BLOOD HUNGER: THE FILMS OF JOSÉ LARRAZ – WHIRLPOOL (1970)/VAMPYRES (1974)/THE COMING OF SIN (1978) Limited Edition Blu-ray
Director: José Ramón Larraz
Arrow Video USA

Arrow Video indulges their audience's taste for BLOOD HUNGER with their deluxe Blu-ray boxed set of a trio of films by Spanish horror auteur José Ramón Larraz.

WHIRLPOOL: Scandinavian model Tulia (model Vivian Nieves) thinks she is getting a major opportunity when magazine editor Sarah (Pia Andersson) invites her to her country cottage for the weekend so that her brilliant photographer nephew Theo (Karl Lanchbury, EROTIC INFERNO) can take some shots of her to fill out her portfolio. Not entirely naïve, Tulia realizes that both Sarah and Theo have a sexual interest in her (and in each other), but the atmosphere of the cottage, the surrounding woods, and the lake starts to get to her. Tulia also intuits that Theo and Sarah previously had a similar relationship with Irish country girl Rhonda (Johanna Hegger) who recently parted their company; indeed, she feels increasingly that she is being slotted into the girl's place. When Rhonda's older married lover (Edwin Brown, 10 RILLINGTON PLACE) comes snooping around after being informed by the police that the girl is missing, Tulia starts to wonder if Rhonda really left and if Theo's sadistic and voyeuristic games – including springing a faux-rapist (Arthur Grant, THE GIRL FROM STARSHIP VENUS) to photograph her fearful reaction – end with the click of his camera.

A comic strip artist in his native Spain who found the Franco regime stifling, José Ramón Larraz moved to Paris where he got into shooting photo novels and fashion before moving to Brussels where he realized his ambition to get into filmmaking was no pipe dream with the encouragement of visiting Josef Von Sternberg (THE BLUE ANGEL). Moving to England, Larraz mounted his directorial debut with WHIRLPOOL, a British/Danish co-production that immediately set up themes and imagery that would inform his subsequent filmography: from the misty woods, lake holding secrets beneath its surface, an isolated house where characters are able to push the limits of their sexual desire to extremes away from prying eyes (those that do are either invited to join, murdered, or both), incestuous desires (Lanchbury would play a taxidermist with a complicated sexual relationship with his sister in Larraz's later DEVIATION), lesbianism, and the shifting dynamics of sexual relationships with the arrival of a third party and the sometimes tragic or liberating results, as well as the vaguely cyclical nature of the film's structure. The ending, particularly in the American version of the film, anticipates a similarly abrupt and grim fate for its heroine as Chris Boger's CRUEL PASSION/MARQUIS DE SADE'S JUSTINE. Shot without live sound, the film's post-production took place in Italy with editing by Carlo Reali (LA CAGE AUX FOLLES) and a score by Stelvio Cipriani (RING OF DARKNESS) which included cues that would later become part of the CAM library and be utilized heavily by Paul Naschy for films like THE MUMMY'S REVENGE and THE CRAVING.

VAMPYRES: Ted (Murray Brown, Jonathan Harker in Dan Curtis' DRACULA) takes a room at a country inn for reasons unclear. Driving through the countryside, he picks up beautiful hitchhiker Fran (Marianne Morris, CORRUPTION) and drives her back to her home, a forbidding Gothic mansion (Hammer haunt Oakley Court) deep in the woods where she invites him up for a drink and sex. He wakes up the next morning with a deep cut on his arm but no sign of his sleeping companion. He seeks treatment for the wound from caravan couple John (Brian Deacon, A ZED & TWO NOUGHTS) and Harriet (Sally Faulkner, Norman Warren's PREY) who have set up camp on the seemingly derelict property and have witnessed the exploits of hitchhiker's Fran and her girlfriend Miriam (Anulka, LISZTOMANIA) who bring motorists back to the house almost nightly. Unbeknownst to Ted and the couple, those motorists often turn up along the road as victims of road accidents the morning after; yet, Ted seems to be the exception as Fran feeds off his blood more slowly despite the urging of Miriam to kill him lest he get away and draw unwanted attention upon them.

The best-known of Larraz's filmic oeuvre stateside, VAMPYRES has a frustratingly vague plot but a rich atmosphere fusing the Gothic with the surreal, sweaty sexual couplings and lacerating bloodshed (both of which are startlingly explicit). While there is no ambiguity as to whether the vampyres are murderous madwomen or supernatural creatures, it could all be the Ted's guilty projection as the murderer of the two women shot to death in the pre-credits teaser (with the presence of other victims nudging his conscience to that realization), but Larraz seems uninterested in exploring that or the odd encounter between Harriet and the women suggesting a past life association; indeed, Larraz's ambivalence for the finished product suggests that Larraz – and wife Diana Daubeney who co-scripted here and would produce his film SCREAM AND DIE/THE HOUSE THAT VANISHED – did not give it much thought in the first place. WHIRLPOOL's Karl Lanchbury appears as one of the victims while silent film star Bessie Love has a cameo at the end. Producer Brian Smedley-Aston – who also edited Larraz's SYMPTOMS and would produce his eighties slasher films REST IN PIECES and DEADLY MANOR/SAVAGE LUST – tried to recapture that atmosphere of Larraz's British sex thrillers with VAMPYRES composer James Kenelm Clarke in EXPOSÉ/THE HOUSE ON STRAW HILL. The film was remade in 2015 with Larraz's approval by Víctor Matellano but lightning did not strike twice.

THE COMING OF SIN: Lorna (Patricia Granada, BEYOND DESIRE) is a young, beautiful, and wealthy woman who lives alone in a cottage in the Spanish countryside. She gets some company when her British friend Sally (Montserrat Julió, HORROR RISES FROM THE TOMB) asks her to take in seventeen-year-old gypsy orphan Triana (Lidia Zuazo) when she and husband (David Thomson, TRAGIC CEREMONY) must return to London on business. An amateur artist, Lorna finds Triana's looks aesthetically pleasing and comes to realize that Betty was made to give her up by her jealous husband when Triana shares her bed on a stormy night. She is also intrigued by Triana's recurring nightmare of a man on horseback chasing her, especially when she meets him in the (bare) flesh as naked gypsy horseman Chico (Rafael Machado) who lives in a shack by the river. Disturbed by the intensity of her lesbian relationship with Triana and lusting after Chico, she invites him into her home and their bed despite the gypsy prophecy that someone is fated to die when Triana and Chico make love.

Upon returning to Spain after VAMPYRES, Larraz directed a trio of softcore dramas for producer José María Cunillés (EYEBALL) before partnering with producer José Fradé (VAMPIRES NIGHT ORGY) on six films throughout the rest of the 1970s and 1980s – including the bewilderingly successful horror-tinged sex comedy POLVOS MAGICOS – of which THE COMING OF SIN was the first and most satisfying. Besides the relaxation in censorship after the death of Generalissimo Franco allowing for copious frontal nudity and energetic simulated sex scenes, Larraz invested the familiar story of the shifting dynamics of a bisexual threesome with a mix of class tension and condescending exoticism. Lorna is given Triana and talks of bettering her and seems to seek entertainment from questioning her about her nightmares. She psychoanalyzes Trina's fears of Chico as a fear of sexuality along with her lesbianism as a fear of men in general. She is superficially attracted to Chico for having similar features as Triana but cares little about his boorish manner, interprets his attempted rape of Trina as primitive courtship, and unintentionally likens him to a "hungry dog looking for something to eat." When Chico expresses surprise when Lorna tells him that the model for a nude painting of Salome was an aristocratic woman, she tells him that people can do what they want when they have money; and then she proceeds to emphasize that in dominating their activities from forcing Chico and Triana to pose together for a painting amidst a violent argument to demanding they make love to her even when she is otherwise incapacitated by alcohol. Someone does indeed die quite violently, but the aftermath is oddly liberating and even possibly "happy." Larraz emphasizes the Spanish setting from flamenco dancing, gypsies, and Goya paintings to the painterly lighting of Fernando Arribas (THE BLOOD-SPATTERED BRIDE) and the scoring which mixes CAM library tracks – including Stelvio Cipriani cues from WHIRLPOOL – with guitar tracks by Manolo Sanlúcar. Larraz also indulges in surrealistic touches from Chico's nude horseman galloping in and out of Triana's nightmares (including one where she is inside a hollowed out golden mare statue waiting to be mounted by either Chico or his horse). It is unfortunate that Larraz was so dissatisfied with the actors or perhaps there would have been more serious works of eroticism in his filmography to better couch his big-budget historical miniseries GOYA rather than a string of unfunny sex comedies and slashers catering to the American market.

WHIRLPOOL was released theatrically by Jerry Gross' Cinemation Industries – and in the U.K. as SHE DIED WITH HER BOOTS ON (in a version roughly twenty minutes shorter than the original cut and about twelve minutes shorter than the U.S. release) – after which the film vanished from circulation after its theatrical play, with the surviving ad mats irresistibly tantalizing in spite of Joe Dante's spoiler-some review panning the film. It turned up in the sometime in the 1990s as a poor quality time-coded bootleg of the European version later available on DVD-R from the now-defunct Luminous Film and Video Wurks. Arrow's 2K-mastered 1080p24 MPEG-4 AVC 1.66:1 widescreen Blu-ray transfer represents the American X-rated cut (86:42). No nudity or violence was cut, but the film was trimmed for pacing and the order of some scenes altered (more on that below). The transfer is a major revelation for those familiar with the bootleg, with the once faded, flatly-lit, and dingy-looking photography – further compromised by the generational loss of the bootleg – revealing textures in the wardrobe and muddy rustic setting, as well as some considered color choices while scenes lit with saturated gels and the black and white flashback (more on that below) are now free of noise and other unwanted video artifacts. Although the "Widescreen" designation in the credits suggests the film was meant to be matted down to 1.85:1, the 1.66:1 framing is balanced and reveals that the fullscreen bootleg was cropped on the sides while the top and bottom were framing was virtually identical (a side by side comparison reveals an oddly sustained establishing shot of the cottage on the bootleg is revealed on the Blu-ray to show Lanchbury walking towards the house for about ten seconds before he appears in the frame on the cropped version). The LPCM 1.0 mono track sounds fine overall with no issues in dialogue clarity since the entire film is post-dubbed. Optional English SDH subtitles are included.

VAMPYRES was released theatrically in the United States by Lee Hessell's Cambist Films in a version that retained the nudity and gore but shorted the opening credits and replaced the title music, moving the rest of the credits to the end of the film after the cast crawl (the UK release through Rank was subjected to BBFC cuts). The American version was released on VHS by Magnum Entertainment – unauthorized versions also appeared under the titles BLOOD HUNGER and SATAN'S DAUGHTERS – while Anchor Bay's 2000 DVD was the British version but contained twenty-nine seconds of cuts during the camper massacre. Blue Underground's 2003 DVD and 2010 Blu-ray restored the missing footage and added a couple extras to the audio commentary Larraz and Smedley-Aston recorded for the Anchor Bay edition. Arrow's 1080p24 MPEG-4 AVC 1.85:1 widescreen Blu-ray betters the Blue Underground transfer in slight but appreciable degrees, retaining more detail in the blacks of shadows and wardrobe while the colors look slightly richer without appearing boosted. While Blue Underground included DTS-HD Master Audio 7.1 and Dolby Digital 5.1 EX remixes, Arrow includes only the mono mix in LPCM. The film's sound mix is rather sparse so the music and a few ambient sound effects only benefited from the multichannel treatment so the mono track is perfectly fine listening option (and it is uncompressed here while the Blue Underground's mono option was lossy). Optional English SDH subtitles are provided.

Unreleased in the United States, THE COMING OF SIN proved popular in the U.K. where Tigon released it as VIOLATION OF THE BITCH in a cut running twenty minutes shorter than the original, followed by a pre-cert tape from Hokushin and at least three post-Video Recordings Act VHS versions (including one called SECRETS OF THE BITCH) which were subject to different BBFC cuts that shortened the Tigon cut. Mondo Macabro-forerunner Pagan Films was given a video master by producer/rights owner Jose Fradé for their 2004 DVD but it was nevertheless a revelation despite its fair quality due to being far more complete while still subject to a minute and fifteen seconds of new cuts mandated by the BBFC for an 18 certificate. Arrow's 1080p24 MPEG-4 AVC 1.85:1 widescreen Blu-ray comes from a new 2K scan and the presentation is gorgeous with the heavy grain of Arribas' natural light scenes lending texture to the imagery while the grading retains the warmth of skin tones without the sickly yellow of the night interior scenes lit by candles and the fireplace. Daytime exteriors are shot with diffusion but the contrast is kept under control so that the highlights of the background sky and of the sun glinting off water and bare skin no longer blow out as they did on the DVD's digitized video master. Along with Spanish and English DTS-HD Master Audio options – and English and English SDH subtitles for the respective tracks – the film can be viewed with either English or Spanish title sequences via seamless branching (the DVD had a freeze-frame video-generated card for THE COMING OF SIN while here we get the original VICE MAKES A VISIT card on the English version). The subtitles reveal that the Spanish track is the preferable option with sometimes radically different dialogue and other times more nuanced versions of the same conversations. The Spanish and English tracks reportedly contain the original music intended for the title sequence rather than the moodier Sanlucar piece that appeared on the Pagan DVD (the track does appear elsewhere in the film).

Scholarship has not been as comprehensive on the career(s) of Larraz, and most of the easily accessible material concerns his horror films. Arrow rectifies this with a comprehensive set of extras related not just to the three films but also to the Larraz's earlier works, inspirations, and messy personal life. WHIRLPOOL starts off with an audio commentary by Video Watchdog's Tim Lucas who was not old enough to see the X-rated film when it was released and was left with questions as to the film's horrific and erotic content, the director's identity, and the film's nationality (there was some speculation when WHIRLPOOL and DEVIATION became available on the bootleg circuit their respectively Danish and Swedish production company credits might have been a ruse to disguise their British patrimony and capitalize on the popularity of Scandinavian erotica). He reveals that the film was started by Larraz independently but ran out of money, whereupon former MGM/Columbia Pictures/NTA executive Sam Lomberg, who had set up his own company in Denmark, became the film's producer (some mystery remains for Lucas about where parts of the film may have been shot and the identities of performers for whom the film appears to be their only credit possibly under pseudonyms). He discusses the cast members (nothing that DEVIATION's Lisbet Lundquist appears as Rhonda's first replacement who has the sense to get out of there), the themes – including the "sexual lives of aging people" and the "onset of physical erosion in erotic play" – and notes the similarities between Cipriani's score for the film and Mario Bava's BAY OF BLOOD with which the film shares a lakeside setting. Lucas also make the intriguing observation that the question of whether the opening sequence is a flashback or a flash forward actually does not matter given the cyclical nature of the film.

"Obsessive Recurrence: The Early Films of José Larraz" (24:01) is an appreciation by author and critic Kim Newman who discusses Larraz's five British productions, noting the carryover of certain themes and the tone of dread despite the diversity of genres and reception from the British submission to Cannes in SYMPTOMS to the grindhouse-y VAMPYRES. He notes the influence of PSYCHO and PEEPING TOM not only on WHIRLPOOL but on other British horror films of the time like TWISTED NERVE, the difficulty of categorizing either WHIRLPOOL or DEVIATION as sex films or horror films in contrast to the more conventional THE HOUSE THAT VANISHED, the Sadeian plotting of all five (and likening the inconsistencies of WHIRLPOOL to the fairytale plotting of BLUEBEARD), and contrasts them with the works of Norman Warren (PREY) and Pete Walker (FRIGHTMARE). "A Curious Casting" (9:10) is an amusing interview with actor Larry Dann (GHOST STORY/MADHOUSE MANSION) whose agent was casting the film's females and got him the job as a favor, and is still flabbergasted that he gets fifth billing for a few seconds of screen time in which his single line of dialogue is dubbed. "Deviations of Whirlpool" (27:12) is an illuminating featurette on the differences between the U.S. Theatrical Cut and the European cut of the film, showing both versions side by side to point out the major differences with pacing cuts, scenes reordered – particularly the movement of the police procedural scene with Fields moved from the nine minute mark in the original cut to the forty-minute mark, and the biggest difference being the removal of the squaring up voiceover dialogue from the U.S. cut which made the finale all the more grim. An archival interview extract with director José Larraz (3:48) is derived from an interview conducted in the nineties by IMMORAL TALES' Pete Tombs and Cathal Tohill which was featured in fuller form on Pagan Films' DVD of THE COMING OF SIN while the entire chat was featured as a bonus DVD on the limited edition version of Mondo Macabro's Blu-ray of SYMPTOMS. The disc also includes an extensive image gallery and the film's U.S. theatrical trailer (2:53).

Sadly, Arrow has not carried over the Anchor Bay commentary on VAMPYRES with Larraz and Smedley-Aston – depriving us of Larraz's exclamation “Jesus Christ, I see the pussy of Anulka!” – however, they have commissioned a new audio commentary by Diabolique Magazine's Kat Ellinger. She covers some of the expected production anecdotes about Larraz's working relationship with Smedley-Aston, and the locations (exterior at Oakley Court and interiors at Harefield House where SYMPTOMS had been lensed), but also provides some background on the gothic elements of the film including a source story by Belgian fantasist Thomas Owen who had been a friend of Larraz's when he lived in Brussels (also noting that a number of Larraz's films are inspired by Owen's works which Lucas noted in the WHIRLPOOL is underrepresented in English apart from one story collection).

In "A High Stakes Enterprise" (18:29), producer Smedley-Aston recalls that Larraz had been a fan of the work he did as editor on the films of Desmond Davis when they met on SYMPTOMS. When they decided to do a film together with Smedley-Aston as producer, he sketched out a budget of £25,000 but had little conception of everything that went into production including furniture rentals and wardrobe, needing to borrow additional funds with the final cost being around £75,000 after paying off what he borrowed. He also recalls meeting Clarke and giving him the rights to the score in lieu of payment, as well as discussing the BBFC cuts. In "By This Sign, I'll Recognize You..." (14:12), actress Morris recalls auditioning for the film and being cast because of her visual contrast to Anulka, how Larraz showed the cast storyboards before the script and often wanted them to react instead of act, as well as telling her that her voice would be redubbed. In "Daughter of Dracula" (13:18), actress Anulka recalls being advised by Sir John Mills to take anything offered as she would learn from it, although she does not think VAMPYRES was what he had in mind (she also reveals that she turned down THE STORY OF O because it felt more exploitative than this film), being more uncomfortable with the violence than the sex scenes, and finally seeing the film in full before the interview (she had not seen the film when she did the Blue Underground interview and was put off at the time to learn that she had been redubbed).

In "A Cut-Throat Business" (18:30), actor Deacon recalls that the caravan was pretty much their green room, being removed from much of the action other than the scenes with Faulkner, being put off by Larraz turning the post-coital scene with Faulkner in the script into a sex scene on the spot, and recalling the shooting of his death scene. Although he did not enjoy the shoot, he realizes that he learned more about acting for the camera on it than his more respectable work where he tended to over-prepare. He also remembers when the press came to visit the film set and posing with Morris and Anulka (and his mother's reaction to seeing him in News of the World with them). In "Unhappy Camper" (12:04), actress Faulkner similarly recalls not feeling supported by Larraz as a director, working with Deacon, and having her neck cast for her death scene. "Bloodletting on a Budget" (17:57) is an interview with make-up artist Colin Arthur – who would also do make-up effects for the VAMPYES remake along with some other later Spanish horror films including Larraz's EDGE OF THE AXE and Juan Picquer Simon's THE RIFT and CTHULHU MANSION – who had been working for Madame Tussaud's museum when Stuart Freeborn brought him onto Stanley Kubrick's 2001. He recalls the language barrier with Larraz, doing some effects on the fly, and being more satisfied with the photography and editing of his effects scenes than some of his own work (he also discusses how he and other make-up artists had to constantly adjust the color of blood formulas because of the differing color sensitivity of faster film stocks as they developed). He also recalls that Smedley-Aston paid him with the gift of his own BMW which was used in the film. In "Requiem for a Vampyre" (3:49), composer Clarke recalls meeting Smedley-Aston in the cutting room while he was working on his own self-financed and unsuccessful film GOT IT MADE when he was offered the job of scoring the film and paying him with two bottles of Dom Pérignon.

In "Reimagining VAMPYRES" (21:57), Larraz's friend and collaborator Victor Matellano recalls being inspired as a child watching horror movies presented on Spanish television by Narciso Ibáñez Serrador (THE HOUSE THAT SCREAMED) and knowing of Larraz first through REST IN PIECES and EDGE OF THE AXE. He met Larraz years later but did not see the British films until a couple years before Larraz's death during which they reworked Greaves' and Birrell's drafts of VAMPYRES with Larraz conceiving the remake with aspects of the third act that he would have changed in the original. Although I was not impressed with the remake, Matellano's discussion and appreciation during the second half of the featurette on Larraz's later works EDGE OF THE AXE and DEADLY MANOR is quite informative and makes me want to see them again (and the HD clips in the featurette suggest that the unannounced Arrow releases should look great). The archival interview with Larraz (14:20) is also from the Tombs/Tohill interview and includes discussion of SYMPTOMS where he reveals that he was uncomfortable doing the Cannes appearance for the film and that the film's reception was what he expected. He then discusses working with Smedley-Aston on VAMPYRES. Also included is a 1997 Eurofest Q&A with Larraz and actress Morris (9:26), a stills gallery of 245 images that suffers from not being edited chronologically with the order of scenes in the film (as such one scans through them and cannot help but wondering if some stills are repeats or just similar to earlier ones), sixty-seven behind the scenes images, a promotional and miscellaneous gallery of forty-four images that includes some American ad-mats with the title MIDNIGHT SLAUGHTER, and images and script excerpts from the shot but unused caravan sequence. The U.S. theatrical trailer (2:57) and international theatrical trailer (2:33) are also included.

THE COMING OF SIN is accompanied by an audio commentary by Ellinger and her fellow Daughters of Darkness podcaster Samm Deighan who discuss the surrealist and mythical touches – Deighan likens Chico on horseback to Pan – of the film, the class dynamics and how the viewer's sympathies shift during the second half of the film. Ellinger also connects the film not only to Larraz's earlier works but to his past. Raised in a house of women, he became involved with one of the maids and was even brought to court for defending her honor by punching out a neighbor. Ellinger suggests that it is his guilt over hurting her by marrying his first wife (and perhaps his infidelities against her and the other women in his life with others) that is the source of the haunting feminine specters in his filmography. In "Variations of Vice: The Alternate Versions of The Coming of Sin" (6:10), Nucleus Films' Marc Morris looks at the cuts to the various versions of the film, including the British release VIOLATION OF THE BITCH for which the BBFC only recommended cuts to one scene but Tigon cut it down further for double-billing, dropping the museum opening and most of a reel that included the museum visit and shopping trip, the pre-cert release from Hokushin with the inflammatory tagline "She asked for it!" and the three post-Video Recordings Act VHS releases – including one titled SECRETS OF THE BITCH – and the more complete Pagan DVD on which the BBFC ordered different cuts, as well as the Italian version SODOMIA with hardcore inserts shot for the film (as well as a few seconds of the horse mating from Borowczyk's THE BEAST to the opening scene).

In "Remembering Larraz" (35:03), author and filmmaker Simon Birrell recalls living in Spain and visiting a small theater that showed old movies but was pretty much a cruising joint where he made it through about twenty minutes of Larraz's LA MOMIA NACIONAL (on a double bill with the Paul Naschy kids film BUENOS NOCHES SENOR MONSTRO). He saw SYMPTOMS and VAMPYRES years later and got to meet Larraz at film school. He discusses their collaboration on unproduced scripts – including another draft of VAMPYRES II after the one scripted by Tim Greaves (who authored a novelization of the original film in 2001), as well as Larraz's romantic life noting that the director had affairs during his long marriage to Diana Daubeney, including his last one with BLACK CANDLES actress Vanessa Hidalgo who he married to make sure that she inherited whatever financial interest he still had in his films. Birrell provides some analysis and reactions to some of Larraz's later unexported Spanish comedies including the bewilderingly successful POLVOS MAGICOS (the literal translation is "Magical Powders" but polvos is also Spanish slang for sex). Also included is "His Last Request" (28:23), a 2005 short film by Birrell made under the guidance of Larraz and starring Jack Taylor, and another extract from the Tombs/Tohill archival interview with Larraz (4:55) in which he recalls that the inspiration for the film was Fradé wanting something along the lines of EMMANUELLE but Spanish, and Larraz deciding that they could exploit the world of flamenco and gypsies. The disc also includes an image gallery and the film's Spanish theatrical trailer (3:19). Not provided for review were the newly-commissioned artwork by Gilles Vranckx and the eighty-page perfect bound book featuring new writing by Jo Botting, Tim Greaves and Vanity Celis. While it is only March, BLOOD HUNGER: THE FILMS OF JOSÉ LARRAZ is an easy contender for one of the top Blu-ray box sets of year. (Eric Cotenas)

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