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.
感叹邓小姐看电影静坐近两小时的体力和专注力。电影的质感还是有的， 小马们都很漂亮，挺适合小朋友看的，羡慕小孩子的世界单纯善良就可以了。小马森林法则对应的是黑暗森林法则啊。
依靠心灵的团结，才是真正的魔法。最后彩蛋陆马的马蹄其实也有魔法，很有爱~
剧情神马的一塌糊涂，西德妮·斯威尼是唯一的看点。
两小时太长了，这种片就得压缩到90分钟以内，20分钟的剧情，楞是磨磨蹭蹭的一个小时还没看懂女主到底想干嘛？前戏慢的叫人犯困，加上男主每天阳痿，这片到底是来折磨异性恋男观众还是异性恋女观众的？
很难相信孩之宝拉上EONE和netflix就做出这么个玩意儿，它存在的唯一意义就是证明了小马四代的成功就只是个happy accident ！！
《偷窥者》——小白羊之黑化史。你站在楼上看风景，看风景的人却在楼对面看你。明月装饰了你的窗子，你装饰了别人的梦。当你偷窥时，不由自主地，你便成了偷窥本身。
拍得好美，很多剪辑也很有意思，但最后的结局太傻。
我一开始就猜到这是设的局，等着你钻，没想到还能反杀，女人狠起来还是很可怕的。托马斯的声音太难听了，我是真受不了。
最后这个反转有点牛，不是简单的《后窗》，偷窥者反被偷窥。所以是谁在偷窥谁呢？
偷窥悬疑片，女主有这样的结局也属自作自受，结尾反转失真，演员长得美有演技，so hot
虽说探讨了一些隐私入侵的问题但整体而言就是一部满足了某种X癖的soft porn
看前半部分只想骂人，第一次转折觉得还行，后面复仇部分拉低了整体的分数。男朋友即便是被人害死的，也掩盖不了婊女主的事实，所以复仇看起来并没有什么劲。
没别的，身材是真的好。女主的身材不得不说惹人垂涎，太棒了！！！
带孩子去观看了，孩子还挺喜欢的。小马们都很可爱，故事既欢乐又温馨！
『小马宝莉：新世代』这部动画电影，小马们在学习魔法和生活的过程中，结识了朋友，收获了友谊，一起经历了许多的冒险之旅。具有不同颜色的小马主角们，也拥有着属于自己独特的风格，代表着他们各自的美好品质，非常适合小孩看啊！生活也是这样，多点乐趣很好！
我本不看好三维动画的，但是这部影片超出我的想象
小马G5刚出概念图的时候我看到毛绒绒小马就不想看了，后来也一直没关注过消息，也就听了主题曲，上映的时候也没有找来看。但是国内上映了肯定要去看！（虽然不是第一时间因为我昨天忘了…
结局太拉胯了，无法同情女主，又蠢又自作聪明才是最不能忍的。
英文原版的歌曲真的好好听！！说唱部分也超可爱！！！
发现并欣赏别人的优点，接纳你认为别人那或许不糟糕的缺点。彼此才能成为好朋友。
Copyright © 2015-2023 All Rights Reserved
