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Kamal’s 'Hey Ram' Hindi remake rights are with Shah Rukh Khan

KollywoodKamal revealed in an interview that Shah Rukh only got a wristwatch for acting in the film.Digital NativeDigital NativeThe Hindi remake rights of the critically acclaimed political thriller Hey Ram are with Shah Rukh Khan, Kamal Haasan has said. He has confirmed this in a recent interview. Kamal told Mumbai Mirror, “Shah Rukh only got a wristwatch for acting in my film at the time because, by the end of it, I had nothing left in hand. Now, he is the brand ambassador for a watch brand. I am glad that he got the Hindi rights of Hey Ram from Bharat bhai (co-producer Bharat Shah). He should have some memory of the film as he gave his friendship and service for it.” Hey Ram, which was released in the year 2000, starred Kamal Haasan as Saket Ram Iyengar (Hindi) / Saketharaman Iyengar (Tamil) and Shah Rukh Khan as Amjad Ali Khan. The film also had a bevy of stars in the cast including Hema Malini, Rani Mukhrejee, Girish Karnad, Om Puri, Abbhas, Vasundhara Das, etc. Hassan's daughter, Shruti Hassan, was also a part of this film though that might come as a surprise to many. She essayed the role of Sardar Vallabhbhai Patel's daughter in the story. Set against the backdrop of Bengal's partition, the story revolves around the protagonist Saket Ram's journey from religious hatred to love. Apart from writing and directing the film, Kamal also produced it jointly with Bharat Shah, Charuhasan and Chandrahasan under the banners Raaj Kamal Films International and VIP Films. The film had an impressive technical crew, including maestro Ilaiyaraja for music, Tirru for cinematography and Renu Saluja for editing. Made on a budget of Rs. 6 crores, 18 years ago, Hey Ram went on to collect around Rs. 11 crores at the box-office. The film won several prestigious awards including the 2000 National Film Awards for Best Supporting Actor – Atul Kulkarni, Best Costume Design – Sarika and Best Special Effects – Manthra. Kamal Haasan won the Filmfare Awards – Tamil - Best Actor for his performance in the film. Hey Ram did have its share of controversies, with a section protesting against the depiction of Gandhi. (Content provided by Digital Native)
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Star Screen Awards 2017: Amitabh Bachchan pays emotional tribute to late actor Vinod Khanna

Star Screen Awards 2017: Amitabh Bachchan pays emotional tribute to late actor Vinod Khanna
This has been definitely a year where Indian cinema lost many of the iconic actors like Om Puri, Vinod Khanna and Shashi Kapoor. Vinod Khanna, one of the finest stars Hindi cinema had witnessed, passed away on April 27 earlier this year. The late actor was suffering from bladder cancer and had shed a lotRead More

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Wolf (All-Region)

Aooowww — Woo! Jack Nicholson summons his inner dog — and dons the makeup and scary contact lenses — to go the Larry Talbot route. Unfortunately, his moon-howling nighttime life isn’t as interesting as the dog-eat-dog infighting in the publishing house where he works – where feral instincts and sharp lupine senses are a major aid to ‘getting a leg up’ on the competition. I know, cheap metaphors are the ruin of promising writers.


All-Region Blu-ray


1994 / Color / 1:85 widescreen / 125 min. / Street Date November 20, 2017 / £14.99

Starring: Jack Nicholson, Michelle Pfeiffer, James Spader, Kate Nelligan, Christopher Plummer, Richard Jenkins, Eileen Atkins, David Hyde Pierce, Om Puri, Ron Rifkin, Prunella Scales, David Schwimmer, Michael Raynor.

Cinematography: Giuseppe Rotunno

Film Editor: Sam O’Steen

Production Design: Bo Welch, Jim Dultz

Makeup Effects: Rick Baker

Original Music: Ennio Morricone

Written by Jim Harrison, Wesley Strick

Produced by Douglas Wick

Directed by Mike Nichols

I think my mother
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What? Story of Padmavati has been explored before and late Om Puri played Alauddin Khilji

What? Story of Padmavati has been explored before and late Om Puri played Alauddin Khilji
Sanjay Leela Bhansali is known for his grand films and now his latest ambitious venture Padmavati is all set to release next month. While the film is facing backlash from Rajasthani activists, let us tell you that it is not a story that is explored for the first time in the entertainment industry. During theRead More

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Nandita Puri Blasts Mami, rabid news channels for Disrespecting Om Puri sahab

Senior journalist Nandita Puri in a no-holds-barred exclusive with Bollywood Hungama‘s Faridoon Shahryar pours her heart out on Mr Om Puri on his birthday. Mrs Puri is upset with Mami for not paying a fitting tribute to Om ji while Oscars and Baftas have given a rich and glowing tribute to Mr Puri. Mrs PuriRead More

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Wow! 6 lesser known facts about Jaane Bhi Do Yaaron

Wow! 6 lesser known facts about Jaane Bhi Do Yaaron
Respected filmmaker Kundan Shah passed away on October 7 due to a heart attack. Jaane Bhi Do Yaaron was arguably his best work and one of the greatest films of Indian Cinema. The film had an ensemble cast comprising of Naseeruddin Shah, Ravi Baswani, Om Puri, Pankaj Kapur, Satish Shah, Satish Kaushik, Bhakti Barve andRead More

The post Wow! 6 lesser known facts about Jaane Bhi Do Yaaron appeared first on Bollywood Hungama.
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Wow! Katrina Kaif hires an agent in Hollywood?

Wow! Katrina Kaif hires an agent in Hollywood?
It was considered that Indian actors can’t shine or make a mark in Hollywood. Naseeruddin Shah, Kabir Bedi, Mallika Sherawat, Anil Kapoor, Amrish Puri, Tabu, Aishwarya Rai Bachchan, Anupam Kher etc tried their luck in Hollywood but couldn’t become popular. On the other hand, Om Puri did get few roles while Irrfan Khan left aRead More

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Gurinder Chadha on “Viceroy’s House,” the Partiality of Historical Films, and “Bend It Like Beckham…

Gurinder Chadha on “Viceroy’s House,” the Partiality of Historical Films, and “Bend It Like Beckham”“Viceroy’s House”

Gurinder Chadha is a writer, director, and producer known for films like “Bend It Like Beckham,” “Bride & Prejudice,” and “It’s a Wonderful Afterlife.” Her newest movie, “Viceroy’s House,” is set in India during Partition. The movie follows the lives of the last Viceroy of India (Hugh Bonneville) and his family (Gillian Anderson, Lily Travers), as well the Indian citizens who work for them (Manish Dayal, Huma Qureishi, Om Puri).

We recently spoke to Chadha about “Viceroy’s House,” why the film feels so personal to her, and the uphill battle she faced as she tried to secure funding for “Bend It Like Beckham.”

“Viceroy’s House” premiered in the UK in March. It hits U.S. theaters this Friday, September 1.

This interview has been edited. It was transcribed by Kaidia Pickels.

W&H: The story of “Viceroy’s House” is your personal history. It seems like you’ve been gearing up to this.

Gc: Yeah, it’s a big, sumptuous, British costume drama, which I’ve never done before. It’s quite a challenge. It took a lot of courage to actually go for it, because it’s about such a tumultuous period in our history, and also I’m challenging the British Empire and its version of history. I was a bit intimidated, obviously, because that’s 200 years of British rule.

I think I had to tell the story because it was my personal story, and I had come across evidence that showed that the history that I’d been taught in school — the British Empire’s version of Indian independence — was wrong. I closed my eyes and just went for it. I think having children and being a mother made me feel, like, “You’ve got to go for it and tell your story.”

As women, we don’t get to tell those kind of big, epic stories. A million people died during the partition of India and Indian independence and 14 million people became refugees overnight, but most people in the world don’t even know that that happened. I think that what’s really important is to stress how being a woman and being a mother, as a director, really influenced how I chose to tell that story.

W&H: Can you elaborate on that?

Gc: So, for example, it was a very violent period. Normally people who know about partition talk about the violence a lot, and what happened to ordinary people — neighbors turning on neighbors, a lot of fights between Hindus and Muslims and Sikhs. I went to investigate this and found that a lot of it was not the case — it was instigated violence. It was militia, it was organized. It was men leaving the army and keeping their weapons, and using them.

I didn’t want to recreate scenes and spend thousands of dollars to show Muslims killing Hindus and vice versa. I chose a way to tell the story using archival footage, and sometimes I recreated scenes with my actors that looked like archival footage. I considered an empathetic approach to violence as opposed to glorifying the violence.

W&H: Which is what we probably wouldn’t have seen from a male director.

Gc: I think so, I wouldn’t say I’m 100 percent sure but I think it would’ve been an easy thing to show rioting and people killing each other in a film about partition, but it was a conscious decision on my part to not do that. What I’m interested in now is the response of women to the film. Women will respond often quite differently to men in that women just understand it, and understand the emotional choices that I’ve made in telling the story, whereas often men will want to get caught up in and challenge the historical minutiae. Women, they sort of get it.

W&H: Meanwhile, most movies about historical details take license with them.

Gc: Well, you have to, otherwise you’d make a documentary. History is so partial! How I interpret my history is different to you. As a British person, I’m sitting here in the U.S., which is a former colony. Americans were the “bad guys” and the Brits should’ve had America — that just sounds so ludicrous now, but I’m sure there are people in Britain who think like that.

In India, in 1857, you had a lot of soldiers who mutinied. In British history books it’s called the “Great Indian Mutiny of 1857.” In Indian history books it’s called the “First War of Independence.”

W&H: This feels like a much bigger movie for you.

Gc: Yes, it’s a bigger budget, it’s epic in its scope, and also it’s very resonant with today, even though it’s set 70 years ago. It’s talking about how politicians use hate in order to divide us and get what they need and want. That has tremendous lessons for today.

When we started writing the film, the world was a different place. Barack Obama was the U.S. president, there was no Brexit, and there was no Syrian refugee crisis. During the writing and the making of the film, the world really changed. That has really affected how I’ve told the story.

W&H: It took you and Paul [Mayeda Berges] about a decade to get the film written, and then you brought in Moira [Buffini]. Why did you bring in a third voice?

Gc: There came a point where I felt that I was very close to the story, and so I appreciated Moira’s distance. She was able to come in and say, “I know why this is emotionally important, so let’s look at the scene like this,” or “I believe this, but I don’t believe this.” Also, in terms of dialogue, I’ve never really written period dialogue before. I’ve got an ear for it from what I’ve seen, but she was very good at some of the dialogue as well.

W&H: In India, the film is called “Partition 1947,” but Pakistan has banned the movie.

Gc: The film is also released in English in India as “Viceroy’s House.” I made the film as “Viceroy’s House,” and that’s the film that’s being seen around the world. However, when the Indian distributors saw the film, they felt very strongly that it had a much bigger audience in India than the English version would reach, so they wanted to dub it in Hindi. They’d actually done that before, “Bend It Like Beckham” was dubbed in Hindi as well, as was “Bride & Prejudice.” There was a history of my movies being dubbed because they feature Indians, and they feel like an Indian audience will prefer the Hindi version.

It’s interesting because it’s about the audiences. What’s been interesting about India is that some people just don’t want to go there, because Partition is such a hard subject. Others will — one Indian external affairs minister held a screening and tweeted about the film and went on television to say, “Every Indian should watch this film.”

I was surprised that the government of Pakistan picked up on the film like it has. The ban in Pakistan was obviously a big story in India. I, for one, was saddened by the ban. However, a lot of British-Pakistanis saw the film and appreciated it in Britain and I dare say here in America, too, I’m glad that American-Pakistanis have the opportunity to see the film.

It’s all about history. I talk about history from a British, female, Indian perspective, and I make it very clear that this is my perspective of history. Obviously in Pakistan they don’t want to hear what I have to say about how my family suffered for the birth of their country. They’ve spent 70 years building their own version of how their country came to be, and they don’t really want to dwell on the plight of my family. I understand it, I’m not cross about it.

It’s a funny thing. Maybe it’s because I’m a mom, but if anybody criticizes the film, I just say “What are you gonna do?” It’s history — it’s my version. People aren’t used to people like me making big statements about the world and what happened, the geopolitics of what happened then and how it’s resonating today in that area of the world.

I’m sure a lot of it is also because I’m a woman — “how dare she.” I feel quite powerful, because I got to tell my story.

W&H: America is a country where it is opening that doesn’t have a relationship to the occurrences in the film. What are your thoughts on American audiences?

Gc: Well, you say that it doesn’t have a relationship, but when you see the film, you’ll realize that America did have a relationship, because it was the beginning of the Cold War. The top-secret documents that are featured in the film come from a book that part of the story is based on. The author of that book spent a lot of time at the American archives in Washington, looking at the letters between President Roosevelt and Winston Churchill discussing India and the future of Asia, and what would happen if Britain handed India back.

America was very vociferous during the war toward Churchill, saying “You’ve got to give India her independence.” The Japanese had taken southeast Asia at that point, and Roosevelt and the Americans said, “If you don’t commit to giving India her independence, you’re asking them to open their arms out to the Japanese,” and everyone was afraid of that. Also, the Allies needed their troops. A deal was struck during the war that would grant India independence after the war, so India became part of the Allied forces.

However, in 1945, after the war, there was a panic. The thought was, “If we hand India back, what’s going to happen to us in Asia?” Of course, the Soviets were expanding. So America was involved in some ways!

W&H: You recently told me a story about how “Bend It Like Beckham” almost didn’t get funding. Can you tell that story again?

Gc: Every film I’ve made, I’ve always had to fight for it. Every time I choose to make a film that has Indians in it, or people of color — particularly women — suddenly, everyone goes, “Uh, it ain’t commercial. It’s niche.” Even though I’ve proved it financially, you know?

I’d been working on the “Bend It Like Beckham” script for about three years, and loads of people had passed on it: BBC, Channel 4, all the usual distributors. Everyone said, “Oh, it’s too niche. No one’s going to want to go and see a film about an Indian girl who plays football.” I was getting more and more agitated about it because I’d thought this was really going to work. There was something in this film that made me think, “Oh my god, there’s something here that’s going to work.” I was really dejected. I was almost going to give up, actually, but I’d submitted it to the UK Film Council, who were giving grants to British filmmakers.

I was waiting to hear the results, and someone who was on this panel had told me that they’re going to reject it because a reader wrote in a report that they should pass on the film because “we’re never going to find a girl who can bend it like David Beckham.” I just thought, what does this guy think, that Harrison Ford actually jumps out of helicopters? I was absolutely furious.

I called the new head of the new council at that time, John Woodward. I said, “This is outrageous! How dare this guy say this, and how dare you all listen! I’m fed up with you all putting me on panels to do with diversity and filmmaking, and having me bleating on about how hard it is for me as an Indian woman to make films and here I am with a project that I think is really commercial and you’re not supporting me!” John told me to calm down and come meet with him and talk about it. He said “Yes, that is a very stupid thing for that guy to say, but hold on a minute. You are one of our few female filmmakers of color, and we need to support you. Here’s what you’ve got to do.” In that reader’s report there were a couple of other script points. John asked me to take care of those, and he said he’d put the project through in the next round when he’s took over.

I said, “Fuck that, I don’t believe you. What are these notes?” I got the notes, went home on a Friday, rewrote those particular scenes, and on Monday morning, I handed the script back to John. That committee was meeting that week. He took my script, he went down to that committee, and he said, “I don’t care what you fun, but you have to fund this one. We have to support her.” They gave me a green light, I got a million pounds, and then everyone else started coming in because I had some money. That’s how “Bend It Like Beckham” got made.

Gurinder Chadha on “Viceroy’s House,” the Partiality of Historical Films, and “Bend It Like Beckham… was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Gurinder Chadha’s Viceroy’S House Us release In Theaters & On Demand September 1st

Award-winning director Gurinder Chadha explores the end of colonial rule in India with her latest motion picture Viceroy’S House which releases in the U.S. on Friday, September 1, playing in select theaters and also on-demand nationwide. Huma Qureshi, Manish Dayal, Om Puri, Gillian Anderson, and Hugh Bonneville head up the all-star cast and Oscar winner A.R. Rahman provides the music. The new Us poster and trailer have premiered for this acclaimed motion picture event.

Watch the new Viceroy’S House trailer here:

New nations are rarely born in peace… India, 1947: Lord Mountbatten (Downton Abbey’s Hugh Bonneville) is dispatched, along with his wife Edwina (Gillian Anderson), to New Delhi to oversee the country’s transition from British rule to independence. Taking his place in the resplendent mansion known as the Viceroy’s House, Mountbatten arrives hopeful for a peaceful transference of power. But ending centuries of colonial rule
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First Official Trailer for Drama 'Viceroy's House' with Gillian Anderson

"You think India is ready to rule itself?" IFC FIlms has debuted an official trailer for the drama Viceroy's House, telling the story of Lord Mountbatten's trip to New Delhi in 1947 to help transition India from British rule to independence. This is a story that has been told before in many other films previously, but we have another new take on it this year. Viceroy's House features Hugh Bonneville, Gillian Anderson, Huma Qureshi, Michael Gambon, Lily Travers, Simon Callow, Manish Dayal, and Om Puri. The film premiered at the Berlin Film Festival earlier this year, and also played at the Belgrade Film Festival. It's goal is to focus on the division of India, and the creation of Pakistan, more than anything and how this destroyed the lives of so many different people. It's a good film, just not very memorable, but that's my take. Here's the first official trailer
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Win Viceroy’s House on Blu-ray

Author: Competitions

Based on the true story of the final months of British rule in India, Gurinder Chadha’s Viceroy’S House will release in the UK on Digital Download 24 July 2017 and on Blu-ray™ and DVD on 7 August 2017. To celebrate, we’re giving away 2 Blu-ray copies!

The release coincides with the 70th Anniversary of the Independence of India and the founding of Pakistan. After 300 years of British rulers, the last Viceroy, Lord Mountbatten, was charged with handing India back to its people. It is a story that is deeply personal to Gurinder, whose own family was caught up in the tragic events that unfolded as the Raj came to an end.

The film’s story unfolds within the great House. Upstairs lived Mountbatten, his wife, Lady Mountbatten and daughter; downstairs lived their 500 Hindu, Muslim, Sikh servants. As the political elite – Nehru, Jinnah and Gandhi – converged on the House to wrangle
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Baahubali: The Lost Legends, Death in the Gunj, Hindi Medium, and Badrinath ki Dulhaniya on Amazon Prime

Amazon Prime Video presents the latest and best entertainment for its viewers and their newest Indian film releases are really exciting! Get ready to be transported into an emotional journey filled with comedy, drama, action, adventure and romance.

Viewers will get to experience a whole new level of drama with the all new episodes of Baahubali: The Lost Legends, created by the legendary SS Rajamouli, every Friday. Baahubali: The Lost Legends looks into the The legendary sword of Katappa. It has been shattered but does the legend of the man extend beyond his sword? Watch the latest episode of Baahubali: The Lost Legends for answers.

The temperature will further soar with the sizzling chemistry of Varun Dhawan-Alia Bhatt starrer Badrinath Ki Dulhaniya. Directed by Shashank Khaitan, the film is a dramatic love story. Badrinath Bansal from Jhansi and Vaidehi Trivedi from Kota belong to small towns but have diametrically opposite opinions on everything.
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Gurinder Chadha’s Viceroy House to release as Partition:1947 in India

Gurinder Chadha’s Viceroy House will release as ‘Partition:1947’ in India on 18th August, 2017. The film stars Huma Qureshi, Om Puri, Manish Dayal, Hugh Bonneville, Gillian Anderson and Michael Gambon.

Talking about the film Chadha has said, “We were always taught that Partition was because of infighting. But my research shows that it was a calculated political move… I had access to top secret documents in the British library. Their agenda behind the Partition was to eliminate India as a formidable rival to their global supremacy. I am sad that India only thought of itself rather than imagined itself as a global superpower.”

Partition: 1947 tells us the untold story behind Partition.

After 300 years, the rule was coming to an end. The rule of the British!! For six months in 1947, Lord Mountbatten assumed the post of the last Viceroy, with a responsibility of handing India back to its people. Viceroy’s
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‘Tubelight’ Review: Salman Khan’s Latest Good-Natured Story Lacks Substance

‘Tubelight’ Review: Salman Khan’s Latest Good-Natured Story Lacks Substance
In 2015’s surprisingly poignant “Bajrangi Bhaijaan,” filmmaker Kabir Khan had even the most dogged of Salman Khan’s skeptics reaching for tissues, giving him the reputation as the one writer-director who could at last bring out a certain depth in the actor that, frankly, many of us didn’t think was there. So when “Tubelight” was announced as the duo’s next release, much of the excitement was rooted in the hopes of another winning collaboration.

“Bajrangi” and “Tubelight” have lots in common: Salman in the lead as a man-child with a golden heart. The lessons of loving thy neighbor and never giving up hope. An impossibly adorable child as Salman’s sidekick, pivotal to selling us on those messages. But where “Bajrangi” effectively harnessed the actor’s mega-star persona into a simple character that still — in true Salman tradition — had a significant moral undertone, “Tubelight” struggles to strike that balance,
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Tubelight Movie Review

Eid isn’t Eid if you don’t have a Salman Khan film to gush over. Since back in 2009, it is fully accepted in the industry that Salman owns Eid. Indian and world audiences have loved him over and again. Whether it was the remake of a Telugu film Pokiri in Wanted, the romantic spy action of Ek Tha Tiger or the cross-border comedy that was Bajrangi Bhaijaan, Salman has firmly settled himself as the man for Eid in Bollywood. Last year was no different with the blockbuster Sultan. From all indications however, this year will be different. Even though Kabir Khan is helming the megaphone again, this film is different to anything that has come before from Salman or Bollywood. For the first time, we are going to look at war from the perspective of the soldiers’ families.

“Kya tumhe yakeen hai?” From the poster, we have the immediate feel of change.
See full article at Bollyspice »

This is why Satish Kaushik stepped into the shoes of Om Puri for the latter’s last film

This is why Satish Kaushik stepped into the shoes of Om Puri for the latter’s last film
It was definitely a shocker for the entire fraternity who mourned the loss of one of India’s most unconventional actors, Om Puri. While his career has spanned across India and abroad, the veteran star’s last film remained incomplete due to his untimely death. Recently, Tubelight featured Om Puri in a prominent role and the audiencesRead More

The post This is why Satish Kaushik stepped into the shoes of Om Puri for the latter’s last film appeared first on Bollywood Hungama.
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“In Tubelight, Salman does not hold back in this film on compassion and faith” Subhash K Jha


Starring Salman Khan, Sohail Khan,Matin Rey Tangu, Zhu Zhu, Om Puri

Directed by Kabir Khan

Faith, they say, can move mountains. The hero of Kabir Khan’s latest and his most ….ummm….noble (if one can use that word without cynicism) film to date actually thinks he can move a mountain by just focusing hard on getting it right.

Tubelight is not a film for the cynics. But if you can toss aside your reservations about a world steeped in arcadian innocence and accept humanism rather than hedonism as a way of living, you can actually savour the supple undulating rhythms of Kabir Khan’s storytelling without questioning his right to create a world so far removed from practical stressful concerns while addressing a theme as grim as war and its ravages.

This is a very simple story with a deceptively elementary plotline: two brothers separated by war ,and…
See full article at Bollyspice »
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