Ran (乱, Ran?
"chaos", "wretchedness", "riot") is an Oscar-winning 1985 film written and directed
by Japanese filmmaker Akira Kurosawa. It is a jidaigeki (Japanese period drama)
depicting the fall of Hidetora Ichimonji (Tatsuya Nakadai), an aging Sengoku-era warlord who decides to abdicate as ruler in favor of his three sons. The story is based on legends of the daimyo Mori Motonari, as well as on the Shakespearean tragedy King Lear.
Ran was Kurosawa's last great epic. With a budget of $12 million, it was the most expensive Japanese film ever produced.[1] Kurosawa directed three other films before he died, but none on so large a scale. The film was
hailed for its powerful images and use of color – costume designer Emi Wada won an Academy Award for Costume Design for
her work on Ran. The distinctive Gustav Mahler-inspired film score, written by Toru Takemitsu, plays in isolation with
ambient sound muted (most notably during the battle at the third castle).
Plot
According to Stephen Prince, Ran is "a relentless chronicle of base lust for power, betrayal of the father by his sons,
and pervasive wars and murders that destroy all the main characters."[2] It is a tale about the downfall of the once-powerful Ichimonji clan after its patriarch Hidetora
decides to give control of his kingdom up to his three sons: Taro, Jiro, and Saburo. Taro, the eldest, will receive the
prestigious First Castle and become leader of the Ichimonji clan, while Jiro and Saburo will be given the Second and Third
Castles. Jiro and Saburo are to support Taro, and Hidetora illustrates this by using a bundle of arrows.[3] Hidetora will remain the titular leader and retain the title of Great Lord.
Saburo criticizes the logic of Hidetora's plan: he reminds his father that he achieved power through treachery, war and
bloodshed, yet foolishly expects his sons to be loyal to him. Hidetora mistakes these comments for a threat and when his servant
Tango comes to Saburo's defense, he banishes both of them.
Following Hidetora's abdication, Taro's wife Lady Kaede begins pushing for Taro to take direct control of the Ichimonji clan,
and engineers a rift between Taro and Hidetora. Kaede is a vengeful, manipulative woman whose family was slaughtered by Hidetora
in his own rise to power and has thus dedicated her life to bringing about the downfall of the Ichimonji clan.
Matters come to a head when Hidetora kills one of Taro's guards who was threatening the fool Kyoami. When Taro subsequently
demands that Hidetora confirm Taro's new standing and powers by signing a document in blood, Hidetora reluctantly complies and
storms out of the castle. He then travels to Jiro's castle, only to discover that Jiro is more interested in using Hidetora as a
pawn in his own power play. During this time Hidetora visits Jiro's wife, Lady Sué. Like Kaede, her family was murdered by
Hidetora, who also blinded her brother Tsurumaru, but she had embraced Buddhism and forgiven
him. Meanwhile Taro's retainer Ogura arrives to the Third Castle to take possession of it. Refusing to serve him, Saburo's troops
leave to join their lord in exile.
Meanwhile Hidetora's entourage is reduced to camping in the wilderness where they face the prospect of starvation because the
peasants, threatened by Taro, have taken all the food away. Then Tango, disguised and following Hidetora, arrives at the camp to
convince his lord to go meet Saburo. But Hidetora, though ashamed of his mistakes, refuses to let go of his pride and, influenced
by his adviser Ikoma, orders his samurai to burn the villages as punishment. When Kyoami uses a jest to criticize his master's
decision he is violently reprimanded by Hidetora and left behind with Tango. Then Hidetora takes control of the Third Castle and
settles in it.
Shortly afterwards Hidetora and his retinue are ambushed by the combined forces of Taro and Jiro. Hidetora's bodyguards and
concubines are slaughtered, the castle is set on fire, and Hidetora is left to commit seppuku
(ritual suicide). However, much to his dismay, Hidetora's sword has been broken and he cannot commit seppuku. Instead of killing
himself, Hidetora goes mad and escapes from the burning castle. As Taro's and Jiro's forces storm the castle, Jiro's general
Kurogane assassinates Taro.
Hidetora flees from his burning castle as Jiro and Kurogane (center right) look on.
As the castle burns Hidetora, deranged, wanders about during a storm in the grassy fields of the nearby mountains when he is
discovered by Tango and Kyoami, who are the only people remaining loyal to Hidetora. The three take refuge from the storm in a
nearby peasant's home, only to discover that the peasant is Tsurumaru, the brother of Lady Sué, blinded on the orders of Hidetora
years ago.
Upon his return from battle Jiro, as part of the plan made with his generals, publicly embarrasses Kaede. Later when she comes
to apparently congratulate him for his new rank she manages to overpower him. With a dagger pointed at his throat Kaede extracts
from Jiro the truth about Taro's death, blackmailing him and becoming his lover. Quickly she becomes the power behind his throne
in her secret efforts to destroy the Ichimonji. She demands that Jiro leave his wife for her. When Jiro offers to divorce his
wife Lady Sué and marry Kaede instead, she demands that he have Sué killed. Kurogane is given the order to kill Sué, but he
publicly disobeys and warns Jiro not to trust Kaede.
Tango kills the treacherous Ikoma and Ogura learning that Jiro intends to kill his father should he recover sanity. Kyoami and
Tango decide that to ensure Hidetora's safety he must be taken to Saburo. But great shame prevents Hidetora from willingly
reuniting with his son. Therefore, Tango goes out to bring Saburo to Hidetora. Kyoami stays with the Great Lord as the old man
descends deeper into madness, wandering into the remnants of the castle of Lady Sué's father - a castle that Hidetora himself
destroyed.
Lady Sué flees the second castle and, meeting up with her brother Tsurumaru, flees to the ruins of their father's castle.
Along with an aide they barely outrun enemy forces sent by Jiro. But suddenly, Tsurumaru remembers that he has forgotten his
flute. He tries to convince his sister that he does not need the flute, but Sué goes back anyway, leaving with Tsurumaru a
Buddhist scroll, illustrated with a picture of the Buddha. She is killed and beheaded by Jiro's forces, and Tsurumaru is left by
himself in the ruins.
Jiro and Saburo face off at Hachiman field.
With Hidetora's whereabouts a mystery and his calamities and plight now well-known, Saburo's army crosses back into the
kingdom to find him. Worried about his brothers' actions and mindful of his alliance with rival warlords who want the Ichimonji
lands for themselves, Jiro hastily mobilizes his much larger army to stop them. The two forces meet on the field of Hachiman.
Saburo's new patron, a warlord named Fujimaki anticipates a major battle and marches to the border. Another rival warlord, Ayabe,
also shows up with his own army. After arranging a truce with Jiro, Saburo rides off with ten soldiers to find Hidetora. But Jiro
breaks the truce and sends a gunnery brigade after Saburo and then orders an attack on Saburo's remaining forces. Despite their
superiority in number, Jiro's army is decimated by arquebus fire from Saburo's army.
Saburo finally finds Hidetora, who comes back to his senses. As father and son ride contentedly together on horseback, Saburo
is killed by Jiro's gunnery brigade. Overcome with grief, Hidetora finally dies, collapsing atop the body of Saburo.
Word reaches Jiro and Kurogane that Ayabe's army is marching on the First Castle. Thus, Jiro realizes, the army on the hilltop
is a decoy. Jiro's army promptly disintegrates and flees back to the castle. During the battle against Ayabe's forces, Kurogane
confronts Lady Kaede about her actions; she admits that she herself had planned for events to transpire this way all along, and
so Kurogane immediately kills her. The second castle's defenses are quickly overcome and breached by Ayabe's forces, and Jiro's
death and the fall of his army are implied.
While Saburo's army mourns for their fallen leader, the film ends with a shot of Tsurumaru, standing alone on top of the
ruined castle of his father. As he wanders blindly about, he nearly falls from a ledge and accidentally drops the scroll given to
him by his sister.
Background
- "When I read that three arrows together are invincible, that's not true. I started doubting, and that's when I started
thinking: the house was prosperous and the sons were courageous. What if this fascinating man had bad sons?"
- —Akira Kurosawa, July 1986.[4]
Kurosawa first got the idea that would become Ran in the mid-1970s, when he read a parable about the Sengoku-era warlord Mori Motonari. Motonari was famous for having three
sons, all incredibly loyal and talented in their own right. Kurosawa began imagining what would have happened had they been
bad.[4] Despite the similarities to
Shakespeare's play King Lear, Kurosawa only became
aware of the similarities after he had started pre-planning. According to him, the stories of Mori Motonari and Lear merged in a
way he was never fully able to explain. He wrote the script shortly after filming Dersu
Uzala in 1975, and then "let it sleep" for seven years.[5] During this time, he painted storyboards of every shot in
the film, later published with the screenplay and available as an extra on the Criterion Collection DVD release of the film, and continued
searching for funding. Following his success with 1980's Kagemusha, which he sometimes
called a "dress rehearsal" for Ran, Kurosawa was finally able to secure backing from French producer Serge Silberman.
Kurosawa once said that "Hidetora is me," and there is some evidence in the film that Hidetora serves as a stand-in for
Kurosawa.[6] Hidetora's crest is the sun and
moon, and the Chinese character of Kurosawa's first name "Akira" (kanji: 明) is combined from the kanji meaning "sun" (日) and "moon" (月).[7] Roger Ebert agrees, arguing that Ran "may be as much about Kurosawa's life as Shakespeare's
play."[8] Ran was the final film of
Kurosawa's "third period" (1965–1985), a time where he had difficulty securing support for his pictures, and was frequently
forced to seek foreign financial backing. While he had directed over twenty films in the first two decades of his career, he
directed just four in these two decades. After directing 1965's Red
Beard Kurosawa discovered that he was considered old-fashioned and did not work again for almost five years. He also
found himself competing against television, which had reduced Japanese film audiences from a high of 1.1 billion in 1958 to under
200 million by 1975. In 1968 he was fired from the 20th Century Fox epic
Tora! Tora! Tora! over what he described as creative differences, but others
said was a perfectionism that bordered on insanity. Kurosawa tried to start an independent production group with three other
directors, but his 1970 film Dodesukaden was a box office flop and bankrupted the
company.[9] Many of his younger rivals boasted that he was
finished. A year later, unable to secure any domestic funding and plagued by ill-health, Kurosawa attempted suicide by slashing his wrists. Though he survived, his misfortune would continue to plague him until the late
1980s. By the time he directed Ran, he was almost completely blind; to make matters worse, his wife of forty years, Yôko
Yaguchi, died during production.
King Lear
- "What has always troubled me about 'King Lear' is that Shakespeare gives his characters no past. ... In Ran, I have tried
to give Lear a history."
- — Akira Kurosawa[10]
While Kurosawa said that Ran is not a direct adaptation of King Lear, he did admit
to being influenced by the play and incorporated many elements from it into Ran. Both follow an aging warlord who decides
to divide up his kingdom among his offspring. In place of Lear's daughters, Hidetora has three sons — Taro, Jiro, and Saburo (who
correspond to Goneril, Regan and Cordelia respectively). In both, the warlord foolishly
banishes anyone who disagrees with him as a matter of pride — in Lear it is the Earl of Kent and Cordelia and in Ran it is
both Tango and Saburo. The conflict in both is that two of the lord's children ultimately turn against him, while the third
supports him, though Hidetora's sons are far more ruthless than Goneril and Regan. Both King Lear and Ran
ultimately end with the death of the entire family, including the hapless Lord.
However, there are some crucial differences between the two. King Lear is a play about undeserved suffering and Lear
himself is at worst a fool. Hidetora, by contrast, has been a cruel warrior for most of his life, a man who ruthlessly murdered
men, women, and children to achieve his goals.[11] In the
film, Lady Kaede, Lady Sué, and Tsurumaru were all victims of Hidetora. Whereas in "King Lear" the character of Gloucester had
his eyes gouged out by Lear's enemies, in Ran it was Hidetora himself who gave the order to do the same to Tsurumaru.
Kurosawa also expanded the role of the Fool into a major character (Kyoami), while also making him sexually ambiguous (he was
played by "Peter", an entertainer well-known for cross-dressing). His other major addition was Lady Kaede, who is the polar
opposite of Kyoami. Although he probably based her on Shakespeare's Goneril, she is a much more complex and important character
in the film.[12]
Production
Prior to filming, Kurosawa spent ten years storyboarding every shot in the film as paintings. This is the Third Castle upon
Hidetora's arrival.
Ran was Kurosawa's last epic film and by far his most expensive. At the time, its budget of $12 million made it the
most expensive Japanese film in history.[13] The film used
approximately 1,400 extras, which required 1,400 uniforms and suits of armor to be fabricated. These were designed by
costume designer Emi Wada and Kurosawa, and were
hand-made by master tailors over more than two years. The film also used 200 horses, a number of
which had to be imported from the United States.[7]
Kurosawa loved filming in lush and expansive locations, and most of Ran was shot amidst the mountains and plains of
Mount Aso, Japan's largest active volcano. Kurosawa was also granted permission to shoot at
two of the country's most famous landmarks, the ancient castles at Kumamoto and
Himeji. For the castle of Lady Sué's family, he used the ruins of the Azusa
castle.[5] Hidetora's third castle, which was
burned to the ground, was actually a real building which Kurosawa built on the slopes of Mount
Fuji. No miniatures were used for that segment, and Tatsuya Nakadai had to do the scene where Hidetora flees the castle in
one take.[5] Apparently, Kurosawa also wanted
to include a scene that required an entire field to be sprayed gold; it was filmed but Kurosawa cut it out of the final film
during editing.
Kurosawa would often shoot a scene with three cameras simultaneously, each using different lenses and angles. Many
long-shots were employed throughout the film and very few close-ups. On several occasions he used static cameras and suddenly brought the action into frame, rather than
using the camera to track the action. He also used jump cuts to progress certain scenes,
changing the pace of the action for filmic effect.[12]
Akira Kurosawa's wife of 39 years, Yôko Yaguchi, died during the production of this
film. He halted filming for just one day to mourn before resuming work on the picture.
Acting style
While most of the characters in Ran are portrayed using conventional acting techniques, two performances in Ran were greatly
influenced by Japanese Noh theater. This is exemplified in the heavy, ghost-like makeup worn by
Tatsuya Nakadai's character, Hidetora, which resembles the emotive masks worn by
traditional Noh performers. The body language exhibited by the same character is also typical of Noh theater: long periods of
static motion and silence, followed by an abrupt, sometimes violent, change in stance. The character of Lady Kaede is also a Noh
influenced performance. The Noh aspects of these two characters emphasize their ruthless, passionate, and single-minded
natures.
Cast and characters
-
Ran was a late Kurosawa film and so it lacked many stalwarts of earlier Kurosawa films, such as Takashi Shimura and Toshiro Mifune. The description of Hidetora
in the first script was originally based on Mifune, who had been estranged from Kurosawa since Red Beard.[10] However, for various reasons the part ultimately went to Tatsuya Nakadai, who had played several supporting characters in previous Kurosawa films, as well as the
thief in Kagemusha. But because the character had been written for Mifune, Nakadai
found himself playing Toshiro Mifune playing Hidetora.[citation needed] Two other Kurosawa veterans in Ran were Hisashi Igawa (Kurogane) and Masayuki Yui (Tango), who were both in
Dreams and Madadayo (Yuki had also been in
Kagemusha and Igawa would later appear in Rhapsody in August). Many of the
other actors had also appeared in other late Kurosawa films, such as Jinpachi Nezu (Jiro) and
Daisuke Ryu (Saburo) in Kagemusha. Others had not, but would go on to work with
Kurosawa again, such as Akira Terao (Taro) and Mieko
Harada (Lady Kaede) in Dreams. He also brought in two comedians for lighter
moments: Shinnosuke "Peter" Ikehata as Hidetora's fool Kyoami and Hitoshi Ueki as rival warlord Nobuhiro Fujimaki.
Themes
Chaos
The murder of Hidetora's
concubines during the castle massacre.
- "A terrible scroll of Hell is shown depicting the fall of the castle. There are no real
sounds as the scroll unfolds like a daytime nightmare. It is a scene of human evildoing, the way of the demonic Ashura, as seen by a Buddha in tears. The music superimposed on these pictures is,
like the Buddha's heart, measured in beats of profound anguish, the chanting of a melody full of sorrow that begins like sobbing
and rises gradually as it is repeated, like karmic cycles, then finally sounds like the wailing of countless Buddhas."
- — Ran Screenplay[14]
As the title suggests, chaos occurs repeatedly in the film; in many scenes Kurosawa foreshadows it by filming approaching
cumulonimbus clouds, which finally break into a raging storm during the castle
massacre. Hidetora is an autocrat whose powerful presence keeps the countryside unified and at
peace. His abdication frees up other characters, such as Jiro and Lady Kaede, to pursue their own agendas, which they do with
absolute ruthlessness. While the title is almost certainly an allusion to Hidetora's decision to abdicate (and the resulting
mayhem that follows), there are other examples of the disorder of life, what Michael Sragow calls a "trickle-down theory of
anarchy."[15] Kurogane's assassination of Taro
ultimately elevates Lady Kaede to power and turns him into an unwilling pawn in her schemes. Saburo's decision to rescue Hidetora
ultimately draws in two rival warlords and leads to an unwanted battle between Jiro and Saburo, culminating in the destruction of
the Ichimonji clan.
The ultimate example of chaos is the absence of gods. When Hidetora sees Lady Sué, a devout Buddhist and the most religious character in the film, he tells her that "Buddha is gone from this miserable
world." Sué, despite her belief in love and forgiveness, eventually has her head cut off. When Kyoami claims that the gods either
don't exist or are the cause of human suffering, Tango responds that "[The gods] can't save us from ourselves." Kurosawa has
repeated the point, saying that "humanity must face life without relying on God or Buddha."[4] The last shot of the film shows Tsurumaru standing on top of the ruins of his
family castle. Unable to see, he stumbles towards the edge until he almost falls over. He drops the scroll of the Buddha his
sister had given him and just stands there, "a blind man at the edge of a precipice, bereft of his god, in a darkening
world."[16] This may symbolize the modern concept of the
death of God, as Kurosawa also claimed that "Man is perfectly alone... [Tsurumaru]
represents modern humanity."[5]
Nihilism
- "What I was trying to get at in Ran, and this was there from the script stage, was that the gods or God or whoever it is
observing human events is feeling sadness about how human beings destroy each other, and powerlessness to affect human beings'
behavior."
- — Akira Kurosawa[15]
In addition to its chaotic elements, Ran also contains a strong element of nihilism,
which is present from the opening sequence where Hidetora mercilessly hunts down a boar to the last
scene with Tsurumaru. Roger Ebert describes Ran as "a 20th century film set in
medieval times, in which an old man can arrive at the end of his life having won all his battles, and foolishly think he still
has the power to settle things for a new generation. But life hurries ahead without any respect for historical continuity; his
children have their own lusts and furies. His will is irrelevant, and they will divide his spoils like dogs tearing at a
carcass."[8]
This marked a radical departure from Kurosawa's earlier films, many of which were filled with hope and redemption.[17] Even Kagemusha,
though it chronicled the destruction of the samurai class, had ended on a note of regret rather than despair. By contrast, the
world of Ran is a Hobbesian world, where life is an endless cycle of suffering and
everybody is a villain or a victim, and in many cases both. Heroes like Saburo may do the right thing, but in the end they are
doomed as well. Unlike other Kurosawa heroes, like Kikuchiyo from Seven Samurai or
Watanabe from Ikiru, who die performing great acts, Saburo dies pointlessly. Conniving
characters like Jiro or Lady Kaede are never given a chance to atone and are predestined to a life of wickedness and ultimately
violent death as well.[18]
Warfare
- "All the technological progress of these last years has only taught human beings how to kill more of each other faster.
It's very difficult for me to retain a sanguine outlook on life under such circumstances."
- — Akira Kurosawa[19]
According to Michael Wilmington, Kurosawa told him that much of the film was a metaphor for nuclear warfare and the anxiety of the post-Hiroshima age.[20] He believed that, despite all of the technological progress of the 20th century, all people had
learned was how to kill each other more efficiently.[19] In Ran, the vehicle for apocalyptic destruction is the arquebus, an early firearm that was introduced to Japan in the 1500s. Arquebuses revolutionized samurai
warfare, and the age of swords and single combat warriors fell rapidly by the wayside. Now, samurai warfare would be
characterized by massive faceless armies engaging each other at a distance. Kurosawa had already dealt with this theme in his
previous film Kagemusha, with the destruction of the Takeda cavalry by the arquebuses
of the Oda and Tokugawa clans.
In Ran, the Battle of Hachiman Field is a perfect illustration of this new kind of warfare. Saburo's arquebusers
annihilate Jiro's cavalry and drive off his infantry by engaging them from the woods, where the cavalry are unable to venture.
Similarly, Saburo's assassination by a sniper also shows how individual heroes can be easily disposed of on a modern battlefield.
Kurosawa also illustrates this new warfare with his camera. Instead of focusing on the warring armies, he frequently sets the
focal plane beyond the action, so that in the film they appear as abstract entities.[21]
Reception
Though Ran opened to generally positive reviews at its premier on June 1 1985 in Japan,
it was only modestly successful financially, earning only ¥2,510,000,000 ($12 million), just enough to break even.[22] Its U.S. release six months later earned another $2–3
million, and a re-release in 2000 netted $337,112.[23]
Ran had similar indifferent luck in the awards categories: it was completed too late to be entered at Cannes and had its premier at Japan's first Tokyo International Film Festival.[24] Kurosawa skipped the film's premiere, angering many in the Japanese film industry; as a result
Ran was not submitted as Japan's entry for the Best Foreign
Language Film category of the Oscars. Serge Silberman then tried to get it
nominated as a French co-production but failed. However, American director Sidney Lumet
helped organize a successful campaign to have Kurosawa nominated as Best
Director.[10]
Ran was also nominated for Art Direction,
Cinematography, and Costume Design (which it won). It was also unsuccessfully nominated for a
Golden Globe for Best Foreign Film.[7] In Japan, Ran was conspicuously not nominated for "Best Picture" at the
Awards of the Japanese Academy. However, it won two Prizes for Best Art
Direction and Best Music Score and received four other nominations, for Best Cinematography, Best Lighting, Best Sound, and Best
Supporting Actor (Hitoshi Ueki, who played Saburo's patron, Lord Fujimaki). Ran also won
two awards from the British Academy of Film and Television
Arts, for Best Foreign Language Film and Best Make Up Artist and was nominated for Best Cinematography, Best Costume
Design, Best Production Design, and Best Screenplay - Adapted.[7]
References
- ^ Hagopian, Kevin. New York State Writers Institute Film
Notes - Ran. URL accessed March 27, 2006.
- ^ Prince, Stephen (1999). The
Warrior's Camera. Princeton University Press. ISBN 0-691-01046-3. ,
p.284
- ^ This is based on a parable of Mori Motonari: he handed each of his sons an
arrow and asked for them to snap it. After each snapped their arrows, he showed them three arrows and asked if they could snap
them. When they all failed, Motonari preached how one arrow could be broken easily but three arrows could not. However, in
Ran Saburo smashes the bundle across his knee and calls the lesson stupid.
- ^ a b c Peary, Gerald.
"Akira Kurosawa",
Boston Herald, July, 1986.
- ^ a b c d Kiyoshi Watanabe (October 1985). "Interview
with Akira Kurosawa on Ran". Positif 296.
- ^ Ran. Akira Kurosawa
Database. Retrieved on 2005-12-03.
- ^ a b c d Internet Movie Database
- ^ a b Ebert, Roger. "Ran (1985)." Roger Ebert's Great Movies, October 1, 2000.
- ^ Prince, p.5
- ^ a b c
Ask the Experts
Q&A. Great Performances. Kurosawa. Retrieved on 2005-10-22.
- ^ Prince, p. 287
- ^ a b Kurosawa's RAN. Jim's Reviews.
- ^ Canby, Vincent. "Film View: 'Ran' Weathers the Seasons", New York Times, June 22, 1986.
- ^ Kurosawa, Akira (1986). in trans. Tadashi Shishido: Ran. Boston: Shambhala.
p. 46
- ^ a b Sragow, Michael. "Lear meets the energy
vampire", Salon.com, September 21, 2000.
- ^ Prince, p. 290
- ^ Only Throne of Blood, an
adaptation of Macbeth, had as bleak an outlook.
- ^ Prince, p. 287–289
- ^ a b Bock, Audie. "Kurosawa on His Innovative Cinema", New York Times, October 4,
1981, pp. 21.
- ^ Wilmington, Michael. "Apocalypse
Song", Criterion Collection, December 19, 2005.
- ^ Prince, Stephen (Commentary). (2005) Ran [Film]. North America:
Criterion Collection..
- ^ http://www.tohokingdom.com/box_office/ran.htm
- ^ http://www.the-numbers.com/movies/1985/0RN.html
- ^ "Tokyo
Festival Opens With a Kurosawa Film", Associated Press, June 1, 1985.
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