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31  Other/Miscellaneous / Off-Topic Discussion / Spanish Neo-Noir: The Body (2012) on: August 21, 2017, 06:59:23 PM

Seen on TV.


"Every death is a homicide until proved otherwise."
*** This review may contain spoilers ***

Whilst talking to a friend about what TV shows they are watching, I got told about the (extended) Noir-Noir Spanish Mini-Series I Know Who You Are. Catching up on the series, I got recommended a Spanish flick that was about to be removed from the site,which led to me uncovering the body.

The plot:

Feeling sick at seeing how his millionaire wife Mayka Villaverde has lost all her good looks, Alejandro "Álex" Ulloa makes a deal with secret lover Carla to kill Mayka,and then run off together. Getting a slow-acting chemical from his workplace,Alex waits for Mayka to die,then phones up the cops to get the body. Expecting to wait for his winnings, Alex gets a call to go to the morgue. At the morgue, Alex is told by cop Jaime Peña that Mayka's body has disappeared. As Peña searches for the body,Alex gets signs that Mayka has not passed on.

View on the film:

Picking up the black leather gloves of the Giallo with Neo-Noir hands,co-writer/(with Lara Sendim) director Oriol Paulo & cinematographer Oscar Faura undress the body with an icy supernatural (bloodless) Horror/Giallo atmosphere,as ultra-stylised whip-pans across the morgue suggest a hidden figure hiding in the shadows, whilst reflections in wine glasses and circling camera moves subtly change what is being reflected at Alex. Largely taking place in one location, (with extended flashbacks) opens up the tomb of the morgue with a pristine Neo-Noir metallic shine lining the walls,which close Alex and Peña on a tightly coiled interrogations.

Offering up to Alex various rational reasons to Mayka's disappearance, the screenplay by Paulo and Sendim brilliantly keep the possible supernatural Horror ambiguous, which give the writers a chance to dig into the major Giallo theme of the ruthless upper class, via Alex having an arrogance over even looking at Peña and seeing murder as a quick path to a sack of cash.Thumping the table at Alex's refusal to answer, the writers cut prime Neo-Noir dialogue for Peña,whose initial worn-down appearance is revealed to hide a burning Noir anger.

Deconstructing the entire day from Mayka death to Alex's arrival at the mood, the writers unveil a magnificent, macabre twist, which hits thanks to the writers cleverly placing scenes where the viewer can see things from a different perspective on a second viewing. Sweating with fear over Peña unlocking the truth, Hugo Silva gives a superb performance as Alex,whose abrasive attitude Silva holds onto as a mask to hide Alex's fear. Determined to smoke out the whereabouts of Mayka (played by a glamorous Belén Rueda) Jose Coronado gives Peña an excellent hard-nosed aggression smashing Alex's arrogance, as the worn-down Noir loner look of Peña is peeled away by Coronado to reveal a sharp-calculating grip,as the body hits the floor.
32  Other/Miscellaneous / Off-Topic Discussion / Re: Film-Noir Discussion/DVD Review Thread on: August 21, 2017, 06:44:09 PM
Hi Jess,the DVDs are R2 but the Blu's might be Region free.With Arrow having put out R1 DVDs/Blu-Rays this year,there is a chance it will reach the US.

Reading the November line-up,these are some of the best box sets I've ever heard about! With Arrow also bringing out:

 Seijun Suzuki: The Early Years. Vol. 1 – Seijun Rising: The Youth Movies Limited Edition


Making their home-video debuts outside Japan, this diverse selection of Nikkatsu youth movies (seishun eiga) charts the evolving style of the B-movie maverick best known for the cult classics Tokyo Drifter (1966) and Branded to Kill (1967).

The Boy Who Came Back (1958) marks the first appearances of “Nikkatsu Diamond Guys” and regular Suzuki collaborators Akira Kobayashi and Jo Shishido, with Kobayashi cast as the hot-headed hoodlum fresh out of reform school who struggles to make a clean break with his tearaway past. The Wind-of-Youth Group Crosses the Mountain Pass (1961) is a carnivalesque tale of a young student who hooks up with a down-at-heels travelling circus troupe. Teenage Yakuza (1962) stars Tamio Kawaji as the high-school vigilante protecting his community from the extortions of mobsters from a neighbouring city. The Incorrigible (1963) and Born Under Crossed Stars (1965), both based on Toko Kon’s novels about young love, represent Suzuki’s first films set in the 1920s era later celebrated in his critically-regarded Taisho Trilogy.


• Limited Edition Dual Format Collection [3000 copies]
• High Definition Blu-ray (1080p) and Standard Definition DVD presentation
• Optional English Subtitles
• New introduction to the films by critic Tony Rayns
• 60-page illustrated collector's book featuring new writing by critic and author Jasper Sharp


Sacha Guitry: Four Films 1936-1938 Limited Edition

Four Films 1936-1938 brings together a quartet of 1930s features by Sacha Guitry, the celebrated French filmmaker, playwright and actor of the stage and screen, each based on his earlier works.
Indiscretions (Le Nouveau testament) follows a holier-than-though physician who is scuppered by his own hypocrisy. My Father Was Right (Mon père avait raison) tells off a man who, after being left by his wife for another man, raises his son to be wary of women. Let’s Dream (Faisons un rêve…) is another story of mistrust, between husband, wife and lovers. And the history of one of France’s most famous streets is retold in Up the Champs-Élysées (Remontons les Champs-Élysées), featuring multiple performances from Guitry himself.
Available for the first time on Blu-ray this set presents some of Guitry’s earliest and most enjoyable works.
• Limited Edition Dual Format Collection [2000 copies]
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original French mono audio (uncompressed LPCM on the Blu-ray)
• Optional English subtitles
• Two French television documentaries: Cinéastes de notre temps: Sacha Guitry (1965) and Thèmes et variations du cinéma: Guitry (1967)
• An interview with Guitry from the 1959 television series Magazine du théâtre
• 60-page limited edition book featuring new writing on the films
33  Other/Miscellaneous / Off-Topic Discussion / Re: Carol Reed's The Running Man (1963) on: August 15, 2017, 04:26:08 PM
I to was surprised that it has been forgotten about Jess. I found the region free DVD on Narkover (I think Spike has mentioned about using the site before):
34  Other/Miscellaneous / Off-Topic Discussion / Simone Simon's last pre-WWII film: Raymond Bernard's Cavalcade d'amour (1939) on: August 12, 2017, 06:39:51 PM

Seen on Moviedetective DVD.



Taking part in an ICM poll for the best films of 1940,I found out of a work (incorrectly) listed as being from the year by auteur Raymond Bernard,and starring Simone Simon in her final pre-Hollywood production. With the title having some pretty "big names" I was shocked to not find a copy of it anywhere. Ordering Claude Miller's gripping Garde à vue after long giving up on seeing this,I was taken by surprise,when the seller revealed he had also tracked down Bernard's work!,and I set off walking to the cavalcade of love.

The plot:

Story 1:The Middle Ages.

As a stage company travels to a castle to perform a show for the royals,a princess prepares for her wedding. Having a portrait of her arranged fiancé on the wall,the princess expects to get married to a dashing young man called Léandre,but discovers her fiancé has been painted with different brush strokes.

Story 2: 19th century:

Being new inhabitants of the castle,the couple avoid the curse of the Middle Ages by being deeply in love with each other. After helping the bride get measured in the dress during the day, dressmaker Juliette tries the dress on. As Juliette tries the dress on,the groom Hubert catches a glimpse.

Story 3:The present:

Buying the castle after seeing a portrait of a bishop who looks just like him, Lacouret shows off how grand his new property is. Previously supporting the marriage of his daughter Junie and Georges , Lacouret starts making his own plans in the castle.

View on the film:

Known in the UK for his very serious 1932 and 1934 duo Wooden Crosses and Les Misérables,director Raymond Bernard (whose dad was humorist Tristan Bernard) displays an impeccable touch for the emerging Fantasy genre with a dark edge.Bernard walks down the aisles of the castle in tracking shots catching the extravagances,and conjures up a comedic flight of fantasy in ultra- stylised overlapping close-ups and recurring motifs of dolls. Not making another title until 1946, (being Jewish,Bernard went into hiding,during which time his dad Tristan was tortured to death by the Nazis.)

Bernard & cinematographer Robert Lefebvre keep production issues off-screen,(original producer Bernard Natan got arrested for fraud/causing Pathé studios go bust,and whilst in jail, got given by the French gov to the Nazis,who sent him to the Auschwitz camp) to criticise the ruling bourgeoisie elite,from shots drenched in shadows making the rulers look like decaying monsters,to a stylised scattering of voices buying the properties of the rich,and leaving them penniless.

Reaching screens just months before the Occupation took place,the screenplay by Jean Anouilh and Jean Anouilh slyly link the Middle Ages,19th century and "present" with the theme of those in power forcing people into relationships that go against all they love and desire. Saving a comedic side for the final segment,the writers brew historical Fantasy Melodrama (!) in the Middle Ages and 19th century,with the Gothic doom of the fake painting being sown in by the curse surrounding the tempting sight of Juliette.

Making her last French film appearance before meeting the Devil and Daniel Webster in Hollywood, Simone Simon gives a sparkling performance as Juliette,whose fragile,graceful manner Simon uses to make Juliette a siren of temptation for Hubert (played by a wonderful Claude Dauphin.) Whilst not being related to Simon, Michel Simon follows in her footsteps by giving a trio of eye-catching distinctive performances across the tales as Diogène/ Monseigneur de Beaupré and Lacouret,with Simon being unafraid to look rotten as stage actor Diogène,and be thunderous as Lacouret,on his way to cavalcade.
35  Other/Miscellaneous / Off-Topic Discussion / Nordic Noir: Jar City (2006) on: August 12, 2017, 06:37:33 PM

Seen on DVD.




After seeing the pulp thrill ride adaptation of Jo Nesbo's Headhunters,I saw a BBC doc on Nordic Noir that showed intriguing clips of a non-Nesbo adaption. While not being able to find the film anywhere,I was able to open the descriptive,hard-boiled original novel by Arnaldur Indridason.


Coming up to 1,500 reviews,I began looking for films I've been wanting to see for years,and after again looking at Amazon UK,I finally got the chance to open the jar.

The plot:

Sent out to investigate the murder of Holberg Jónsson,worn-down detective Erlendur finds the killer to have left everything as it was. Emptying all the shelves and draws, Erlendur finds taped to the back of one a photo of a grave. Locating the grave, Erlendur begins to learn of a murder that took place thirty years ago,and the trio of friends Jónsson was with. As he starts investigating the links from decades ago, Erlendur starts mapping out the genetics which have laid in the dark heart of the town for decades.

View on the film:

Adapting Indriðason's novel two years before they would join up to make the slick (non-adaptation) Reykjavik-Rotterdam/Contraband, the screenplay by Baltasar Kormákur is incredibly compact,with Erlendur unearthing the origins of the photo in exciting investigation scenes,which also open the jar to Nordic Noir's major themes of corruption in the local community and government projects being linked to dirty deals. Unearthing the mystery at lightning speed, Kormákur makes the Noir mystery gripping hard-nosed,but also gives the title an air of needing an extra 30 mins,with the brittle,Noir loner relationship between Erlendur only being given a rough outline to what it could fully offer.

Sharply contrasting the smooth style they gave to Reykjavik- Rotterdam, Kormákur & cinematographer Bergsteinn Björgúlfsson give Erlendur's photos an ultra-stylised rawness that shoves dirt under Nordic Noir nails,via superb over-saturated colours covering the murder scenes in dour, grisly chemical yellows and blood reds,which are smashed against crane shots panning over the corruption which has covered the town. Cracking open jars to the town secrets, Ingvar Eggert Sigurðsson smokes Erlendur with a brilliant,grubby performance that rages from Erlendur giving all a stiff cold shoulder,who try to stop him opening the jar city.
36  Other/Miscellaneous / Off-Topic Discussion / Carol Reed's The Running Man (1963) on: August 12, 2017, 06:35:26 PM
Watched on DVD.


Review #1,498.


Coming up to 1,500 reviews,I began looking for lesser-known films by directors who I'm a fan of. Finding The Third Man and Odd Man Out to be magnificent Film Noir's,I was excited to learn that director Carol Reed had actually made a third "Man in hiding" title, which led to me putting my running shoes on.

The plot:

Faking his death,Rex Black arranges with his wife Stella to run an insurance scam. Sneaking home after he starts to get the plan rolling, Rex finds insurance agent Stephen Maddux presses Stella on what happened to her husband. Fearing they may get caught, Rex gets Stella to agree to take a "holiday" to Spain,so the cash can be sorted out there. Arriving, Stella and Rex (under an alias and fake Aussie accent) get set to celebrate, but discover an unexpected holiday guest has joined them.

View on the film:

Sailing to the film after experiencing his own mutiny on Mutiny on the Bounty, director Carol Reed (who got $200,000 for leaving the Bounty) steps out of the Film Noir shadows with cinematographer Robert Krasker for an elegant sunset Thriller. Filmed on location, Reed and Krasker give the Black's holiday a dusty/sand appearance,which slowly grates into the movie an atmosphere of sinister mind-games behind the warm holiday snaps brightness. Touring the side streets and towns with the trio, Reed stylishly use the cramped streets and the locals going about their daily lives to frame Rex and Maddux narrowly looking over each others shoulders.

Giving a Noir mood via opening with an extended flashback, John Mortimer (who wrote Buddy Lake is Missing) gives this Shelley Smith adaptation an extremely strong Patricia Highsmith flavour, (minus her homoerotic overtones!) Slithering round each other like vipers, Mortimer centres this running man on the deep mistrust between Rex and Maddux, where the smiles of the pretty boys barely hides their desire to stamp the other out, and always keeping their guard up. Whilst the ending has an ill-fitting light atmosphere, Mortimer builds up the cracks in the Black's marriage from Rex's rogue charms, and sharply changes Stella's perspective of "holiday guest" Maddux.

Catching the eye of every man when sunbathing on her holiday, Lee Remick gives a great performance as Stella. Partners in crime with Rex, Remick makes Stella standout as the only woman in the trio with a subtle softening,from being on edge at the mere sight of Maddux, to showing warmth to both of them. Entering as the outsider, Alan Bates relishes in making every glance or twitch of Maddux suggest that he might be about to stop the Black's in their tracks. Playing games to keep everyone off his tracks, Laurence Harvey gives a fantastic performance as Rex, thanks to Harvey making Rex's poor attempts to hold a fake Aussie accent separate the charismatic cad, with the murky, calculating running man.
37  Other/Miscellaneous / Off-Topic Discussion / Re: Logan (2017) on: August 09, 2017, 11:14:08 AM
The Rover is actual cinema  Cheesy

Oh,so it is just like Logan then (which last time I checked was shown in "actual cinemas") good to see you now agree with me and Spike about Logan, Noodles! 
38  Other/Miscellaneous / Off-Topic Discussion / Re: Logan (2017) on: August 07, 2017, 01:58:22 PM
Thanks Spike,and for a double bill,Logan is a perfect match for the Aussie Post-Apocalypse Neo-Noir The Rover:
39  Other/Miscellaneous / Off-Topic Discussion / Re: Logan (2017) on: August 06, 2017, 07:09:27 AM
Awesome to see you enjoyed it so much Spike, (The Wolverine is also very good)  with this being my recent viewing of it:


Not saying a single line of dialogue for the first hour of her (film) debut, Dafne Keen gives a remarkable performance as Laura,with Keen clawing at Laura's frustrations and volatile mood swings with an abrasive body language that keeps all on edge. Raising her voice,Keen gives the difficult relationship with Logan a melancholy,which brings out a father/daughter tenderness. Losing 21 pounds for his return to the series,Patrick Stewart gives a great performance as Xavier,whose fragile,dying state Stewart does not allow to rest on pity,by showing that Xavier still has some sparks which opened the school for the X-Men.

Playing a role he has done for almost 20 years for the final time, Hugh Jackman gives a superb performance as Logan. Visibly carrying the history of Logan on his shoulders,Jackman gives him a raw fragility, as meeting Laura causes Logan to face his own morality.Working with Jackman for the third time,co-writer/(with Michael Green and a returning to X-Men Scott Frank) director James Mangold & cinematographer John Mathieson continue expand on the action style of The Wolverine with a thrilling,bare-knuckle fury,unleashed with blood darting across the screen and each fight move being delivered with a real thump. Setting it in the future,Mangold and Mathieson draw a Post-Apocalypse,Road Movie landscape,as the dry,dusty colour of the road and a burning red sun cast an end of days atmosphere over the journey.

Putting their focus on the trio,the screenplay by Mangold/Frank and Green does keep the "baddies" at a boo-hiss level,but does give them enough snarling menace so that they pose an aggressive threat to Logan. Using the wear and tear of Logan to take the "superhero" sheen off, the writers explore a wonderfully earthy character study,with the dialogue having a grittiness and an unshakeable air of death keeping everything grounded,as the ultimate X-Men reveal themselves.

40  Other/Miscellaneous / Off-Topic Discussion / Re: My 2000th IMDb rating: Garde à vue/Under Suspicion (1981) on: July 30, 2017, 06:12:38 AM

Thank you for the excellent recs Jess,with The Offence being one I'll try to pick up soon on the special Masters Of Cinema edition. With this being on your watchlist for so long,I'm pleased to say that the Moviedetective transfer is very good. In exchange of your recs,I think you would enjoy this as a 1981 French Noir double bill,with the Highsmith adaptation Eaux Profondes:

41  Other/Miscellaneous / Off-Topic Discussion / Re: My 2000th IMDb rating: Garde à vue/Under Suspicion (1981) on: July 29, 2017, 06:27:28 PM

It is awesome to hear from a fellow fan of the film Noodles! What did you think of the ending,and have you seen any of Miller's other movies?

42  Other/Miscellaneous / Off-Topic Discussion / Re: Bon Cop, Bad Cop (2006) on: July 29, 2017, 06:22:40 PM

Thanks for the kind words kjrwe,and have you seen the sequel that recently came out?

43  Other/Miscellaneous / Off-Topic Discussion / Canadian Noir: Ivy League Killers (1959) on: July 29, 2017, 06:19:17 PM



* This review may contain spoilers ***

Joining in the Canadian challenge on ICM,the first thing I went in search for was Film Noir from Canada. Finding a very limited number,I was intrigued to find one that crossed Noir and the juvenile delinquent (jd) genres,which led to me looking at the Ivy League tables.

The plot:

Whilst they annoy the cops by hanging round, Don and his fellow members of biker gang Black Diamonds do little more than drive on the empty roads and hang out. Bumping into the bikers with their cars,rival gang leader Andy starts revving up a rivalry. Aware of the cops keeping an eye on Don,Andy decides to do a heist dressed as Don's gang,with a goal to push the Black Diamonds off the track.

View on the film:

Rolling in on a swift 69 minutes,director William Davidson & cinematographer William H. Gimmi give the flick a very scrappy Drive-In appearance,via the Noir hangouts and bike chases taking place in dingy locations with rough camera moves. Backed by a stirring Noir score from John Bath,Davidson shifts the jd awkwardness into gear,with shots following each gang member carrying a feeling of no one really knowing their place. Done to give exhibitor Nat Taylor a quick box office hit,the screenplay by Norman Klenman follows the mood Davidson sets,via the sweet lovers on the lam romance between Don and Susan being hit by the Noir biker chains of Andy's thugs. Done decades before he set hearts bleeding in the folk Slasher movie My Bloody Valentine, Don Francks gives a brooding,slime ball performance as Andy,who runs down the Ivy League.
44  Other/Miscellaneous / Off-Topic Discussion / My 2000th IMDb rating: Garde à vue/Under Suspicion (1981) on: July 29, 2017, 01:26:35 PM

Watched on Moviedetective DVD:


“Not in the least suspicious.”

* This review may contain spoilers ***

Aware that I was getting close to giving my 2000th IMDb rating,I started planning on what the rated title would be.At first going for Henri-Georges Clouzot's La Vérité/The Truth,I was disappointed to find the official French DVD to have "broken English" Subtitles. When taking part recently in a poll for the best films of 1981, Garde a vue was at the very top of my "most wanted" list for the year. Telling a DVD seller this round the time I got the Clouzot,I was thrilled to hear that they had recently tracked down Garde,which has led to it getting my 2000th rating.

The plot:

Missing out on New Years Eve celebrations, Inspector Antoine Gallien and Inspector Marcel Belmont sit in an interrogation room interviewing attorney Emile Martinaud. With Martinaud (who was on his own each time) having reported to the police two young girls he found raped and murdered, Gallien and Belmont put Martinaud under as being the likely killer. Interviewing him for hours, Belmont and Gallien are unable to any substantial evidence from Martinaud,which leads to Gallien interviewing Martinaud's wife Chantal,and learning of the hidden corridors in Martinaud's life.

View on the film:

Making her penultimate film,Romy Schneider gives a haunting performance as Chantal which reflects the deep troubles Schneider was having in her life,from the interview Chantal has with Gallien being given a washed out mood by Schneider, in expressing the breakdown of the Martinaud's marriage. Left to do the typing in the interrogation, Guy Marchand gives a cracking performance as Belmont, whose frustrations Marchand makes crackle on screen,as Belmont sees the "murderer" in front of him,but unable to lay a finger on him.

Stamping round the interrogation room, Lino Ventura gives a magnificent performance as Gallien,who is given a calculating tact by Ventura,which shatters from Gallien's passion to bring justice to the murdered girls. Caught in the hard line the cops take, Michel Serrault digs Martinaud's heels in with an upper-crust self belief,which crumbles as the interrogation unveil the Neo-Noir loss at wits end behind Martinaud businessman façade.

Joined by his wife Annie playing a major role in the flashback scenes, co-writer/(with Jean Herman and Michel Audiard) director Claude Miller & cinematographer Bruno Nuytten sit in on the interrogation with a stylish,pristine appearance wiping any brightness away for dour,white and grey Noir colours. Keeping all the guys in one room, Miller fires up the claustrophobic anxiety with tightly coiled whip-pans across the confined location,which sweep into hard-nosed close-ups lingering on each vicious exchange.

Taking John Wainwright's book into the station,the writers superbly intercut flashbacks to the murder scenes and Martinaud's private life to emphasise the importance of what Gallien and Belmont attempt to uncover. Taking place against a "stage" setting, the writers keep the Neo- Noir atmosphere fresh with incredibly subtle changes in the dialogue,from everyone trying to get under the skin of each other,to Gallien, Martinaud and Belmont spitting out their frustrations,of all being under suspicion.
45  Other/Miscellaneous / Off-Topic Discussion / Bon Cop, Bad Cop (2006) on: July 27, 2017, 06:14:02 PM

Thanks to kjrwe for rec.

Watched on Netflix. 7

* This review may contain spoilers ***

Reading posts on IMDb's Film Noir board (RIP) I saw a post that mentioned a buddy cop/Crime flick which had broken Porky's 24 year reign as the most successful Canadian film at the Canadian box office. Searching round,I was sadly unable to find a DVD at a good price. Joining in on a Canadian viewing challenge on ICM,I went on another search,and found the bon cop and the bad cop on Netflix UK.

The plot:

Finding a body right in the middle of the Ontario-Quebec border, Ontario cop Martin Ward and Quebec cop David Bouchard fight over keeping the corpse being pushed to their side. During the fight,the body splits and lands on both sides,which forces Ward and Bouchard to team up. Forced to work round the language barrier,the cops learn that the corpse was a hockey executive. Searching the house of a suspect,they find another dead hockey executive,which leads to Bouchard and Ward suspecting that someone wants to cover the hockey pucks in blood.

View on the film:

Freely skipping between French and English exchanges,the screenplay by Leila Basen/ Alex Epstein/ Patrick Huard and playfully uses the lost in translation dialogue to build Ward's and Bouchard's odd couple relationship, with their initial, spike-driven exchanges being hammered down by the realisation that they can both score the winning goal on the case. As Bouchard and Ward break the ice,the writers keep the case spinning with a wonderfully odd murder/mystery Thriller,with the "buddy cop" set-up allowing the writers to give the murderous thrills a black comedy streak,as Bouchard and Ward burn their hands when witnesses go up in flames,and the motive for the killing taking a sly, satirical shot at foreign ownership in sports.

Standing in the middle of the culture clash line between Bouchard and Ward,director Erik Canuel & cinematographer Bruce Chun give the mismatched pair a stylish,glossy Thriller appearance,with slick camera moves for the tense action scenes and neon red for the murders, being well balanced by a lingering which allows for the punchlines to hit. Bouncing off each other, Colm Feore and Patrick Huard both give excellent performances as Ward and Bouchard,thanks to Feore making Ward a calculating, thoughtful force of calm, against the explosive pack of bon bons that Huard wonderfully delivers for Bouchard,which the bad cop and the bon cop soon get a taste for.
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