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.
普通粉丝电影，好多人和动画版的形象对不上号
等到了一个好一些的枪版，但是so what..
大夸特夸战斗画面和音乐的配合，好爱我太爱了。我好怕纯爱战神觉醒以后空中一个巨大粉色爱心蘑菇云，还好还好
解锁新电影院Neufahrn 五条颜粉真的好多 知道为什么叫纯爱战神了
嗯，挺好，纯爱的乙骨忧太，招数没有后面绚烂
本来觉得乙骨是阴暗病娇款，结果是锭真嗣第二。五条悟最后对夏游杰说的那句应该是“欢迎回来”吧。
我觉得比正篇好，这种厚度的角色撑起这个长度的电影刚刚好，再长就拉垮了。不看剧情，只看作画也是舒服的。伏黑的眼角下至卡姿兰大眼睛很可爱，五条悟的美瞳颜色一直在变
roast duck
乙骨学长 请问你这一年 经历了啥
香香鳏夫/纯爱战神赛高！！！你咒唯一能打的bg啊啊啊！！！！
夏油傑LDH味太重 需要和good-looking-guy五条悟老师在一起中和一下😌打戏好看！病娇发达国家的专业素养令人服气。
这周五就去看，各种PV看得差不多了，制作精良。五条老师太帅了！我老公就是这么强!
我对纯爱战神不感冒，感觉吹嘘太厉害了，我觉得当即情况忧太也是为了获得里香的力量救下大家才说这种话镇住她，我的观点和夏油杰一样 •᷄ࡇ•᷅
小杰！！小杰！！五夏！！五夏！！啊！你们的爱！！！😭
狗卷那么多戏份，感人！但没资源只能去澳门看大屏幕，可是感官上这部还没达到大屏幕水准，加油！
呜呜呜，我是纯爱战神，乙骨忧太yyds！！！！太帅了，超级超级好看！
第一次在法国影院碰到这么多青少年一起看电影，毕竟一般都是和老年人。不了解原著，也很少看此类型，但是看起来毫不困难。具备一切元素，很饱满，少年成长，友情，青梅竹马，师生情，前辈的决裂和选择，正邪选择等。反正就很类型片，画面和打斗也很不错，除了偶尔觉得有点中二和出戏，毕竟过了最恰当的欣赏年龄。
代入感太强已经不敢去商店街了 早场8:10起来发咒术疯
还可以，反派夏油更加立体了。说的是熊猫他们一年级的事情，犹太在TV剧里面应该后面会出来。
乙骨好可爱，棘好温柔，五条悟好帅。里香打斗场面再多点就好了。（润喉糖有点搞笑，那么有用？）
Copyright © 2015-2023 All Rights Reserved
