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.
平平无奇，毫无新意。社交媒体元素过多，两星给詹尼佛洛佩次
感谢网飞爸爸提醒！一整个12月都应该是圣诞月啊！可是我却被困在无尽的工作里！也想去小镇开绿植店！！！然后每晚喝喝啤酒啥的…需要生活而不是单纯活着…
套用公众号的标题就是“大明星要吃素”。如果里面没有社交网络的情节，会以为这是90年代的片子，老套、乏味。怎么都不敢相信两个人的爱情合理性，硬掰不行的。
巨星阴差阳错和一个普通人相识相爱。最终大团圆完美结局。
情人节就是适合看这种不用动脑的cliche的电影呀！JLo真的好美，但是男主真的太像Trump了…
可惜了那么好一帅哥给她。
意外的好看，虽然二十一世纪了人鬼情未了都变得老套，“伤痛也是爱的一环，因为你承担了伤痛，爱就一直在”
最后一堆废话，神烦。
生死之间这翻译比平行爱情好，平行爱情看着像平行宇宙的感觉，电影实在表达的是人死后的留恋，就像人鬼情未了
似乎看完了 又完全想不起看了什么 低配人鬼情未了吧
和诺丁山比差了不少，模仿诺丁山显得无聊，欧美电影的灵感越来越颓废！
三星半。挽救了一下我那个寂寂无聊的周五下班后。
这剧情简直是为JL量身打造，离谱又俗套，JL的romcom似乎对单身爸爸情有独钟。JL状态保持的可真不错，里面几首歌曲也蛮好听的，最重要的是，Maluma真的好帅啊！
这真的不是根据J Lo和本阿弗莱克的真实时间改编的嘛…
依稀往梦魂归来，青春再版人鬼恋。
中年romcom蛮好看的诶！歌也都很好听，JLo状态太好了
男主帶好友回家過聖誕，本來打算假裝是脫單對象，可是因媽媽找來了約會對象而告吹。豈知好朋友不只是朋友的表象，早已被全家人看了出來，全家人拼命要把男主跟好友湊成一對，只有媽媽要男主跟別的男人在一起。與此同時，男主跟約會對象又是喝聖誕調酒，又是滑雪親親，還來電到考慮搬回家住！好友原本聽了也給予祝福，然而聖誕節越來越近，怎麼可以只顧著約會呢？自然是待在家裡，讓家人製造跟好友相處的機會啦！兩人因工作意外之故，拍起了性感模特照，性感耶！怎麼可能沒感覺？！不過拍完後，約會對象邀約，好友也有事。眼看兩人要散會，全家人趕緊一邊破壞約會、一邊逼好友正視己心且採取行動！全家人助攻啊！後來連約會對象都推一把了！男主只好從了！弄假成真不好嗎？連片尾曲歌手都脫單了啊！麻煩把約會對象Luke Macfarlan讓給我吧！
聖誕閤家歡電影，男演員們都很養眼，各種帥各種甜。
就这剧情，难为大本还操刀主题曲MV哈哈哈哈这才是恋爱脑。。2022年了好莱坞也拍不出好看的爱情电影了吗🚬
気軽に観られる一本。かなりくさいけど、嫌いじゃないかも。音樂用得有點多餘。以及果然大家都想到一塊兒去，年齡往下設置、年代推移到更近的Ghostなんだよな笑 談戀愛的部分還是挺可愛的。
Copyright © 2015-2023 All Rights Reserved
