剧照
剧情介绍
盲目的丈夫们电影免费高清在线观看全集。
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.陌陌影视陌陌影视樱花影院6080影院柯蒂斯侠探锦毛鼠之真假白玉堂美好正逢时游侠情越光宝盒以爱之名西区故事2021红鹰侠可然和阿俊倩女幽魂3：道道道（粤语）医生有囍维多利亚第一季草原上的承诺恐惧街2热血勇士戈德曼家族第一季007之金枪人国语为爱而生荒草地熊世界肇事者2020车手阿里与艾娃芝加哥急救 第十一季校花我爱你消失的劫机客拉布雷亚第二季残缺格斗士墨菲2024
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.陌陌影视陌陌影视樱花影院6080影院柯蒂斯侠探锦毛鼠之真假白玉堂美好正逢时游侠情越光宝盒以爱之名西区故事2021红鹰侠可然和阿俊倩女幽魂3：道道道（粤语）医生有囍维多利亚第一季草原上的承诺恐惧街2热血勇士戈德曼家族第一季007之金枪人国语为爱而生荒草地熊世界肇事者2020车手阿里与艾娃芝加哥急救 第十一季校花我爱你消失的劫机客拉布雷亚第二季残缺格斗士墨菲2024
"von" Stroheim的軍官身份。
一个被丈夫忽视得妻子，浪荡之徒看到可乘之机想要乘虚而入，这次批判的是丈夫们，颇有些醒世预言的意思。施特罗海姆对情感的细腻表达和事无巨细的细节要求已是很多导演无法达到了，他开始导演的第一部电影，很多镜头的拍摄都比较超前，光是这个包涵丰富的细节和情感转折的剧本就是很多导演所比不得
I forgot something; suspenseful letter/wife/stroheim; two men on the mountain top; man and dog.
3.5星，大导演们都那么热衷于嘲弄可怜的丈夫们，这样的故事可以用真实的谎言里那个旧车推销员的台词来概括，要是丈夫们不冷落自己的妻子哪会有“他”的机会呢。梦境和山顶的桥段很出色不过最出色的还是施特罗海姆的表演，即便是之前看过N多次他的演出这个军官的淫荡与猥琐依然令人吃惊。
Accompagnement au piano par Thomas Lavoine/D'après la nouvelle « The Pinnacle » d'Erich von Stroheim./Film également connu sous le titre La Loi des montagnes./100 min / 35 mm / INT. FR./前Erich von Stroheim, la mort et les masques Conférence d'Hervé Aubron
导演就是挖墙脚的人啊
导演对梦想的描述非常有自己的见解和理解
難過就不值得了...男人哪有不自私....
牛大了
看过留痕
看开头以为要深入探讨一番伦理道德，结果是普普通通爱情剧~梦境暗示过于——
我对这个世界所知甚少，但我知道，出门在外不能撬人墙角
执迷于拍渣男演渣男的施特罗海姆。。
补
施特罗海姆导演处女作（并自编自演）。阿尔卑斯度假村庄，一对美国夫妇与一奥地利军官的三角恋，叙事高潮发生在险峰…沉稳细腻，技巧高超。已在运用前后景虚实转换（当代中国电视剧好像很喜欢用），表现梦境有创意；登山场景有拍摄难度；早期电影都很喜欢用动物，狗鸡牛鸽子等。
一个澳大利亚官员勾引无知年轻少妇的故事。好莱坞最早的性喜剧之一，把已婚妇女的轻跳行为处理成对社会规范一种迷人的违背。
【影史回眸】036
后面开门那幕，很意外~~ 还有梦境那幕，不错~~看的应该是99分那个版本
导演给予那些被丈夫冷落的妻子们以极大的关怀，军官的淫斜小人形象是三年后《愚妻》中大恶人的雏形，斯特劳亨对上层阶级的罪恶控诉初显于处女作，在后者更是在《贪婪》中得到了大程度的展现。
出轨事件中向来矛头指向第三者，结果看得很重，但缘由也很重要，为何会走到那一步，寻找其他的慰藉，还是风流成性？埃里克讲述了一个看起来不算典范的故事，因为片中的男女只是被误会，他们的爱情并没有被第三者击溃，不算得一个出轨事件的讨论，更像是一个撬墙角男人的卑劣史。但就是这个正派、有担当、又是个实干派，人格近乎完美的丈夫，在妻子的眼里却是枯燥无趣的。这可能就是埃里克想要告诉我们的：婚姻需要的是陪伴，是身体和心灵双重的陪伴。