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The 14
Film poster
Directed byDavid Hemmings
Written byRoland Starke
Produced byFrank Avianca
Robert Mintz
StarringJack Wild
June Brown
CinematographyOusama Rawi
Edited byJohn Shirley
Music byKenny Clayton
Production
company
Avianca Productions (London) Ltd
Distributed byMGM-EMI
Release date
  • 19 December 1973 (1973-12-19)
Running time
105 minutes
CountryUnited Kingdom
LanguageEnglish

The 14 (also known as Existence; U.S. title: The Wild Little Bunch) is a 1973 British drama film directed by David Hemmings and starring Jack Wild and June Brown.[1] It was written by Roland Starke.

Its plot, based on fact, concerns the fate of fourteen children in west London who are orphaned after the death of their single mother.[2][3]

Plot

[edit]

The film focuses on a family of fourteen children who are left to fend for themselves when their mother passes away. Reg, the eldest who is turning 18, is left in charge of the family until the child welfare come in and send them all to a children's home. However. Reg is always determined to fight to keep his family together no matter what.

Cast

[edit]

Production

[edit]

The film was shot on location in west London and Berkshire and at Pinewood Studios, London, England.[citation needed]

Release

[edit]

The film won the Silver Bear at the 23rd Berlin International Film Festival.[4]

Critical reception

[edit]

The Monthly Film Bulletin wrote: "The 14 is largely concerned to tell it straight, short on sentiment and with barely a trace of fake moralising concern. ... Everyone officially involved with this extraordinary family emerges sympathetically, from the hard-pressed and utterly dedicated social workers to the harassed priest watching the little monsters disrupt the orderly calm of his children's home, and even the professional foster-mother, pelted with her mashed potato as she lectures her unruly brood on good manners. These fourteen children were obviously a very wild bunch, and the film doesn't pretend otherwise. ... David Hemmings, directing his second film, has mostly evaded the dangers implicit in this misfits-as-heroes approach, though there are times when the difference between the real children and the screen children turns them into mere lovable rogues.  ... [Although] the film does well enough on its own terms, it might have done better within a documentary framework"[5]

Variety wrote: "Far from the oversentimental tearjerker it could easily have become, pic – which is based on a real-life story – emerges as a terse, intermittently humorous yet ultimately moving tale of the struggle of a 14-child family whose father and later mother both die, to work their united way against adversity and into society. ... Uncompromisingly, Roland Stark's script and actor David Hemmings' direction ... refuse to let the kids become cute or winning: to the contrary.  ... Acting is good throughout, with Jack Wild getting more individual chances than the rest, and doing his job well. ... Technical credits on the all-location (or almost) pic are fine, with only an obtrusive, over-insistent musical score providing a jarring note."[6]

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The 14

View on Grokipedia
from Grokipedia
The 14 (also known as Existence or The Wild Little Bunch in the United States) is a 1973 British drama film directed by in his second directorial effort, starring as the eldest sibling and as the ailing mother. Set in the impoverished working-class environment of London's East End, the film portrays the desperate efforts of fourteen orphaned children to evade separation by following their mother's death from illness. Loosely inspired by real events from the late involving a left to fend for themselves, the emphasizes themes of familial resilience, , and institutional interference, with the children resorting to and to preserve their . The production, filmed at and on location, captures the raw anarchic energy of the siblings' survival tactics, drawing comparisons to Hemmings' earlier stylistic influences. At the 23rd , The 14 earned the Silver Bear award, recognizing its poignant social commentary despite its modest budget and limited commercial success. While critically noted for its authentic depiction of struggles, the film remains relatively obscure, occasionally resurfacing in discussions of overlooked British cinema from the era.

Real-Life Inspiration

The Factual Events

In the late , a widowed single mother aged 38 in London's East End died suddenly from illness, orphaning her 14 children aged between infancy and 17 years old. The siblings, led by the eldest son, concealed the death initially and endeavored to sustain the household by foraging for food from local markets and dustbins, distributing chores among themselves, and ensuring younger children attended school to evade detection by authorities intent on placing them in separate care institutions. Social services discovered the situation after several days, prompting efforts to disperse the children into or orphanages, which the resisted through unified pleas emphasizing their bonds and capability for self-management. Media reports on their determination drew widespread public sympathy and donations, pressuring officials to reconsider separation. Ultimately, a granted guardianship to the 17-year-old eldest brother, permitting the to remain intact and relocate collectively, averting institutional fragmentation through demonstrated and external advocacy.

East End Social Context

In the aftermath of World War II, London's East End remained marked by persistent poverty and substandard housing, with much bomb damage uncleared into the 1960s, forcing thousands of working-class families into overcrowded conditions and temporary accommodations. Dock workers and laborers faced grueling employment instability, exacerbating economic hardship amid slow reconstruction efforts. Child poverty affected approximately 2.25 million children nationwide in 1960, with urban areas like East London experiencing disproportionately high rates due to low wages and large household sizes. Working-class families in the East End commonly featured multiple children, often numbering six or more, influenced by cultural expectations of extended ties and high norms that valued large broods for mutual support in precarious livelihoods. Access to modern contraception was restricted; the became available in the UK in 1961 but was initially prescribed primarily to married women through limited clinics, leaving many working-class households reliant on less effective methods or none at all until broader availability in the late . This contributed to household sizes averaging higher among manual laborers compared to the national rate of about 2.7 births per woman in 1960. State welfare provisions, including the National Assistance Act of 1948 and nascent , offered basic support but emphasized minimal intervention in family matters, fostering dependence on informal networks of relatives, neighbors, and charities like the for child welfare. Orphaned or vulnerable children from large families were frequently absorbed into extended kin groups rather than state institutions, reflecting a cultural premium on amid inadequate formal frameworks prior to reforms like the Children and Young Persons Act 1963. Such arrangements exposed families to risks from illness or unemployment without robust safety nets, though they preserved unity in the absence of widespread institutional separation. The formation of the Child Poverty Action Group in 1965 highlighted growing recognition of these deficiencies, predating more expansive policies that expanded and state oversight.

Development

Screenplay Origins

The screenplay for The 14 was penned by Roland Starke, who researched and drew from news reports of a real-life case in the late involving a Birmingham family of 14 children orphaned after losing both parents, adapting it as a loose foundation. Starke's script relocates the events to London's East End, centering on the eldest sibling's leadership in concealing the mother's death from and sustaining the family through scavenging, petty , and communal resourcefulness, thereby amplifying the theme of juvenile autonomy amid poverty and institutional threats. This pivots from the factual dual parental loss to foreground the children's agency post-maternal illness, portraying their improvised self-sufficiency—such as pooling meager welfare and odd jobs—over bureaucratic separation risks, while preserving core elements like the siblings' extended evasion of discovery reported in period accounts. Dramatic intensification includes heightened perils like near-starvation and clashes with social workers, grounded in the real family's documented interim independence before intervention. Starke's draft was finalized by 1972, enabling production to commence in early 1973 under director , with the screenplay emphasizing causal resilience in working-class deprivation rather than sentimental resolution.

Casting Decisions

was selected to play Reg, the eldest of the 14 siblings, drawing on his prominent role as in the 1968 film adaptation of Oliver!, which showcased his aptitude for depicting resilient, street-savvy youth amid hardship. At age 20 during filming, Wild brought established to an otherwise low-budget production, despite originating from in rather than London's East End setting. This choice balanced commercial appeal with the character's demands for leadership in a deprived environment. June Brown portrayed the mother, utilizing her background in theater and television roles that captured the stoicism of working-class women, infusing the brief but pivotal performance with raw credibility reflective of East End life. Her casting aligned with the film's intent to evoke unvarnished familial struggle, as noted in contemporary assessments of her grounded presence. To prioritize realism over polished performance, director opted for predominantly non-professional child actors from socioeconomic contexts akin to the story's protagonists, eschewing trained performers for the younger siblings to foster a authenticity that mirrored the chaos of unsupervised East End youth. This approach, evident in the ensemble's unmannered interactions, enhanced the portrayal of innate survival instincts but required adherence to 1970s British regulations limiting minors' working hours and mandating on-set supervision to safeguard their welfare during extended location shoots.

Production

Filming Process

Principal photography for The 14 commenced in 1973, utilizing on-location shooting across west and north-west neighborhoods to evoke the gritty, rundown of the story's setting. Key sites included Stuart Road in Kilburn (NW6), Westbourne Park station and Alfred Road in (W2), Wornington Road and Telford Road in (W10), in (W11), and Langley Park Road in . These practical locations, featuring condemned-style housing blocks and street environments such as Mordaunt House and , allowed the production to authentically capture the socioeconomic hardships faced by the orphaned siblings without relying heavily on constructed sets. As an independent feature with limited funding, the film employed a small crew and emphasized exterior naturalism over studio-bound artifice, supplementing London shoots with interiors at . The presence of numerous child actors, including as the eldest sibling Reg, necessitated compliance with child labor laws, limiting daily hours and integrating school schedules, though no significant production halts or accidents were documented. London's unpredictable weather further required adaptive planning for outdoor sequences amid urban constraints.

Technical and Creative Choices

The editing of The 14 emphasized a raw, unjudgmental depiction of the children's chaotic behavior, drawing from Starke's screenplay to avoid sentimental Hollywood tropes and maintain a focus on their agency amid hardship. This approach preserved the narrative's chronological flow, reflecting the factual basis of the events without manipulative flashbacks or emotional embellishments, aligning with the film's neo-realist aesthetic. Cinematography by Ousama Rawi supported a documentary-like immediacy, capturing the East End's gritty to underscore the family's resilience rather than tragedy. ' creative direction infused the visuals with an anarchic energy, using authentic textures to evoke a docu-drama feel while resisting pressures for a more maudlin tone, culminating in an unexpectedly upbeat resolution that highlighted familial unity over despair. The soundtrack, composed by Kenny Clayton, adopted a minimalist integration of music to amplify the emotional grit without overpowering the diegetic sounds of the environment, reinforcing the film's commitment to causal realism in portraying working-class endurance. This choice prioritized ambient East End noises—clattering streets, household clamor—to ground the audience in the siblings' unvarnished reality, eschewing orchestral swells that might sentimentalize their plight.

Synopsis and Themes

Plot Summary

The film opens in a rundown East End neighborhood undergoing demolition, where a beleaguered single mother, burdened by and caring for her fourteen children—thirteen boys and one girl—succumbs to a prolonged illness and dies at home. The eldest son, sixteen-year-old Reg, portrayed by , immediately takes charge, instructing his siblings to conceal the death while he forges ahead with scavenging for food, skipping to work odd jobs, and enforcing household routines to mimic normalcy and evade detection by outsiders. The children, ranging from toddlers to teenagers, adapt by pooling resources, sharing responsibilities, and navigating daily hardships such as hunger and neighborhood threats, initially sustaining their independence through ingenuity and solidarity. Tensions emerge within the family as younger siblings chafe under Reg's strict authority and the strain of secrecy leads to minor rebellions and disputes over rations and safety, but these are quelled through collective problem-solving and reaffirmed loyalty, preventing fragmentation. External pressures mount when nosy neighbors and patrolling officials grow suspicious of the unattended children, culminating in social workers raiding the home, seizing the youngest for foster placement, and pressuring the older ones toward institutional separation or . In defiance, Reg rallies the siblings for a desperate flight across derelict buildings and streets, dodging authorities while one younger brother selflessly assumes fabricated blame for their mother's demise to divert scrutiny and protect the group's unity. The narrative peaks with the children's coordinated confrontation against welfare enforcers and legal proceedings, where their raw and unyielding insistence on expose the inadequacies of bureaucratic intervention. The resolution affirms the family's resilience as Reg secures provisional guardianship through and support, allowing the siblings to reunite under his in their precarious but intact home, underscoring their triumph over forces seeking to dismantle them.

Core Themes and Messages

The film portrays the siblings' collective resourcefulness in managing daily necessities, such as foraging for food and allocating responsibilities, as evidence of children's inherent aptitude for when familial bonds remain intact. This motif implicitly contests the notion that minors require perpetual adult or institutional supervision for survival, drawing on observable patterns of child-led in unstructured environments. In depicting the eldest brother's in resisting dispersal, The 14 emphasizes agency rooted in ties over reliance on external authorities, aligning with historical precedents where extended families in impoverished urban settings sustained themselves through internal division of labor absent modern welfare frameworks. A recurring message critiques interventions by child welfare officials as inadvertently fracturing resilient units, illustrating how enforced separations exacerbate vulnerability rather than mitigate it. The narrative frames such state actions as prioritizing bureaucratic uniformity over the adaptive strengths of intact households, where poverty arises from economic hardship rather than inherent familial inadequacy. This perspective echoes empirical observations from pre-20th-century Britain, where large broods in working-class districts like the East End often thrived via mutual aid, with siblings assuming caregiving roles amid high mortality and labor demands. By contrast, the film counters idealizations of institutional care as universally benevolent, suggesting that natural loyalties foster greater stability than fragmented placements. Ultimately, The 14 endorses traditional structures as bulwarks against adversity, valorizing their capacity to instill and without external props. This stance implicitly favors causal mechanisms of personal and kin-based initiative over dependency on systemic solutions, portraying the latter as disruptive to evolved affiliations. The depiction avoids romanticizing destitution but attributes the siblings' cohesion to intrinsic motivations, challenging narratives that attribute social ills solely to family size or parental absence.

Cast

Principal Actors

Jack Wild portrayed Reg, the eldest sibling tasked with holding the family together after their mother's death, drawing on his established experience as a from roles such as in the 1968 film adaptation of Oliver!, which had earned him an Award nomination for Best Supporting Actor. June Brown played the mother in a brief yet central role that underscored the family's dire circumstances, utilizing her prior dramatic work in theatre and television during the 1950s and 1960s to convey maternal resilience amid poverty. The ensemble of child actors depicting the younger siblings consisted primarily of non-professionals chosen to enhance the film's authentic portrayal of working-class youth, with no other major stars featured beyond Wild.

Character Portrayals

The is depicted as a resilient, working-class in London's East End, enduring hardship to raise her large family in a dilapidated home slated for , her sudden illness and death serving as the inciting event that forces the children into . Reg, the 17-year-old eldest son, emerges as the , exhibiting resourcefulness and determination in organizing his siblings' daily survival, from scavenging food to evading separation by authorities, thereby illustrating spontaneous amid familial crisis. Sylvia, the eldest daughter, supports Reg in maintaining household order, contributing to a gendered division where older female siblings handle nurturing roles for the younger ones, while the brood as a whole displays a spectrum of behaviors—from the toddlers' dependence and vulnerability to the preteens' playful defiance and minor acts of mischief—that underscore an organic, age-based allocation of responsibilities in the absence of oversight. Social workers and other officials, such as case handlers intervening to place the youngest children in care, are shown as earnest functionaries bound by procedural mandates rather than malicious intent, generating conflict through their insistence on institutional solutions like foster placements, which clash with the siblings' bid for without portraying them as antagonists.

Release

Premiere and Distribution

The film held its premiere on 29 June 1973 in , with star attending alongside Gaynor Jones. It received its theatrical release in the shortly thereafter on 15 June 1973, distributed through limited independent channels targeting art-house cinemas and audiences drawn to social realist dramas. As an independent production with a modest budget of approximately $350,000, distribution emphasized niche screenings rather than wide commercial rollout, capitalizing on director ' reputation from Blow-Up (1966) and lead actor 's fame from Oliver! (1968) to generate interest without substantial promotional spending. Internationally, the film appeared under alternative titles such as in some markets and The Wild Little Bunch in the United States, where it launched on 19 December 1973 via limited theatrical distribution, again constrained by its independent status and minimal resources. These title variations aimed to appeal to broader audiences in territories, framing the story of familial resilience amid as a gritty family-oriented narrative. The rollout relied heavily on festival exposure, including a screening at the 23rd in 1973, which awarded it the Silver Bear for its unflinching portrayal of working-class struggles. Overall, promotional efforts focused on word-of-mouth and the cast's rather than large-scale campaigns, reflecting the era's challenges for low-budget British independents seeking global traction.

Box Office Performance

The 14 experienced limited commercial success at the upon its 1973 release, as it failed to register among the year's top-grossing films despite the era's robust market for theatrical releases. This outcome aligns with the challenges faced by many independent British dramas, which often prioritized artistic or festival recognition—such as the film's Silver Bear award at the —over wide distribution and blockbuster aspirations. Niche appeal to audiences interested in gritty , centered on working-class family struggles in London's East End, restricted its draw amid competition from high-profile American imports and domestic hits like . The absence of detailed revenue data in major tracking sources underscores the film's marginal theatrical footprint, typical for low-budget productions lacking aggressive or star-driven promotion beyond leads like . Initial earnings proved insufficient to propel significant sequels or expansions for director ' independent ventures, though later television airings contributed to modest long-tail visibility in the . Overall, the performance reflected broader trends where independent British films rarely penetrated mainstream circuits dominated by event-driven spectacles.

Reception

Critical Assessments

The film earned David Hemmings the at the 23rd on June 30, 1973, recognizing his handling of the material's emotional and social dimensions. Professional reviewers have praised Hemmings' direction for its sympathetic yet unflinching depiction of working-class hardship in London's East End, drawing comparisons to Italian neo-realism and cinema without descending into melodrama. The young cast's performances, particularly Jack Wild's portrayal of the eldest sibling as a makeshift , were highlighted for their authenticity and emotional conviction, achieved through Hemmings' use of non-professional child actors from similar backgrounds. Critics noted occasional contrivances that introduced , such as a contrived sequence and the film's close with a poetic quote from John Masefield's "The Everlasting Mercy," which softened the narrative's gritty realism. While the central theme of familial resilience amid poverty was deemed effectively conveyed, some assessments pointed to uneven dramatic tension as a limitation, preventing the story from achieving greater depth in its . Overall reception positioned the film as a solid, if obscure, example of British kitchen-sink drama, with aggregate user-informed ratings hovering around 6/10 equivalents, favoring its factual basis and raw energy over polished execution.

Audience and Cultural Response

The film resonated with working-class audiences who identified with its depiction of familial resilience against institutional separation, as evidenced by user accounts praising the children's determination to maintain unity following their mother's death. Viewers in similar socioeconomic contexts often highlighted the story's emphasis on over state intervention, fostering sympathy for the real-life inspirations drawn from a late-1960s London orphan case that garnered tabloid attention for the siblings' bid to avoid dispersal. This appeal contrasted with critiques from some spectators who argued the narrative downplayed entrenched poverty and systemic barriers faced by large, impoverished families in post-war Britain. Initial cultural ripple effects were limited but notable in niche discussions tying the plot to broader 1970s debates on welfare bureaucracy and parental rights, with tabloid features referencing the true events to amplify public sentiment favoring family preservation over fragmentation. Right-leaning viewers commended its anti-establishment undertones, interpreting the orphans' resourcefulness as a critique of overreaching social services, while the absence of widespread awards underscored its marginal mainstream traction, cultivating instead a dedicated following for the uplifting portrayal of sibling solidarity amid adversity.

Legacy

Long-Term Impact

The film's emphasis on a large family's internal cohesion and the eldest child's initiative in maintaining household order, rather than reliance on immediate institutional support, resonated in subsequent British social realist cinema, where narratives often highlighted personal responsibility amid socioeconomic hardship. Directors like in works such as Family Life (1971) and later Ladybird Ladybird (1994) explored similar dynamics of familial endurance against welfare bureaucracies, though direct causal links to The 14 remain unestablished in film scholarship; the picture's Silver Bear award at the 1973 underscored its role in elevating gritty, agency-focused depictions of working-class survival. Jack Wild's lead performance as the resourceful Reg marked an attempted pivot from whimsical child roles to dramatic leads, yet his subsequent career trajectory exemplified broader vulnerabilities faced by , including struggles with substance dependency that curtailed professional opportunities by the late 1970s. Wild's , publicly acknowledged in his 2000 autobiography, led to challenges and personal instability, culminating in his death from in 2006 at age 53; while The 14 provided a vehicle for mature roles, it did not avert the industry pressures and lack of transitional support common to stars transitioning from juvenile fame. The picture's themes have periodically reemerged in policy-oriented discourse critiquing welfare structures that may disincentivize self-provisioning in extended families, countering views that frame large broods as inherently burdensome without acknowledging demonstrated capacities for mutual aid. Based on a 1960s real-life incident involving orphaned siblings who sustained themselves pre-state intervention, The 14 has been referenced in retrospective analyses of family resilience, as in educational screenings and housing policy discussions emphasizing bonds over dependency narratives. TV broadcasts in the UK during the 1980s and 1990s, including Channel 4 airings, reinforced these motifs amid contemporaneous debates on benefit reforms, though comprehensive viewership data is unavailable.

Availability and Restorations

Following its 1973 theatrical release, The 14 experienced limited commercial distribution in subsequent decades, with home video availability emerging primarily in the early 21st century. A DVD edition was issued in 2013 by Network Distributing as part of its "The British Film" collection, marking the film's first widespread home media transfer. This release utilized preserved elements to provide a digitally remastered version, though it did not involve extensive frame-by-frame restoration typical of major archival projects. The DVD remains purchasable through retailers like Amazon in regions including the UK and Australia, often under alternate titles such as The Wild Little Bunch or Existence, which facilitated international access via localized marketing. Streaming options for The 14 have remained restricted as of 2025, with no confirmed availability on major platforms like , , or British services such as BFI Player. This scarcity stems from unresolved rights management for the independently produced film, rather than entry, as UK copyright protections for 1973 works—extending 70 years post the principal director's death ( died in 2003)—keep it under active control. Archival preservation efforts, including holdings by institutions like the , have ensured the survival of original 35mm prints and negatives, preventing loss despite the absence of high-profile restorations. No significant remastering or 4K upgrades have occurred by 2025, reflecting the film's niche status outside mainstream revival interest. These factors have confined accessibility largely to collectors and occasional festival screenings, underscoring challenges in digitizing low-budget 1970s British cinema without dedicated funding.

References

  1. https://www.imdb.com/title/tt0070921/
  2. https://us.amazon.com/14-Alun-Armstrong/dp/B00CXUKI70
  3. https://parkcircus.com/film/110337-The-14
  4. https://www.thespinningimage.co.uk/cultfilms/displaycultfilm.asp?reviewid=8427
  5. http://brianmatthews60.blogspot.com/2014/05/the-14-wild-little-bunch.html
  6. https://kultguyskeep.wordpress.com/2013/12/02/dvd-review-the-14-1973-david-hemmings-underrated-anarchic-british-drama-starring-jack-wild/
  7. https://www.filmaffinity.com/us/awards-history.php?cat-id=berlin_silver_bear
  8. https://www.youtube.com/watch?v=VwNhB3Wgx0A
  9. https://www.reelstreets.com/films/14-the/
  10. https://www.bbc.co.uk/teach/class-clips-video/articles/zh2jmfr
  11. https://link.springer.com/article/10.1007/s12115-024-00976-8
  12. https://www.ncbi.nlm.nih.gov/books/NBK535576/
  13. https://www.tandfonline.com/doi/full/10.1080/09612025.2024.2373509
  14. https://letterboxd.com/film/the-14/
  15. https://nostalgiacentral.com/movies/movies-0-to-9/14-the-1973/
  16. https://www.theguardian.com/tv-and-radio/gallery/2022/apr/04/june-brown-a-life-in-pictures
  17. https://www.imdb.com/title/tt0070921/fullcredits/
  18. https://londononlocation.co.uk/films/the-14/
  19. https://www.youtube.com/watch?v=Ti3JzjPC22g
  20. https://www.imdb.com/title/tt0070921/plotsummary/
  21. https://dvdcompare.net/review.php?rid=3003
  22. https://www.imdb.com/title/tt0070921/reviews/
  23. https://letterboxd.com/man_out_of_time/film/the-14/
  24. https://www.studiocanal.com/title/the-14-1973/
  25. https://www.themoviedb.org/movie/142616-the-14/cast?language=en-US
  26. https://www.gettyimages.com/detail/news-photo/jack-wild-actor-and-star-of-the-film-the-14-at-the-premiere-news-photo/3270013
  27. https://catalog.afi.com/Catalog/moviedetails/55620
  28. https://mb.cision.com/Main/6599/9467941/161186.pdf
  29. https://www.the-numbers.com/market/1973/top-grossing-movies
  30. http://www.screenonline.org.uk/film/id/1237381/index.html
  31. http://neilsinyard.britishtelevisiondrama.org.uk/?p=407
  32. https://www.factinate.com/people/jack-wild-facts
  33. https://www.jackwild.info/biography/
  34. https://www.jillstewarthousing.co.uk/learning-from-documentary-films/
  35. https://www.amazon.co.uk/aka-Wild-Little-Bunch-DVD/dp/B00CXUKI70
  36. https://www.amazon.com.au/14-Movie/dp/B00CXUKI70
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