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In Like Flint

In Like Flint is a 1967 American spy-fi comedy film directed by Gordon Douglas and starring as , a highly skilled reactivated to foil a global takeover plot orchestrated by a cadre of female executives and scientists using mind-control techniques embedded in presidential grooming routines. As the sequel to the 1966 film , it parodies James Bond-style espionage with exaggerated gadgets, prowess, and Flint's multifaceted talents, including mastery of multiple languages and disciplines. The plot centers on Flint investigating anomalies during a presidential game, leading him to uncover a involving the Fabulous Face organization, which employs subliminal messaging via and treatments to brainwash and enforce a matriarchal world order from a hidden base. Supporting cast includes as Flint's former boss Lloyd Cramden, framed for treason, and features antagonists led by figures like as the group's leader. The film emphasizes Flint's independence and ingenuity, contrasting with bureaucratic intelligence agencies, while incorporating 1960s-era elements such as weather-control satellites repurposed for the villains' scheme. Critically, In Like Flint received mixed , praised for Coburn's charismatic and comedic spy tropes but critiqued for uneven pacing and overreliance on . It earned a nomination for Top Action Drama but no major Academy Award recognition. The film's depiction of gender dynamics, including a feminist-inspired villainy ultimately subdued by male heroism, reflects mid-1960s cultural tensions around women's roles, though some contemporary reviews noted its humor as deriving from then-current societal norms now viewed as dated. Despite not matching the original's box-office success, it contributed to the spy genre's popularity during the era.

Background and Development

Origins as a Sequel

The commercial success of (1966), a Fox production that parodied the spy formula amid the mid-1960s espionage genre surge, directly spurred development of a . The film's profitability, which elevated to leading-man status and demonstrated strong audience interest in satirical superspy tales, prompted the studio to fast-track continuation of the Derek Flint series. Producer , responsible for the original's blend of action, humor, and gadgetry, returned to helm the follow-up, maintaining franchise continuity. Coburn was retained in the titular role, capitalizing on his established portrayal of the unflappable agent. By April 1966, shortly after the first film's release, had finalized the sequel's title as In Like Flint, signaling rapid greenlighting to exploit the ongoing Bond-inspired market. This extension was motivated by profit potential rather than artistic expansion, as studios routinely sequenced hits during the boom to sustain revenue streams. Unlike the original directed by , the sequel enlisted Gordon Douglas, reflecting pragmatic casting of available talent over strict team retention.

Script and Creative Concept

The screenplay for In Like Flint was written by Hal Fimberg and , who adapted the character from the 1966 film [Our Man Flint](/page/Our Man Flint) into a centered on a orchestrated by female executives of the Fabulous Face corporation. This plot deviated from the predecessor’s global threat posed by rogue scientists manipulating weather patterns, instead positing a domestic scheme where the executives use mind-altering beauty treatments and orbital technology to hypnotize U.S. presidents and install a matriarchal world order by dosing them with female hormones. Fimberg and Starr escalated the elements of , amplifying the absurdity through Flint’s array of gadgets—such as a cigarette lighter, hypno-pen, and voice-activated multi-function watch—while portraying the protagonist’s skills in , languages, and seduction as even more exaggerated than in . The script’s creative concept framed the villainy around a cadre of women seeking to supplant male leadership, reflecting a satirical lens on mid-1960s corporate and without delving into overt political . This shift to gender-infused conflict as the central hook intensified the spoof of James Bond-style intrigue, prioritizing comedic escalation over realistic spy thriller conventions, with Flint’s Zonal Organization World Intelligence Agency (ZOWIA) operations highlighting bureaucratic incompetence against the conspiracy’s high-tech absurdity.

Production

Pre-Production and Casting

was selected to reprise his role as superspy to ensure narrative and character continuity from the successful 1966 predecessor , capitalizing on the established appeal of his portrayal. similarly returned as Z.O.W.I.E. chief Lloyd C. Cramden, providing familiar authority to the agency's leadership dynamic. Pre-production preparations began in April 1966 under producer , whose new 20th Century Fox contract stipulated 20% of profits if rentals surpassed 2.4 times the negative cost, reflecting studio confidence in the franchise's viability. The production budget was set at $11 million, allocated for assembling an ensemble suited to the spy parody's satirical tone, including antagonists from a female-led . Supporting roles emphasized performers capable of embodying exaggerated archetypes; for instance, was considered for U.S. Trent before was cast. Female leads such as , in the role of Elisabeth Reynolds, and supporting actress Marianne as a cosmonaut were chosen to highlight the film's subversive plot element of a matriarchal , with 's announced on September 23, 1966. was selected for the antagonistic role of , contributing to the ensemble's mix of menace and camp. Logistical planning included consultations with official Chris Kraft, Jr., for authenticity in space-related sequences and UCLA football coach to train female extras portraying "Flint's All-Americans," ensuring the preparatory phase aligned with the film's blend of action and absurdity.

Filming Process

Principal photography for In Like Flint began on June 27, 1966, and was directed by Gordon Douglas, who employed efficient pacing to capture the film's blend of spy and . Douglas focused on choreographing sequences that highlighted Derek Flint's improbable feats, such as improvised combat and gadget-assisted escapes, using on-set blocking to maintain the protagonist's unflappable demeanor amid escalating absurdity. The production schedule allowed for iterative adjustments during shooting to refine the timing of comedic beats within set pieces. Practical effects dominated the creation of the film's signature gadgets, reflecting the era's reliance on tangible props over optical illusions. Flint's multi-function cigarette lighter, central to several sequences, was engineered as a physical device incorporating real mechanisms for ignition, projection, and utility functions to enable seamless integration into live-action stunts. Similarly, the mind-control apparatus—depicted as hypno-spray hair dryers used by the villainous organization—utilized mechanical props with aerosol delivery systems and simulated electronic components, allowing to interact directly with them during filming for authentic reactions in the scenes. These techniques ensured the gadgets appeared functional within the narrative while amplifying the satirical tone through exaggerated, hands-on demonstrations. James Coburn underwent targeted physical conditioning to execute Flint's stunt work, emphasizing agility and precision for sequences involving , , and gadget deployment without extensive doubles. Stunt coordination involved close collaboration between Coburn and the effects team to synchronize prop activations with physical maneuvers, such as lighter-based distractions during fights, minimizing post-shot alterations and preserving the film's . Challenges arose in balancing comedic exaggeration with believable execution, particularly in zero-gravity simulations and explosive diversions, which were achieved via wire work and pyrotechnic timing rather than elaborate composites.

Locations and Sets

Principal photography for interiors and elaborate sets occurred at 20th Century Fox studios in , where production designers constructed environments blending upscale consumer spaces with covert high-technology installations to satirize the gadget-laden headquarters typical of . These sets featured , futuristic aesthetics, including hidden control panels within beauty salon fixtures and orbital weather manipulation chambers, exaggerating the pseudoscientific lairs of films like the series for comedic effect. Exterior sequences and dynamic action set pieces were captured on location in , utilizing natural sites such as in for Derek Flint's improbable vertical ascent, which juxtaposed real tropical terrain against the film's outlandish spy heroics to heighten visual . Additional Jamaican filming at and the Round Hill Hotel provided authentic Caribbean backdrops for scenes ostensibly set in the , grounding the narrative's global conspiracy in tangible, exotic locales while underscoring the absurdity of Flint's feats. Certain plot-critical facilities, including the villains' control operations, were filmed at the Hyperion Water Reclamation Plant in , repurposing industrial infrastructure to mock the integration of everyday utilities into world-domination schemes. This choice of real-world sites amid studio-built exaggerations contributed to the film's layered visual irony, contrasting mundane authenticity with over-the-top spy tropes.

Deleted Scenes and Post-Production Edits

The post-production phase of In Like Flint followed , which concluded on October 10, 1966, after commencing on 8. assembled the footage into a final theatrical of 114 minutes, preserving the film's spy structure and integration of Jerry Goldsmith's score. Documented details on specific deleted scenes remain limited, with no major sequences publicly released or described in production accounts from director Gordon Douglas or key crew. Minor alternate elements, such as potential alternative endings referenced in vehicle databases, suggest trims for narrative flow, but lack corroboration from primary sources. The cuts emphasized comedic timing over extended subplots, aligning with the sequel's lighter tone compared to . Post-production refinements focused on pacing to sustain the film's gadget-heavy action and satirical elements, culminating in a March 15, 1967, premiere without reported reshoots or significant alterations. This streamlined edit contributed to the movie's cohesive runtime, avoiding bloat common in 1960s genre productions.

Plot Summary

, a retired superspy, is summoned back to action by the Z.O.W.I.E. agency after its director, Lloyd Cramden, is framed for soliciting a and U.S. reports three minutes of unaccounted time during a golf outing with Cramden, during which both men are incapacitated by paralyzing gas. Investigating further, Flint uncovers that has been kidnapped and replaced by a surgically altered double, part of a broader scheme orchestrated by the Fabulous Face, an international consortium of businesswomen operating through a global chain of beauty salons. The conspirators' plan involves women via hypno-mist dispersed through hairdryers embedded with microchips, aiming to incite a worldwide revolt to install a female-led by deposing male leaders. Flint travels to and the , tracing the plot to a hidden headquarters where he learns of an escalation: two female cosmonauts have been smuggled aboard a U.S. platform to seize control and threaten strikes or orbital lasers unless global power is surrendered to women. Employing disguises, gadgets, and his skills, Flint infiltrates the operation, rescues the authentic , neutralizes the brainwashing devices, thwarts the hijacking, and dismantles the , restoring male authority and averting catastrophe.

Cast and Characters

James Coburn reprises his role as , a retired with extraordinary abilities—including mastery of 14 forms, fluent command of multiple languages, and improvised gadgetry—who is reactivated to expose a global conspiracy, thereby lampooning the omnipotent superspy through feats like single-handedly dismantling a matriarchal plot via deductive brilliance and physical prowess. Lee J. Cobb appears as Lloyd C. Cramden, the exasperated head of the and Flint's former handler, whose apparent —stemming from a three-minute lapse during a presidential outing—serves as the inciting incident, satirizing institutional rigidity and reliance on outsiders for resolution. Andrew Duggan plays U.S. President Trent, whose unwitting subjection to via subliminal audio in a beauty treatment pod creates an impostor scenario, with his bumbling aides contributing humor by failing to notice behavioral anomalies, underscoring the parody of governmental vulnerability to absurd threats. The primary antagonists form a of businesswomen intent on supplanting male leadership with a female-led world order through mass in international hair salons; portrays Elisabeth, their composed leader who orchestrates the scheme from a hidden island base, exemplifying the film's exaggerated critique of power inversion via feminine guile. embodies Lisa Norton (alias Nora Benson), a operative who poses as the president's secretary to facilitate the substitution, advancing the narrative's spoof on by blending allure with mechanical precision in executing the plot's mechanical elements. Supporting conspirators include Hanna Landy as Helena, who manages the technology, and Totty Ames as Ginny, both integral to disseminating the hypnotic signals worldwide, heightening the comedic absurdity of leveraging cosmetic routines for geopolitical control. Secondary figures, such as the president's agents and ZOWIE operatives, amplify the parody through their incompetence—repeatedly outmaneuvered by Flint's solo interventions and oblivious to the conspirators' infiltration—contrasting the hero's self-sufficiency against ensemble ineptitude.

Soundtrack and Score

The score for In Like Flint was composed and conducted by , who incorporated jazzy rhythms and brass-heavy motifs echoing James Bond-style spy thrillers while infusing futuristic electronic flourishes and lounge elements to match the film's satirical take on and space-age gadgets. Tracks such as "Where the Bad Guys Are Gals" (the main theme) and "" blend swinging percussion with orchestral swells, underscoring action sequences like Flint's infiltration of the Fabulous Face salon and the climactic rocket launch, heightening the without overpowering the dialogue-driven humor. The original motion picture soundtrack album was released in 1967 by 20th Century Fox Records on vinyl (catalog S-4193), running approximately 29 minutes across 10 tracks, including vocal renditions of the theme and instrumental cues like "Ladies Will Kindly Remove Their Hats" and "Get Flint." This LP emphasized Goldsmith's easy-listening accessibility, with easy-to-hum hooks designed for the era's lounge culture, though later expanded editions paired it with the Our Man Flint score for fuller context. Diegetic music appears sparingly but effectively in social settings, such as the beauty salon sequences where upbeat, period-appropriate tunes amplify the film's mockery of female-led conspiracies and consumerist femininity, seamlessly transitioning into Goldsmith's non-diegetic cues for comedic escalation. The theme song, with lyrics by referencing Z.O.W.I.E., occasionally underscores Flint's suave demeanor in-character, blending with score to reinforce the protagonist's unflappable charm.

Release and Commercial Performance

Premiere and Distribution

In Like Flint premiered at the Capitol Theatre in on March 15, 1967, serving as its world premiere ahead of a wide U.S. release. Distributed by 20th Century Fox, the film leveraged the mid-1960s spy craze—sparked by the series—for its marketing, with promotional materials and trailers spotlighting protagonist Derek Flint's multifunctional gadgets, such as his versatile cigarette lighter, alongside the plot's central conflict pitting the male spy against a secretive organization led by women. The international rollout commenced soon after, with theatrical releases in select European countries by late April 1967, including on April 27 and on April 28, followed by distribution to Asian markets by mid-year to capitalize on global interest in spy parody films.

Box Office Results

In Like Flint grossed an estimated $11 million domestically upon its 1967 release. This total marked a decline from the performance of its predecessor, , which earned approximately $13 million in domestic rentals equivalent to higher gross figures. The film's earnings, while solid relative to its of $3.775 million, reflected moderated success amid a crowded spy landscape dominated by releases like ' You Only Live Twice, which achieved over $43 million in worldwide gross that year. Profitability was secured through theatrical rentals, with 20th Century Fox reporting returns that covered costs and yielded returns, though specific net profit data from the era remains limited due to opaque studio accounting practices. Subsequent releases, including DVD and Blu-ray editions, contributed ancillary revenue, extending the film's commercial lifespan beyond initial theatrical runs, as tracked in ongoing sales reports.

Critical Reception

Initial Reviews in 1967

Upon its release in March 1967, In Like Flint garnered mixed reviews from critics, who frequently praised James Coburn's charismatic portrayal of while decrying the film's formulaic and predictable narrative structure. , in his review for the , awarded the film 1.5 out of 4 stars, critiquing its reliance on gimmicky elements like slow-motion sequences and an underutilized multifunctional cigarette lighter, which he described as delivering "only one: a tiny flame" despite claims of 82 uses. The New York Times review by , published on March 16, , highlighted the film's visual inventiveness and Coburn's durable screen presence but faulted its "predictable plot" for undermining the hero's appeal, noting a "noticeable lack of sexiness" amid the proliferation of female antagonists who prioritized tyranny over allure. observed that the movie's gadgets and stunts provided fleeting entertainment, yet the script's contrivances rendered the proceedings "defeated by familiarity." Contemporary audience responses, as reflected in box office performance and affinity, indicated stronger appeal among fans of James -style spy spoofs, with the film's outrageous and Coburn's suave demeanor resonating despite critical reservations about originality. The sequel's lighter, more comedic tone compared to drew comparisons to Bond parodies, sustaining interest in theatrical runs even as reviewers emphasized its derivative qualities.

Retrospective Evaluations

In the decades following its release, In Like Flint has garnered appreciation for its exaggerated gadgetry and James Coburn's charismatic portrayal of , elements that later critics viewed as emblematic of spy . Reviews from the , such as those accompanying editions, praised the film's inventive props—like exploding balls and hairdryers—as enduring sources of absurd humor that outlasted contemporary imitators. Coburn's suave, unflappable superspy, often highlighted for his physical grace and delivery, was retroactively celebrated as a standout that anchored the film's self-aware silliness, distinguishing it from more earnest genre entries. Home video re-releases contributed to this renewed interest, with a DVD edition issued in 2002 and a limited Blu-ray by in 2013, the latter featuring high-definition transfers that emphasized the production's vibrant visuals and practical effects. These formats allowed audiences to rediscover the movie's kinetic action sequences and satirical edge, fostering a niche following among retro film enthusiasts who valued its unpretentious entertainment over narrative depth. User-driven platforms reflect this cult status, with an IMDb average rating of 6.1/10 from over 6,000 votes indicating moderate but consistent appeal rather than mainstream acclaim. This score underscores a shift from 1967's box-office success to a specialized regard, where the film's campy excesses—once critiqued as overly whimsical—are now often seen as intentional highlights of its intent.

Thematic Analysis and Gender Portrayal

Satirical Depiction of Feminism and Power Dynamics

The film's centers on a clandestine alliance of female executives from the Fabulous Face cosmetics empire, who deploy subliminal audio frequencies in hair dryers and beauty treatments to induce women worldwide to spurn men, reject traditional roles, and support a matriarchal enforced by an army of brainwashed female commandos on a remote base. This narrative device parodies gender tensions by inflating modest advocacy for female —such as early second-wave initiatives for equal pay and access—into a coordinated, technology-driven on male dominance, thereby highlighting the perceived fragility of patriarchal structures through comedic . Empirically, the all-female cabal's premise underscores satirical against the backdrop of 1967 realities, where women comprised less than 1% of corporate officers in companies and held negligible sway in executive decision-making, making such a unified power bloc implausible and thus emblematic of exaggerated fears rather than plausible threat. The conspiracy's mechanics, including mind control via products targeted at women, mirror causal concerns over women's growing influence and independence, as U.S. divorce rates climbed from 2.2 per 1,000 in 1960 to 2.5 by 1967, driven by factors like female labor force participation rising from 34% to 38% of the , which diminished economic reliance on and amplified relational strains. By framing feminism's influence as a covert matriarchal thwarted by the hyper-competent male agent , the film employs to dissect power imbalances, causal linkages between technological/consumer shifts and erosion, and the era's undercurrents of male unease without resolving them through realism, instead amplifying them for humorous effect amid events like the 1966 formation of the , which sought legislative remedies for but lacked the film's depicted institutional clout.

Criticisms from Gender Perspectives

Critics from perspectives have argued that In Like Flint reinforces patriarchal stereotypes by depicting its female antagonists—a cabal of wealthy businesswomen led by Elisabeth—as vain, manipulative figures whose ambition for a matriarchal world order manifests through deceptive schemes like subliminal via hairdryers. This portrayal, they contend, equates female empowerment with moral corruption and chaos, necessitating restoration by male hero , who subdues the women through a of , seduction, and force. Scholar Hong Jig Raymond Rim analyzes the villains' of patriarchal hierarchies—complete with racial and categorizations—as evoking anxiety over women's adoption of "female masculinity," such as executive attire, ultimately framing their authority as a threat that demands patriarchal reassertion. Such characterizations have been interpreted as a reactionary response to the emerging second-wave of the , with the film's plot positing an "international " to overthrow male dominance amid real-world advocacy for women's . Analyses of the film's promotional materials, including its emphasizing female villainy, highlight how women are marginalized as antagonists rather than complex agents, perpetuating gender stereotypes of treachery and superficiality tied to beauty industries. Rim further observes that female characters, including Flint's subordinates and the Russian cosmonauts, are consistently sexualized and subordinated, upholding heteronormative control while racialized depictions reinforce white female complicity in patriarchal structures. Retrospective critiques often deem the film's dynamics outdated and anti-, with reviewers describing it as a "defensive reaction to on-the-rise American " through its of scheming women, despite the intentional satirical exaggeration of spy tropes. Some contemporary assessments explicitly label it as intensely sexist for reducing women to manipulative threats or objects of conquest, arguing that the element fails to subvert underlying biases against female autonomy. These views position In Like Flint within broader 1960s spy cinema trends that prioritized hegemonic , sidelining women's in favor of male-centric narratives amid cultural shifts toward .

Defenses as Parody and Cultural Reflection

Defenders of the film's portrayals argue that its depiction of a female-led conspiracy functions primarily as , exaggerating ideological extremes for satirical humor rather than literal advocacy against women's advancement. Released on March 15, 1967, amid emerging discussions of roles following Betty Friedan's (1963), the narrative lampoons the "battle of the sexes" through over-the-top scenarios that mock both hyper-masculine spy archetypes and hypothetical radical female power structures, treating neither as normative. This approach aligns with the film's broader spoof of 1960s espionage conventions, where causal chains of conspiracy—such as brainwashing via beauty products—serve comedic absurdity over endorsement of any real-world hierarchy. Critics acknowledging this intent emphasize that the satire targets "outrageous aspects" of emerging social movements without privileging one gender's superiority, as evidenced by protagonist Derek Flint's own caricatured machismo and domestic harmony with voluntary female companions. Such equal-opportunity ribbing reflects era-specific tensions over autonomy and authority, predating intensified second-wave activism and paralleling debunked conspiracy theories in popular culture. Supporters further contend that the female antagonists' portrayal underscores and , positioning them as formidable masterminds in contrast to the often decorative or subordinate women in films of the period. Unlike Bond's companions, who typically require rescue, the Fabulous Faces organization demonstrates strategic acumen and global influence, albeit villainous, which some interpret as subversive empowerment within genre constraints rather than diminishment. This dynamic prioritizes narrative competence over passive victimhood, aligning with the film's of power imbalances without resolving them ideologically.

Legacy and Cultural Impact

Influence on Spy Parody Genre

"In Like Flint" exemplified the mid-1960s escalation of spy parodies that lampooned the James Bond formula through heightened absurdity, arriving as the second entry in the Derek Flint series just months before "You Only Live Twice" premiered in June 1967. By amplifying the genre's reliance on improbable gadgets—such as Flint's cigarette lighter, which functions as a recorder, hypnotizer, and hologram projector—the film underscored the formula fatigue in espionage thrillers, where technological excess often supplanted narrative depth. This meta-commentary on Bond's gadget-driven spectacle, prevalent since "Dr. No" in 1962, positioned "In Like Flint" as a transitional work in the parody subgenre, emphasizing wit over verisimilitude amid over 20 Bond-inspired films and series by 1967. The film's portrayal of an anti-heroic superspy, blending martial prowess with eccentric self-sufficiency, echoed in later spoofs that favored irreverent competence over stoic heroism. Derek Flint's unflappable demeanor and improvised solutions prefigured the exaggerated agent archetypes in 1990s revivals, notably influencing the tonal blueprint for characters like , whose series directly nodded to "In Like Flint" in "Austin Powers: The Spy Who Shagged Me" (1999), where the protagonist declares it his favorite film while viewing a clip. This referential inclusion highlights how "In Like Flint's" satirical take on spy infallibility contributed to the genre's evolution toward self-aware humor, sustaining tropes through decades of saturation. Its pivot to a conspiracy led by female executives using mind-altering beauty products marked an early template for identity-inflected plots in comedies, subverting norms through exaggerated power dynamics rather than earnest . While not inventing the , the film's hair-dryer-based scheme and cadre of conditioned women provided a blueprint for later identity-driven satires, where intersects with social roles in farcical ways, distinct from the male-dominated villainy of earlier entries. This element, released amid rising cultural debates on women's roles, offered a parodic lens on emerging feminist undercurrents, influencing the subgenre's occasional forays into gendered without prescriptive .

References in Popular Culture

In the 1999 film : The Spy Who Shagged Me, the protagonist watches a clip from In Like Flint on television while on his honeymoon and enthusiastically proclaims it "my favourite mooo-vie," highlighting the film's status as a touchstone for spy tropes. The 1991 episode "In Like Blunt" of the animated series (season 1, episode 48, aired September 20, 1991) features S.H.U.S.H. agent Derek Blunt, a suave operative whose name, skills, and demeanor directly Derek , with the episode title riffing on the film's name and plot elements like gadgetry and espionage rivalries. In the 2015 Marvel Cinematic Universe film , during a heist sequence, character (played by ) quips that Scott Lang is "in like the Flint," evoking the effortless charisma and infiltration prowess of the film's lead spy.

Attempts at Further Sequels

In 1972, screenwriter drafted , an unproduced script intended as a third film featuring reprising his role. The project, developed for Twentieth Century Fox, envisioned Flint confronting advanced threats in a continuation of the series' spy-fi parody style but was never greenlit for production. Ellison's later circulated in limited-edition printings, highlighting sustained fan interest but no studio commitment. Separate efforts to extend the franchise included Ellison's unproduced 1972 pilot script for an series titled : Dead On Target, which aimed to adapt Flint for episodic format but failed to secure a series order. A 1976 version of Dead On Target aired as a television movie in some markets without Coburn, deviating significantly from the films' tone and failing to revive interest in the character. These initiatives faltered as the lighthearted spy subgenre waned in the , supplanted by grittier narratives influenced by real-world geopolitical shifts. No further credible development pitches for sequels, remakes, or reboots materialized in subsequent decades, with occasional fan discussions in the reflecting nostalgia rather than active studio pursuits. Coburn's evolving career toward dramatic roles, such as in (1973), and his death in 2002 precluded any late-stage revivals centered on the original Flint.

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