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The Good, The Bad, The Ugly (1966)
A classic? Well, not so fast. Are we really okay with brutal (if brief) mistreatment of women, fast and senseless bloodshed, and lots of bad overdubbing of dialog?
Yes, this is a cinematic movie, and if you can overlook its flaws (some) you will be wowed and dazzled by its merits (very many).
Overflowing with archetypes, filmed with huge widescreen effect, brimming with familiar scenes vividly re-imagined, this is a movie that is dramatic (or ironic) in softspoken (or cynical) ways. There are gunslinging shootouts, long lonesome treks across the desert, and showdowns between tough guys. Yup. And it's all built around a story that leads scene after scene to one big moment after another. There's no question this is a movie that is great fun to watch. In fact, for its visuals, the sheer cinematography and sets and editing, this is as good as it gets, amazing stuff. The man behind that was Tonino Delli Colli, the cinematographer for some other of director Sergio Leone's legendary movies beyond this one: Once Upon a Time in the West, and Once Upon a Time in America (and well as the astonishing Life is Beautiful.) But overall, for its content, its plot, its message (if that matters), is TGTBTU a great film, a masterpiece?
Well, the movie is smart. It deliberately plays off of its genre, which had worn itself thin by the 1960s, so things push over the top in a campy, awesome, excessive way. It almost feels obliged to revisit and exaggerate all the themes of American Westerns, including the Civil War, including slapping women around and killing people in a flurry of fast six-shooter magic. Even the title makes clear this is about a stripped down, pumped up version of older classics.
Whatever his aura over time, Clint Eastwood is no great actor, not in my book, and here he is easily out shined by Eli Wallach, who plays a less attractive type, and by Lee Van Cleef, who plays a more attractive one. But Eastwood isn't meant to be acting, not exactly. He has aura. He's stoic and inscrutable, exaggerated make-up and all, and he shoots a mean Colt, or Smith and Wesson, something classy and throbbing. He's a great archetype, in a movie that is about archetypes. It's not a "realistic" movie, of course, not at all, and it's actually a comedy at times, overall, and it's totally fun and never laughable.
Go ahead, compare it to The Wild Bunch, and then to Butch Cassidy, both coming just after this one (and no doubt influenced by it). Both of these later movies have more impressive acting, and more intense intentions (both in brutal violence and in cinematic innovation). But all three have a similar effect, playing within a genre that has always, since the 1939 Stagecoach, been beautifully trapped by its limitations (that's part of its staying power for fans). The Searchers (1956) and High Noon (1952), for starters, are working within the genre, and gnawing at it, as if its something to feed off of. That's where The Good, the Bad, and the Ugly really shines. I have trouble with aspects of it, but I really like it in a bigger sense, looking the other way as needed. I switch to first person because I think it's a personal preference, and a lot of guys I know love the movie to pieces, and a couple women I know think it's either stupid or insulting or boring (actually boring!).
It's an Italian production, which explains some of the out of sync dubbing. Sergio Leone obviously has an intuitive sense of what makes a movie moving, something sorely missed in a lot of productions since. It's gritty, dirty, and it pounds "profound" hard in a male kind of "toughness prevails" way. Sorry guys, but bite that bullet. Oh, and the soundtrack? Amazing, perfect, and rising above the movie, which is great in its own way, I admit.
I'm glad I finally got down to seeing this film, I think everyone have
heard about it, and everyone have definitely heard it's iconic theme
music. The movie is three hour long (each move seem to increase with
one hour) but that just makes it a movie with three hours of pure
genius Western entertainment. Clint Eastwood as Blondie or "the man
with no name" is as brilliant and bad-ass as ever, and even earn the
title as "the good". lee Van Cleef returns with a new role (not the
same role as in "for a few dollars more" as the well named "the bad" or
"angel eyes". And Eli Wallach as Tuco "the ugly" a more humorous
addition to the series, but also earn the title as he is neither good,
nor bad. Greedy and a coward is a better description.
Once again it's all about money, this time 200 000 dollars, a lot of money back then. I won't spoil much, the money is buried in a grave, and only Tuco knows which cemetery, and only Blondie knows which grave. And "Angel eyes" are never far behind them.
This movie is a masterpiece of it's time, the acting is great, Sergio Leone deserves a lot of credit for this film, and the theme music is unforgettable. Plus they finally improved the dubbing which was a little unsynced in the two previous films. Also it portrayed a very realistic image of the American Civil War without taking any particular side in the conflict. then again the main character doesn't exactly care much for the war, they're just after the gold. Then still it's nice to see Blondie show his sympathy for those who fought and died in the war.
I really can't recommend this film enough, if you haven't seen any of the films in this trilogy, buy them immediately and watch all of them. If you have the films and have only seen the two first, well what are you waiting for! Don't do anything other than buy this film, it's a must see and must have film. I give this film (obviously) a 10/10.
In my opinion, this is the greatest western ever made. It's better than
"Butch Cassidy and the Sundance Kid" and "High Noon". It really is that
good. All three of the main performances, Clint Eastwood, Lee Van Cleef
and Eli Wallach are spot on.
Being the last of the so-called "Dollars Trilogy", you get a sense that director Sergio Leone wanted to out do his first two westerns ("A Fistful of Dollars" and "For a Few Dollars More") by having everything in it, the American Civil War, a Treasure Hunt, and the best climatic shoot-out of all time.
An interesting thing to note, is that it was the first Western Epic. Running out over three hours it was the longest Western of its time.
If you haven't seen "Il Buono, Il Brutto, Il Cattivo" see it, if you have seen it, see it again now.
There really isn't much to say about this film.Three men,three guns, beautiful scenery, high tension, excitement...A work of art. You can almost feel you're there,trying to avoid bullets. This is Leone's final western from the trilogy, and clearly the best.Here, he showed all of his directorial techniques,the legendary close-ups,the 10-minutes-of-silence-and-tension scenes and similar. Ennio Morricone composed a truly remarkable soundtrack for this film,and,as a musician,I would say it perfectly fits in the whole story.Every character has its specific tune played with another instrument every time(Man With No Name-flute,Angel Eyes-organ,Tuco-human voice). Clint Eastwood shows us what we'll see from him in the future with his smooth talking, laconic speech, mean looks, and that ever persistent cigarillo in his mouth.Don't forget the legendary one-liners he is saying throughout the film such as- Man With No Name: You see, in this world there's two kinds of people, my friend: Those with loaded guns and those who dig. You dig. I laugh every time I see it. Lee Van Cleef gives his best performance here.His little,piercing eyes make him ideal for this role. Eli Wallach is also perfect as Tuco, the nosy bandit who never stops talking and has a key role in the film. Finally,I think everybody should see this film, simply because of its greatness,magnificence and cinematic significance.It defines the word "cool"-and makes you wonder every time you see it.It holds 4th place on IMDb 250,it deserves it in every aspect,but for me,damn it,it's the best movie ever made.Seriously.
The Magnificent Seven: (The ones with Ennio music and (except for The
Great Silence) Leone-directed or produced):
A Fistful of Dollars 1964
For A Few Dollars More 1965
The Good, The Bad and the Ugly 1966
The Great Silence 1968 (directed by Sergio Corbucci)
Once Upon A Time in the West 1968
Duck, You Sucker! / aka A Fistful of Dymanite 1971
My Name Is Nobody 1973 (produced by Leone, he directed a few scenes)
+ 18 Honorable Mentions, making it a "Top 25": (a cut below Leone, but still good, most of which have at least one "Leone element" in them, mostly from the years 1965-1969, '66 and '68 being particularly banner years):
A Bullett for the General 1968 (Gian Maria Volonte and Ennio music)
Face to Face 1966 (Gian Maria Volonte and Ennio music)
The Big Gundown 1966 (Lee Van Cleef and Ennio music)
Death Rides A Horse 1968 (Lee Van Cleef and Ennio music)
Day of Anger 1967 (Lee van Cleef)
Sabata 1969 (Lee van Cleef)
The Grand Duel 1972 (Lee van Cleef)
The Mercenary 1968 (Ennio music)
Run, Man, Run 1969 (Ennio music)
A Pistol for Ringo 1965 (Ennio music)
The Return of Ringo 1965 (Ennio music)
Ace High 1968 (Eli Wallach)
Under-appreciated (in the US, at least) Corbucci efforts
Navajo Joe 1966 (Ennio music)
Hellbenders 1967 (Ennio music)
Companeros 1970 (Ennio music)
Miscellaeneous (very good spaghettis with almost no "Leone elements")
A Minute to Pray, A Second To Die 1968
The Ruthless Four 1968
+ 25 Other Spaghettis (not necessarily "good movies", but "of interest" due to "Leone elements", the participation of James Coburn, Eli Wallach, Charles Bronson, and Ennio Morricone being the most prominent)
A Genius, Two Partners, and a Dupe 1975 (Ennio music, plus Leone may have directed a scene or two)
The Guns of San Sebastian 1968 (Charles Bronson and Ennio music)
Red Sun 1972 (Charles Bronson)
Chino 1973 (Charles Bronson)
Beyond the Law 1968 (Lee Van Cleef)
The Return of Sabata 1971 (Lee Van Cleef)
Long Live Your Death / aka Don't Turn the Other Cheek 1971 (Eli Wallach)
The White, The Yellow, and the Black 1975 (Eli Wallach)
A Reason to Live, A Reason To Die 1972 (James Coburn)
Tepepa 1968 (Ennio music)
Five Man Army 1968 (Ennio music)
Sonny and Jed 1971 (Ennio music)
What Am I Doing in the Middle of a Revolution? 1972 (Ennio music)
Other vaguely interesting Spaghetti's mainly due to the cast involved:
Adios, Sabata 1970 *Yul Brynner
A Bullet for Sandoval 1969 *Ernest Borgnine
A Man Called Sledge 1970 *James Garner
Deaf Smith and Johnny Ears 1973 *Anthony Quinn
The films of the "other Sergio", Sergio Corbucci (plus The White, The Yellow, and the Black, Sonny and Jed, and What Am I Doing in the Middle of a Revolution? mentioned above, are of interest for mainly historical reasons.)
Massacre at Grande Canyon 1963
Minnesota Clay 1964
Ringo and His Golden Piston / aka Johnny Oro 1965
The Specialist 1968
The "Comedy Spaghettis" with the Terence Hill/Bud Spencer, known as the "Trinity" films (Whether you find these Hill/Spencer westerns funny or not is a matter of taste. The Italians love them, I personally prefer the first three more serious Westerns they made in the 60's to the Trinity films. I have already mentioned Ace High which also stars Eli Wallach, above. Actually, it was part of a non-comedy trilogy with the Hill/Spencer team. Boot Hill and God Forgives, I Don't are the other two.)
God Forgives, I Don't 1968
Boot Hill 1969
They Call Me Trinity 1971
Trinity is Still My Name 1971
*Well that's it for the "top 50". Actually, I'm not so sure about 26-50, but 1-25 are must see and rock-solid. If you can't get enough of this type of movie, rather than wasting your time with the mostly substandard 400 to 500 hundred remaining Eurowesterns (the vast majority of which stink to high heaven), I would recommend trying the Clint Eastwood films Hang 'Em High (1968), Two Mules for Sister Sara (1970), Joe Kidd (1972), High Plains Drifter (1973), Outlaw Jose Wales (1976), Pale Rider (1985) and Unforgiven (1992). Obviously, they aren't spaghetti westerns, but the Leone kinship is obvious. Think of them as the Leone/Eastwood films they never got around to making together.
Also, the films of Sam Peckinpah, especially, The Wild Bunch (1969), The Ballad of Cable Hogue (1970) and Pat Garrett and Billy the Kid (1972), which were also key films in the "deconstruction" of the Western. Oh, McCabe and Mrs. Miller (1971) by Robert Altman is another key film.
P.S. By all means, avoid Spanish "Paella" Westerns, which are even worse than the very worst Italian made ones. Especially A Town Called Hell (1971) by Eugenio Martin, it is absolutely lousy despite the stellar cast.
P.P.S. Contrary to what some people may try to tell you, there are no Late Spaghetti Classics (after 1973). No, Keoma, Four of the Apocalypse and China 9, Liberty 37 are not lost classics, they are pretentious, preposterous failures, deservedly (and mercifully) forgotten. The two post '73 spaghettis I did mention were only due to the involvement of Leone and Corbucci, I wasn't endorsing those films necessarily.
*** This review may contain spoilers ***
The Good, The Bad, and the Ugly, a 1966 spaghetti western from director
Sergio Leone, sums up everything an "epic" movie should be. It has a
huge scope, a unique ensemble of characters, and well done drama.
The film is overacted at times, as one would expect. But that serves it well. Eastwood does his tough/cool guy act better than it has ever been done. He is clearly at the top of his game here. The dialog is well written, the tough talk is as over the top as it can get without getting campy. The script also provides some humor to lighten the mood a bit.
The story is the movies greatest strength. It has a massive arc, and multiple story threads that eventually unite to form one. There are many major events in the plot, and no pointless scenes, despite the films long length. There is never a dull moment to be found in The Good, The Bad, and the Ugly.
The film is highly unpredictable. It leaves the viewer guessing as to what will happen next up until the famous climax.
This movie has some of the best shootouts ever put on screen. Eastwood is given many moments to show of his effortless coolness, and many of the fights are quite suspenseful. Later in the film, there are larger scale battles. These are shot perfectly by Leone.
The Good, The Bad, and the Ugly is far more than a mere western. it is probably the best example of the epic film-making style that dominated the 50's and 60's(i.e Ben-Hur) This is a masterpiece that will stand the test of time.
Clint Eastwood returns as The Man With No Name in this final
installment in Sergio Leone's epic Dollars Trilogy (or Man With No Name
Trilogy). He plays Blondie (the Good), a sharp-shooter of debatable
honor, iron will, and questionable motives. Leone also brings back Lee
Van Cleef as Angel Eyes (the Bad), a sadistic man who always keeps his
promises as long as you pay him for it. Eli Wallach rounds out the
trio as Tuco (the Ugly), a thief worried only about his own hide. The
three men are held together by the wish to locate a stash of gold, its
location imparted to them by a dying man. Alas, things are not so
simple. The man whispers some of the information to Tuco, but only
Blondie knows the true location. And so our thieves must overcome
backstabbing and betrayal, as well as their mutual enemy of Angel Eyes,
to reach the treasure.
Sergio Leone creates a visual masterpiece. Not even Orson Welles can hold the audience in his hands the way Leone can. The cinematography and editing are perfectly in sync, working together to mold the audience as Leone sees fit. The famous Mexican standoff, with its rapid-fire cutting and incredibly close shots, is jaw dropping, forcing you to hold your breath. And of course, the film simply could not work without Ennio Morricone's incredible (I repeat, incredible) score. Even if you don't bother seeing the movie, look up The Ecstasy of Gold on YouTube. It will leave you speechless and blow your mind.
After a disastrous experience with my first foray into Westerns (for the record, "Shane" is a horrific movie), I all but damned the entire genre to the pits of hell. But after repeatedly spying "The Good, The Bad, and The Ugly" atop film lists, I decided to give it a try. It had me on the edge of my seat, my eyes shining, my entire being entranced. In my opinion, "The Good, The Bad, and The Ugly" is one of the most spectacular movies ever made. Is it historically accurate? No. Is the plot nice and tight? Not really. But those are trivial matters in the face of what it is an incredible spaghetti western. And as far as I am concerned, it is one of the best movies ever made.
A big, bravado, bold and exquisite film for its time, Sergio Leone's
"The Good, the Bad, and the Ugly" remains one of the most seminal,
influential, and exciting films of all time. With its superb cast, its
beautiful and wide scenery, and its superior action sequences, this
film is a masterpiece. A picture that embodies the perfect
personification of masculinity. A true man's picture, and one that will
stand tall among most movies today.
The simple tale of how three gunslingers form an unlikely alliance of hate, in order to find $200,000 (that's $6 million by today's standards) worth of stolen gold, in a country that is ravaged by war, is elegantly told by the maestro of westerns, Sergio Leone. For its time, Spaghetti Westerns were not considered genuine art, but rather, entertainment instead. Sergio Leone is probably the only director who is smart enough to make his film compelling to mainstream and critical audiences alike. His direction is smart and strong, and you see how well his direction is as per the amount of manpower and creativity in handling the action sequences. The action sequences are raw, crisp, grand, explosive, and taut. Especially the Standoff at the end. Leone should probably be awarded a Nobel Prize for that scene alone. Leone is probably why westerns are popular among the youth of the '60s, hell, he probably influenced would be filmmakers at the time. I know of one who was particularly influenced by Leone's direction - Quentin Tarantino himself said that this film is the best-directed film of all time. And yes, although the film may be long, there's not a scene that goes by that you'll say boring.
Clint Eastwood - The Good. The legendary Man With No Name. His character perfectly embodies with the true meaning of masculinity. As per in his previous films, he plays a mysterious gunslinger, one with a deadly aim and a strong sense of honor and pride. He is the perfect hero, and this film stands out as one of Clint's, if not his, best film ever.
Lee Van Cleef - The Bad. Here, instead of the fatherly Doug Mortimer in the previous "For A Few Dollars More", we get the stone-cold assassin Angel Eyes. Van Cleef plays him chillingly to the bone. He is wicked, he is ruthless, he is cruel. He would kill anyone, be it his targets or even his own client.
Eli Wallach - The Ugly. He is Tuco, a criminal on the loose. He is the most interesting character in the film, as we see the ugly side of man through him. He is two-faced, slimy, arrogant, and hate-able. But that what makes his character great. There is no substitution for Wallach, he will always be Tuco no matter what.
The cinematography is absolutely beautiful. We get to see the backdrop of the glorious Wild West and the battlefields of war in all its unfaded glory. Even the cemetery scene is filmed extremely well. The music - that's another thing. The music, is masterful, so sublime, so grandiose, and so haunting. It's mesmerizing, really, to hear the great Ennio Morricone's score while looking at the actions of people, it perfectly matches the film. Not forgetting to mention the iconic and haunting theme song that's embodied itself in popular culture even until today.
So, yes, this is truly cinematic brilliance. If you want to see the film in all it's glory, I reckon you readers get the extended cut DVD of the film. It's Leone's true version of this film, and it would do you some good to see his true film, not to mention the remastered picture and 5.1 sound so that you can hear the gunshots and explosions in all its fury. Make no mistake readers, this film is one of the most iconic movies ever made, and it can be proud of its status as "Greatest Western Ever Made". Now if only movies like these were made today as well...
Overall rating: 10/10
*** This review may contain spoilers ***
Three separate mercenaries drifting through the US Civil War in 1862
hear about a cache of looted Confederate gold, rumoured to be buried in
a cemetery. Picking up clues, and with many criss-crossing adventures
en route, they each make their way to the treasure. Can they find it,
and who will emerge alive ?
The Good, The Bad And The Ugly, or Il Buono, Il Brutto, Il Cattivo to give it it's proper name, is simply the finest western ever made. Many accused Leone of being a hack; he made westerns, but he made them in Spain, and he wasn't even an American. Not only was he not a hack, he made pure cinema - a genre stylist unburdened by all the boring moral constraints of so many westerns (clean-cut good guys, white supremacy, social responsibility). As a result, this film is the purest distillation of the western myth, with the most amazing cinematic treatment ever committed to film. Its style is beyond criticism and its influence cannot be underestimated; Leone's themes, his camera angles, his use of music, his intuitive widescreen style, his moves, his incredible closeups - all have been and continue to be copied by lesser men. At a time when everyone was making crappy new age films like Barefoot In The Park and Georgy Girl, Leone was going back to his cinematic childhood of Gone With The Wind to create an astonishingly mythic epic which is the greatest depiction of the American Civil War despite not being about it. The three main characters are larger than life in the best way possible; Eastwood is extraordinary as The Man With No Name here, his character gradually mellowing from the hardened bounty-hunter he was as he witnesses the horrors of the war. If you do not cry at the scene near the end where this hardest of hard men dispassionately comforts a dying boy you are truly heartless. Wallach is amazing as Tuco, giving one of the greatest physical performances I have ever seen, all darting eyes, fastidious little movements and operatic comedy; he can be scary, funny, vicious and tender, all in the same scene. Van Cleef on the other hand is the purest depiction of black-hearted evil in any film. His introduction, as he rides a black horse out of a desert sundown and commits three horrific murders is amongst the greatest screen villainy of all time. These three incredible turns are all-time career bests for three astonishingly talented and prolific actors. Also superb are Guiffrè as the doomed drunken Yankee Captain Clinton, Pistilli as Tuco's brother Pablo and Brega as Wallace, Van Cleef's burly henchman (Brega plays similar heavies in the two previous Dollar movies). The other unforgettable element to this movie is Ennio Morricone's astounding music, which I think I must say is simply the greatest score ever recorded. There is no movie I can name with better, more original or dynamic music. The music is in unique harmony with the images and emotes from the first note to the last crescendo. The music completes every scene. It is lustful, haunting, touching, humorous, ominous, grandiose, suspenseful, operatic, delicious, magnificent, riveting, quiet, melancholy and philosophical. There are too many great musical moments to mention, but perhaps the greatest of all is the L'Estasi Dell'Oro sequence as a crazed Tuco runs amongst the graves of Sad Hill accompanied by the silken soprano voice of Edda Dell'Orso. Morricone is probably the most gifted film composer who has ever lived - he is certainly the most prolific - and this is the finest of his many many great scores. In an average movie I hope for maybe five strong scenes with atmosphere and originality. In this long movie, every single scene, bar none, is a brilliant little vignette, yet each flows into the other with perfect rhythm. What else is there to say about this extraordinarily beautiful film ? It is a diamond, an absolute diamond of world cinema, made by one of the few truly original directors, and don't believe for a second anyone who tries to write it off as trashy or simplistic. It contains so many moments of pure storytelling genius it would take me forever to list them. It is a great story, an astounding assault on the senses, a hugely entertaining masterpiece and an everlasting testament to Leone's total command of cinema. Featuring exquisite photography by Tonino Delli Colli and fantastic sets by Carlo Simi, it was shot at Elios Studios in Rome, in Castilla-Leon in northern Spain and in Leone's favoured locations in Almeria. Stunningly well written by Agenore Incrocci, Furio Scarpelli, Luciano Vincenzoni and Leone. Re-mastered and re-released in 2003, with several additional scenes which didn't make it into the original US release, notably a sequence where Tuco reunites with his gang and one where Angel Eyes visits a ruined fort. Trivia - Eastwood/Blondy is the good (buono), Wallach/Tuco is the ugly (brutto) and Van Cleef/Angel Eyes is the bad (cattivo); the latter two are often transposed in much of the English-language publicity and merchandise for the movie. This is the great Sergio Leone's best film, the best film of the sixties and the best western ever made.
A truly magnificent 3 hour long tale of three bandits, on the trail of half a million dollars in stolen confederate gold. Clint Eastwood is Blondie, a mercenary gunman who partners up with the Mexican bandit Tucco (Eli Wallach) to play a con on several different western towns. Tucco plays the part of captured bandit, Blondie the part of bounty hunter who has captured the wanted criminal. Subsequently he collects the reward, and Tucco is to be hung. But being a con, naturally Blondie just shoots Tuccon down off the hangman's rope, and into the sunset they ride to their next con job. Into the fray rides Angel Eyes (Lee Van Cleef playing the role to menacing perfection), a ruthless killer on the trail of the stolen gold after two of the thieves turn on each other, both hiring Angel Eyes to murder the other. He may be a ruthless killer, but he does have a perverted sense of honor, and thus fulfills both contracts, but not before one of the men tells him the story of the stolen gold, and whom he should seek out to get it, another thief in on the heist, who has now joined up with the Confederate army. As the broad backdrop of the Civil War rages on, we are given a microcosm of the conflict with not two, but three competing sides. What's interesting here is the dichotomy of the characters being almost mirror images of one another. Each a skilled gunman, and proficient killer. However, what separates the three is the degree of morality each has; Blondie killing only when necessary, when he's confronted with no other choice. Tucco kills for convenience, his life of crime has made him many enemies, so he's often faced with the end result, those out for revenge. But Tucco has a softer side, and we see several revelations about his upbringing that place him in a somewhat more heroic light than he first comes across as. Finally, there's Angel Eyes, a demonic killer with no empathy, sympathy or moral direction. He's out to get everything in life for himself, and will sell out anyone that tries to stop him. He delights in torture, but seldom sullies his own hands. He prefers to let others do the dirty work, and enjoys the spoils. I really think he's a representation of the Devil. Someone that enjoys manipulating, killing and causing chaos. A being totally involved with the pleasures of life regardless of the cost to others. The film's climax with a Mexican standoff is priceless, and the entire film is a enjoyable, riveting experience that should be on the beginners list for Western film viewing. Interestingly enough, it is so deep and nuanced, it can easily go onto an Experts list for WEstern viewing as well.
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