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.
热内果然是个拥有无限「低级恶趣味」的导演（无论《天使爱美丽》还是《黑店狂想曲》）。我曾大胆预言，这个男人总有一天会用一部「反乌托邦喜剧」来满足他个人所有的「怪癖」与「私欲」。不幸言中。科幻外壳包裹下的各种荒诞的、猎奇的、无厘头的、光怪陆离的「法式浪漫」，没点毛病的人真的难以消化（庆幸我有毛病，消化起来不费劲）
后疫情时代的浪漫孤岛，AI崛起前的美丽幻想
分数：45
6.6 真是历史事件并不具备很大的喜剧成分，影片总体基调比较庄严平淡，非常英式的幽默和叙事风格。
依然典型的热内风格，恶趣味的狂想曲，这次是密室型话唠片。从模仿人类情感、掌握幽默到突破人与机器的界限，反客为主，逼人类出演《直立搞笑猿人》，可最终还是因为对人类的“全面模仿”导致自己的灭绝，十分具有讽刺性。不过未来倒真的可能是人工智能和极右翼人类一起竞争领导权。
本该90分钟结束的电影，拖拖拉拉了。谍战片很新颖的题材，可惜演砸了
这个阵容还等什么，冲！分享很喜欢的一段对白“今天我们救了一些人的命。一些人，不是全部。从不可能是全部”
不要说起科幻就是人类和外星人之间的战争，说起机器人就是人类和机器人之间的战争，都21世纪20年代了，对于科幻我们应该有更多的想象空间，除了征服与被征服，人类和可能的外星人、AI、元宇宙这些元素应该有更加多元的互动。
士兵望向黎明的海滩，硝烟混杂着水汽，在一片血腥中他是否看到了光明？
色彩还是很导演。。窥见了未来世界可能的一角。。就图一乐吧
一贯的英伦制作 没有新意 循规蹈矩但也跌宕人心
在某个国家直接找个罪犯淹死就行了不用这么费劲
额，各种无聊不知所云的镜头，也许是我欣赏能力不够吧，硬着头皮扫完了。
本子没啥新意，故事线单一，不搞笑，也没啥很深的意义
很喜欢炮火轰鸣的战争片中这样在后方做着一些看似与前线战斗无关，但其实四两拨千斤的工作。感情戏是真的很多余，还整了个三角恋，这间谍当得非常不专业……
演员是真好，没有他们，我肯定会在略显沉闷中睡过去了。故事稍显拖沓，大战背景下的情感似乎没有起到应有的作用，稍显鸡肋。如此重要的一场计谋大战，单方面的处理，真的有点可惜，如果多线并进，节奏提起来，一定会更好看。期待有人翻拍。
仿生机器人把真人当表演动物这设定简直了，就是有些无关对白太啰嗦，这故事架构其实可以磨成一部好片的，所以就还行，机器人的设定是亮点。
科幻小品，有几个地方还挺好笑的。类似的题材已经屡见不鲜，让-皮埃尔·热内也没能拍出什么新意。
世界觀縮得好小也無視邏輯與架構, 想像力豐盛但卡頓在一個虛空裡, 故事當然說得也亂七八糟但誰在乎呀哈哈哈哈, 即使未來一定不是這樣但這繽紛古怪的幻想還是很迷人, 愛因斯坦搞笑很讚, 本質是bottle episode 但卻花不少力氣做特效了法國人的路真的都走得有點偏還是好玩多了(斜眼嫌棄諾蘭)//也懷念起最愛的黑店狂想曲那還是最好的尚皮耶吧 可愛的Dominique也依然不缺席
很别致的科幻片，密闭空间里，人与机器人大战，夹杂着很多小幽默。
Copyright © 2015-2023 All Rights Reserved
