The Anniversary You Can't Refuse: 40 Things You Didn't Know About The Godfather
The Cat
As Don Corleone calmly explains his idea of "friendship" for the undertaker Bonasera, the first nearly-full body shot of the Don reveals an unexpected guest – a gray and white cat sitting in Marlon Brando's lap. "The cat in Marlon's hands was not planned for," director Francis Ford Coppola said later. "I saw the cat running around the studio and took it and put it in his hands without a word." Brando apparently loved children and animals and it became part of the scene. But it also nearly ruined the shots. When the sound crew listened to Brando's dialogue, they couldn't understand a word he was saying and feared they would have to use subtitles. The problem wasn't Brando, but the cat, whose purring wrecked the sound. You can still hear it on the soundtrack.
George Lucas Shot Some Footage
The friendship between Francis Ford Coppola and George Lucas goes back decades to when they were both relatively unknown filmmakers in northern California. Coppola served as executive producer on THX 1138, Lucas's first film, and the year after it was finished, Lucas worked as an assistant on The Godfather. Lucas shot the footage of newspaper inserts that show major events during the scenes where the families go to the mattresses, as well as the one above, which reveals to Michael the shooting of his father. But perhaps his biggest contribution to the film was a small suggestion he made to Coppola. After filming the scene where Michael fends off would be assassins while the Don is in the hospital, Coppola realized he didn't have extra shots where he could feature the sound of footsteps in the hallways. So Lucas suggested that he use the leftover shots of empty hallways just after actors have left the frame. Lucas helped Coppola scour his original footage for those precious few seconds, which Coppola used in the film, greatly adding to the tension of an already white-knuckle scene.
That Opening Shot
Before helming The Godfather, Francis Ford Coppola wrote the Oscar-winning screenplay for Patton, which featured one of the iconic opening scenes in 20th century cinema. As Coppola was writing The Godfather's screenplay, a friend suggested he try for an equally striking opening. Coppola said the part of the book he found the most significant was that people call on the Don on his daughter's wedding day because on that day, the Don cannot refuse a favor. The undertaker's story introduced that concept, and also the idea that sometimes the laws of the country didn't always protect the citizens, so they called upon the Don like clients in the oldest sense, asking for help. Using a "high technology" computerized zoom lens, Coppola started with a tight shot of Bonasera the undertaker's face, and pulled back slowly for 2 minutes, 20 seconds, then held the shot for another 30 seconds while Bonasera whispers in Don Corleone's ear.
The Alternate Ending
The Godfather contains one of the more depressing last shots of 70s cinema — Kay Corleone (Diane Keaton) slowly comes to the realization that her husband is a murdering gangster while his office door is slowly shut in her face. But Coppola had shot another ending, one more in line with the book's conclusion — Kay in a church, lighting a candle for the salvation of her husband's soul; the New Hampshire WASP assuming the rituals of the Italian mother. By choosing to excise that scene, Coppola ends his film with a brutality (albeit of an emotional kind) not out of place for a movie about the Mafia.
It Was Initially Set In the 1970s
As Professor Jon Lewis writes in his BFI Film Classics study of The Godfather, author Mario "Puzo's first stab at a screen adaptation…re-set the story in the 1970s. It was the Production Chief at Paramount Robert Evan's idea, but after reading this first draft, pretty much everyone agreed that the update didn't work. Coppola's subsequent draft better matched the novel's nostalgic period piece…"
And thanks to Coppola for that. Can you imagine a long-haired Michael Corleone? (That's Pacino in the picture at the film's premiere.)
The Horse Head
It could be said of so many movie moments, but describing the "Horse Head" scene as one of the most iconic in American film history is no exaggeration. It was already famous from the book — only in Puzo's novel, the horse's head was on the bedpost when Woltz wakes up. Audiences rose up in anger over the death of the horse and many asked if it was a real animal head.
Yes it was. The studio had encouraged Coppola to use a fake horse head, but he didn't like the mock up. His scouts found a horse ready for slaughter in a dog food plant in New Jersey. The art director picked one that looked like the horse in the film and said, "When that one is slaughtered, send us the head." "One day a crate with dry ice came with this horse's head in it," Coppola remembered.
Coppola Wasn't The First Choice
By 1971, Francis Ford Coppola had written and directed several cheap films produced by Roger Corman, had directed The Rain People (starring Godfather co-stars James Caan and Robert Duvall), and had won an Academy Award for his screenplay of the George C. Scott film Patton. But the reason that he was chosen as director of The Godfather was because he was young (i.e., the studio assumed, cheap and pliable) and because he was Italian, which certainly wouldn't hurt when the inevitable protests arrived. But several big-names were considered before Coppola: Elia Kazan (On The Waterfront), Arthur Penn (Bonnie and Clyde), Peter Yates (Bullitt) and Greek director Costa-Gavras (Z, which won the Oscar for Best Foreign Language Film). Author Mario Puzo wrote that though Costa-Gavras was interested in the film as an "indictment of American capitalism…he declined because it was too American and he felt that he, as a foreigner, couldn't handle the nuances."
There Was Originally a Different First Scene
Initially, Coppola planned to open the film with a bright, overhead shot of the Corleone family wedding. But when a friend saw a draft of the script, he wondered out loud if Coppola couldn't start the film with something a little different and unexpected. In the screenplay forPatton, Coppola had the soldier speak a long monologue to an offscreen crowd — in the film it is memorably dramatized by George C. Scott, who delivers his speech by standing in front of a massive American flag. Coppola took his friend's remarks to heart and wrote a long speech that begins with the simple, memorable, ironic statement, "I believe in America."
Very Few People Wanted Al Pacino for Michael
Studio execs being, well, studio execs, they're always looking for the next big star. So when Coppola set about to cast Michael Corleone, Paramount knew that the role could be a launching pad for a young talent and wanted a "Robert Redford" type like Ryan O'Neal. Pretty much no one, other than Coppola, wanted Al Pacino. With only one role to his credit —Panic in Needle Park — he wasn't high on the studio's list. But when Coppola pictured the scenes of Michael wandering the Sicilian countryside with his bodyguards, he saw Pacino's face. Still, he screen tested Martin Sheen and Robert De Niro for the part of Michael, and it didn't help that Pacino's sessions were less than stellar. He looked pale and uncertain; not exactly a Mafia don. When George Lucas's wife, Marcia, edited the screen tests, she told Coppola, "he undresses you with his eyes." Coppola agreed and eventually wore the execs down.
Burt Lancaster as The Don?
All these years after Marlon Brando's incredible performance, it's crazy to think that anyone else could have embodied Don Corleone. But the studio, who wanted anyone but Brando, entertained actors such as Ernest Borgnine, Richard Conte (who later played Don Barzini), Anthony Quinn, Raf Valline, and yes, even Burt Lancaster, seen above in 1971′s Valdez is Coming. "The casting period went on and on and on," Coppola said later. "We screen tested everybody." But even though Coppola auditioned dozens of actors for many of the roles, he never really considered giving Don Corleone to anyone but Brando.
Brando Was Almost a No Go
Early in his career, Marlon Brando starred in hits such as On the Waterfront and A Streetcar Named Desire. But by 1971, he had a reputation for conflicts with directors, off-screen antics and causing delays on the set. Even though Don Corleone appeared in less than a third of the film, Coppola knew he needed an actor who could give the picture power and mystique, and in Brando he had his man. Studio head Stanley Jaffe thought otherwise and told Brando, "As long as I'm president of the studio, Marlon Brando will not be in this picture." After more badgering, Jaffe finally agreed to three concessions he thought would be deal breakers: that Brando work for far less than his usual salary, that he would take financial responsibility for any delays he caused, and most importantly, that Brando would consent to a screen test, which was unheard of for the actor at that time.
Until His Incredible Screen Test
Knowing Marlon Brando would never submit to a formal screen test, Coppola brought a portable camera to Brando's home, telling him they wanted to "try out some things" on tape. According to one account of the legendary screen test, when the two showed up, Brando was wearing a kimono and had his long hair pulled back. Slowly, Brando transformed himself into the older Don, blackening his hair, supposedly with shoe polish, and stuffing Kleenex into his lower cheeks to look like a bulldog. Brando then puffed on a cigar and mumbled quietly, exuding his famous screen aura.
When Coppola and Ruddy showed the studio executives the footage, they initially didn't know it was Marlon Brando. Stanley Jaffe, the studio head who had sworn Brando would never be in the picture, reluctantly agreed, and the headline in the Hollywood trade paper Variety proclaimed "No Stars for Godfather Cast–Just Someone Named Brando."
Who is This Coppola Guy?
Stories about Coppola nearly being fired from the film are too numerous to mention. After he co-wrote the screenplay, Coppola went 10 rounds with the studio executives over nearly every casting decision. Then after filming started, the studio execs saw the scene in the olive oil company and were unhappy. Just a few weeks into filming in the middle of a week, some of Coppola's friends told him it looked like he would be fired. Knowing that movie companies rarely fire directors mid-week, Coppola took advantage of potentially his last few days. In his own act of Godfather-like power, Coppola fired the assistant director and others he considered traitors in his midst. Then he re-shot the scenes that made the execs unhappy. It also didn't hurt that around that time Coppola won the Oscar for writing Patton. "I think I just squeaked by," Coppola said. "I survived."
A Palace Coup
Early in the Godfather's filming schedule, editor Aram Avakian, who had co-directed the groundbreaking 1960 concert film Jazz on a Summer's Day, became displeased with Coppola's work. He let the studio know about it. In his memoir Infamous Players, Paramount exec Peter Bart recalled, "To my astonishment, [exec Jack] Ballard announced on a conference call that Coppola 'wasn't up to the job,' that he wanted to designate Aram Avakian, the editor, as the new director. [Producer] Al Ruddy had warned me that Avakian had been hovering around Ballard in a conspiratorial manner and that something dire was afoot." Both Coppola and Paramount head of production Robert Evans claim to have fired Avakian following this turn of events. Coppola (seen above with Brando, out of makeup) brought in two editors to work on the film — Peter Zinner, who worked on the second half, and William H. Reynolds, who worked on the first.
The Prince of Darkness
Before his work on The Godfather, cinematographer Gordon Willis had shot only one major film — 1971′s Klute. After it, he worked on The Godfather II, All the President's Men, Annie Hall, Manhattan and several other Woody Allen films. One of his fellow cinematographers named him the "Prince of Darkness" for his work on The Godfather. His interior scenes were lit in such a manner as to partially obscure facial features and provide a general aura of wrongdoing. In the earliest scenes in his study, Vito Corleone's eyes can barely be seen in some shots. Willis later said that his lighting scheme for the film came out of a "necessity to deal with Marlon Brando in his makeup" (which was heavy) and as a means of providing contrast between two worlds — witness how the opening sequence jumps from the Don's dark inner lair to the sunlight-drenched wedding taking place outside. Amazingly, Willis did not receive his first Oscar nomination until 1983 (Zelig). His only honor for work on theGodfather films was an Oscar nod for 1990′s inferior third, and final, entry in the series.
There Are Very Few Unorthodox Camera Shots
Cinematographer Gordon Willis had a very traditional eye. As he said to film writer Peter Biskind in 1997, "It was a tableau movie, meaning there weren't a lot of contemporary mechanics introduced, like helicopters and a zoom lens." But Coppola was able to convince him to stray from his philosophy for several scenes — the opening slow zoom backwards, the slow zoom in on Michael as he plans to kill Sollozzo and McCluskey and the gods-eye shot of Don Corleone getting gunned down. When Willis pushed back against Coppola, asking whose point of view was being represented by the high-up shot, Coppola responded, "My point of view, God's point of view, Orson Welles' point of view!"
Kay and the Wig
Though the role of Kay Adams is crucial to the story, she is more of a catalyst than central figure in the first Godfather. Yet Diane Keaton's memories of the film center on Al Pacino and a huge wig. "It was [make up artist] Dick Smith's idea to stick a ten-pound blond wig on my head, where it sat throughout the entire movie like a ton of bricks." The wig may have peeved her, but Keaton loved working with Al Pacino. "For me, the Godfathers, all three of them, were about one thing–Al."
Kay was the outsider, an elegant WASP in a world of Italian families and the Mafia. In her memoir, Then Again Keaton wrote, "As for the role of Kay? What epitomized it? The picture of a woman standing in a hallway waiting for permission to see her husband."
Brando and the Cue Cards
Some thought that Brando used the cards out of laziness or simply an inability to memorize lines. Once on The Godfather set, Brando was asked why he wanted his lines printed out. "Because I can read them that way," he said. And that was the end of the cue card discussion.From early on in his legendary career, Marlon Brando had used cue cards for his lines, which he felt increased his spontaneity. His lines were printed and placed in his character's line of sight; stills from the production show that they sometimes required clever placement. In one photo, a cue card is taped on the wall behind a lamp. In another, Robert Duvall is seen holding Brando's cue cards up to his chest. In the scene above, they are held just beyond view of the camera.
Pacino Hurt Himself Early in the Shoot
Following the scene where Michael has to kill Sollozzo and McCluskey, he gets into a car that pulls up right as he runs out of the restaurant. Though it's hard to tell on screen, actor Al Pacino actually jumps onto the car's running board. Or, mis-jumped. Pacino timed the leap wrong and twisted his ankle, requiring the use of a cane and crutches for almost two weeks.
Everyone Wanted to Know What Brando Looked Like as The Don
There was intense curiosity about how Brando would appear in the the title role. But Paramount worked out a deal with LIFE Magazine that allowed them to run some of the first pictures (on the cover, naturally) of Brando in makeup. So during public scenes, like the assassination attempt on Don Corleone, filmed in New York City's Little Italy, police were used to ward away errant and unauthorized photographers.
Luca Brasi Fumbles His Lines
Even though Coppola carefully sketched out so much of the film, unexpected twists during filming resulted in some of The Godfather's biggest gems. Perhaps none had a bigger impact (in the literal and figurative sense) than Lenny Montana as the feared enforcer Luca Brasi. Montana, a 6 ft. 6 in., 320 pound professional wrestler, was working as a bodyguard for real life mobster Joe Colombo who had come to the set. Coppola and producer Al Ruddy quickly cast Montana as Luca Brasi. When we meet Luca, he's waiting to see Don Corleone on Connie's wedding day, practicing his greeting nervously. That scene was shot after the one where Luca actually greets the Don. When Montana stood in front of Brando, he froze and fumbled the lines. So hoping to take advantage of the misstep, Coppola later set up the scene in the garden where Luca nervously practices his lines while waiting to see the Don, implying that Don Corleone is the one man Luca Brasi fears.
Lots of Bare Butt Cheeks
As serious as things were — during the shoot as well as in the story itself — the cast of The Godfather found plenty of time for practical jokes. Initially, the other actors were reportedly awestruck by Brando, but once filming commenced, they began to relax. In a sign of budding friendship with the legendary Brando, James Caan and Robert Duvall began dropping their pants and mooning Brando at odd times during filming. But Brando upstaged them all by dropping trou while cameras were being set up for the wedding photo scene, mooning nearly 500 extras on the set. For this act, Caan and Duvall presented Brando with a belt that read "Mighty Moon King".
What's With All the Oranges?
Though some have interpreted the presence of oranges in various scenes as a harbinger of death to come (see the oranges that roll across the street as Don Corleone gets shot, the ones in producer Jack Woltz's dining room, the ones at the meeting of the dons and those in Don Corleone's garden), the reason for their presence is likely a more practical one. In his book on the making of the film, The Godfather Legacy, Harlen Lebo writes, "For [production designer] Dean Tavoularis, oranges were simply another carefully chosen compliment to otherwise somberly dressed sets. 'We knew this film wasn't going to be about bright colors, and oranges make a nice contrast,' said Tavoularis. 'I don't remember anybody saying, "Hey, I like oranges as a symbolic message."'"
Marlon Brando Was a Real Prankster
When it was time to film the scene of two orderlies lugging an ailing Don Corleone up the stairs of his mansion, a pair of grips from the film crew volunteered to be on screen. Brando, ever looking for a laugh, filled his stretcher with weights just to mess with the two guys.
Luca Brasi Was a Pro at Dying
The giant, burly, former professional wrestler Lenny Montana utilized some former skills during his death scene. He was able to use techniques learned in his wrestling days to make his bulging, bug-eyed face nearly purple while being garrotted.
Offensive to Italians?
There were various politicians and advocacy groups who were pre-offended by The Godfather and what they assumed would be a stereotypical view of violent Italian men. One well-documented letter sent to Paramount read, in part:
A book like The Godfather leaves one with the sickening feeling that a great deal of effort and labor to eliminate a false image concerning Americans of Italian descent and also an ethnic connotation to organized crime has been wasted…There are so many careers and biographies that could be made into constructive and intelligent movies, such as the life of Enrico Fermi, the great scientist…"
What's the Mob?
In an attempt to make the peace with Joseph Colombo Sr., founder of the Italian-American Civil Rights League (and, incidentally, a major New York City mob boss), producer Albert Ruddy (pictured above, with Marlon Brando, on the film's Little Italy shoot) agreed to remove the words "Mafia" and "Cosa Nostra" from the screenplay. (They were barely in there to begin with.) Once the New York Times got hold of the story, all hell broke loose, with Paramount having to deny that Ruddy was working on their behalf. Still, Ruddy kept his job, but barely.
The Succession Scene Needed a Major Rewrite
In Mario Puzo's novel, there is no resolution between Vito Corleone and his son Michael. Coppola wanted to convey that they loved each other. So Coppola called on his friend Robert Towne, a renowned screenwriter who later wrote Chinatown, as a "script doctor." Towne arrived in New York the day before the scene between Vito and Michael was scheduled to be filmed. Towne faced a tremendous challenge — add outside material that captured complex and powerful emotions, but remain consistent with what had already been filmed. He took notes from the original script and worked through the night, finishing the scene at 4 am.
It's a simple scene in Don Corleone's garden that focuses as much on regret about the past as it does anxiety over the future. "I never wanted this for you," Vito says to Michael, explaining he wished to see a senator or governor Corleone. Brando's speech about his dreams for his son ran nearly two minutes. When Coppola accepted the Oscar for adapted screenplay, he thanked Towne: "That was Bob Towne's scene," he said.
Death by a Thousand Bullets
For a character as large and powerful as Sonny, an ordinary death wouldn't do him justice. Coppola took his inspiration from the finale to Arthur Penn's Bonnie and Clyde. In that scene — one of the first in which intensely brutal violence was seen in a popular film — Warren Beatty and Faye Dunaway are riddled with hundreds of bullets in a roadside ambush.
Sonny's death at the toll booth of the Long Beach Causeway, is a study in pacing and anticipation. There are little cues, such as the tollbooth operator dropping the coin, that give away the outcome, but there's no time. When a half dozen men rise up with Tommy guns, Caan exudes the horrific pain of being hit by hundreds of bullets while more than 400 squibs attached to Caan's body, the car and the tollbooths exploded on cue. The scene required three days and the technicians and explosives cost $100,000, a significant amount for a film with a budget of about $6.5 million.
A Too-Realistic Fight
If you ask people about the fight between Sonny Corleone and his brother in law Carlo Rizzi, you'll generally get one of two reactions. People will either cringe at its brutality or point out the miscues, such as when James Caan takes a big swing that lands about a foot away from Gianni Russo (Carlo)'s face. But the fight was a lot closer to reality than its critics think. When Caan tossed Russo over the fence, then beat him with a trash can, he allegedly broke two of Russo's ribs and cracked his elbow. There were rumors that Caan and Russo didn't get along very well, which may have contributed to the brutality of the brawl. But as a means of setting up Sonny's eventual demise, Coppola's scene is spot on.
Sofia Coppola Played a Boy
In the justly famous baptism scene near the film's end, the role of young Michael Francis Rizzi (son of Connie Corleone) was played by an infant Sofia Coppola, who was born in May 1971. Other than those playing main characters, Sofia is the only actor to have appeared in all three films. Everyone knows about The Godfather III, of course, but in The Godfather II, she can be briefly seen as a young immigrant girl on the ship that brings Vito Corleone to Ellis Island.
The Baptism Montage
Of all The Godfather's memorable scenes, perhaps none struck as large a chord with the audience as the baptism sequence. It's the film's crescendo, and Coppola expertly cuts back and forth between Michael's godson's baptism (a symbol of renewal of life and divine protection) and the brutal slaying of the Corleone family's enemies. In the book, the planning and execution of the murders consumes dozens of pages, so Coppola came up with the idea of unifying the scenes with the baptism in what he calls an "innovation of the film."
Though the scene may have been conceived out of practicality, its execution lifted it into the realm of the classics. Coppola used 67 different shots over five minutes; the first half average six seconds while the next half are roughly a third the length each. Between the pacing and the juxtaposition of violent killing with religious ritual, Coppola made a statement about Michael's willingness to gamble with his soul. But like many scenes, this one didn't come together until the very end. Coppola wasn't happy with the sequence. It never really worked, he said, until one of the film's two editors suggested he overlay an organ track over the entire collection of shots. The sequence is proof that necessity is often the mother of great invention, as long as the director is willing to allow his ears, as well as his eyes, to serve as his guide.
Deleted Scene #1—Michael Shoots His Wife's Killer
In a scene cut from the film, Michael comes back to America to track down Fabrizio, his former Sicilian bodyguard and the man responsible for the death of his wife Apollonia. Finding him in a pizza parlor, Michael blows him away with a shotgun. Though the scene was never used, the still (with Michael in a white hat) was disseminated widely during the film's promotion.
Going to See Genco in the Hospital
Immediately following his daughter's wedding, Don Corleone takes his sons to visit Genco Abbandando, his dying consigliere, in the hospital. Though cut from the film, this scene sheds light on a seemingly throwaway line later uttered by Sonny to Tom Hagen: "If I had a wartime consigliere, a Sicilian, I wouldn't be in this shape! Pop had Genco — look what I got."
The Problem with Sinatra
Even before Mario Puzo's novel was published, many assumed that the Johnny Fontane subplot was loosely based on the real-life Frank Sinatra drama when he was trying to earn a role in From Here to Eternity. Puzo successfully avoided running into Sinatra until one night in Los Angeles in 1970 when a friend of Puzo's insisted on introducing him to Sinatra. After Sinatra refused to meet Puzo and the friend broke down in tears, Puzo uttered, "It's not my fault." Sinatra thought he was apologizing for the Johnny Fontane character in the book and began to scream at Puzo. The incident made the papers and TV news and became a public relations disaster. Later, when Coppola signed on as director, he had a run in with Sinatra (seen above during the 1971 Frazier-Ali fight at Madison Square Garden) that was more cordial.
Vic Damone Was Almost Johnny Fontaine
The popular singer was originally cast as the Sinatra-esque Johnny Fontaine. He dropped out, attributing his pride in being Italian, though he would later state that it was all about the money. The Fontaine role is much, much bigger in Puzo's source material.
The Film Was a Family Affair
Aside from young Sofia Coppola's cameo during the baptism scene and sister Talia Shire's primary role as Connie Corleone, other members of the Coppola family appeared in The Godfather. Father Carmine (seen above with his son) composed several pieces of music for the film and appeared as a piano player during the "going to the mattresses" montage and the director's two sons showed up in minor background roles.
The Score Was Honored (Then Rejected) by the Oscars
An Italian composer who had a fruitful creative partnership with director Frederico Fellini (he composed the scores for La Strada, Night of Cabiria, 8 1/2), Nino Rota was chosen as the film's composer in order to give it a true Italian feeling. His score became an essential piece of The Godfather — and both its spare trumpet opening and lush love theme have become two of American cinema's more famous pieces of film music. Though nominated for an Oscar, Rota's score was subsequently withdrawn, as part of the love theme had previously appeared (albeit in a more jaunty form) in the 1958 Italian comedy Fortunella. (Skip ahead to the 55-second mark in the video below to hear the original.)
Each of the Main Male Actors Got Oscar Noms
In the years since The Godfather film's release critics have marveled at the cast Coppola put together for the film. At the time, the Academy agreed, honoring each of the principal male players with Oscar nods. Al Pacino as Michael, Robert Duvall as Tom Hagen and James Caan as Sonny were all nominated for Best Supporting Actor. Marlon Brando won the Academy Award for Best Actor, but he turned down the Oscar, instead sending a Native American activist in traditional Apache dress to state his reasons — his objection to the depiction of Native Americans in Hollywood films. It was a case of history repeating itself: the last actor who had won an Oscar with a Coppola-penned script was George C. Scott for Patton, who became the first actor to turn down the award.
Ushering in the Age of the Modern Blockbuster
According to Harlen Lebo's The Godfather Legacy, "By 1972, when The Godfather became box office champion, only two other films had earnings that approached it: Gone with the Wind and The Sound of Music…In the twenty years that followed The Godfather, fifty-eight movies would surpass it in earnings." Or as producer Ruddy put it, "The Godfather brought in the era of the blockbusters, where they're looking for the $100 million movie, the home run, the ten-pole attraction to build a schedule on. This had never happened before."
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