Reviews (402)

  • "Trouble in Texas (1937) with Tex Ritter was a virtual remake of "The Man from Utah (1934)" with John Wayne and used again for "Mesquite Buckaroo(1939) with Bob Steele and again in "The Utah Kid (1944)with Bob Steele and Hoot Gibson essaying the roles of John Wayne and George Hayes from the 1934 film...and yet again in 1951 as "Lawless Cowboys" starring Whip Wilson. And Tex Ritter's 1938 "Frontier Town"was more that just a version of the origin film. And all the "rodeo footage" in the remakes came from the 1934 film.

    You are welcome.
  • The only exception was the narrator (voice) added by Warner Bros in 1944. This film (short) was produced by Cinecolor, Inc. (2809 South Olive Avenue, Burbank, California), in order to get more theatrical exposure for their color process Cinecolor. It was shown and distributed to theatres in the U.S. by the film exchanges of Monogram Pictures Corporation. The original, country of origin title was "The Man from Tascosa" in 1939. For whatever reason the Warner Brothers shorts department acquired this film in 1944 and changed the title to "Wells Fargo Days." Most likely because they didn't have the raw film (World War Two shortages) and needed to fulfill their obligations to exhibitors to deliver a certain amount of color shorts for that production season...and they had already edited into a short all the feature Technicolor westerns they owned. And, yes, the reason that some reviewers of the Warner 1944 version thought the "Technicolor was a bit washed out was because it wasn't in Technicolor to begin was in Cinecolor and pale green dominated. The cast and crew credits alone should have tipped the film experts that "Wells Fargo Days" was not produced by Warner Brothers; Dennis Moore, Louise Stanley, Lafe McKee, Mack Wright and Bennett Cohen were not starring in nor directing and writing 1944 Warner Bros. productions...features nor shorts. What Warners did do was have some in-house editors chop some footage from the original and hire Art Baker to narrate the gaps in the plot. And, because there was no new footage shot, the correct attribute for every actor---credited or uncredited--- is and always will be (archive footage), with one single exception...Art Baker's (voice) narration.
  • When Monogram Pictures Corporation sold their Cisco Kid series of films to television in 1949, United Artists had acquired and now held the rights to the O'Henry characters, and the company was forced to dub-over and pronounce another name in every reference to Cisco, Cisco Kid and Pancho. Perhaps the speculator and guesser might want to go back and edit his review.
  • One would think that if a reviewer that knows the name and face of an actor in a film (when he is seen), then such reviewers would not go to great lengths in adding little tidbits about that actor, in their review, when that actor...John not in the film. John Payne did not play "Apache Jack" in this film. That role was played by a one-and-done actor named Jack Payne. Perhaps those reviewers that pointed out the fabrication John Payne is in this film would go back and edit their reviews. But, the chances are very high that, rather than delete/correct their reviews, they will just mark this with a 'don't like'. Be my guest.
  • Warner Brothers owned the property (the screenplay of "To Have and Have Not") and if Roy Huggins wanted to make a western version of that, he, and the studio, were free to do so. They were also free to use archive footage from other Warner Bros. feature films (which they did many, many times in this TV series) and a lot of footage from "Juarez"is used in this "Cheyenne" episode. And for what it is worth, regrading the reviewer who thinks Hoagy Carmichael played the piano player in this episode, the piano player called 'Professor" was played by Tim Grahame.Yes, the 'Star Dust' man did play the piano in "To Have and Have Not."
  • This film was released in the USA on June 6, 1931 as "Forbidden Adventure", hence the source of the on-site lobby cards under using that title. Paramount, for whatever reason, called back the "Forbidden Adventure" prints and printed material from their film exchanges (some of which had already been sent to theatres and escaped the call-back) and sent out changed-title prints on June 20, 1932 as "Newly Rich."
  • Voices Across the Sea was a Metro-Movietone short featuring the cast in clips from their first sound(talkie)film, and was part of a Gala Harvest Special when shown, in 1928, at the Empire Theatre in London, England, with "Alias Jimmy Valentine" starring William Haines as the feature film, and a live vaudeville act. The theatre called it a Special Personal Appearance Film.
  • This film was part of the British Quota Law that existed in the 1930's that basically said in order for films produced in the U.S. by U.S. producers and companies to be shown in Great Britain or any of the colonies, a certain number of films shot somewhere in the British Empire, with the majority of the cast and crew British subjects, had to be shown in the U.S.A. This posed no problems for the major studios who either had production facilities in England or working agreements with the major British producers, but Columbia had neither. In order to comply with the British Quota, so Columbia films could be shown in England and its far-flung outposts, Columbia entered into an agreement with Commonwealth Studios, headed by Canadian-producer Kenneth J. Bishop, in Willows Park, Victoria, British Columbia, Canada to finance and shoot films there for distribution through Columbia's film exchanges. Most of these films starred imported Columbia contract players such as Rita Hayworth, Charles Quigley, Rosalind Keith, Charles Starrett and others, but the vast majority of cast and crew was made up of subjects of the Crown. As such, there were a couple of dozen B-features or westerns shot in Canada with the cast filled with names such as Finis Barton, Robert Rideout, Arthur Kerr, Reginald Hincks, Edgar Edwards, others, directed or written by people such as Del Lord (Canadian-born), J. P. McGowan (Australian-born) or Kenneth/Kenne Duncan (Canadian born). There were a couple of Charles Starrett westerns filmed there and the only American citizens on either side of the camera were Starrett and his double/stunt man Ted Mapes. "Vengeance, 1937" (Canada title) and "What Price Vengeance?,1937" (U.S. title), and there is no re-issue title in 1937 in spite of some source that thinks so (but some uninformed sources also show re-issue titles as being used in the same year the film was originally released, which may have happened only twice in the history of films), has "Dynamite" Hogan as a young policeman who is a crack pistol shot on the firing range, but lets some bank robbers get away because he hasn't the nerve to fire at human targets. Following a fake resignation from the force, he poses as a crook and gets himself accepted as a member of the gang. Before long, with time out for romancing Polly Moore, he soon engages the entire mob in a gun battle. - Written by Les Adams
  • Over in Trivia there is this little note: Actress Helen Twelvetrees sued, claiming that the film was based on her life story. She won her case.

    It would have taken a really bad lawyer to lose the case. RKO was on record of making the claim. On page six of the pressbook sent to the theatre exhibitors, there was a long publicity story , for use in local newspapers when the film was showing in their towns. It told of the many stunt men who were involved (in actual roles and stunts) on "I'm Still Alive." Mentioned were Allen Pomeroy. George Magrill, Cliff Bergere, Art Dupuis, Cy Slocom and several others. And, about half-way through the long ready-to-be printed (and it was) story was this paragraph from RKO's publicity department: "Strangely enough, every one of them is married, and most of them own their own homes. It is a fetish with these men who lead such hazardous lives to run no bills, to pay cash for everything they buy. They had fun on the picture which, they say, is based on a true story of one of their number, the romance a few years ago between the former star, Helen Twelvetrees, and stuntman Jack Woody."

    She might have overlooked it. if they hadn't called her a former star.
  • was good enough to steal for Prouty and Lane; Jed Prouty and his pal, Dick Lane, have attended secretly the annual convention of the Sons of Hawaii. they having told their wives they were going on a hunting trip. After the final wild closing night, Jed doesn't remember much of what happened, but on the way home the next day Dick tells him some strange woman was chasing on the way to the train. Jed arrives home to find his wife gone but a beautiful young waiting for him and calling him "Daddy." He does not know she is the wife of his son, they having eloped suddenly. The problem begins when his wife returns and he, with a guilty conscience, tries to keep the girl out of her sight.
  • Using most of the character names as was used in the original Tom Tyler film (Monogram) and the remakes starring John Wayne (Lone Star-Monogram) and Bob Baker (Uinversal), it would appear that such an outright theft should have also been noted when the writing credits appear on this film...but try as I may I fail to find one line on any frame of this film that mention this film was base on an original story and screenplay by Wellyn Totman, and also on subsequent screenplays by Robert N. Bradbury and George Waggner. Evidently, the use of previously-written copyrighted material, without crediting any of the original story or screenplay writers is no problem in Canada. A simple based-upon-by nod would have been honest, at least.
  • Starting in 1936, most of the the major film studios in Hollywood, on a rotating basis,and at no charge, would make an annual theatrical short to be shown country-wide and, following the showing, the lights would come up and ushers, employees and owners would then pass buckets (mostly) from front-to-back and down each aisle for the patrons to drop money in for the support of the Will Rogers Memorial Hospital (tuberculosis sanatorium) located at Saranac Lake in Essex County, New York.

    It was not a let's-make-a-salute short to Will Rogers per se (albeit archive footage of Wil Rogers was used in every one of these) was a funds appeal to support the hospital.

    The studio that produced it would primarily use performers under contract to that studio, but the film itself was distributed through the hundreds of film exchanges throughout America of all of the major studios(and not just that year's producing studio), plus it was distributed via National Screen Service.

    THe suggestion here is before so-called "reviewers" start their "expert" critiques of the Will Rogers Memorial Funds annual shorts, they should at least have a bit of film knowledge in their Critics Kit and know exactly why the short was made.
  • At one point in time, the site displayed three movie connections showing this 1946 film was a remake of: "The Lone Rider(1930)", with Buck Jones, and "The Pocatello Kid (1931)" with Ken Maynard, and "The Thundering West (1939)" with Charles Starrett. Evidently, some misinformed contributor, who most likely has never seen the other films, sent the site a vastly-incorrect deletion request of those three connections. Same plot in all four films...same incidents...different character names. I've resubmitted those connections. But that won't keep the uninformed deleter from deleting them again. But he sure can't delete them from here.
  • While Frances Kavanaugh received the only on-film writing credit, screenplay, this is yet another remake of Tanseys original story for "Stars Over Arizona (1937)", with Jack Randall, and "Blazing Guns (1943)", starring Ken Maynard and Hoot Gibson. This non-original by Miss Kavanaugh...follow this get to where this story had been before: Eddie Dean ('Eddie Dean (I)'(qv)) and his friend Ezra ('Emmett Lynn' (qv)), while acting as trail guides for a wagon-train for homesteaders, stop a hold-up attempt by a gang led by Cherokee ('Lash La Rue' (qv)). When the settlers reach their destination, Eddie learns that unscrupulous land-grabbers, led by a saloon-owner and a crooked judge, have killed the sheriff, Eddie's friend, and taken control of all the available land. Eddie is appointed Sheriff and persuades the outlaws, who attempted the holdup, to join him in his fight against the land-grabbers and they will get a pardon from the state governor.
  • Another in the long line of the Trials-and-Tribulations (compounded by Misery and Irony) offerings from Hugo Haas. This time out his character, Marko, is searching for a lost gold mine with his young partner Ray Brighton and, despite the fact that Haas appears no more at home playing a prospector than Raymond Hatton would playing a Bulgarian diplomat, they find the mine. But Marko decides he doesn't want to share with his partner and figures out a devious and complicated scheme to get rid of him. (Shooting him in the head and burying him in the desert is far too simple a solution in a Haas film.) So, Marko ups and marries buxom young Peggy as a marriage of convenience, even though past experience would indicate any involvement with a character played by Cleo Moore would not be described as anything close to convenience. Rikor figures that after the three of them spend the winter together in a shack far from civilization, he will sooner or later catch them in adultery, and he can use the "unwritten law" to kill Brighton and thus escape punishment from the law. But "Murphy's Law" rears its ugly head.
  • A Hollywood film-director has been sent to Hickory Kentucky to find material and acts for a hill-billy picture.He is kidnapped by henchmen of a big-town city slicker who has taken over the operation of the town's annual jubilee..mostly using bottom-of-the-barrel acts from the swamps of Florida. A Hollywood trade-paper reporter, sent to cover the event, finally thwarts the gang's plans to loot the civic coffers and the local bank. Jerry Colonna, between the 15 stagings of acts, from it appears Florida, of the type that killed vaudeville, flits in and out as a hired emcee, who also gets kidnapped. As for the singers, there are LOTS of them--as if you were watching a no-talent talent-show in Florida...and the losers were cast in this film. The exception is a former winner of a Texas talent show, Jean Porter from Cisco Texas.
  • Warning: Spoilers
    "Women in the Night" begins by saying it is "based on case histories from the files of the United Nations Information Offices." It also promised to depict the heroism's and courage of the women of the countries occupied by the Nazis and Japanese during WW II. It takes place over a period of 36 hours, or 90 minutes that seems like 36 hours, in a German Officers' Club in Shanghai. It seems that these Nazis have developed a cosmic death ray that is 100 times more deadly than the Atomic bomb. But they evidently overlooked telling Hitler and the boys in Berlin about it, and Adolph and his henchmen are now history. But the Japanese want the secret to ensure they won't face the same fate as the Germans. The war in Europe is over but this group of Germans are not only hanging on in Shanghai, they have the funds to manage the upkeep of a club that would rival a Vegas night spot, or will in the future when Vegas begins to flower. Anyway, the Japanese guys want this secret real bad, and the Germans tell them to come on over to the Club and they will give it to them. But the German commandant of the Club has no intentions of demonstrating the "weapon" and has some distracting-diversion tactic planned for the Japanese honchos, and he has the club Maitre'd-slash-torture chamber guy bring in a group of captive women, and his instructions to them is to get out there and "entertain" the Japanese guys, and the way he says "entertain" it is real clear that he means total "entertainment". What his plans are when the Japanese recover from being "entertained" aren't real clear and aren't cleared up later either because one of his officers, (William Henry, the only male in the cast that isn't Asian or speaks with a German accent) is actually an American O.S.S. officer-slash-spy. And one of the "entertainers" is his wife (Tala Birell),a Shanghai version of Mata Hari. Then the plot gets kind of outlandish.
  • Warning: Spoilers
    The review by F.Gwynplaine MacIntyre, not his real name and he wasn't from North Wales but his life story would make one intriguing movie, brings to mind what one of the great film historians, Don Miller, had to say about the background of "Champagne Waltz", in the January 22, 1982 edition of "Captain George's Penny Dreadful." a weekly review published in Toronto. To quote: "Champage Waltz" began as a collaboration between playwright H. S. Kraft, then in Hollywood, and Billy Wilder, a recent émigré from Europe. Lester Cowan bought the original story and thereupon sold it to Paramount, and since Cowan still owed Wilder a piece of change from the transaction persuaded Paramount to hire Wilder as a scriptwriter in lieu of payment, to which Wilder agreed. The property was developed by Wilder; the screenplay was eventually turned in by Don Hartman and Frank Butler, with Kraft and Wilder retaining screen credit for the original. What is important is that it was Wilder's initial Paramount writer's credit, and contained what is apparently the nucleus of a familiar Wilder screen character---the wiseacre, semi-heel with redeeming qualities, played by Fred MacMurray six years prior to "Double Indemnity." Here, he's Buzzy Bellew, a band leader. The comparison with MacMurray's Walter Neff, and the later J. J. Sheldrake of "The Apartment"; the Charles Tatum of Kirk Douglas in "Ace in the Hole"' the Joe Gillis of William Holden in "Sunset Boulevard" and other Wilderian dark-shaded "heores" is apt. Otherwise, the plot's about the difference between a Strauss waltz conductor and a brash Americam jazz-man, with of course the two orchestras melding together for a happy conclusion. Subsequent German and Austrian musicals found this twist appealing, although Wilder never got credit. It would turn up in one form or another in films of Willy Forst and others."
  • Per his M.O., one of the reviewers of this film fills the site with yet more of his incorrect, at best, assumptions and mis-statements. This one starts with his usual assertions that Grand National Pictures signed Tex Ritter to a contract to make a series of films produced by Grand National. Other than about four films (including two James Cagney films), Grand National was primarily a distribution company for the films of about a half-dozen independent producers. He also incorrectly states that...."they (Grand National) signed Tex Ritter from The Grand Old Opry (sic) as their singing cowboy. No, Bucky, Tex Ritter had never appeared on The Grand Ole Opry until after his singing-cowboy career was over. Tex Ritter, then working, on a radio station in New York City, was SIGNED to a film contract by producer Edward Finney, who, in turn, then signed a contract, with Grand National Pictures, to produce a series of westerns for Grand National distribution---GN did not produce any of the westerns that were distributed under the GN logo. And, by the way, quoting Booda-do---"As a studio Grand National Pictures only lasted for a couple of years..."; the last time I looked, a couple meant two...and the last time I looked, Grand National distributed films made by independent producers (in addition to actually producing two Cagney films)for over five years...which is a couple doubled plus one.

    The reviewer who included the clap-trap misinformation in his review has been contacted by private message(s), over the past couple of years, regarding his error-statements,(on six of the ten reviews this contributor has read by this reviewing assumer) in which it was suggested that he might care to edit his review(s) and delete the highly-fabricated statements he made, but he seems to resent, rather than appreciate someone trying to help him not look foolish. Other than his opinion of the film(s) he writes about, his knowledge of vintage films seems to be somewhat, at best, lacking.
  • "Then Came the Dawn (1932)", produced by Vitaphone and distributed by Warner Bros. is a 15 minute two-reeler (# 7502) in which Jack Haley plays a man with a sleeping affliction, who falls asleep at odd times and places, including at the altar while getting married to Christine Maple. She leaves him sleeping at the altar and she sails for England with her father, played by John Hamilton. Meawhile, Jack has followed her to the pier and manages to fall asleep in a car that is hoisted aboard the ship. In London, he encounters a gang of anti-capitalists who are plotting to kill Hamilton. Yes, it's a comedy. No, it is not the 1934 short from Educational that runs eight minutes, and is a parody of Universal horror films. Alas, the latter is not on site. It should be because there is a review on it on this page. But that review is not for "Then Came the Yawn(1932)"
  • One of three films made by Columbia circa 1936-37 based on behind-the-scenes film making with a "western" setting ("The Cowboy Star", "Hollywood Roundup" and "It Happened in Hollywood"), plus RKO weighed in the same year with George O'Brien's "Hollywood Cowboy." It had been done before, RKO's 1933 "Scarlet River", and would be done again, "Shooting High" from 20th Century-Fox and Republic's "Bells of Rosarita", among others with a western setting, but this Coronet production with Buck Jones may well be the best of the lot as it devotes more footage to actual film-making both on studio sets and locations. One out-of-the norm plot incident has the studio head Lew Wallace offering a job to a fading star Carol Stevens, with a semi-apology for casting her in what he calls an "outdoor special" and she calls a "horse opry", and this scene in a B-western leaves no doubt that the B-western and it people were near the bottom of Hollywood's pecking order. The stereotypes are there, with Shemp Howard's over-zealous "assistant director" (who does calm down and gets more real when he loses his whistle), the ego-ridden "star" in Grant Drexel, and the deserving-to-be-the-star relegated to stand-in and stunts Buck Kennedy, but the remaining crew and player roles are realistic (especially the real stuntmen playing stuntmen). Buck Kennedy is the stand-in and double for star Grant Drexel and is fired when he has a fight with the bullying Drexel over Drexel's treatment of leading lady Carol Stephens. The movie company is on location, and a group of gangsters led by Eddie Kane and Lester Dorr, posing as another movie company, come to the location town and talk the banker into letting them film a fake holdup in his bank, but the holdup is real and the out-of-work Buck, whom they hire as the fall guy to cover their getaway, is left holding the bag and jailed by town sheriff Slim Whitaker. Things get worse for Buck before they get better. A mid-point sequence has hotel clerk George R. Beranger, who dreams of being a western star, performing a twittering, ballet-slippering audition for the checking-in film company by quoting lines from a western and asking them to identify the film. Shemp Howard guesses "Little Women."
  • From the Original press book For "The Hard-Boiled Canary(1941)" "Great Musical Talent Cast in "Canary"... Film Bringing together one of the most impressive casts ever assembled for a motion picture, Paramount's new comedy musical, "The Hard-Boiled Canary," which opens..(Day) at the...(Theatre Name)....where it will be shown through...(Day).

    Featured in the gay story of a young burlesque queen who goes operatic, are Susanna Foster, who plays the title role, and Allan Jones, Margaret Lindsay, Lynne Overman and Grace Bradley. Cast in prominent roles, brilliant Metropolitan Opera stars Richard Bonelli, Irra Petine and Tandy MacKenzie make their screen debuts in the picture. In addition to these musical luminaries, five of the most noted teen age youngsters in the world of music display their extraordinary talents which have brought them the plaudits of music-lovers throughout the country.

    The five youngsters are Haimo Haitto, sixteen-year-old Finnish violinist; Patricia Travers, thirteen, considered by music authorities one of the finest young violinists in this country; Dolly Loehr, fourteen, a pianist frequently acclaimed in the concert halls, Kaye Connor, fifteen, well-known young violinist and singer, and William Chapman, a baritone of exceptional attainments.

    The story is told against the background of Interlochen, the world-famous music camp in Michigan. There, it is not unusual for the dance-stirring notes of a swing version of "The Beer-Barrel Polka" to mingle with the sedate strains of music by Bach and Beethoven" End of review intended for newspaper use in towns where "The Hard-Boiled Canary" was playing in 1941. The Ames Daily Tribune used it on Saturday, March 22, 1941 where "The Hard-Boiled Canary" was booked to open on Sunday at the New Ames Theatre.
  • Republic's "Daredevils of the West" is a 1943 twelve chapter serial once considered lost. This action-filled cliffhanger starred Allan Lane and Kay Aldridge. It's only been publicly screened in the U.S. twice in recent years.

    Through special arrangement with Brigham Young University, Paramount Pictures, and Swank Films it was first shown at SerialFest in Newtown, PA, in the Spring of 2008. This past October it was run a second time at the Lone Pine Film Festival in Lone Pine, CA.

    Now this exciting serial is coming to America's heartland for the first time. It can be seen at the Memphis Film Festival in Olive Branch, Mississippi June 3-5 of 2010. It will be personally projected by BYU archivist James D'Arc.

    So, why doesn't BYU make it available on a DVD for all serial fans to enjoy?

    Edit: Question answered by Boyd Magers of "Western Clippings." BYU has the print donated to them by the late Jack (Valley of the Cliffhangers) Mathis. Paramount has the rights to the film, and they have deemed the negative flawed and unacceptable and, as such, unmarkable.
  • Quite possibly the dullest of all the films in the Monogram series with Johnny Mack Brown and Raymond Hatton, with Hatton in a role normally played by the likes of character actors Steve Clark or Frank LaRue, and excessive footage given to Riley Hill, always capable of bringing a scene to a grinding halt. Rancher Amos Shelby (Raymond Hatton)has one day left to pay off a loan on his ranch, and sends son Freddie (Riley Hill) to tell banker Ainsworth (James E. Logan)that it will be paid on time. Freddie is forced to reveal to gambler Ripley (Ted Adams), to whom he is in debt, that his sister Ann (Jan Bryant)is bringing the money from Silana. Ripley's henchmen waylay the girl and she is rescued by Johnny Mack (Johnny Mack Brown). Ainsworth has Longden (Douglas Evans)forge old man Shelby's signature to predated papers. Johnny gets Shelby's money back from Ripley and kills the gambler gambler when he attempts to take it away from Freddie. Ainsworth informs Amos he is too late to pay his loan and shows him the forged papers. Amos kills one of Longden's henchmen when the gang tries to take over the ranch. Judge Pool (Frank LaRue) sets him free of the murder charge but gives him three days to clear the ranch. Johnny discovers that Ainsworth is after ore he knows is on the ranch property. Henchman Sagebrush (Jack O'Shea) is captured by a ruse, and reveals Ainsworth's plot to Johnny. Freddie is saved from a posse after he robs the bank of a poster revealing Longdon to be a forger. Ainsworth and the gang is captured by Johnny, and Amos recovers his ranch. Written by Les Adams {}
  • SENATOR CLAUDE PEPPER OF Florida: "The new March of Time picture awakens us to thing we do not know and should know. It should be shown in every theatre in the land";-- SENATOR KEY PITTMAN,Chairman-Senate Foreign Relations Committee: "'Inside Nazi Germany'shows exactly what happens when a dictator takes control of a nation. I think it highly desirable that this picture be seen by every American."--CHICAGO POLICE COMMISSIONER ALLMAN: "The film is not censorable--I lifted the ban." -- MELVIN M. FAGEN, Exec.Secy.---Conference on Jewish Relations, Inc: "March of Time has performed a notable public service...volumes have been written about Nazi Germany, but I doubt whether any or all of them together have been able to portray the problem in so stirring and in so complete terms." ---ERIC VON SCHROEDER, Chairman German-American League for Culture: "A thoroughly objective film which should everywhere because it represents the truth." -- PENNYSLVANIA BOARD OF CENSORS: "Showing of this film would have a healthy influence, "Inside Nazi German" should be shown throughout the country." -- RABBI STEPHEN S. WISE: "A truthful portraiture of the march of time in Nazi German. As an American, I congratulate 'Time" for defending the Democratic Ideal---by telling the truth about Regimentation in Nazi German."
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