Category Archives: classic film star

“Sweet Bird Of Youth – Paul Newman and Geraldine Page (TRAILER)” 

“Sweet Bird Of Youth – Paul Newman and Geraldine Page (TRAILER)” 

Sweet Bird of Youth is a 1959 play by Tennessee Williams which tells the story of a gigolo and drifter, Chance Wayne, who returns to his home town as the companion of a faded movie star, Alexandra Del Lago (travelling incognito as Princess Kosmonopolis), whom he hopes to use to help him break into the movies. The main reason for his homecoming is to get back what he had in his youth: primarily, his old girlfriend, whose father had run him out of town years before. The play was written for Tallulah Bankhead good friend of Tennessee.


Drifter Chance Wayne returns to his hometown after many years of trying to make it in the movies. Arriving with him is a faded film star he picked up along the way, Alexandra Del Lago. While trying to get her help to make a screen test, he also finds the time to meet his former girlfriend Heavenly, the daughter of the local politician Tom ‘Boss’ Finley, who more or less forced him to leave the town many years ago. —Mattias ThuressonSelf-professed to be from the wrong side of the tracks from St. Cloud, Florida, Chance Wayne loves Heavenly Finley, the daughter of wealthy ‘Boss’ Thomas J. Finley, a corrupt and ruthless politician who rules the town. Thomas does whatever he needs to to break the two up, and manages to run Chance out of town. An aspiring actor, Chance rolls back into St. Cloud with temperamental and drunken Alexandra Del Lago, a once great movie actress whose star has since faded. Picking her up at a party, Chance sees Alexandra as his professional meal ticket. Chance is back in St. Cloud to try and get back together with Heavenly, who still loves Chance but will not cross her powerful father if only to save Chance. Boss wants to run Chance out of town again, but it will be a little more difficult this time if only because of the notoriety of Miss Del Lago. The fortunes of all involved may hinge on some secret information concerning Chance and Heavenly. —Huggo



 “The Locket (1946)” starring Lorraine Day and Robert Mitchum

  1. Directed by John Brahm
    Produced by Bert Granet
    Written by Sheridan Gibney
    Starring Laraine Day
    Brian Aherne
    Robert Mitchum
    Gene Raymond
    Music by Roy Webb
    Cinematography Nicholas Musuraca
    Edited by J.R. Whittredge
    Distributed by RKO Pictures
    Release dates
    December 20, 1946[1]
    Running time
    85 minutes
    Country United States
    Language English
    Box office $1,750,000 (US)[2]

The Locket is a 1946 film noir directed by John Brahm, starring Laraine Day, Brian Aherne, Robert Mitchum, and Gene Raymond, and released by RKO Pictures. The film is based on a screenplay by Sheridan Gibney, adapted from “What Nancy Wanted” by Norma Barzman, wife of later-blacklisted writer Ben Barzman.[3] It is noted for its complex use of layered flashbacks (flashbacks within flashbacks) to give psychological depth to the narrative.

A story told in a number of flashbacks from different points of view, this psychological drama tells the story of a bride-to-be (Day) who, as a child, was falsely accused of theft. She grows up to become a kleptomaniac, inveterate liar, and eventually a murderess.

Apparently, all her misdeeds are an attempt by the woman to get her revenge on the world that has falsely accused her of stealing as a child by ruining people’s lives. After splitting up with an artist (Mitchum), and her psychiatrist husband (Aherne), she becomes engaged to the son (Raymond) of the woman who had accused her of thievery. Back in the present day, at her wedding, the young woman collapses physically and mentally as she walks to the altar.

Laraine Day as Nancy Monks Blair Patton
Brian Aherne as Dr. Harry Blair
Robert Mitchum as Norman Clyde
Gene Raymond as John Willis
Sharyn Moffett as Nancy, age 10
Ricardo Cortez as Drew Bonner
Katherine Emery as Mrs. Willis
Helene Thimig as Mrs. Monks
Reginald Denny as Mr. Wendell
Nella Walker as Mrs. Wendell
Henry Stephenson as Lord Wyndham
Lillian Fontaine as Lady Wyndham
Martha Hyer (guest at reception for bride-to-be, uncredited)
Ellen Corby (kitchen cook, uncredited)


Posted by on September 25, 2017 in classic film star, classic movies



 “I Want to Live! Official Trailer #1 – Susan Hayward Movie (1958) HD” 

​Directed by Robert Wise

Produced by Walter Wanger

Screenplay by Nelson Gidding

Don Mankiewicz

Based on Newspaper articles and letters

by Edward S. Montgomery

Barbara Graham

Starring Susan Hayward

Simon Oakland

Virginia Vincent

Theodore Bikel

Music by Johnny Mandel

Cinematography Lionel Lindon

Edited by William Hornbeck




Distributed by United Artists

Release date

November 18, 1958 (United States)

Running time

120 minutes

Country United States

Language English

Budget $1,383,578[1]

Box office $5,641,711[1]

I Want to Live! is a 1958 film noir written by Nelson Gidding and Don Mankiewicz, produced by Walter Wanger, and directed by Robert Wise, which tells the story of a woman, Barbara Graham, a habitual criminal convicted of murder and facing execution. It stars Susan Hayward as Graham, and also features Simon Oakland, Stafford Repp, and Theodore Bikel. The movie was adapted from letters written by Graham and newspaper articles written by Pulitzer Prize-winning journalist Ed Montgomery. It presents a somewhat fictionalized version of the case showing a possibility of innocence concerning Graham. Today, the charge would be known as felony murder.
The film earned six Oscar nominations, with Hayward winning a Best Actress Oscar at the 31st Academy Awards.

The film tells the story of the life and execution of Barbara Graham (Hayward), a prostitute and convicted perjurer. Graham is the product of a broken home, and works luring men into fixed card games. At one point, she attempts to go straight but marries the “wrong man,” and has a child. He is a drug addict and she ends their relationship.

When her life falls apart, she returns to her former professions and becomes involved with a man who had murdered a woman. The police arrest them, and her companions accuse her of the murder to reduce their own chances of going to the gas chamber. She claims her innocence, but is convicted and executed.



“The Snows of Kilimanjaro – Trailer” 

“The Snows of Kilimanjaro – Trailer” 

Featured scene: Gregory Peck and Ava Gardner meet

The Snows of Kilimanjaro is a 1952 American Technicolor film based on the filmversion of the short story was directed by Henry King, written by Casey Robinson, and starred Gregory Peck as Harry, Susan Haywardas Helen, and Ava Gardner as Cynthia Green (a character invented for the film). The film’s ending does not mirror the book’s ending.[3]


The film begins with the opening words of Hemingway’s story: “Kilimanjaro is a snow-covered mountain 19,710 feet high, and is said to be the highest mountain in Africa. Its western summit is called the Masai ‘Ngje Ngi,’ the House of God. Close to the western summit there is the dried and frozen carcass of a leopard. No one has explained what the leopard was seeking at that altitude.”[3]

The story centers on the memories of disillusioned writer Harry Street (Gregory Peck) who is on safari in Africa. He has a severely infected wound from a thorn prick, and lies outside his tent awaiting a slow death, though in the film it is pointed out he may have acquired the infection from leaping into a muddy river to rescue one of the safari‘s porters from a hippo after he falls in the river. His female companion Helen (Susan Hayward) nurses Harry and hunts game for the larder.

The loss of mobility brings self-reflection. In an often delirious state he remembers his past relationship with Cynthia (Ava Gardner) who he met in Paris as members of the “Lost Generation“. Upon the sale of Harry’s first novel, rather than rent a nicer home, Harry wishes to go on safari to Africa. There he has his happiest moments; Harry bags a rhino whilst Cynthia becomes pregnant. Upon their return to Paris, Cynthia’s love for Harry and her desire not to impede the excitement-addicted Harry’s travels as a successful journalist and author lead her to bring about a miscarriage so their child won’t slow down Harry’s career. Suffering depression and sinking into alcoholism. she eventually leaves Harry for a flamenco dancer when she believes Harry is off for a job as a war correspondent.

Harry later becomes engaged to the wealthy and socially connected Countess Elizabeth (Hildegard Knef) who he meets on the Cote d’Azur; however he still remains loyal to the memory of Cynthia. On the eve of their wedding a drunken Elizabeth confronts Harry with a letter to Harry sent from Cynthia now in Madrid. Elizabeth destroys the letter in front of Harry who stalks off to go to Spain. Unable to find Cynthia at the Madrid address on the envelope, he enlists to fight in the Spanish Civil War. During a battle he meets Cynthia who is now an ambulance driver. Cynthia is mortally wounded and Harry is shot and wounded when he deserts the battle to try and bring the dying Cynthia to a doctor.

Peck recalls his memories from what he thinks is his deathbed in Africa

After the death of his beloved mentor Uncle Bill (Leo G. Carroll), Harry receives as a bequest a letter from his uncle that gives him the riddle of the leopard. Harry’s bartender suggests that the leopard ended up there as he was on a false scent and became lost, but Harry takes Helen on a safari to Kenya to learn the answer of the riddle. He is injured and develops an infection. As Harry nears death, the protective Helen fights off a witch doctor

 and by reading an emergency first aid manual, opens Harry’s wound to release the infection. At the dawn a medical party arrives by airplane. The vultures and hyena who have been awaiting Harry’s death leave and never return. Harry realises his love for Helen.


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“Mutiny on the Bounty  Movie Clip Half Rations” 

Mutiny on the Bounty is a 1962 American Technicolor epic historical drama film starring Marlon Brando, Trevor Howard and Richard Harris, based on the novel Mutiny on the Bountyby Charles Nordhoff and James Norman Hall.

The film retells the 1789 real-life mutinyaboard HMAV Bounty led by Fletcher Christian against the ship’s captain, William Bligh. It is the second American film to be made from the novel, the first being Mutiny on the Bounty (1935). It was directed by Lewis Milestone, who replaced Carol Reed early in the production schedule, and it turned out to be Milestone’s final film.

The screenplay was written by Charles Lederer (with uncredited input from Eric Ambler, William L. Driscoll, Borden Chase, John Gay and Ben Hecht).[2] The score was composed by Bronisław Kaper.

Mutiny on the Bounty was filmed in the Ultra Panavision 70 widescreen process, the first motion picture so credited. It was partly shot on location in the South Pacific. Behind the scenes, Marlon Brando effectively took over directing duties himself and caused it to become far behind schedule and over budget — resulting in director Carol Reed pulling out of the project and being replaced by Lewis Milestone who is credited as director of the picture. The film was heavily panned, and was considered a box office bomb, having lost over $6 million.

A replica of the Bounty was constructed for the film. Fifty years after the release of the film, the vessel sank in Hurricane Sandy with loss of life.


In the year 1787, the Bounty sets sail from Britain for Tahiti under the command of captain William Bligh (Trevor Howard). Her mission is to transport breadfruit to Jamaica, where hopefully it will thrive and provide a cheap source of food for the slaves.

The voyage gets off to a difficult start with the discovery that some cheese is missing. Bligh, the true pilferer, is accused of the theft by seaman John Mills (Richard Harris), and Bligh has Mills brutally flogged for showing contempt to his superior officer, to the disgust of his patrician second-in-command, 1st Lieutenant Fletcher Christian (Marlon Brando). The tone for the months to come is summarized by Bligh’s ominous pronouncement that “cruelty with a purpose is not cruelty, it is efficiency.” Aristocrat Christian is deeply offended by his ambitious captain.

Bligh attempts to reach Tahiti sooner by attempting the shorter westbound route around Cape Horn, a navigational nightmare. The strategy fails and the Bounty backtracks east, costing the mission much time. Singleminded Bligh attempts to make up the lost time by pushing the crew harder and cutting their rations.

When the Bounty reaches her destination, the crew revels in the easygoing life of the tropical paradise — and in the free-love philosophies of the Tahitian women. Christian himself is smitten with Maimiti (Tarita Teriipaia), daughter of the Tahitian king. Bligh’s agitation is further fueled by a dormancy period of the breadfruit: more months of delay until the plants can be transplanted. As departure day nears, three men, including seaman Mills, attempt to desert but are caught by Christian and clapped in irons by Bligh.

On the return voyage, Bligh attempts to bring back twice the number of breadfruit plants to atone for his tardiness, and must reduce the water rations of the crew to water the extra plants. One member of the crew falls from the rigging to his death while attempting to retrieve the drinking ladle. Another assaults Bligh over conditions on the ship and is fatally keelhauled. Mills taunts Christian after each death, trying to egg him on to challenge Bligh. When a crewman becomes gravely ill from drinking seawater, Christian attempts to give him fresh water in violation of the Captain’s orders. Bligh strikes Christian when he ignores his second order to stop. In response, Christian strikes Bligh. Bligh informs Christian that he will hang for his action when they reach port. With nothing left to lose, Christian takes command of the ship and sets Bligh and the loyalist members of the crew adrift in the longboat with navigational equipment, telling them to make for a local island. Bligh decides instead to cross much of the Pacific in order to reach British authorities sooner and arrives back in Britain with remarkable speed.

The military court exonerates Bligh of misdeed and recommends an expedition to arrest the mutineers and put them on trial, but also comes to the conclusion that the appointment of Bligh as captain of The Bounty was wrong. In the meantime, Christian sails back to Tahiti to pick up supplies and the girlfriends of the crew, then on to remote and wrongly charted Pitcairn Island to hide from the wrath of the Royal Navy. Once on Pitcairn, Christian decides that it is their duty to return to Britain and testify to Bligh’s wrongdoing and asks his men to sail with him. To prevent this possibility the men set the ship on fire and Christian is fatally burned while trying to save it. (In real life, Christian made the decision to set the ship on fire and died years later of another cause).



“Hollywood’s Nostalgic Stars that Stepped into the LOONEY TUNE [Toons] Scene”

“Hollywood’s Nostalgic Stars that Stepped into the LOONEY TUNE [Toons] Scene”

Featured image: james cagney, humphrey bogart… (platinum-collection-volume-two) lorre

Hollywood Steps Out is a 1941 short Merrie Melodies cartoon by Warner Bros., directed by Tex Avery. The cartoon features caricatures by Ben Shenkman of Hollywood celebrities from the 1930s and early 1940s, including Cary Grant, Clark Gable, Wallace Beery, Bing Crosby, Greta Garbo, and Groucho Marx.

A large bird’s-eye view of Los Angeles is shown with searchlights moving to a conga beat. The action takes place in the famed Ciro’s nightclub, where the Hollywood stars are having dinner — at $50 ($814.14 today) a plate and “easy terms”. The first stars seen are Claudette Colbert, Don Ameche, and, at a table behind them, Adolphe Menjouand Norma Shearer, followed by Cary Grant, seated alone. Grant talks to himself: “What a place! What a place! It’s as pretty as a picture. But if I ever told my favorite wife the awful truth I’d land right on the front page. Yessireee Bobby.” (All these jokes are references to some of his films, although The Front Page was retitled His Girl Friday after it was mostly completed.)

Then Greta Garbo comes along selling “cigars, cigarettes, butts.” Grant buys some, tossing a quarter ($4.07 today) into her tray and asks her for a light. She lifts her enormous foot on the table and strikes a match on her shoe, then lights his cigarette. (In real life she had an average women’s shoe size 8, but her penchant for wearing mannish footwear in public and house slippers on film sets led to a popular myth of her possessing very large feet, and this was caricatured repeatedly in Warner Brothers cartoons of the era.)

In the next scene Edward G. Robinsonasks Ann Sheridan, “How’s the Oomph girl tonight?” She responds by uttering the word “Oomph” several times. Her final “Oomph” surprises him. (She was a sex symbol known as the “Oomph” girl in those years.)

The camera then tracks past some tables: the first one has Henry Binder and Leon Schlesinger sitting there as an in-joke, while the soundtrack quotes “Merrily We Roll Along” — the theme to the Merrie Melodies series. (Schlesinger was producer for the Looney Tunescartoons and Binder was his assistant.) The camera shows some other tables which are reserved for people: Bette Davis, a large sofa for Kate Smith (a well known singer at the time, noted for her ample girth), and the last table is reserved for comic strip (and movie and radio) characters: Blondie, Dagwood, and Baby Dumpling, with a fire hydrantfor Daisy the dog.

Meanwhile, in the cloakroom Johnny Weissmuller has arrived. He leaves his overcoat behind to reveal his Tarzanoutfit, with the single addition of tuxedo collar and black tie. Sally Rand (famous for her striptease acts and fan dance), leaves her trademark feather “fans” behind and leaves presumably naked, as only her hands are seen and not her entire torso.

In the next scene James Cagneyinforms Humphrey Bogart and George Raft that they must prepare to do something risky. They, all known for their “tough guy” roles, get ready, turn, and start pitching pennies. Harpo Marx, usually the prankster in the Marx Brothers films, sticks some matches under Garbo’s foot, then lights them. She reacts very slowly and coolly to the pain, a parallel to her serene and cool acting style by slowly saying, “Ouuchhh.” Then Clark Gable spots a girl, whom he follows with his head turning around 180 degrees (He was known for his womanizing).

After this, Bing Crosby announces the first act that evening. During his speech he is interrupted by a jockey on a race horse (a reference to his fondness for horse racing — he owned several race horses — and his lack of luck in that sport. Jokes about his horse racing passion would be referred to in other Warner Brothers cartoons as well, such as Porky’s Preview and The Old Grey Hare). He then introduces the first musical number by conductor Leopold Stokowski. Stokowski, seen with a snood containing his long hair, prepares himself dramatically and seriously to conducting what looks to be a classical orchestral arrangement. However, it’s the conga “Ahí, viene la conga” that he conducts, moving rhythmically to the beat as he does so.

The beat “does something” to Dorothy Lamour, who is seen sitting at a table with James Stewart. She begs him to go dancing with her. He starts stuttering and hesitating, but in the end agrees to follow her to the dance floor. (He was known for his “shy guy” type roles.) When she stands up, revealing her outfit to be a very short sarong and moves her body to the beat, he gets scared and runs away, leaving a sign reading “Mr. Smith Goes to Washington,” the title of one of his best-known films at that time.

The next shot shows Gable again, moving to the beat and at the same time following the girl he saw earlier.

Tyrone Power dances with Sonja Henie, known for her ice-skating movies, who is still wearing her ice skates. Frankenstein’s monster is dancing very stiffly and woodenly. The Three Stoogespoke and smash each other in rhythm to the beat, a reference to their famous “poke in the eye” slapstick films. Oliver Hardy dances with someone as well and is shown from the back. When he turns his face to the camera he is revealed to be dancing with two girls at the same time; a double reference to his “ladies man” routine within the Laurel and Hardyseries and also to his obesity. Cesar Romero, known for his roles as a Latin lover, dances with Rita Hayworth in another send-up or tease. They are shown in the long shot to be dancing clumsily with almost no coordination. In reality, they were considered to be two of Hollywood’s finest dancers.

The camera then cuts to Mickey Rooneyand Judy Garland sitting at a table. The waiter brings an expensive bill, which shocks Rooney. He asks his “father”, Judge Hardy (Lewis Stone), for a favor. In the next scene they are seen washing the dishes to the conga beat. This is a reference to the Andy Hardy film series in which Rooney played the small town boy who always got into trouble with money and girls. Stone played his father, Judge Hardy; Garland played his girlfriend.

Gable is shown still following the girl, giving an aside to the audience: “Don’t go away folks, this oughta be good!” Crosby then introduces the final act, the “feature attraction of the evening.” Sally Rand (identified as “Sally Strand”) performs the bubble dance to “I’m Forever Blowing Bubbles” in her birthday suit, which is never seen, although areas of her torso are revealed. She is shown standing with a large bright white bubble (it is never revealed how she got one like that, let alone whether she brought it in, or if it’s a night club prop she borrowed) held in front of her nude body center stage in a dim place, with a bright light shining on her to signal the start of the dance. Instead of throwing the bubble around and doing spins and twists like she does in another short, she performs the dance by walking around the stage and manipulating the bubble in front of her nude body.

William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith

During the bubble dance, several celebrities in the audience react to the dance in different ways. Kay Kyser (a well-known band leader at the time, nicknamed “The Professor” because he and his band were featured on radio’s “The Kollege Of Musical Knowledge”) is shown dressed in his “Professor” square academic cap. He is excited by the act and shouts out, “Students!”, which was his catchphrase on the radio show: Whenever a contestant missed an answer, he called out to his audience for the correct answer. A group of men look, whistle in unison, and exclaim, “Baby!” They are William Powell, Spencer Tracy, Ronald Colman, and Errol Flynn. Sitting down are Wallace Beery and C. Aubrey Smith. Peter Lorre, known for his portrayal of sinister and weird characters, says dreamily, “I haven’t seen such a beautiful bubble since I was a child.” This is a possible reference to his breakthrough film role in Europe, a movie titled “M”, in which he played a murderous child molester. Henry Fondaenjoys the act too, but is pulled away by his mother. This is a reference to the popular radio show The Aldrich Familywhich always opened with the cry: “Hen-RYYYYY! Henry Aldrich!” by the mother of the teenage title character, Henry Aldrich, who always replied, “Coming, Mother!” (Fonda replies in the voice of Jimmy Lydon, who played Henry.) J. Edgar Hoover says “Gee!” several times as a pun to his function as G-man. Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer watch the spectacle without any emotion, which was typical for their film roles: All were known for playing dour, deadpan characters. Ned Sparks, another famous movie “grouch” asks them if they are having a good time. They all respond in unison with a terse and dry, “Yes.” Jerry Colonnareacts in excitement to the act and utters his catchphrases “Guess who?”, and the camera reveals an invisible character next to him: “Yehudi!” (“Who’s Yehudi?” was his famous catchphrase, referring to a violinist he could never find, hence an “invisible man”.) The camera zooms back to Strand lifting up her bubble, whereupon the camera follows it, with her out of sight, thus never revealing her nude body, and the bubble comes back down again, She catches it and is once again holding it in front of her.

Finally, Harpo Marx shoots the bubble with an improvised slingshot. It bursts and Strand is shown wearing a barrelunderneath. She reacts with shock, and the curtains close to signify the end of the dance. The conga stops and the cartoon cuts to Gable, who has finally caught the girl he was chasing, insisting she kiss him. “She” turns out to be Groucho Marx in drag — “Well, fancy meeting you here!”


Posted by on August 26, 2017 in classic film star, nostalgic



“Pocketful Of Miracles Trailer 1961” 

“Pocketful Of Miracles Trailer 1961” 

Pocketful of Miracles is a 1961 American comedy film starring Bette Davis and Glenn Ford, and directed by Frank Capra. The screenplay by Hal Kanter and Harry Tugend is based on the screenplay Lady for a Day by Robert Riskin, which was adapted from the Damon Runyon short story “Madame La Gimp”.

The film proved to be the final project for both Capra and veteran actor Thomas Mitchell but also featured the film debut of Ann-Margret.

Supporting player Peter Falk was nominated for an Academy Award but George Chakiris won that year for West Side Story. Capra said that Falk’s performance was a bright spot in this “miserable film.”

The 1989 film Miracles starring Jackie Chan and Anita Mui, and the 2008 film Singh Is Kinng starring Akshay Kumarand Katrina Kaif are based on Pocketful of Miracles.

Dave the Dude (Glenn Ford) is a successful, very superstitious New York City gangster who buys apples from street peddler Apple Annie (Bette Davis) to bring him good luck. On the eve of a very important meeting, he finds Annie terribly upset.

Annie, it turns out, has a daughter named Louise (Ann-Margret), who was sent to a school in Europe as a child, but is now a grown woman. Louise believes her mother to be wealthy socialite Mrs. E. Worthington Manville, and she is bringing her aristocratic fiancé Carlos and his father, Count Alfonso Romero (Arthur O’Connell), to meet her. Annie has been pretending that she resides in a luxurious hotel (writing her letters on stolen hotel stationery) and has Louise’s letters mailed there, then intercepted by a friend and handed over to her.

Dave’s good-hearted girlfriend Queenie Martin (Hope Lange) persuades him to help Annie continue her charade. Queenie takes on the task of transforming the derelict into a dowager. Dave arranges for cultured pool hustler “Judge” Henry G. Blake (Thomas Mitchell) to pose as Annie’s husband. He installs her in an out-of-town friend’s suite in the hotel, complete with Hudgins (Edward Everett Horton), his friend’s butler.

When Dave keeps postponing a meeting with an extremely powerful gangster to help Annie, his right-hand man Joy Boy (Peter Falk) becomes increasingly exasperated. Dave manages to engineer a lavish reception with New York’s mayor and governor as guests. Louise and her impressed future husband and father-in-law return to Europe, none the wiser about her mother’s real identity.



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