Kenji Mizoguchi

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Michael Kerpan
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#76 Post by Michael Kerpan » Sun May 27, 2007 3:24 pm

I have (many times) made the point that, while I do not like Mizoguchi "as a person", I do my best to set this attitude aside when looking at his work (as I do with even more problematic artistic figures -- like Richard Wagner). In this particular case, I made it clear that my (rather mild) criticism of "Sansho" was based strictly on artistic principles.

I have no "agenda" as to Mizoguchi -- I simply reject deification of artistic figures (even those I most admire) and sanctification of their work.

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#77 Post by HerrSchreck » Tue May 29, 2007 2:00 pm

With hatchet fully buried I'd like to return to the essence of Mizo's aesthetic when realized at it's best, and a surmisal as to it's influences, and what it is that's there-- for those who feel this "profound otherworldiness" (for want of a less lipglossy term)-- that strikes so deeply.

Certainly Mizo & Ozu were operating in similar spiritual and psychological terrain in thieir continual revisitation of the role of women (Naruse as well, and many others of course, but I momentarily choose these two for a very specific and instructive reason) and, more importantly, the essence of mono no aware... the state of spiritual equanimity. Enlightenment, swallowing the bitter with the sweet, facing the difficult sum of the life experience-- suffering-- straight on.

Instructive comparison because of course stylistically the two men leading up to and through the fifties couldn't have exhibited a less similar mise en scene, although the psycholical result in the viewer is often the same: profound manifestation in the viewer of That Which Is Unspoken Onscreen. Both men did not fear dipping into blatant pathos or melodrama, and yet the effect is always (in their finest examples) entirely unique and without ever leaving one feeling subject to a "weepie" or "cheap"/"easy shot" on behalf of the director moving his subjects around the chessboard of the screen. In terms of melodramatic "obviousness" certainly Mizo would be the clear winner: unlike Ozu, nobody can walk away from his best works and be unclear as to "what the fuss is all about"... a phenom which goes on in Ozu's work to this day. Many viewers--particularly Occidental-- come out of some of Ozu's most monstrously affecting works including all the obvious Noriko masterpieces and the better silents having no idea why this man and his work are so heavily lionized. I hesitate to apply the cornball old label "most Japanese" to Ozu, as there was only one Ozu-- and only one who dared to attempt such an extreme minimalism (which would be so dangerous in less personal/skilled hands), but he definitely was the less "western" of the two, that is, vs Mizo.

I too see hard influence of not only Sternberg, but all the best of the poetic mise en scene of the late silent cinema on display in Mizo: Murnau, Stroeheim in particular, the sublime flickering of light and gorgeous melancholic pools of shadow in the best of the french impressionists-- that is to say the masterpieces of Kirsanoff (eat your heart out david... headed to the Anthology in a week or so to finally catch the full cut of RAPT) and Jean Epstein. But I'd have to agree with David in his identification of early-to-mid-30's von Sternberg in these Mizoguchi masterworks.

Pure directorial dominance and vision thru meticlous mise en scene, ramming his internal vision-- the look of the inside of the humming, throbbing dream-state of the mans mind-- with fanaticism thru cast and crew and embellishing celluloid. Many many lessons of von Stern's work are on display here, what Sterberg calls "Illusion". Like a mentalist or goldbricking confidence-man revealiinghis "secret", von revealed in an interview w the BBC/K Brownlow (in which he was asked to create a classic Sternbergian "shot" to reveal a smidgeon of his technique) his assertion about the peak moments of his directorial fabric: "It's all just an illusion." SOunds obvious, in that all cinema is illusion, but he meant something quite different and extremely distinct and very specific-- attaching through audio-visual-editorial (cutting) means an importance, a hugeness & significance, to mundane moments... an almost religious aura created around the opening & closing of a door vs a jealous female opponent, or breathing nervously behind a lace wedding veil foregrounded by flickering candles... a simple knowing gaze during silence and in a pool of light in high contrast, surrounded by smaller swirling, flickering pools of light and dancing candle shadows, an eyebrow barely lifting in the suspended moment that is drawn out and potentiated using the full power of the cinema. No one (of course) in real life can stare at another person with such drama, can have the light in the room so fully and symphonically provide counterpoint and support to your own (non)verbal or physical expression. It's the practice (pumped muscularly up or down in relation to character) of mythologizing-- in von Sternberg's case (particularly w Dietrich)-- not only the character in the film but the actor or actress themselves. Genuine mythologizing is very rare in that, when manufactured to a suitable stripe, the subject inherits it like a gift and does his or her best to make sure it follows them around for the rest of their life, which it usually does. They walk out onto a NYC or Parisian concert hall and the crowd goes wild because a great movie just walked in on two legs, not an actress. Dietrich's immortality is of a very very rare stripe, owing less to what she did, and more to what she was told to do, and the OTHERWORLDLINESS OF HER (purely atrificial or illusory) DIRECTORIALY CREATED SURROUNDINGS, brought to her gratis by the person of Josef von Sternberg and absolutely positively nobody else. It sounds like simple cinematic ABC's, but it's not: very few directors have a muscular enough mise en scene to create the otherworldly myth around an actress as von did for Marlene... a woman who, let's face it, had almost no "singing" voice and almost no acting chops: the woman was pure attitude and presence, and without von's seeing in her a supreme Ornament of Female Power in the unfolding of his superatomically powerful cinematic image-mythmaking, she might have had to shift to typing or god knows what else to survive. She was a VERY lucky woman to have encountered that kind of artistic power, with that sort of farsighted vision of integration of a woman into a tapestry, who not only sculpted her for herself, but created around her the eternal museum that will keep her on perfect display forever.

These same skills of Cinematic Magnification were absorbed and recast, in my view, by Mizoguchi, and put in the service of a very different kind of woman (a type, rather than a specific actress i e Marlene): passive, though not entirely so, in that-- while suffering due to the machinations of others-- she does attempt to steer her path out of destruction when possible... even though this is not always possible, or possible with honor or spirit, and destruction must follow. Mizo's women are agents of timeless goodness instead of raw power (or just Agents haw haw haw), dignity instead of dominance. SO while Ozu may be the more stylistically non-western than Mizo, spiritually and philosophically they are both interested in the same set of concerns, very eastern, of acceptance, operation in the big picture versus concerns of the individual/self, kindness and mercy, seflessness and honor, etc.

And so in this sense Mizo takes the cinematic lessons of incredibly powerful rendering, and instead of mythologizing a person-- and the qualities and effects (on others) of this charismatic, infectuous individual (like von's use of Dietrich)-- he elevates and mythologizes already elevated and mythologized sanctified ideas, spiritual beliefs concerning acceptance, suffering, the sense of being surrounded by the presence and the lessons of the legions of dead.. generations gone by straining to break through the fabric of life itself... and the states of mind these dispositions can trigger in individuals. It's a totally fucking unique use of the power of the cinema, and what grabs me so much is it's deep nobility. There's a sense lying underneath it all (for me) that getting these points across are a major fuckin issue for Mizo... like some of the better of Kurosawas B&W works, there's a sense that all must not be completely hopeless yet... that yes (as is said by the priest in SANSHO) "People don't care much about things that don't directly concern them,"yet Mizoguchi isn't quite ready to throw in the towel yet, and his better films are enormous, basically noble sincere efforts to try and knock on peoples skulls. That to believe it's all totally hopeless, that human betterment through example and works is utterly impossible, would entail a commission to heart a set of facts so personally abhorrent to Mizo that he'd have nothing in life left worth putting all that effort into. The knowledge of his terrible temper, blackhearted disposition and hardhearted working style (where you suspect the dude has the creeping cynical voice in his head saying You're Pissing Into The Wind, Dude) to me is testament to the depth of his sincerity and the result of his genuine attachment to these spiritual ideas... which in the film business probably served him poorly. I don't neccessarily believe he had the strength to apply any of these lessons to his own life, either. It may have in turn made him a complete hypocrite. But that's fascinating to me-- utterly compelling that a man so talented/insightful could be such a disaster (shades of my father). I like brilliant cats who were totally fucked in the head. It's no mystery to me why he was so worshipped by his peers and (to varying degrees) his New Wave inheritors.

I see Mizo as a possible stylistic brother, destinationwise, to Yamanaka had he survived the war (throw in more humor and of course stylistic variants and wildcards). But I do see hints of similarity in foundation.

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#78 Post by Michael » Tue May 29, 2007 2:47 pm

Schreck, what's your favorite Mizoguchi film? You hold a very high esteem of Ugetsu and Sansho..have you seen Life of Oharu?

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#79 Post by Mise En Scene » Tue May 29, 2007 5:45 pm

Michael wrote:
But he always moves me more (and Im reminded of two felicitous appreciations of him which are more than fulsome - Robin Wood's superb essay on Ugetsu in Personal Views which is one of the most exemplary and deepest felt pieces of film writing Ive ever read; and David Thompson of all people who nails his mise en scene perfectly as one which physically and visually illustrates profound emotions intelligently through the camera.
Where can I locate those essays?
Wayne State Uni Press has reprinted/reissued Woods' Personal Views: Explorations in Film which contains his Mizoguchi essays on Ugetsu and Sansho Dayu. (They've also reprinted Wood's Howard Hawks monograph.)

Take a look at the books contents here.

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#80 Post by Nuno » Wed May 30, 2007 5:12 pm

My favorite's "Chikamatsu Monogatari". I hope a Criterion edition will be available soon...

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#81 Post by Michael Kerpan » Wed May 30, 2007 7:02 pm

Nuno wrote:My favorite's "Chikamatsu Monogatari". .
Good pick. ;~}
I hope a Criterion edition will be available soon..
If the MOC version is nice enough, Criterion will be out of luck (insofar as my acquisition funds go).

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#82 Post by Michael » Thu May 31, 2007 5:41 pm

Watched Sansho and Ugetsu last week. And Oharu this morning. I couldn't help feeling that Oharu is so much more stunning and engrossing than the other Mizoguchis. Oharu follows me everywhere I go today. I find it very hard to talk to anyone about anything. I know it's only a movie but it really made me feel richer for having seen this masterpiece. Only a very, very few films could do that with this tremendous measure.

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#83 Post by Michael Kerpan » Thu May 31, 2007 7:56 pm

Michael wrote:Watched Sansho and Ugetsu last week. And Oharu this morning. I couldn't help feeling that Oharu is so much more stunning and engrossing than the other Mizoguchis. Oharu follows me everywhere I go today. I find it very hard to talk to anyone about anything. I know it's only a movie but it really made me feel richer for having seen this masterpiece. Only a very, very few films could do that with this tremendous measure.
I also like this more than Sansho and Ugetsu. O-Haru is a much more fully developed character -- and Tanaka is simply magnificent in bringing her to (virtual) life.

Are these three the only ones you've seen so far?

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#84 Post by Michael » Fri Jun 01, 2007 1:06 pm

I also like this more than Sansho and Ugetsu. O-Haru is a much more fully developed character -- and Tanaka is simply magnificent in bringing her to (virtual) life.
Absolutely. She shatters my heart but strangely soothes me at the same time, guess it's because of her purity delicately expressed by Tanaka. A day after seeing the film, I still feel her holding me. Needless to say, Sansho and Ugetsu are profondly beautiful. But like I said elsewhere, they are uneven. Not as complete and perfect as O-haru. O-haru left me shaking and it still does.
Are these three the only ones you've seen so far?
Somewhat. I saw various Mizoguchi films on scratchy library VHS more than 15 years ago so they are vague memories but Sansho, Ugetsu and O-haru remain very fresh in my mind right now because I saw them so recently.

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#85 Post by Michael Kerpan » Fri Jun 01, 2007 3:08 pm

Tanaka is also especially tremendous in "Utamaro" (albeit not in the central role there) and "Love of Sumako the Actress". She covers the most ground as O-Haru, however.

In Naruse's "Flowing", Isuzu Yamada finds Tanaka's character's name too old fashioned -- and so renames her .... "O-Haru". ;~}

(It seems like a deliberate meta-cinematic joke -- but may actually come out of the 1955 novel by Aya Koda -- who would presumably have been familiar with the Mizoguchi film).

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#86 Post by Kenji » Mon Jun 25, 2007 1:58 am

Thanks for the info on the (apparent) meta-cinematic joke, Michael, me old mate. I must say that thought had crossed my mind- so it wasn't Naruse's idea after all.

Of course the Le Fanu book was disappointing and i'd like to know his reasons for the book's unexpected and quite confusing running order. His Tarkovsky book followed the films chronologically. I could also have done with a bit more on Japanese cultural history and specific artistic influences on Mizo. But there was some mitigation as i thought he hit the nail on the head with Loyal 47 Ronin (as a fellow fanboy i certainly prefer his reading to Darrell Davis' in Picturing Japaneseness, though Davis' close examination of camera movements is admirable)- and of course it helps that he ranks Sansho as Mizo's peak.

I appreciate the delicacy and restraint of Ozu and Naruse, including their work with actors- Mizo performances do seem quite histrionic and certainly too "broad" at times in comparison, but then his agenda was very different. Take Tobei in Ugetsu, which brought to mind the 2 bungling buffoons in Kurosawa's Hidden Fortress. Ugetsu is supremely beautiful in the Lady Wakasa mansion section, but somewhat weakened by the Tobei plot i.m.o.

I don't really like all the competitive and (almost inevitably) derogatory comparisons between Mizo, Ozu and Kurosawa- in spite of my own comparison above-, as they tend to get people's noses up/ antagonise, and so are often counter-productive, when the more helpful comparison would be between Japanese cinema and Hollywood: we Japanophiles should be working together to spread the word. Yet it seems virtually every Mizo discussion includes some sort of debate on the 3 big (famous) Japanese directors' respective merits and flaws.

In a world obsessed with celebrity and shallow self-promotion in various art forms (David Beckham, Tracy Emin, anyone?), the neglect of Mizoguchi is particularly galling.

As for Anthony Lane not watching Sansho again; well, i tend to be wary of repeat viewings of films that make a huge impact on me. I would prefer to study Mizoguchi closely through films that i feel less emotionally attached to, e.g Life of Oharu (in which i agree Oharu's misfortune seems almost too relentless). For instance, I haven't seen Wenders' Alice in the Cities, a film i adore, for many years, and i'm careful with Sansho.

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#87 Post by Michael Kerpan » Mon Jun 25, 2007 9:15 am

It is utterly silly to set Kurosawa, Mizoguchi, Ozu and Naruse up in some sort of "competition" -- as each brings his own (considerable) strengths (many) and (arguable) weaknesses (few) to the screen. The same could be set about the other even less well known greats -- like Yamanaka and Shimizu and Uchida (and more we scarecely know of). Cinematic greatness is not a zewro sum game.

When I criticize Mizoguchi's work, I try to do so (primarily) with reference to his own body of work. The fact that a Mizoguchi film is radically different from an Ozu one does not make it bad (or, conversely, good) -- just different.

I don't think many of the best performances in Mizoguchi are particularly histrionic. In any event, almost all my favorite Mizoguchi performances are relatively restrained. ;~}

WhileLeFanu's book has a number of interesting bits and pieces, its disorganization -- and overall lack of real analysis -- makes it a better candidiate for library borrowing than ownership.

On a different topic -- I don't believe the book "Flowing" is available in English -- so I can't confirm the whether it uses O-Haru -- or whether Naruse and company interjected this.

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#88 Post by Kenji » Mon Jun 25, 2007 9:53 am

Yeah, of course my comment on avoiding unnecessary derogatory competition when championing any of the Japanese greats was aimed generally, not at MK!

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#89 Post by malcolm1980 » Mon Jun 25, 2007 1:39 pm

I've seen two Mizoguchi films so far: Ugetsu and The 47 Ronin

I loved Ugetsu (I own the Criterion) but I feel mixed about 47 Ronin. I find it extraordinary that a 4 hour movie about samurais managed to avoid virtually all scenes of action and violence. It's both interesting and, I must say, a bit maddening.

What Mizoguchi film should I seek next?

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#90 Post by Michael Kerpan » Mon Jun 25, 2007 1:46 pm

malcolm1980 wrote:I've seen two Mizoguchi films so far: Ugetsu and The 47 Ronin

I loved Ugetsu (I own the Criterion) but I feel mixed about 47 Ronin. I find it extraordinary that a 4 hour movie about samurais managed to avoid virtually all scenes of action and violence. It's both interesting and, I must say, a bit maddening.

What Mizoguchi film should I seek next?
Unless you live near a library or video store that owns lots of out-of-print videos, you have limited options. Sansho the Bailiff (Criterion -- excellent DVD) -- and in the UK, mediocre DVDs of "Life of O-Haru" (a great film) and "Lady of Musashino" (relatively minor Mizoguchi). If you can read French, rhere are a few more films available on DVD now. Otherwise, if you want DVDs, you have to wait for the Masters of Cinema release (in the UK) later this year (I hope).

If you can find videos, I'll offer more suggestions -- otherwise, for now, the Criterion Sansho is your best bet.

FWIW -- I think Mizoguchi's _avoidance_ of action in "47 Ronin" is part of what makes it so brilliant. The women reading the letter describing the attack is far more thrilling than _watching_ yet another samurai battle. (This story has been filmed dozens of times -- so inventiveness and novelty in treating the story is a major virtue).

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#91 Post by Kenji » Mon Jun 25, 2007 1:51 pm

Ah, the avoidance of violence is one of the film's great assets- a Samurai revenge film that concentrates on codes of honour and spatial exploration!. Too slow for most tastes, but for me, a massive masterpiece. Kurosawa criticised the avoidance of the climactic violent struggle, but- whether by design or Mizo's relative "weakness" with action sequences- i think it works wonderfully, enabling us to focus on the women's reaction.

Next film to try? Why not Sansho the Bailiff, probably his most widely loved and admired film (even if more will have seen Ugetsu). It's much more accessible than 47 Ronin, don't worry.

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#92 Post by ltfontaine » Mon Jun 25, 2007 1:58 pm

malcolm1980 wrote:I loved Ugetsu but I feel mixed about 47 Ronin. I find it extraordinary that a 4 hour movie about samurais managed to avoid virtually all scenes of action and violence. It's both interesting and, I must say, a bit maddening.
Kurosawa went so far as to write in his autobiography that Mizoguchi should have let him direct the "obligatory" climactic battle scene, omitted by Mizoguchi. I wonder, though, whether Mizoguchi's choice to withhold spectacular violence in this movie, created under pressure to produce wartime propaganda, may not have reflected some ambivalence on his part about the film's ostensible "message."

Here is a great essay about this film, by Fred Camper.

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#93 Post by Kenji » Mon Jun 25, 2007 2:15 pm

Good work with locating the article, which i'd read some years back and forgotten. Darrell Davis' book Picturing Japaneseness highlights 47 Ronin as a prime example of a monumental style that Davis sees as supportive of the political right and military establishment (he also, wrongly i think, picks out Story of the Late Chrysanthemums in reinforcing traditional family values). I'm happy to accept Mizo was not a paragon of virtue in resisting the WW2 rulers- his own status and career mattered too much to him- but i do think he certainly had other fish to fry in making the film, which wasn't what the authorities really had in mind, and may appear even more extraordinary to Westerners now, if intended as purely jingoistic propaganda. I'm convinced it's among the handful of Mizo's major works, and some of the camerawork is breath-taking.

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#94 Post by Michael Kerpan » Mon Jun 25, 2007 2:31 pm

The cycle of ten plays by Seika Mayama called Genroku Chushingura is itself very "talky". The sevetnh play, which covers the attack, is called "Kira Yashiki Uramon" (The Back Gate of Kira's Mansion). I wonder if Mayama elided the attack itself?

Apparently this part of the cycle has only very rarely performed -- and is not even summarized (online at least):

http://www.kabuki21.com/gc.php

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#95 Post by Kenji » Fri Jun 29, 2007 5:06 am

Apparently- according to Le Fanu anyway!- Mayama did elide the attack, so criticisms of Mizo's perversity for his own omission are even less well founded. In any event, Jean Douchet says of Mizo generally, "he films the pure idea of action and contemplation, never the thing itself, always the idea of the thing".

It's such a shame Le Fanu doesn't go into more detail on Mizo's character- one section heading puts a question mark next to "martinet". Yoda's account, among others, reveals an extraordinary personality mix, which i would have thought would make for fascinating reading without undermining Mizo's work itself, driven demon though he was.

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#96 Post by Kenji » Fri Jun 29, 2007 5:49 am

Well, i watched (half of) it again last night too- on poor video- and found it so far less rewarding than first time round, even though interesting as an observation on Mizo's own character as a determined artist portraying women.

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#97 Post by Michael Kerpan » Fri Jun 29, 2007 7:43 am

It's been a couple of years (at least) since I last watched Utamaro -- and I remember liking it quite a lot. But it is hard to summon up lots of detail at this point.

As to Bando, I thought his performance fit the character.

As to the fundamental non-interaction with the women -- I also think this was part of the point. In this film. Utamaro is, after all, a sort of aesthetic and emotional vampire.

It's been a couple of years (at least) since I last watched Utamaro -- and I remember liking it quite a lot. But it is hard to summon up lots of detail at this point.

As to Bando, I thought his performance fit the character.

As to the fundamental non-interaction with the women -- I also think this was part of the point. In this film. Utamaro is, after all, a sort of aesthetic and emotional vampire. ;~}

BTW --the copy of the old TV broadcast of Utamaro I have (is it from Australia? I can't recall) is better than the US video release.

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#98 Post by Michael Kerpan » Fri Jun 29, 2007 8:39 am

davidhare wrote:Well, as you know the new Coffret Numero Trois includes it.
Like a sucker - as always for Mizo - I've just ordered it. Christ! If only this was a coffret of 30s Mizo!
What I'd really like is a coffret of 20s Mizoguchi -- including "Paper Doll's Whisper of Spring" (which can never happen, of course). ;~{

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#99 Post by ltfontaine » Fri Jun 29, 2007 12:20 pm

davidhare wrote:I have huge problems with it. And rewatched it last night (from an ancient TV print.) Minoosuke Bando is rigid
to the point of non-performance, and at best decmalatory. The women (for all their fabulousness) don't really make any meaningful interaction with him. In short I find the movie hugely disappointing. And I certainly agree - this SHOULD have been a most personal movie ofr Mizo.
Characteristically, Mizoguchi's focus is less on the titular male than on the attending women, in this case, “the five women around Utamaro.â€

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#100 Post by Greathinker » Thu Aug 23, 2007 12:01 pm

I couldn't find a thread on it, but is the Korean edition of The 47 Ronin watchable? I wonder about four hours of a blurry image.

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