Information
| Year: | 2001 |
| Rating: | 6.2(23558) |
| Listed in: | Comedy, Fantasy, Romance |
| Directed by: | James Mangold |
| Actors: | Hugh Jackman Liev Schreiber Breckin Meyer Bradley Whitford Meg Ryan Natasha Lyonne |
| "This Christmas, chivalry makes a comeback." | |
Cast
| Directed by | |
|---|---|
| James Mangold | |
| Actors | |
| Hugh Jackman | as Leopold |
| Liev Schreiber | as Stuart Besser |
| Breckin Meyer | as Charlie McKay |
| Bradley Whitford | as J.J. Camden |
| Paxton Whitehead | as Uncle Millard |
| Spalding Gray | as Dr. Geisler |
| Josh Stamberg | as Colleague Bob |
| Matthew Sussman | as Ad Executive Phil |
| Philip Bosco | as Otis |
| Andrew Jack | as Roebling |
| Stan Tracy | as Photographer |
| William Sanford | as Barry |
| Arthur J. Nascarella | as Gracy |
| Robert Ray Manning Jr. | as Passerby |
| Ray Seiden | as Sanitation Worker |
| Jonathan Fried | as Faux Wolfgang |
| Francis Dumaurier | as Faux Emeril |
| Cole Hawkins | as Hector |
| George Hahn | as Assistant Director |
| Joe Mosso | as Cameraman |
| Cornelius Patrick Byrne | as Carriage Driver |
| Chazz Menendez | as Purse Thief |
| Brandon Parrish | as Dennis |
| Nai Yuan Hu | as Rooftop Violinist |
| Michael Shelle | as Distinguished Actor |
| Matthew Beisner | as Commercial Director |
| Bill Corsair | as Limo Driver |
| John Rothman | as Executive #1 |
| Dennis Rees | as Executive #2 |
| Michael Cassady | as Executive #3 |
| Brian Letscher | as Ad Executive |
| Kevin Daniels | as Doorman at Party |
| Henry Boyle | as Cab Driver |
| Russell Di Perna | as Bridge Cop |
| Frank Arcuri | as 1876 Doorman |
| David Aaron Baker | as 2nd Studio Executive |
| Gary Beck | as 1876 gentleman |
| Craig Bierko | as Actor in Advertisement |
| Lee Burkett | as Smoking Man at Barrel Shop |
| Carl Burrows | as Party Guest |
| Fabrizio Fante | as Softball Player |
| Howard Feller | as Hospital patient |
| Domenick Lombardozzi | as Counterman |
| Eddie Marrero | as Hospital Orderly |
| Del Pentecost | as Marty |
| Todd Poudrier | as Bartender |
| Actresses | |
| Meg Ryan | as Kate McKay |
| Natasha Lyonne | as Darci |
| Charlotte Ayanna | as Patrice |
| Kristen Schaal | as Miss Tree |
| Roma Torre | as TV Newscaster |
| Viola Davis | as Policewoman |
| Stephanie Montalvo | as CRG Intern |
| Ebony Jo-Ann | as Nurse Ester |
| Brittney Startzman | as Monica |
| Martha Madison | as Office Woman |
| Stephanie Sanditz | as Gretchen |
| Meg Gibson | as Executive's Wife |
| Andrea Barnes | as Clara |
| Diana Brownstone | as Prospective Bride |
| Daphna Cardinale | as Gossip |
| Monique Gabriela Curnen | as Monica Martinez |
| Aimee Denaro | as Movie Goer |
| Peggy Flood | as Prospective Bride |
| Shalom Harlow | as Woman in Movie |
| Jennifer Johns | as Ballroom Dancer |
| Elizabeth Logan | as Movie Goer |
| Celia A. Montgomery | as Red-Haired Flirting Woman at Brooklyn Bridge (1870s) |
Movie info
| Languages: | English, French |
| Filming dates: | 20 February 2001 - 22 May 2001 |
| Budget: | USD 48,000,000 |
| Gross: |
USA - 47,095,453 USD (17 February 2002) UK - 204,325 GBP (7 April 2002) Russia - 520,640 USD (4 August 2002) Spain - 1,437,312 EUR (10 August 2002) |
| Plot: | Leopold is an English and broken baron living in New York in the end of the Nineteenth Century. He needs to get married with a rich fiancée to recover his family position from ruin. Kate is a successful businesswoman living also in New York, but in 2001. Due to a time incident, they meet each other in the present days and they fall in love to each other. |
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Original Soundtracks
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"Manhattan Beach" Performed by University of Michigan Band Composed by John Philip Sousa Courtesy of Vanguard Records, a Welk Music Group Company "Tivoli-Rutsch-Walzer" Performed by The Gaudier Ensemble Composed by Johann Strauß Sr. (as Johann Strauss I) Courtesy of Hyperion Records LTD. "Leather Chair" Written and Performed by Gluecifer Courtesy of Sub Pop Records and White Jazz Records "I Am the Very Model of a Modern Major General" Composed by William S. Gilbert (as Gilbert) & Arthur Sullivan (as Sullivan) "Deep Forest" From "Forest Rain" by Dean Evenson Courtesy of Soundings of the Planet "The Fakir" Written and Performed by Lalo Schifrin Courtesy of Verve Records Under License from Universal Music Enterprises "Honeysuckle Rose" Performed by Django Reinhardt Written by Andy Razaf & Fats Waller (as Thomas Waller) Courtesy of Verve Records Under License from Universal Music Enterprises "Herbert" Written by Holger Beier & Marcus Liesenfeld Performed by Le Hammond Inferno Courtesy of Bungalow Records "747" Performed by Mains Ignition Written by P. Harrison, D. Rabjohns & J. Anderson Courtesy of Big Sounds Intl. o/b/o PPQ Records "Alt Wien" Composed by Leopold Godowsky Transcribed by Jascha Heifetz "Moon River" Performed by Henry Mancini Written by Henry Mancini and Johnny Mercer Courtesy of The RCA Records Label, a Unit of BMG Entertainment "Until" Written and Performed by Sting Courtesy of A & M Records |
Goofs
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Revealing mistakes: In the final act, Darci walks up to an elevator, goes to push the button and misses it by about six inches. The elevator arrives anyway. DATE: Leopold is taken from the year 1876, yet he is familiar with Puccini's "La Boheme" (first performed in 1896), Gilbert and Sullivan's "The Pirates of Penzance" (first performed in 1879 - and he manages to misremember the plot) and Puccini's "Tosca" (1900). However, in the Italian (dubbed) version, Leopold doesn't mention Puccini's "La Boheme", but Verdi's "La Traviata", first performed in 1853. DATE: Leopold is shown listening to Roebling make a speech in April 1876. The famous engineer had actually died a few weeks after the bridge was begun in 1869. It could be Roebling's son, Washington, but he was born and educated in the United States and would not be expected to speak with a German accent and didn't visit the construction site between 1872 and 1883. DATE: The current, 50-star, US flag can be seen in the background when Stuart is taking pictures "in the past". DATE: Leo says his surname is Mountbatten, but Mountbatten is a made-up name, an Anglicization of the German name Battenberg, adopted by the British Battenbergs (part of the British royal family) during the First World War when anti-German sentiment was high. DATE: When Leopold wakes up in Stuart's apartment, he says Stuart "could be Jack the Ripper for all I know", however since Leopold is from 1876 he couldn't know about Jack the Ripper, who didn't begin his crime spree until the late 1880's. Continuity: The clock behind Stuart jumps back five minutes when he and Kate are talking on the phone at the beginning of the movie. CHAR: During a heated argument, Kate tells Leopold that she won't take a pious speech from a "200 year old man." Leopold was from 1876 and is stated to be 30 years old. The film was produced in 2000 and is placed in modern day. There's no way he could be 200 years old at the time. DATE: The music played at the bridge dedication in 1876 was "Manhattan Beach", written by John Philip Sousa in 1893. Continuity: When Kate is eating dinner on the rooftop, the strap of her dress is alternately on/off her shoulder between shots. Continuity: When Charlie and Leopold are taking on the sidewalk before going to the restaurant where Kate and J.J. are, Charlie holds a cell phone. The sequence after, he doesn't have a cell phone. The phone appears in the last shot before he runs to the restaurant. Continuity: At the supper at Kate's apartment, Kate gets up to bring dishes in the kitchen. The sleeves of her shirt are at her elbows. She returns at the table and the sleeves are down at her wrist. In the next shot, the sleeves are back at the elbows. Continuity: When Leopold tells a story to the boy in the apartment, the remote he put in his pants like a sword, flips from front to back after Charlie enters. Continuity: Kate is seen in photographs taken by Stewart at Leopold's engagement announcement in 1876 but she does not make it to the party in time to appear in those pictures. By the time she arrives at that party, Stewart has already returned to the present. FAIR: Before Kate goes back in time, her dress is plain gray and her skirt is straight. When she is in 1876, her dress changed to one with black fringe lining that sticks out around the neck and the skirt has a large poof on the back. The dress in question was addressed in the special features of the film. The costume designer stated that she chose the design of this dress based on its ability to take simple modifications and fit nicely into a more elaborate "period" costume and be able to fit in to the style of dress that was socially acceptable once she had traveled to the 1900's. They added a bustle, short train and ruffles around the neckline so that it would contrast the more conservative style it once was in the 21st century. GEOG: When Leopold first sees his house from the 1800's while walking with Kate in the present day, you can notice the cross street sign of "Pearl St." Pearl Street is a street in the south end of Manhattan Island, but when Kate leaves her cab at Leopold's house she asks the cab driver if this was 316 Madison Ave., which is a street in midtown, and stops at 23rd street Continuity: After Kate and Leopold are sitting outside, watching the old man switch off the lights at midnight, Kate complains about the day being a Sunday, turns towards him and puts her arm around Leopold. But in the next shot, she turns to his side again. DATE: Leopold is first heard by Charlie describing the plot of Pirates of Penzance to a little boy, he even sings the song "Modern Major General" and plays it on the piano. This should be impossible because Leopold was transported from 1876 and Pirates of Penzance premiered in New York in December of 1879. It didn't even open in London (where Leopold lived prior to visiting the US) until April of 1880. PLOT: Leopold is credited for inventing the elevator, so when he disappears in time, elevators vanish yet their shafts remain for some reason, such as the one Stuart falls into. Also, in the modern-day alternate future, people trudge up the stairs in 50-story buildings. Had Leopold not invented the elevator, buildings would likely never have been built so high, or more likely the elevator would simply have been invented by someone else, say Elisha Otis, who founded his elevator company in 1853. DATE: The portrait in Leopold's uncle's house, supposedly depicting Leo and his parents, with Leo about 5-10 years old, shows costumes from 3 different periods, two of which are wrong for the time when Leo would have been 5 or so. If he was 30 in 1876, he was born in 1846 and would be five in 1851. The mother's costume dates to about 1876, and the boy's is from about 1780. DATE: The Brooklyn Bridge was dedicated in 1883. Some of the anachronisms listed here would not be a problem if they had stuck with that date instead of using the unnecessarily incorrect date of 1876. Revealing mistakes: When Charlie follows Kate to secretly give her the apology letter from Leopold, you can see Kate try to open her brief case a little so Charlie can slip the letter in. Revealing mistakes: When Kate reads the letter of apology from Leopold, it is written that he has asked her to "except" his apology instead of accept. CHAR: When Kate, Leopold and others are outside walking they most often have jackets or coats on (Kate even has a scarf around her neck) indicating the movie is set in months with cold temperatures. Yet when Kate goes to the rooftop dinner with Leopold she is wearing a sleeveless summertime dress, without a coat. Considering the other scenes, it would be quite colder at night than in daytime when she is wearing a coat. Continuity: Kate's hairstyle (loose bangs) changes repeatedly during the business dinner event at the Madison Ave house (modern time), and less so but still obviously back in time at the same location. Revealing mistakes: When Kate's assistant puts her into the elevator to go to the evening event, she doesn't press the elevator button - she presses to the right of the button. The elevator comes anyway. |
Quotes
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Leopold: Are you suggesting madam that there exists a law compelling a gentleman to lay hold of canine bowel movements? Police Officer: I'm suggesting that you pick the poop up. Charlie: Don't you think it's time you told me who you are. I mean, don't get me wrong, doing the Duke thing with you 24/7 is a blast, but really. Who are you? Leopold: [after a pause, simply] I'm the man that loves your sister. Charlie: We have a saying in the McKay house: "You shake and shake the ketchup bottle, none will come, and then a lot'll." Leopold: That thing is a damned hazard! Kate: It's just a toaster! Leopold: Well, insertion of bread into that so-called toaster produces no toast at all, merely warm bread! Inserting the bread twice produces charcoal. So, clearly, to make proper toast it requires one and a half insertions, which is something for which the apparatus doesn't begin to allow! One assumes that when the General of Electric built it, he might have tried using it. One assumes the General might take pride in his creations instead of just foisting them on an unsuspecting public. Kate: You know something? Nobody gives a rat's ass that you have to push the toast down twice. You know why? Because everybody pushes their toast down twice! Leopold: Not where I come from. Kate: Oh, right. Where you come from, toast is the result of reflection and study! Leopold: Ah yes, you mock me. But perhaps one day when you've awoken from a pleasant slumber to the scent of a warm brioche smothered in marmalade and fresh creamery butter, you'll understand that life is not solely composed of tasks, but tastes. Kate: [mesmerized] Say that again. Kate: I don't want it to be Sunday. I want more of this, more 1876. [Kate finds a letter Darci has written in response to Leopold's invitation to dinner] Kate: Darci? What is this? Darci: It's a reply to Leopold's invitation... You're going, right? Kate: I haven't decided yet. Darci: Oh, you haven't decided if you want to have dinner on the rooftop with a duke? Kate: Who thinks he's from 1876! NO. And I would appreciate it if... Darci: Oh come *on*! I don't know what this guy did to piss you off, but that is the best apology letter in the history of mankind. Just sign it, Kate! It's four-thirty, we'll fax it. [the phone rings and Darci picks it up, flustered] Darci: Kate McKay's office. [Darci slams the phone back down and starts to cry] Darci: They hung up! [while at dinner, JJ has been quoting Boheme to Kate. As Leopold leaves, he decides to correct JJ's errors] Leopold: By the way. There is no "Andre" in Boheme. It's Rodolfo. And though it takes place in France, it is rarely played in French as it is written in Italian. Goodnight, Kate. [he leaves. Charlie grins at JJ and Kate and then follows] Kate: I'm not very good with men. Leopold: Perhaps you haven't found the right one. Kate: Maybe. Or, uh... maybe that whole love thing is just a grown-up version of Santa Claus; just a myth we've been fed since childhood. So, we keep buying magazines, joining clubs, and doing therapy and watching movies with hit pop songs played over love montages all in a pathetic attempt to explain why our love Santa keeps getting caught in the chimney. Kate: I wasted the best years of my life on you. Stuart: Those were your best years? Stuart: Maybe the reason I was your guy was so I could help you find your guy. Stuart: Theoretically, if you go to the past in the future, then your future lies in the past. This is a picture of you in the future - in the past. [From Director's Cut] Kate: We make cereal crunchier. We make boring movies shorter. We made Smucker's get the seeds out of their jam. We did that. As far as I'm concerned, we're heroes. Kate: So clearly, you must be a man out of time or Sergeant Pepper! [Talking on the phone] Stuart: Are you sitting down? Kate: [standing]Yes. Stuart: No, you're not. Kate: Yes, I am. Stuart: No, you're not. Kate: Ye... [Kate sits down in chair with a thud]Okay. Stuart: I found it. Kate: What did you find? Stuart: The portal. A crack in the fabric of time. It was over the East River, Kate, just where I said it would be. Kate: You found the portal? Stuart: A portal into April 28th, 1876. I jumped off the Brooklyn Bridge and took a walk in 1876 today. I followed the Duke of Albany around old New York. Are you listening? Kate: Avidly. Stuart: This here's the twist, Kate. Here's the kicker. Kate: What's the kicker? Stuart: [whispering]He followed me home. Kate: Why are you standing? Leopold: I am accustomed to stand when a lady leaves the table. [So, Charlie gets up] [Talking to himself] Leopold: Ah Miss Blaine, you dance like a herd of cattle. You are a rare woman who lights up a room simply by leaving it! Stuart: You of all people should understand, you're a scientist. I mean, you invented the elevator. Leopold: What is an elevator? What are you talking... Where the hell am I? Stuart: I told you, you haven't actually gone anywhere, you're still in New York. Leopold: That sir, is not New York! Kate: I'm afraid it is! [to Charlie] Leopold: Is it your habit sir, to simply enter a conversation without introduction? [Has chased and cornered a bag snatcher, while on horseback] Leopold: I warn you scoundrel, I was trained at the King's Academy and schooled in weaponry by the palace guard. You stand no chance. When you run, I shall ride, when you stop, the steel of this strap shall be lodged in your brain. [bag snatcher throws down the bag an flees, onlookers applaud] Kate: Are you for real? Leopold: I believe so. Stuart: It is no more crazy than a dog finding a rainbow. Dogs are colourblind, Gretchen. They don't see colour. Just like we don't see time. We can feel it, we can feel it passing, but we can't see it. It's just like a blur. It's like we're riding in a supersonic train and the world is just blowing by, but imagine if we could stop that train, eh, Gretchen? Imagine if we could stop that train, get out, look around, and see time for what it really is? A universe, a world, a thing as unimaginable as colour to a dog, and as real, as tangible as that chair you're sitting in. Now if we could see it like that, really look at it, then maybe we could see the flaws as well as the form. And that's it; it's that simple. That's all I discovered. I'm just a... a guy who saw a crack in a chair that no one else could see. I'm that dog who saw a rainbow, only none of the other dogs believed me. Gretchen: I believe you. [Leopold and Charlie leave the club. Charlie is fuming because Leopold has enthralled Patrice, Charlie's love interest] Charlie: And I would have gotten her number if you hadn't turned the evening into a guided tour of the Louvre! Leopold: My apologies. Charlie: Let's get one thing straight. Patrice, she thought you were cute - probably gay, and cute - and cute, Leo, that's just the kiss of death. Leopold: Perhaps. Charlie: Perhaps? Certainly! Leopold: [produces a napkin] I believe this is her number. [Charlie takes it from him in disbelief] Leopold: As I see it, Patrice has not an inkling of your affections, and it's no wonder. You, Charles, are a merry-andrew. Charlie: A what? Leopold: Everything plays a farce to you. Women respond to sincerity. No-one wants to be romanced by a buffoon. Now, that number rings her. Charlie: Yes? Leopold: So ring her tomorrow. Charlie: I can't. She gave the number to you. Leopold: Only because I told her of your affections. Charlie: [taken aback] Wha - what did you say? Leopold: Merely that you admired her, but you were hesitant to make an overture, as you'd been told she was courting another. Charlie: Shit... that's good! Well, what did she say? Leopold: She handed me the napkin. [Charlie rushes under a lit store window to read the napkin, and starts dialing his cell phone] Leopold: Charles, it's quite late. Charlie: No, no, she won't be home yet. I get her machine and leave a message, ball's in her court. Leopold: You're ladling calculation upon comedy. The point is, to keep the ball in *your* court. Charlie: [slaps his phone shut] You're right! You're right! Stuart: Women have changed since your time, Leo. They've become dangerous! Charlie: You want to vex my sister! Kate: Stuart, Can you tell me in short, complete sentences featuring no words over two syllables why exactly I am in these pictures? Stuart: Probably not. Kate: Try! Kate: I'm not the protagonist in a major motion picture. [on phone] Kate: My palm pilot! You still have it. Stuart: Kate, it's one in the morning. Kate: And clearly, you're awake, so what is the infraction? Leopold: Some feel that to court a woman in one's employ is nothing more than a serpentine effort to transform a lady into a whore. Leopold: I feel as though we've met on a previous occasion. Kate: Well Lionel, seeing as how I've never met any of Stuart's friends, not even sure he has any, I don't think that's possible. Kate: Look, this is not complex. He gave me the Palm Pilot, he just forgot the pointy thing. Leopold: I've been warned about you. Kate: Oh. And what, pray tell, did the great disappointment say? Kate: Stuart, you can tell me you picked up a transvestite in Times Square. I don't care! Kate: You're tucking me in. Leopold: Yes. Kate: You're my Otis. Leopold: Yes, Your Grace. Roebling: Behold, rising before you, the greatest erection on the continent... the greatest erection of the age... the greatest erection on the planet! Kate: People might think I'm brave, but I'm not. Leopold: The brave are simply those with the clearest vision of what is before them - glory and danger alike and notwithstanding, go out to meet it. Kate: And... it's a great thing to get what you want. It's a really good thing unless what you thought you wanted wasn't really what you wanted... because what you really wanted you couldn't imagine or you didn't think it was possible but what if someone came along who knew exactly what you wanted without asking they just knew... like they could hear your heart beating or listen to your thoughts and what if they were sure of themselves and they didn't have to take a poll and they loved you... but you hesitated and I... uh... I have to go... I'm sorry but... I have to go! Uncle Millard: It has always been your greatest misfortune, nephew, that you so thoroughly amuse yourself with the sound of your own voice. Leopold: In a life as stagnant as mine, that I can amuse myself at all is an evolutionary miracle. Kate: Sunday is the day before the day I work, so it gets poisoned. Leopold: You require a chaperone. His intentions are obvious. Kate: I'm alone with you, do I need a chaperone? Leopold: We are not courting, Kate. If we were, as a man of honour, I would have informed you of my intentions in writing. [first lines] Roebling: Time. Time, it has been proposed, is the fourth dimension. And yet, for mortal man, time has no dimension at all. We are like horses with blinders, seeing only what lies before us. Forever guessing the future and fabricating the past. [last lines] Leopold: Well, let us proceed. Please raise your glasses so we may toast to my bride-to-be, the woman whose welfare and happiness shall be my solemn duty to maintain. The future Duchess of Albany... [Kate catches his eye] Kate McKay. Of the McKays of...? Kate: Massapequa. Leopold: Massapequa. Kate: I love you. Leopold: I love you. Charlie: Victorian dude, who has never seen a Met's game, watching TV. Scene: "I say, are those little people in that box of phosphors. Crikey, I believe it is. This game is more beguiling than cricket" Leopold: Marriage is the promise of eternal love. As a man of honor I cannot promise eternally what I've never felt momentarily. Leopold: [of the Brooklyn Bridge] Good Lord, it still stands. The world has changed all around it, but Roebling's erection still stands! Ha, ha! [to nearest bystander] That, my friend, is a miracle! Sanitation Worker: What? Leopold: It's a miracle, man! Sanitation Worker: It's a bridge. Charlie: [about the dishwasher] And you push this button. Word to the wise: don't press that till she wakes up, so she sees you doing it. Leopold: How clever. The proverbial tree in the woods. Charlie: If a man washes a dish, and no one sees it... Charlie, Leopold: - did it happen? Charlie: Right. Leopold: What has happened to the world? You have every convenience and comfort, yet no time for integrity. Kate: I've been paying dues all of my life. And I'm tired, and I need a rest, and if I have to peddle a little pond scum to get one, then so be it. Stuart: All this time I thought that I had pretxeled fate and that it had to be untwisted, but what I had never considered is that the whole thing *is* a pretzel. A beautiful 4D pretzel of kismetic inevitability. Charlie: [Charlie, obviously drunk, is entertaining his friends with stories from acting camp] He started squirting everybody with this turkey baster and screaming "Un-sex me! Un-sex me!" Dennis: Wasn't Willem Dafoe in that group? Charlie: Yeah, and he went on to talk about how a lot of secrets are hidden in people's basements... Leopold: Like the Louvre? [everybody pauses and looks at Leo] Leopold: I'm sorry, Charles, you were saying? Patrice: What about the Louvre? Monica: Yeah, tell us what you were going to say. Leopold: Well, not all of the artwork in the Louvre is on the walls. Some is in the basement. Patrice: You've been in the basement of the Louvre? Leopold: Why, yes! Patrice: I was a art history major at Vassar! Leopold: Ahhhh... Kate: Can you go away? Can you just go away? Can you go away? Leopold: Im sorry if I have offended you in anyway... Leopold: Otis always told me love is a leap. Lamentably, I was never inspired to jump. Kate: You're sucking the life out of my condiments! Leopold: [to Charlie] You're intoxicated. We should retire. Leopold: [Leopold writes an apology letter to Kate] Dearest Katherine... I behaved as an imbecile last night,I animated in part by drink, in part by your beauty,and in part by my own foolish pride and for that I am profoundly sorry. Please accept as a gesture of apology, a private dinner on the roof top tonight at 8 O'Clock . |
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