施特罗海姆不愧有“顽童”导演之称，他极度写实，把富人的奢华生活不加修饰地搬上银幕，那仿佛记录片的写实风格，让人看着既浮华又透着一股寒气。如果你是电影发烧友，想感受一下真正的“导演作者论”和天才的执念，这部片子绝对不容错过。这可是那部传说中的巨幕片，全片剪掉一半仍完美自洽，其层层递进的戏剧张力简直能把你死死钉在座位上。 如果你对表现主义电影美学和早期好莱坞叙事感兴趣，这部作品绝对不容错过，它能让你感受到大师对人性深渊的深刻洞察。乔治·贝茨完美诠释了那个仗势欺人却精于算计的华尔街巨鳄，将大团圆结局的荒诞与可笑演得入木三分。强烈推荐给热爱早期电影美学、社会讽刺片，以及喜爱亨利·方达的影迷，不容错过。
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 - shotscountershots, 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.相关搜索：
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