Novello Ivor

He was a famous matinee idol
Prepared by John Horsefield, Cowra U3A
His special gifts were in music and composing, but dapper,
multi-talented Welsh actor Ivor Novello, with his leading man
good looks, had an affinity for the camera.
David Ivor Davies, better known
as Ivor Novello, was a Welsh composer,
singer and actor who became one of the
most popular British entertainers of the
early 20th century. He dominated the British musical stage until his death in 1951
and was the most consistently successful
stage composer of his time.
However, before all this began, he
was Britain's most popular male film star.
In his overall career, Ivor would write
over 250 songs, many of them uplifting,
touchingly sentimental and war-inspired
morale boosters.
He was born on January 15, 1893
at Llwyn-yr-Eos (Grove of Nightingales),
Cowbridge Road East, Cardiff, Wales, to
the well-known musician, singer and
teacher, Dame Clara Novello Davies, and
David Davies, a rates or tax collector. A
blue plaque commemorating his birth can
be seen on the side of the house.
His prodigious musical skills were
apparent fairly early. Ivor began to sing
and play the piano at the age of three. He
won a soprano scholarship to Magdalen
College School, Oxford, in 1903 at the
age of 10. He became prominent as a soloist in the school's celebrated choir.
After leaving Oxford in 1909, he
became a piano teacher in London, but
this was short-lived. By this time, he was
already writing songs under the name Ivor
Novello. His first song was published in
1910. He was composing only moderately successful songs until World War I
broke out in 1914.
It was at this time that Ivor composed the patriotic song, Keep the Home
Fires Burning, which became an over-
night triumph and, rocketed him to instant
stardom. It made him a fortune and was
one of the most successful songs of World
War I. King George V proclaimed that
this was ‘the best song that the war years
produced’. This song was used much later
in the film The Lost Squadron (1932).
In 1916, Ivor wrote 13 songs for
the successful Gaiety revue, Theodore &
Co, which established him as a theatrical
composer. He shared the spotlight with
Jerome Kern who contributed four songs.
Ivor continued to write songs for many
successful vaudeville and stage revues
throughout the 1910s and 1920s.
In the meantime, he served in the
Royal Naval Air Service (RNAS), but after two near fatal crashes was transferred
1
With Phyllis Neilson-Terry in The Call of
the Blood (L’Appel du Sang) (1919).
With Gladys Cooper in The Bohemian
Girl (1922).
to the Air Ministry as a clerical worker.
In 1918, Winston Churchill gave Ivor a
three-month leave of absence from the
RNAS for a good will mission to Stockholm, Sweden, where German entertainers
were very popular.
The British Intelligence authorities
wanted to foil their growing influence, so
Ivor became a species of ambassador and
went to Stockholm with a group of entertainers. He succeeded completely and
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was there when Armistice was declared on
November 11, 1918.
The war made Ivor famous as a
composer, and in 1919, free of uniform
and the war behind him, he decided to
take a trip to one of his favourite cities—
New York. He remained there for five
months. While sailing back to England, in
mid-Atlantic, a radio message reached the
ship. The second métier of Ivor Novello
was about to be born -- Film Star!
The surprise cable was from Angus McLeod of the London firm of Daniel
Mayer, Ivor's theatrical agent. It happened that the French director, Louis
Mercanton, who directed Sarah Bernhardt
in the 1911 film, Queen Elizabeth, was in
London looking for a famous Englishman
who resembled a Sicilian to star in his
new French film.
He came across a photograph of
Ivor and immediately decided that he was
the ‘type’ he wanted. ‘But he's a composer’, argued the agent. ‘I don't care
what he is’, replied Mercanton. Ivor was
just the man he was looking for to play the
romantic lead. With his impeccable good
looks—the raven locks, the dark seductive
eyes, the chiselled lips, the flawless complexion, and the flaring nostrils—Ivor was
ideal. He lived up to his photograph, and
Mercanton gave him a film contract.
The film, Call of the Blood, was
shot on location in Rome and Sicily costarring the stage actress Phyllis NeilsonTerry. It was a story of adultery and revenge and had a successful premiere with
very favourable reviews. With no acting
experience behind him, except for a few
amateur productions as a schoolboy, Ivor
took to film acting immediately.
He was a ‘find’ and a natural in
front of the camera. Sarah Bernhardt attended a private showing in Paris and
praised Ivor for his performance. According to the Times, the success of Call of the
Blood was due to Ivor Novello.
Then came Ivor's second French
film, Miarka (1920), with Mercanton directing, and co-starring the great French
actress Rejane. Again, Ivor received favourable reviews. This film was quickly
followed by his first British film Carnival
(1921), about an actor who plays Othello,
and jealousy drives him to live it in real
life.
Ivor plays the youthful seducer
Count Andrea. On its first showing, some
critics were bothered about the excessive
passion in the love scenes between him
and his leading lady, Hilda Bayley. The
passion was edited out. It was a lavish
production and was the most successful
British film up until that time.
In November, 1921, the 28-year
old Ivor, without any theatrical training,
made his London West End stage debt in
the play Deburau. This was the beginning
of a 30-year stage career. Between 1921
and 1934, Ivor divided his time between
films and stage.
In 1922, Ivor began work on his
next picture, The Bohemian Girl, based on
the popular Balfe operetta. He was
teamed for the first time with actress
Gladys Cooper, one of the most important
women in his life. She plays a nobleman's
daughter kidnapped by gypsies and rescued by a Polish Count played by Ivor.
Ivor's next film was The Man
Without Desire (1923), directed by the
celebrated Adrian Brunel who would later
direct Ivor in two other successes, The
Vortex and The Constant Nymph. The
Man Without Desire, an extravaganza,
was shot on location in Venice and, according to modern critics, was a landmark
in the history of the British cinema.
In this film, Ivor plays a gallant in
love with an aristocrat's wife and after she
has been killed, he undergoes treatment to
make himself lifeless for 200 years. When
he is brought back to life, he meets with
his love's descendant but finds that he is
impotent and poisons himself. Ivor was
critically acclaimed for his performance,
and his popularity was growing rapidly.
Toward the end of 1922, Ivor returned to America. When he arrived in
1919, he was just a famous composer on
vacation. Now, he was also a famous film
star to appear in the new DW Griffith production The White Rose.
The great director was in London
for the premiere of his new film, Orphans
of the Storm, and was dining at the Savoy
with Hannen Swaffer, a journalist/critic’
Griffith asked the critic who the handsome
man was who was sitting near his table.
The critic replied, ‘That's Ivor Novello’.
‘I'd like to see him’, said Griffith. Ivor
met with the director who told him that he
needed a new leading man to replace
Barthelmess, who recently left the Griffith
Company. Ivor was his man.
He promised Ivor a part when the
proper vehicle came along. Soon afterwards, Griffith cabled Ivor and summoned
him to America to sign a contract. Under
this agreement, Ivor was to star in seven
films, the first being The White Rose with
Mae Marsh, one of the greatest actresses
of the silent screen.
On his arrival in New York, Ivor
was greeted by dozens of reporters and
was hailed as the great new star from England. Meanwhile, Gladys Cooper arrived
in New York and was seen everywhere
3
With Gladys Cooper in Bonnie Prince
Charlie (1923)
Ivor in Triumph of the Rat (1926).
with Ivor. They were the most photographed couple. Ivor was known as ‘The
handsomest man in England’ and Gladys
as ‘The most beautiful woman of the British stage’.
The press went so far as to announce their engagement. This caused
great embarrassment for Ivor and Gladys,
mainly due to the fact that she was not yet
divorced. This was great publicity for
their film, The Bohemian Girl, which was
being premiered in New York at the time.
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Gladys returned to England without marrying Ivor.
The White Rose (1923) was
filmed in Louisiana and Florida. Ivor
played a young minister who, before he is
ordained, seduces a waitress (beautifully
played by Mae Marsh) and leaves her, believing that she is free with every man.
This sexual transgression causes
him to preach guilt-ridden sermons, not
knowing that she has become pregnant
with his child. There were many protests
from clergymen and other groups in regard to the illegitimacy theme. The public
had enough of Griffith's sagas of sin, but
this did not affect the box office receipts.
Although The White Rose was no
Birth of a Nation, it was a moderately
successful film. Ivor received favourable
reviews and was picking up a substantial
following in this country. He was hailed
as ‘The British Valentino’, although, according to the Washington Times, Ivor
was taller and slimmer. The New York
Telegraph described him as ‘a Grecian
God who is both handsome and an intelligent actor’.
Toward the end of 1923, Griffith
was into decline and finding it difficult to
back Ivor's future films. Ivor returned to
England and eventually sued the Griffith
Company for his salary for The White
Rose. That was the end of Ivor's film
roles in America, except for a second lead
in a 1931 Paramount flop, Once A Lady,
starring Ruth Chatterton, when he was a
screenwriter for Metro-Goldwyn-Mayer.
Upon his arrival back to England,
Ivor began work on his next film, Bonnie
Prince Charlie, again with his beloved
Gladys Cooper. Ivor looked fantastic as
the dashing Scottish hero, complete with
tartan kilt and blonde wig. He composed
the ‘Prince Charles’ and ‘Flora MacDonald’ theme songs for this film.
Ivor and Gladys were a romantic
team on both stage and films. By 1924,
their real life romance came to an end, although they remained devoted to each
other for life. Gladys Cooper was later to
become one of Hollywood's greatest character actresses.
In 1925, Ivor signed a contract to
make films for Gainsborough Pictures in
Islington, which was headed by Michael
Balcon, one of the most successful British
producers. The first was the film version
of the enormously successful stage play,
The Rat, which Ivor co-wrote with veteran
stage actress Constance Collier at the
same time as he had become actormanager.
The play was still running in the
West End with Ivor in the lead when
shooting of the film version began. It was
directed by Graham Cutts, top director
with Gainsborough. It is a study of the
Paris underworld in which Ivor plays a
ruffian who falls in love with a kept
woman but returns to his faithful waif,
Odile, played by Mae Marsh, Ivor's costar in The White Rose. Ivor composed
Odile's theme (‘Lily of Montmartre’) for
The Rat.
Mae was pregnant when she arrived in London and was ill throughout
filming. Whenever she became suddenly
ill in the middle of a scene, Ivor would
pick her up and carry her to her dressing
room and nurse her until she recovered.
According to Balcon, ‘Ivor was the soul of
kindness and consideration’.
Despite the difficult conditions,
The Rat turned out to be a phenomenal
success and the top box office hit of
1925. It also established Ivor as the top
film star in Britain. The Rat was followed
by two sequels, The Triumph of the Rat
(1926), another success, and The Return of
the Rat (1928), a silent film dubbed with a
sound track. This film lacked originality
and suffered from a banal script and did
not enjoy the same success as the previous
‘Rat’ films.
Ivor's third film for Gainsborough was the now classic suspense
thriller, The Lodger (1926), a story of the
London fog. It was adapted from the best
selling novel by Marie Belloc Lowndes
With Constance Collier in the play
The Firebrand (1926).
about the Jack the Ripper murders in
Whitechapel.
Ivor plays the mysterious young
stranger who arrives at a Bloomsbury
boarding house at the same time London
is being terrorized by a homicidal maniac
known as ‘The Avenger’. His odd behaviour causes the landlady to suspect that he
5
With Elizabeth Allen in The Lodger.
With Isabel Jeans in Downhill (1927)
is ‘The Avenger’, especially when he begins to get involved with her daughter,
Daisy, played by June Tripp, a popular
music hall performer.
The Lodger was directed by 27year-old Alfred Hitchcock, who also contributed to the script. He wanted Ivor to
appear as the murderer, but due to Ivor's
enormous popularity, a change of script
was demanded at once by the producers.
It had to be shown, without a doubt, that
the lodger was innocent.
If there was any hint that Ivor was
playing a sexual psychopath, it would kill
the box office. The Lodger is not a typical
Novello vehicle. He plays a character
who is totally withdrawn and frenzied at
times. He is a puppet in Hitchcock's
hands. Ivor plays the character exactly as
Hitchcock wanted him to be portrayed.
The Lodger turned out to be a
colossal success and the most popular
British film of 1926. It also established
Alfred Hitchcock's reputation as a director. The Novello-Hitchcock collaboration
was a very good one. They got along
beautifully during filming, and they had
great admiration for each other.
So it was only natural to team up
again in the next Novello vehicle, the
screen version of Downhill, which was the
second play written by Ivor and Constance
Collier. Filming began in April 1927 at
the same time that The Lodger was winning ‘rave’ reviews in England and the
USA.
Downhill is a study of a student,
Roddy, who is accused by a girl of fathering her illegitimate child. He is eventually
expelled from school and disowned by his
father. He follows a path ‘downhill’ and
even attempts suicide. He is rescued by
his friend, who is the actual father of the
illegitimate child. Downhill had a lukewarm reception by critics in its original
release, but many critics who view the
(left) With Lily Elsie in The Truth Game
(1928).
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film today regard it to be more visually
rewarding than The Lodger.
Ivor's next film was The Vortex
(1928), based on Noel Coward's successful 1924 stage play. It was directed by
Adrian Brunel, who was delighted to be
reunited with Ivor since The Man Without
Desire. The Vortex posed a few problems
in filming due to its subject matter—a
neurotic son who takes drugs and a
mother who has a lover.
The script had to be rewritten and
the son, Nicky Lancaster, played by Ivor,
only threatens to take drugs unless his
mother mends her ways. The main problem of The Vortex is the absence of the
dialogue that was essential in the play.
Despite these problems, The Vortex was
well received, and Ivor was critically
praised for his portrayal of the sensitive,
hysterical son.
One of the most successful plays
in London in 1926 was The Constant
Nymph, based on Margaret Kennedy's best
selling novel. Ivor wanted to play the part
of Lewis Dodd, the unmannerly but gifted
composer, on stage but instead it went to
Noel Coward. Soon afterwards, Coward
had a nervous break-down and was replaced by his understudy, John Gielgud.
Gainsborough bought the rights in
1928 and the play's director, Basil Dean,
assisted Adrian Brunel in the film version.
The screenplay was written by Alma Reville (Hitchcock’s wife). Ivor was chosen
to play Lewis Dodd, since Coward was
not a film name. The part of Tessa, the
youngest daughter of the Bohemian
Sanger family, who becomes infatuated
with Dodd, was played by Mabel Poulton,
the protégé of French director Abel
Gance.
The Constant Nymph was one of
the most important films to be produced
by Michael Balcon and Gainsborough. It
was shot on location in the Austrian Tyrol,
and the climactic sequence of Ivor conducting his symphony was filmed at the
Queen's Hall with a full orchestra. The
With Benita Hume in South Sea Bubble
(1928).
endless retakes of that scene caused the
orchestra to moan and groan, but Basil
Dean stated, "lvor's sweetness and charm
prevented a major revolt."
There was another problem. This
time it was censorship. The objection was
of the thirteen-year-old Tessa sexually involved with the older Lewis, as in the
novel. It had to be shown that she was not
his mistress. The film was an enormous
success and was voted Best British Film
of 1928.
The last of the Novello silents, The
Gallant Hussar (1928) and South Sea
Bubble (1928), did not repeat the success
of his previous films for they were competing with the talkies. The Gallant Hussar probably would have been a success
had it been released a few years earlier. It
was a charming love story, shot on location in Hungary and was well received by
7
With Fay Compton during rehearsals of
Murder in Mayfair (1934).
With Dorothy Dickson in Careless Rapture
(1936).
8
critics. South Sea Bubble, Ivor's last silent
film, about the hunt for buried treasure,
was a total failure. His co-star was Benita
Hume.
Ivor's first talkie was Symphony In
Two Flats (1930). It was an adaptation of
his successful 1929 stage play in which he
starred with Benita Hume. The story
deals with a young composer, David, who
goes blind while writing a symphony for a
prize competition. Benita Hume recreates
her stage role as David's wife, Leslie.
The film was an immediate success, and Ivor was hailed as giving a
splendid performance. Millions of fans
who never had the chance to see Ivor on
stage waited impatiently to hear their idol
speak for the first time on the screen. Ivor
had a fine speaking voice -- pure English,
with the trace of a Welsh lilt.
In the summer of 1930, when Symphony In Two Flats was near the end of its
run on the London stage, Ivor received an
offer from the Shuberts to play it on
Broadway. Ivor arrived in New York in
September 1930 at one of the worst
times. The Wall Street crash ten months
earlier ruined many people, and a luxury
like the theatre had to be cut out.
Symphony In Two Flats opened
at the Shubert Theatre on September 16,
1930, the hottest day of the year. A few
minutes after the curtain rose, a violent
thunderstorm broke out, and the crashes of
thunder overpowered the actors' voices.
Although the critics gave the play favourable reviews and praised Ivor's performance, it did not have a chance of survival.
It ran for only seven weeks, but
this did not discourage Ivor. He persuaded the Shuberts to put on his successful 1928 London stage comedy, The Truth
Game. It opened on December 27, 1930,
with Billie Burke playing opposite Ivor.
The play was an immediate success and
was one of the season's big hits.
The success of The Truth Game
brought Ivor offers from the major Hollywood studios. He accepted the offer from
Metro-Goldwyn-Mayer and was paid an
enormous sum for the film rights to The
Truth Game. Ivor signed a three-year
contract as both actor and screenwriter.
He arrived in Hollywood in the
summer of 1931 and was met at the train
station by Joan Crawford and Douglas
Fairbanks, Jr, whom he had met in New
York. Joan introduced Ivor to all the
MGM stars except Greta Garbo, whom
Ivor would meet later.
Ivor's first project at MGM was
to write the screenplay of The Truth
Game, but he discovered that it had already been done. He rewrote it several
times until nothing was left but the title
and the name of the characters. The Truth
Game was filmed under the title But the
Flesh Is Weak. Ivor had hoped that he
would be playing the part of Max, his own
creation, but MGM was too busy obtaining film rights for their biggest contract
players, including Robert Montgomery,
who starred in But the Flesh Is Weak.
Ivor also wrote the screenplay for
the box-office sensation of 1932, Tarzan
the Ape Man, the first in a series starring
Johnny Weissmuller. Maureen O'Sullivan
who played Jane, thought Ivor's dialogue
‘so witty and charming’. Ivor even went
on the set and coached her with some of
her lines.
Ivor was also one of the writers of
Mata Hari (1932), starring Greta Garbo,
who Ivor finally met at his Santa Monica
home, was perched on a cliff overlooking
the Pacific. She appeared shy at first, but
after speaking with Ivor for a while, her
coolness melted. They had a friendship
that endured, and when in England, it was
to Ivor that Garbo would go for her welcome. She would stay at his beautiful
country home, ‘Redroofs’, in Littlewick
Green, near Maidenhead.
Ivor was getting homesick for
London and the theater. MGM didn't
know what to do with his particular talents, and they failed to find him any acting parts, In England, the name Ivor
Novello was a household word, but in
Hollywood, he discovered that it did not
mean a thing.
He asked Irving Thalberg to release him from his contract. In his ample
spare time in Hollywood, Ivor wrote two
comedies, I Lived With You and Party,
which he staged on his arrival in London
and were massive successes. MGM
bought the rights to Party for a possible
vehicle for Joan Crawford, but it was
never filmed.
Ivor returned to England in the
spring of 1932 and was immediately receiving film offers from the major studios,
Twickenham and Gaumont-BritishGainsborough. His popularity had not
waned during his Hollywood stay. The
first film that Ivor made was the sound
version of his 1926 success, The Lodger.
It was directed by Maurice Elvey. Elizabeth Allan was Ivor's co-star. It was fairly
popular although it could not compete
with the original Hitchcock silent.
This was followed by Sleeping
Car (1933), a romantic comedy of a handsome, amorous attendant on a transEuropean train who flirts with every female who is traveling abroad. Ivor's costar was Madeleine Carroll as the girl who
tames him. Directed by Anatole Litvak,
Sleeping Car was very successful and established Litvak's reputation in England.
Ivor managed to sandwich Sleeping Car at Gaumont-British between The
Lodger and I Lived With You, which he
made at Twickenham. At the same time,
he continued to act on the stage in his
plays. He was involved in one of the busiest periods of his career, and soon a big
decision had to be made.
I Lived With You (1933), one of
Ivor's last films, is from his immensely
popular stage comedy about an impoverished Russian prince, Felix, who is taken
in by a middle class family and turns their
lives upside down. Ivor and Ursula Jeans
recreated their stage roles. Jeans plays
Felix's love interest. Playing her very first
screen role is a young actress, Ida Lupino,
who soon after departed for Hollywood.
9
With Roma Beaumont and Mary Ellis (on
stairs) in Dancing Years (1939).
With Mary Ellis in Dancing Years (1939).
Ivor's last film was Autumn Crocus (1934)
from the successful 1931 stage play. It
was directed by Ivor's old friend, Basil
Dean. Ivor plays Andreas, an Austrian
innkeeper. Fay Compton recreates her
stage role as Fanny, the spinster school
teacher on vacation in the Tyrol, who
finds love for the first time in her life.
Ivor decided to retire from the
cinema when he was still an important
asset. He began to realize that he could
not write and star in plays, supervise their
productions, and arrange tours while making films during the day. The neglect of
his greatest gift—music—and his great
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love for the theatre helped him come to
the decision that his film career had to
come to an end.
The Great Years were about to
begin, and Ivor Novello would soon be
crowned King of the British Theatre. He
combined all of his talents in a series of
lavish and spectacular musical romances
that would make him one of the greatest
phenomenona in the history of the British
stage.
On May 2, 1935, a theatrical phenomenon began at the Theatre Royal,
Drury Lane in London, England. For the
first time in its 272-year history, one man
and one man alone devised, wrote, composed, and starred in a stage play. That
man was Ivor Novello. The play, Glamorous Night, was part opera, part melodrama, part operetta, part musical comedy.
It was Ivor's own invention: a Novello
show. It started a new era in musical productions and saved the famous theatre
from bankruptcy.
Glamorous Night, Careless Rapture (1936), Crest of the Wave (1937), The
Dancing Years (1939), Arc de Triomphe
(1943), Perchance To Dream (1945), and
King's Rhapsody (1949) were filled with
beautiful, haunting melodies that will always be remembered.
Novello wrote his musical shows
in the style of operetta, and was one of the
last major composers in this form. He
generally composed his music to the
librettos of Christopher Hassall. However,
his last show, Gay's the Word (1951), had
lyrics by Alan Melville.
During World War II, Ivor was
sentenced to eight weeks in prison (he
served four) for misuse of petrol coupons,
a serious offence in wartime Britain. This
downfall from Novello's luxurious lifestyle completely broke his spirit, and he
was never the same man after his release.
On March 6, 1951, Ivor died suddenly of coronary thrombosis in his London flat. Only four hours previously he
was appearing in his latest masterpiece,
King's Rhapsody, which was in its second
year at the Palace Theatre. He was 58
years old but will always be remembered
as the young, debonair romantic. Like
Peter Pan, he never grew up.
Before his death, Ivor said, ’To my
past audiences, my present audiences, and,
I hope, my future audiences, I bow and
say with all my heart, "'Ladies and Gentlemen, I am your very humble servant’.'
His undeniable charisma won him the
adoration of millions of fans. He never
failed the public, and they never failed
him. Ivor Novello made his exit still
wearing the King's crown.
Thousands of people lined the
streets for Ivor's funeral. It was a funeral
usually reserved for heads if state and was
broadcast on radio. Many memorials have
sprung up since lvor's death. Among
them is a bust in the Circle Rotunda,
Theatre Royal, Drury Lane, a sculpture at
St. Paul's Cathedral, and a blue plaque
outside his London flat at 11 Aldwych.
Novello was homosexual, well
known for some of his more glamorous
gay affairs. For 35 years, he was the lover
of the British actor Bobbie Andrews, and
he had an affair with the British poet and
writer Siegfried Sassoon.
In 1947, Ivor was a founding
member of the Songwriters Guild (since
renamed the British Academy of Songwriters, Composers and Authors). It was
established in order to give greater broadcast time to British material—at the time
the proportion of British songs played on
the BBC was as low as 15%.
In 1956, the Ivor Novello Award
was inaugurated by the British Academy
of Songwriters, Composers, and Authors,
and is presented annually for outstanding
contributions to British music. Among its
famous past recipients are John Lennon,
Paul McCartney, Elton John, and more
recently, Andrew Lloyd Webber.
Ivor was portrayed by Jeremy
Northam in Robert Altman's fictional film
Gosford Park (2001) and several of his
songs were used for the film's soundtrack.
However, his homosexuality was subtly
Ivor by Angus McBean (1947)
played in the film. In 2005 The Strand
Theatre in London, above which Novello
lived for many years, was renamed the
Novello Theatre.
Among his many outstanding
songs are: Keep the Home Fires Burning;
Fold Your Wings; Shine Through my
Dreams; Rose of England; I Can Give you
the Starlight; My Dearest Dear; When I
Curtsied to the King; We'll Gather Lilacs;
Someday my Heart will Awake; Yesterday; Waltz of my Heart; My Life Belongs
To You.
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