Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
扎克的那封信真的太让人感动了，看来这种励志电影没办法拍更多专业的橄榄球知识啊，还想着了解了解呢，不过知道了场上发生了是什么也不错。kurt就是这样乐天派嘛，知道自己要做什么不就是最棒的事情嘛
很喜欢，看着很舒服观影体验很不错，不过作为性主题还是清淡有余。本来性与爱就无法分开谈论。孙锡久全钟瑞我都太喜欢了。
对郑佳映期待太高，故事本身就没什么吸引力，拍得也不算出彩，有些失望。
很都市，向往的职业，有趣的相遇方式。女主像只灵动的小猫，气质太出众了
励志故事让人误以为还有希望……
喝酒时的对话最为有趣，鲜于贞娥的配乐也很轻盈，收尾收得不好，但真的好喜欢这两个演员。
故事到女主曝光起诉男主就可以结束了，全钟瑞喝得醉醺醺的样子好迷人。
轻盈现代的爱情故事，两位主角太好了，赏心悦目
挺有趣的电影，乍一看觉得片名云里雾里，结果发现是直白的正中靶心，剧情上虽然有些弱，但人设和讨论的观点比较带劲。孙锡久真的那种小表情超灵活，但问题是他悲伤的表演有些看起来像笑。女主角演技也挺好，就是有点像李赫宰哈哈哈哈
对郑佳映期待太高，故事本身就没什么吸引力，拍得也不算出彩，有些失望。
愛的感情，十幾歲是在腦子裡，二十幾歲是在心髒裡，三十歲以上就從肚臍眼往下走。導演把眼光放在了性這一需求上，能不能不談戀愛，光解決性的需求?結果還是不能免俗，做愛做出了愛，可以看見導演在電影中對於戀愛的一些有趣的見解以及對於男人的吐槽，不過，說到底，性愛是不能長久的，性癮者畢竟是少數，人不能光靠性愛就不會感到孤獨，可能生活與靈魂上的關懷是大家願意談戀愛的理由吧。
是喜欢的全钟瑞，但不是喜欢的孙玖锡
点开发现才15+啊这……故事比较老梗，前半部分还可以，后面三分之一写得很敷衍。两位主演是可爱的，就是没想到孙大哥的肉体竟然这么白嫩哈哈哈哈哈哈哈哈哈哈哈哈【等一下百想最佳编剧？！百想疯了吗？？？韩国没有电影编剧了吗？】
好帅气的女主角，诠释了另一种爱情模式，会开黄腔的女孩子果然无法阻挡，对“三十而立”重新认识了
朴佑利开专栏能火起来还不是因为用了咸子英敞开心扉对他说的真心话和金句？所以男作家写得好不能真的反映自己的真实水平，而是盗窃别人的精神财富啊。除开这点，咸子英这个女人是真的有魅力啊。金钟瑞讲话的发音好好听，怎么形容呢？像猫？
打橄榄球，那是我唯一擅长的事。。。
全钟瑞，太平洋宽肩（可能是头小），在燃烧里好像身形更窄。孙锡久完全不显年纪啊。
三星半。挺下饭的，全钟瑞真的太酷太好看了！
American Underdog: The Kurt Warner Story
讲述两个人通过社交软件约在一起。两个寂寞或者说是忧郁的灵魂从身体和心灵上都得到慰藉。互吐心声。
Copyright © 2015-2023 All Rights Reserved
