Disney Through the Years - The 1970s: Live Action Features
Welcome to the eighth of many parts to a series of feature articles focused on Disney movies.
Every month this year I am going decade-by-decade through the history of Walt Disney Company’s feature films. I will review each film from Walt Disney Animation Studios and rank them. I’m also doing an additional feature in the series that focuses on every live action film by Walt Disney Pictures. So, there are two features each month to keep an eye out for.
For more details on what is and isn’t included in this series be sure to check out the first entry that introduces the series.
So, the 1950s was when Walt Disney started producing live action movies for the studio. Only 22 of the 40+ films from the 1970s are currently available on Disney+ and those are the films we’ll focus on. Because there’s so many films now my reviews will mostly be brief.
Now, for whatever reason, Disney+ recently removed the “Disney Through the Years” category in the Search tab. So, you can follow along on Disney+, but now you have to search for each title in the search bar.
The Million Dollar Duck (1971)
Walt Disney Pictures did not start the decade with The Million Dollar Duck as its first live action film. There were 5 other films released throughout 1970 and 1971 prior to this film, including The Barefoot Executive starring Kurt Russell, that are not available on Disney+. But The Million Dollar Duck serves as a pretty good start to the decade.
A struggling lab scientist (Dean Jones once again) discovers that a lame lab duck he takes home is able, through a series of accidents, to lay eggs with golden yolk. It’s a far-fetched play on the Aesop fable with its own scientific rationale. The film also stars Joe Flynn (Mr. Snoops of The Rescuers), Sandy Duncan, and Tony Roberts, who would go on to star in six Woody Allen movies, including Annie Hall.
The film mostly works as an enjoyable sci-fi comedy. However, Joe Flynn’s Treasury Department villain is borderline hateful, the women are condescended to and treated as idiots, and the ending is fairly blunt about its message. But it is interesting that, in 1971, Disney painted a government agency as the villain. And there’s plenty of laughs and fun to be had with this flick, flaws aside.
Bedknobs and Broomsticks (1971)
So, much like with Mary Poppins, there was a run of subpar movies that failed to capture the magic and enjoyment the studio was capable of prior to the release of Bedknobs and Broomsticks. So, when the opening credit sequence of this film begins with a medieval scroll of its events we know we’re watching something on another level from what came before. Unfortunately, though, it doesn’t quite reach the bar set by Mary Poppins.
During the Blitz of World War II in England, a reclusive witch (Angela Lansbury) reluctantly takes in three recently-orphaned London children while trying to get the secret to a spell that may make a difference in the war effort. The film is a musical with songs by the Sherman Brothers and they certainly capture magic here with every song. David Tomlinson stars as the man Lansbury’s Eglantine was learning spells from by mail, only to be revealed to be a fraud who is surprised to see his spells work.
There are a handful of issues that prevent this from being a great film, as opposed to a really good film.
There’s a recurring issue of ‘Why did they do that?’. Why is Roddy McDowall in this movie for two 1-minute scenes? (He did, in fact, have more scenes that were deleted) Why does David Tomlinson’s character make 2 random sexist remarks in the film that don’t pertain to his character or anything else in the film? At the beginning of the film, Eglantine is so focused on learning and reaching her potential as a powerful woman via witchcraft. Why give that all up in the end?
The lagoon scene is lovely with the unforgettable ‘Beautiful Briny Sea’ sequence. But not a bit of it makes a lick of sense. Nobody acknowledges or explains why they’re able to talk like normal or able to breathe under water. Everything looks dry, including a book one of the children has. It’s very clearly a green screen sequence. Technological limitations are one thing. But to not even write around the problem is another.
David Tomlinson, who already starred as the uptight Mr. Banks (Mary Poppins) and the villain in The Love Bug is quite different here as the fraudulent Mr. Brown. He is charismatic, selfish, and opportunistic. But also a delight. This is the third and final film Tomlinson did for Disney. He was a wonderful actor who wasn’t afraid to literally get gravy on his face.
Another strength, aside from the songs and the cast are two unforgettable sequences: The Isle of Naboombu and the Substitutiary Locomotion army. The Isle of Naboombu is a delight with a cast of animal characters that participate in a soccer match. But it’s revealed afterwards that the entire sequence didn’t need to happen as the information they were after was in Paul’s book all along. As for the Substitutiary Locomotion scene, there is quite a genuine thrill in seeing an endless army of soldiers and knights on the horizon with the camera panning to show a witch flying in the air on broom leading the army with sword in air and helmet on. This is the earliest example on film of something that is akin to the Avengers Assemble moment in Avengers: Endgame. The unstoppable army marching forward as Nazis try shooting them is immensely bad-ass for Disney. Of course, it turns into a cartoon with Nazis being literally kicked in the butt and escaping without casualties. But it’s an unforgettable sequence, nonetheless.
Overall, Bedknobs and Broomsticks is not a perfect film or even a great one. But it certainly was a highlight of the decade and gave the studio some much-needed magic.
The Biscuit Eater (1972)
Boys and their dog story about two preteen Georgia boys who train a dog to be a pointer for quail hunting and try to keep it out of trouble.
This is a very obscure movie by Vincent McEveety, who previously directed the superior The Million Dollar Duck and would go on to direct several movies for Walt Disney Pictures for the next 10 years. McEveety and Robert Stevenson were the primary directors for the studio in the ‘70s.
The Biscuit Eater isn’t a bad film. It just isn’t a good film either. Appearances by the likes of Beah Richards (In the Heat of the Night, Guess Who’s Coming to Dinner) and Earl Holliman (Giant) help. But Clifton James, who made a career out of playing southern-fried sheriffs, most notably in the Roger Moore Bond films and Superman II, plays the film’s villain, a cruel bully in the town who is itching to kill the title character next time he sees it. James isn’t as cartoonish here as he is in the films he’d be best known for. Instead his cruelty is one-dimensional and makes you worry for the well-being of his own German Shepherd.
Mostly, the film is so flatly directed that you wouldn’t believe it came from the same man who put Dean Jones in a crane lift during a car chase. There’s just no energy here. It’s a disappointing follow-up to Bedknobs and Broomsticks and destined for obscurity.
Snowball Express (1972)
Dean Jones returns - as does Keenan Wynn (The Absent-Minded Professor) - in a comedy about a man who inherits a hotel in Colorado that turns out to be an abandoned fixer-upper.
This middle-of-the-road Disney comedy has several amusing moments, a game Dean Jones who never seems to tire of whatever the studio throws at him, and a bearded Harry Morgan who just about steals the movie. Johnny Whitaker, the curly redhead from The Biscuit Eater, plays Jones’s son and is much better here than in his previous film, but you’d swear he was adopted into this blonde-haired family. That said, there’s a lot of information thrown at the audience in the third act that isn’t set up and feels hastily thrown in. And you can only watch Dean Jones lose control down a mountain so many times before things get a bit tired.
Herbie Rides Again (1974)
Oh boy… So, Disney+ skips over a couple of comedies starring Kurt Russell and James Garner for this sequel so they can have every Herbie movie available. I get the completist angle, but this one is pretty rough. Herbie and two others (Ken Barry and Stefanie Powers) help an old lady (Helen Hays) protect her home from corrupt developer Alonso Hawk.
What the film does that’s interesting is its main villain is Alonso Hawk (Keenan Wynn) from The Absent-Minded Professor. And since Kurt Russell’s The Computer Wore Tennis Shoes takes place at the same university as in The Absent-Minded Professor that means Walt Disney Pictures created their own cinematic universe roughly 50 years ago with The Absent-Minded Professor, Russell’s Dexter Riley trilogy, and the Herbie series all existing together!
The rest of the film is utter nonsense with two dull leads who can’t compare to Dean Jones and Buddy Hackett. Wynn does his normal hollaring. There’s multiple AI vehicles and machines introduced here, which makes no sense. There’s even a nightmare vision that is absolutely bizarre.
Herbie Rides Again may be the worst in the Love Bug series - but I fear I may be speaking too soon.
The Bears and I (1974)
A Vietnam vet visits the father of a fallen soldier in the wilderness to deliver his friend’s personal belongings and decides to spend some time alone out there to figure out his life. This leads to him eventually befriending a trio of bear cubs and getting involved in a dispute between the government and the local Native American tribe.
Most of this film is fine. It does feel like some sort of reaction to the conflicts Native Americans were having in the ‘70s with the government and touches on relocations of native people. That may be the story the film wanted to tell in the first place (I’m unfamiliar with the source novel by Robert Franklin Leslie), but it takes half of the film’s 89 minutes to get there. Largely the film is held back by poor narration that should probably be entered into the manual of “What Not to To Do with Narration”.
This film has been forgotten over the years, but it’s certainly not one of the worse things Walt Disney Pictures produced.
The Castaway Cowboy (1974)
James Garner stars in this dramedy about a shanghaied Texan who washes ashore in Hawaii and helps turn a farm into a cattle ranch.
I was looking forward to this film, as James Garner had a screen presence and charisma that I missed. Unfortunately, the year 1974 was a rough year for Walt Disney Pictures. Garner is largely the only interesting thing in this forgotten film. Even Robert Culp’s banker-with-eyes-on-the-female-lead (Vera Miles of Psycho) is fairly tepid and dull.
What’s interesting about this film is 1) it is the second of two films Garner did for Disney and 2) Garner’s wildly successful TV series The Rockford Files debuted one month after this film hit theaters. Like I said, Garner is the only interesting thing about this film.
The Island at the Top of the World (1974)
An aristocrat enlists the aid of an archeologist and French aeronaut on an expedition to the Arctic to find the aristocrat’s son.
With a title like The Island at the Top of the World, one expects some exciting adventure ahead. What this forgotten film provides instead is laughable special effects (a man clearly standing in front of a green screen where the effects show in his eyes; another man fake runs away from green screen lava) and a flat escape from Vikings. The film even creates excuses for the lead characters to run into the Vikings they previously escaped from, presumably in order to add 10 minutes to the runtime (I’m not familiar with the source novel by Ian Cameron).
Robert Stevenson directed this debacle and he certainly proved previously he was capable of better.
One extra-tectual note of interest: an airship features in the film by the name of Hyperion, which Disney eventually used as its publishing brand in the early ‘90s.
The Strongest Man in the World (1975)
So, the year 1975 was a slightly better year than 1974 and this film sort of embodies that. The third film in the Dexter Riley trilogy that starred Kurt Russell before he would reinvent himself as a leading man in the early ‘80s, the film is about a scientific formula created in the university lab Dexter works in that temporarily enhances its consumer’s strength.
The Strongest Man in the World certainly starts out with the fun and joy that was missing in the previous movies Disney released. Once it hits its second act it deviates quite a bit as the focus is more on the university Dean (Joe Flynn, less of a dick here and certainly funnier) and some scheme to get the formula that involves the returning Cesar Romero and Richard Bakalyan, as well as Phil Silvers, who plays a cereal company CEO.
The film is very silly and even includes a scene of Asian stereotypes. What’s odd is, for a film that’s part of a trilogy centered around Russell’s character Dexter Riley, there sure is very little of Dexter Riley in the film - he’s absent for at least a third of the film. It’s also odd to see a Disney film that’s basically about a performance enhancement drug. Joe Flynn, who tragically drowned shortly after filming wrapped, is quite funny here, however.
All in all, it isn’t as satisfying as it promises to be at the start. But in some ways, it’s a step in the right direction for the studio.
Escape to Witch Mountain (1975)
Two orphans with mysterious powers try to piece together faint memories of their past that might lead to understanding who they are - all while being pursued by a wealthy man (Ray Milland of The Lost Weekend) and his attorney (Donald Pleasance, eventually of Halloween).
So, Walt Disney Pictures definitely took a turn for the weird in this adaptation of a novel by Alexander Key. Here is a film that has a premise that is intriguing on paper, but is largely executed in a manner that lacks any energy. It’s an extended chase movie where you see the characters driving frantically to escape their pursuers, yet it feels like a casual stroll. The film is directed by John Hough (Twins of Evil) and runs a length of 97 minutes. Hough was a British director supposedly known for his suspense movies. If Escape to Witch Mountain is any indication, Hough was not very good at the key ingredient he was known for.
Escape to Witch Mountain is a step into the weird for the studio. If only it was more tightly constructed with some verve to its proceedings its premise may have paid off as something special.
The Apple Dumpling Gang (1975)
Three orphans are literally mailed to their next of kin, a gambler (Bill Bixby, TV’s The Incredible Hulk), who tries to find someone else to take them. Meanwhile, the kids discover a large gold nugget in a mine, which draws more attention to greedy parties.
I remember this movie being about two bumbling characters played by Don Knotts and Tim Conway. It turns out those two are extremely inconsequential to the overall film. Add to that another group of characters, led by Slim Pickens, who are introduced two-thirds of the way through the film and you have a film that feels like at least two separate films combined into one. Really, the movie is about the kids and whether or not Bixby’s character will accept custody of them. Like most Disney movies of the ‘70s, the film mostly lacks the charm and magic the studio is capable of. Most of the story is less interesting than the dim-witted antics Knotts and Conway get up to. That said, Harry Morgan (TV’s M.A.S.H.) appears and his presence always adds to the fun.
The title gang is really the kids, even though there is a sequel in which only Knotts and Conway return and focuses on the duo.
Treasure of Matecumbe (1976)
A couple of boys go on a treasure hunt in post-Civil War Kentucky.
A treasure hunt. A runaway slave. A lynching. The KKK. Malatov cocktails. Casual racism towards Native Americans. A swarm of bees. A hurricane. A snakeoil salesman. This movie is so bat-shit it is something to behold.
It is pretty insane to discover Walt Disney Pictures released a film in 1976 that is ostensibly about kids on a treasure hunt that features a scene with the KKK burning a cross and soon after being attacked and burned alive while an ex-slave child yells, “Y’all are gonna reap what you sow!”. For a couple of minutes Treasure of Matecumbe turns into a children’s movie via Quentin Tarantino. And then a few minutes later we’re treated to characters dancing and doing backflips to fiddle music. It is laughably outrageous.
The tone of this film is all over the place. It is truly one of the most baffling forgotten films of Disney lore.
Gus (1976)
A Yugoslavian donkey becomes the star kicker of a loser NFL football team.
This film stars Ed Asner, Don Knotts, Tim Conway, Dick Van Patten, Dick Butkus, Tom Bosley, Richard Kiel, Bob Crane, Johnny Unitas, Dick Enberg, and George Putnam. For those who may not know: that was quite the cast back then. Unlike in most of his other Disney films, Don Knotts has very little screen time in this film.
Overall, it’s a fun, decent, and forgettable film. Sadly, the bar had been set so low in the ‘70s that this low-aiming congenial comedy was among the best the studio had to offer at that point.
The Shaggy D.A. (1976)
Seventeen years after the events of The Shaggy Dog, Wilby Daniels (originally Tommy Kirk, now Dean Jones) is about to run for District Attorney when someone discovers the Borgia ring and unwittingly utters the words that transforms Wilby into a sheepdog.
This film stars Suzanne Pleshette, Keenan Wynn, Tim Conway, Vic Tayback, Dick Van Patten, John Fiedler, and Michael McGreevey. Conway was pretty much the king of Disney’s ‘70s comedies. And he certainly steals the show here as an ice cream man who swears his sheepdog can talk.
What’s interesting is this film takes place in the town of Medfield. That town should sound familiar, as it’s where The Absent-Minded Professor and the Dexter Riley trilogy take place, which firmly puts it in the Disney Cinematic Universe I mentioned above with the Herbie movies. However, Keenan Wynn and Michael McGreevey had already starred in this universe; Wynn as Alonzo Hawk in The Absent-Minded Professor and McGreevey as Richard Schulyer in the Dexter Riley trilogy. In The Shaggy D. A. Wynn plays the villainous D.A. John Slade and McGreevey plays a dog catcher Sheldon.
That bit of trivia aside, The Shaggy D.A. is a bright spot in an otherwise murky and mediocre decade for Disney. It’s a tightly-constructed and fun little comedy that works just as well as the 1959 original.
This was the last film directed by Robert Stevenson, who directed 19 films for Walt Disney Pictures, starting with 1957’s Johnny Tremain (not on Disney+) and was responsible for most of their hit movies since.
Freaky Friday (1976)
We end the year with one of the studio’s most enduring family comedies. A daughter (Jodie Foster) and mother (Barbara Harris) suddenly swap bodies.
This is the original with a script adapted by the source novel’s author. And it’s pretty good! It’s actually 3/4 of a solid, if dated, comedy and then things get really goofy in the third act. The cause of the body swap is never explained and quite sudden (the 2004 remake tries to provide a cause). But both Foster and Harris give believable and fun performances here. It appears the studio finally hit its stride at this point. What’s hard to believe is Foster already starred in Taxi Driver earlier that year.
Herbie Goes to Monte Carlo (1977)
Dean Jones returns to the Love Bug series in the third film, which sees Herbie and Jim (Jones) participate in a race from France to Monaco.
When we last saw Herbie (in the dismal Rides Again) he was living with an old lady and a bunch of other AI machines. This film practically ignores that sequel, referring only to the original and claiming Herbie has been in retirement for 12 years.
Buddy Hackett’s mechanic character is replaced with another character played by Don Knotts, who was a Disney regular at this point.
There is a subplot involving a diamond that thieves quickly hide inside of Herbie and spend the film trying to get back, which is silly and largely unnecessary. But the film overall is one of the better, less problematic entries in the series.
Pete’s Dragon (1977)
A child and his dragon elude an abusive family and sleazy salesman while possibly finding a new family in a Maine coastal town.
I remember really liking this film as a kid. There was something about the idea of having an animated dragon friend who becomes invisible that appealed to me as a small boy. As an adult the film is creaky and tests my patience.
Directed by Don Chaffey (The Greyfriars Bobby) the film is 128 minutes and it feels like very little happens outside of 10 musical numbers. Pete escapes an abusive family led by Shelley Winters, enters a town, is constantly blamed for pratfalls and property destruction (to a ridiculous extent), is taken in by lighthouse keepers, greedy salesman is introduced and teams up with abusive family in scheme to capture dragon, bad guys lose and good guys win. There is rumored to be a 121-minute edited version, but I don’t think that’s short enough. This film needed some serious amputation surgery to tell its story more efficiently; there’s absolutely nothing about this film that requires it to be 10 minutes shorter than some Michael Bay movies. It is in the direction and elongated script that issues arise in Pete’s Dragon and one’s patience gets tested.
The songs are fine and pleasant enough (except for the opening number, which ranges from beating Pete to eating him). Helen Reddy and Mickey Rooney are enjoyable. Red Buttons and Jim Dale are most entertaining as the villains. But really, when one holds this up to Disney’s previous musicals it’s a flat and often dark distant third. When one compares this film to other musicals of the ‘70s like Fiddler on the Roof, Willy Wonka and the Chocolate Factory, or Grease, it’s simply forgettable.
Walt Disney Pictures was on a roll previously. With Pete’s Dragon it feels like they stomped on the brakes and came to a crawl.
Candleshoe (1977)
A delinquent orphan (Jodie Foster) is hired to con her way into a noble’s English estate in order to find a treasure.
This is one of those films that has fallen greatly into obscurity. In my 40 years of watching Disney films I’d never heard of this until this year. However, it is one of the few that should be more popular. Candleshoe is one of the best films by Disney of the ‘70s. Foster is great and David Niven is a butler for the estate who is literally keeping everything running, holding a secret about the estate few know about. Helen Hayes, who had acted since the Silent Era (Anastasia, Airport, Herbie Rides Again) gives her final appearance here and she’s lovely and enjoyable.
Candleshoe won’t ever go down as a Disney great. But, considering the output in the ‘70s, it’s certainly one of the best-executed films by the studio of that time.
Return from Witch Mountain (1978)
This sequel to the film from three years prior is an improvement. We see the twins get separated, whereas they were always a unit in the original film, and get used for evil. Bette Davis (All About Eve) and Christopher Lee (Hammer’s Dracula, The Wicker Man, The Man with the Golden Gun) definitely elevate the proceedings and are a breath of fresh air; rare is it that such legendary talent graced Disney films. Jack Soo (TV’s Barney Miller), who died in 1979 of esophageal cancer, made his final film appearance here as a determine truancy officer attempting to send a gang of delinquents Tia befriends to school.
Director John Hough may have learned a thing or two since Escape to Witch Mountain, as the action and chases are less lethargic and more appropriately paced here. Overall, the script creates a parenthetical feel to the whole thing (events transpire when the kids desire to spend a couple of days enjoying Earth), but there was clearly potential for more tales and creative ideas revolving around the teen’s powers that never materialized theatrically.
The Cat from Outer Space (1978)
An alien cat is stranded on Earth and requires the help of an unconventional scientist (Ken Barry) to repair his ship and get home.
The film stars Sandy Duncan (The Million Dollar Duck), Harry Morgan (Snowball Express, M*A*S*H*), Roddy McDowell (That Darn Cat!, The Adventures of Bullwhip Griffin), McLean Stevenson (M*A*S*H*), Hans Conried (Captain Hook in Peter Pan), and James Hampton (The China Syndrome, Teen Wolf) - a loaded, yet typical ‘70s Disney cast.
It all works fairly well and is enjoyable fun - at least during the first hour. But it eventually drags and stretches things out and involves a big bad that’s a mix between Dr. Evil and an actual James Bond villain that loses the film of its focus and derails the plot a bit. Sometimes you just need to let the title tell the story - and stick with it.
The Apple Dumpling Gang Rides Again (1979)
Tim Conway and Don Knotts return in this sequel to the 1975 film. They are the only returning characters from the original, although Harry Morgan returns playing a completely different character.
The two wannabe-outlaws decide domestic life won’t get them in the history books, so they set off to a burgeoning town to continue their supposed legend. The two end up being mistaken as bank robbers and relentlessly pursued by an arrogant lawman (Kenneth Mars of The Producers).
This film is better than the original in that it is more focused and the lead stars bring a lot of fun and physical comedy. However, the third act resorts to Native American racism and stereotyping, which is unfortunate and leaves a bad taste in one’s mouth at the end.
Unidentified Flying Oddball (1979)
A NASA employee (Dennis Dugan) is sent in space and ends up traveling back in time with his android to the days of Camelot.
Let’s set aside the fact how this NASA employee is absolutely screwed by the people he trusts and suddenly launched into space along with the android that was the intended traveler, which is kinda messed up. This is a very screwy sci-fi version of Mark Twain’s A Yankee in King Arthur’s Court. When I say sci-fi I mean $5 million budget sci-fi. I’ve never seen a studio film wherein a character is flying and you can clearly see the wires suspending the actor in multiple shots.
This is often very rough stuff.
But it does have a couple of amusing and clever moments, such as when the main character magnetizes a villain’s sword so as to attach to any metal it happens to clang against during a duel, adding a bunch of metal objects to the blade and rendering it both harmless and too heavy to lift.
This is obscure and bottom-shelf Disney for a reason. But at least it’s not as offensive as some of the better-known films.
The Black Hole (1979)
At the end of a deep space mission a crew discovers a black hole and a ship nearby. Upon inspection of the ship, the crew find a scientist in charge of a crew of robots with both a secret and plan that may reveal him to be more dangerous then they expected.
At this point, pop culture was flooded with all manner of space sci-fi on TV and movies: Star Wars, Buck Rogers in the 25th Century, Battlestar Galactica, and the return of Star Trek. Disney attempted to add its two cents in this trend with an adventure full of big stars: Ernest Borgnine, Robert Forster, Anthony Perkins, and Maximillian Schell, along with the voices of Roddy McDowell and Slim Pickens. It’s a really tough field at that time to stand apart in and The Black Hole certainly tries with interesting set design, production design, and character designs (mostly robots).
But, despite the talent, the acting is wooden. The direction by Gary Nelson (Freaky Friday) lacks the excitement the material clearly required and the editing by Gregg McLaughlin certainly doesn’t help.
The Black Hole is another Disney movie with potential that failed to satisfy in execution.
The Ranking
The Shaggy D.A.
Candleshoe
Freaky Friday
Bedknobs and Broomsticks
Return from Witch Mountain
Herbie Goes to Monte Carlo
Gus
The Million Dollar Duck
Snowball Express
The Strongest Man Alive
The Apple Dumpling Gang Rides Again
The Cat from Outer Space
The Bears and I
Pete’s Dragon
Escape to Witch Mountain
The Black Hole
The Biscuit Eater
The Unidentified Flying Oddball
Castaway Cowboy
The Island at the Top of the World
Herbie Rides Again
Treasure of Matecumbe
All in all, the ‘70s was a pretty rough decade for Walt Disney Pictures. There were some movies that were very silly or casually racist or just plain failed to live up to the premises’ potential. But there were a handful of nuggets and surprises that should come out of obscurity. Honestly, if Walt Disney Pictures is so hell-bent on remaking its library these days, they should really stop doing mediocre work on its best films and mine the ‘70s for material to improve on.
What do you think?
What are your favorites? Which do you think is the best live action Disney movie of the ‘70s? Comment below or email.