her singing and acting. Her records sold like the hot pakodas or bhajias, a typical street food of the City of Bombay and the blue Krishna Mahal shone on the Marine Drive like a Mughal Palace in the setting sun in the Arabian Sea. She became a top earner and her films were the highest money grossers. She spent her money on buying jewelleries and posh flats in Bombay, decorated them to the taste of the Emirs of the Middle East and sold them.

The top actors were vying to act opposite Suraiya. The music was now by the top-notch composers like the duo Husnalal-Bhagaram, and the lyric writers, best in their business, Rajendra Krishna and Qamar Jalalabadi.

The film celebrated its silver jubilee in Bombay and its suburbs. Husnalal-Bhagatram chose Meena Kapoor to sing along in two chorus songs with ‘Punjab Di Koyal’ Surinder Kaur and Suraiya herself. The experience must have been much exhilarating and giddy for her and on the top only one song to Rafi which became ever green heart burning song ‘Ek dil ke tukade hazaar huye’. What more Meena Kapoor could have asked from life at this time? (With due respect to Shalan Lal, Meena Kapoor hyperbole, and comparison with Rafi in the context of ‘Pyar Ki Jeet’ is misplaced. The film is remembered for Suraiya’s everlasting songs. Rafi’s solo was a major hit. Meena Kapoor’s voice in ‘Pyar Ki Jeet’ has to be discovered through research. –AK)

4. Kabhi panghat pe aa ja, mere sapnon ke Raja by Suraiya, Meena Kapoor and Surinder Kaur from Pyar Ki Jeet (1948), lyrics Rajendra Krishna, music Husnlal-Bhagatram

15) Phool Aur Kaaten (1948)

 

 

 

 

 

This film was made by the Navyug Chitrapat, Bombay. This had a Maharastrian cast and crew. It has famous Lalita Pawar as the heroine who later on in many films became a character actor, especially from the RK Films Shri 420’s ‘Kelewali Dilwali’ onwards. She was also the famous ‘Daadi Ma’. And in the film ‘Professor’ she falls in love with that wily Shammi Kapoor who pretends to be an old Professor in the chase of a girl he loves.

In her youth from the silent films to her old age retirement she played many characters. She starred in the stunt films genre and could ride on a horse very fast – the original “Daredevil” before Fearless Nadia came on the scene. Her role of Daai Ma cannot be forgotten in the film ‘Kohra’ (1964), a version of Daphne Du Maurer’s ‘Rebecca’ (1940), directed by Alfred Hitchcock. The film music of Kohra by Hemant Kumar was the Himalayan peak of the filmy music of the Indian films in the sixties. I wonder if she won any awards. If not she should be posthumously given Dadasaheb Phalke Award!

The music of Phool Aur Kaanten was given by Dadasaheb Chaandekar. It was directed by Achyut Ranade and lyrics were written by Vishvamitra Adil who became famous for the lyrics in the film Hum Log (1951) along with Udhav.

I wonder if the film ‘Phool Aur Kaante’ was a Hindi version of a Marathi film. There is not much information in the usual sources.

The film had twelve songs and Meena Kapoor got five solid solo songs. I found a lyric of one song. I quote a verse for the enjoyment of the SoY members.

इक तीर जिगर पे खा कर हम -२
न इधर के रहे न उधर के रहे -२
सीने में आग लगा कर हम
न इधर के रहे न उधर के रहे -२

This could be the song of life for Meena Kapoor as she poured her heart in it. Many of the songs are available on the records or videos.

I wonder why Lata Mangeshkar did not sing any songs in the film; only Arunkumar Deshmukh will be able to throw light on the mystery. Marathi films were Lata’s real home before she grew up a giant playback singer of the Hindi films.

5. Ek teer jigar pe kha kar hum na idhar ke rahe no udhar ke rahe by Meena Kapoor from Phool Aur Kaanten (1948), lyrics Vishwamitra Adil, music Dada Chaandekar

16) Raees (1948)

 

Shanta Kunwar

There is not much information available at present. From the name Raees, the theme could be Amiri-Garibi and its tortuous effects on the hero and heroine The film was made by Ballet Pictures, Bombay.

The director of the film was Qaisar Sabaai. He was also the lyric writer of the film. The music director was Manohar Arora. The film had seven songs of which Meena Kapoor got three songs. They are a solo, a chorus and a duet with Krishna Goyal. The other singers of the film are Amirbai Karnataki, Shamshad Begum, Zohrabai Ambalewali and Shanti Sharma.

Meena Kapoor’s solo song Gham sahna hai, lab seena hai became very popular.

6. Gham sahna hai, lab seena hai, aur chupke chupke rona hai by Meena Kapoor from Raees (1948), lyrics Qaiser Sabaai, music Manohar Arora

17) Kuchh Naya (1948)

This film was made by the Shanti Pictures, Bombay. It was directed by Neenu Majumdar, who also gave its music. Its cast included Ramesh Arora, Sudha Rao, Ramesh Sinha, Purnima Chaudhari, RS Dube etc. None was much known. Purnima became popular later on. The film had nine songs. Its lyricist is not identified in HFGK.

Meena Kapoor had three out of ten songs: two solos and a duet with Neenu Majumadar.

7. Ghadi ek nahi jaaye re tum darsan bin moye by Meena Kapoor from Kuchh Naya (1948), music Neenu Majumdar

18) Lakhpati (1948)

This film was made by the Film Chitra Corporation, Bombay. It was directed by Ravindra Jaikar, its music was given by Husnalal-Bhagatram and lyrics were by Qamar Jalalabaadi. Its cast was Sulochana Chatterjee, Sapru, Rajan, Om Prakash, Baby Tabasum, Leela Chitnis etc.

The film had massive eleven songs, sung by Mohantara, Meena Kapoor and RP Sharma. Meena Kapoor got seven songs: good five solos, a duet with RP Sharma and a chorus. It seems that the duo Husnalal-Bhagatram at this juncture gave preference to Meena Kapoor over Lata Mangeshkar. (With respect, the comparison with Lata Mangeshkar seems to be misplaced here. In 1948 she was still being ‘discovered’ by the music directors. Husnlal-Bhagatram’s big discovery happened in ‘Badi Bahan’ (1949) – AK)

8. Kisko haal sunaaun tum rooth gaye Giridhari by Meena Kapoor from Lakhpati (1948), lyrics Qamar Jalalabadi, music Husnlal-Bhagatram

 

A very appreciative gaze at Meena Kapoor from Talat, approved by Geeta Roy

19) Rangeen Zamana (1948)

This film was made by Bhavnani Productions and directed by M Bhavanani who was a famous filmmaker from thirties to sixties. Its music was composed by Govind Ram and lyrics were written by Pandit Fani. This film was also known as Ajit. Its cast was Monika Desai, Premnath, Yashodhara Katju, Gope, Naympalli, Badri Prasad, and Ram Kamlani.

Here is a picture of Yshodhara Katju and Gope in a comic scene in the film.

I enjoyed the comic role of Yashodhara Katju. Who was Yashodhara Katju? She came from the celebrated family of Katjus from Kashmir and was famously a niece of Pundit Jawaharlal Nehru. She was educated in Lucknow and learned dancing. The high upper middle class Brahmin family of Katjus allowed her madness to go in the ill-reputed Film Industry and act. Apart from getting comic roles she did not rise to become a recognized heroine. But her comic stances and turns had a very homely touch and she became popular towards the end of forties and just at the beginning of the fifties.

This film had nine songs. Meena Kapoor had a part in the chorus song, ‘Nain mile jab naino se tab poochho na kya ho jaaye’. HFGK mentions her name as “Miss Kapoor”. Other songs are sung by Shamshad Begum, Zohrabai, Rajkumari, and a male singer Ram Kamlani, who was the brother of Gope.

Let me tell something about M Bhavnani, the producer director of Rangeen Zamana. He was born in 1903 in Hyderabad, Sind, in the British India (now in Pakistan). His full name was Mohan Dayaram Bhavnani. He was a friend of my grandfather.

His first film was during the silent era: Veer Bala in 1925. He went on to produce 21 silent films. Among them two were documentary. One was called Mysore a Gem City (1929) and the other was on the village Kheda in the same year.

When films started talking and singing, he went on to produce and direct forty films. Among them was ‘Navjeevan’ (1935) which was written by the famous writer Munshi Premchand and the music director was assisted by Hansraj Behl. Among the films produced and directed by him was ‘Rangbhhoomi’ (1946). Its music was given by by one Premnath. One song from this film, ‘Aankh mein aansoo, lab par aahein’ sung by Shamshad Begum became very popular.

Mohan Dayaram Bhavanani died in 1962. He was very much respected by most of the artists at his time for his direction and production skills.

20) Parwana (1947)

This film is added to my list recently because I found it very late arrival in my research work.

I think this film I put as a Joker in the pack of the films of Meena Kapoor-songs highlighting how Internet Journalism in competition with other blogs rush to make mistakes. In the song list given by Cineplot, there is a duet by Rajkumari and Meena Kapoor in the film Parwana (1947) – Zara lachka ke…Biyahi mori Rani havldar ke sang – lyrics by DN Madhok, music Anil Biswas. HFGK does not mention any song by Meena Kapoor, and the music director of the film is Khursheed Anwar. I think Cineplot has made a terrible mistake. (As there is now a lot of information available on the Internet about this song, the further information about this song has been rewritten by me. – AK)

AK adds:

I too initially dismissed this as a big blunder. However, I was surprised to see the video of this song, credited to the film ‘Parwana’ (1947). I found some more references on the Internet. This also figures on Atul Song A Day, in which in the comments section, after back and forth discussion with clarification from the family members of Khursheed Anwar, it is confirmed that ‘Biyahi mori Rani havaldar ke sang’ was sung by Rajkumari and Meena Kapoor, and for this one song Khursheed Anwar had requested Anil Biswas to complete the music. Readers may recall that a ‘new’ KL Saigal gem too from this film, not mentioned in the HFGK, has been discovered thanks to the Internet.

9. Biyahi mori Rani havildar ke sang by Rajkumari and Meena Kapoor from Parwana (1947), lyrics DN Madhok, music Anil Biswas (?)/Khursheed Anwar

In the Part II Meena Kapoor sang a total of 36 songs.

Following were the Music Directors of the part II: 1) Husnlal-Bhagaram thrice, 2) Gyan Dutt, 3) SK Pal, 4) Dadasaheb Chaandekar, 5) Mohan Arora, 6) Neenu Majumdar, 7) Govind Ram, 8) Khurshid Anwar/ Anil Biswas?

Part I: 28 Songs + Part II: 36 Songs Total; 64 songs

Here ends the Part II of the post “In the Musical Memory of Meena Kapoor”

Acknowledgement and Disclaimer

The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs, which rests with respective owners such as Saregama India Limited and others.