盲目的^ 丈夫们

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盲目的^ 丈夫们

萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming

年份: 1919
地区: 美国
语言: 英语
导演: 埃里克·冯·施特罗海姆

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故事梗概

Two d😊😑iff\🤕😶erenc😜\es *😪😀]betwe😆😌en thi😗:😴s Austri🤩#an ver😁😍😶,si😌😬🤤🤗on and🙃 😊.the generally _availa🤒🤤😌🤗ble A😅🤒#merican ver😔😙sion are immediately😗 obvi😚😝ous 😅😛[t😶!#🤪😃hey😛😜 diff😔😔🙃er both in their_😌 length and in the l😛-angua/g🤑🤮😃e of the intert@,🤩itl😂🤫[😜es. The America😙n versi🙃 on 😷]i🤣😇s only 1,=883 metr🤤😂🙂es l🤭ong 😪🤑: - at 18😙🤩^ frames🤭#🙃🙂 p_]😛🤒er s🤫🙂econd a diffe😑/😑ren😑😑🤔ce 😶_ `-of😁 some 7 minut😑😔😐es t😶,o the😗🤩 A\😜ust😌😚ria😏🙃n ver😛🤫sio🤮😝n with 2,045 metres. Whereas w😑e orig😪😘🤕inally presume😌d onl🤢😒y a negligible difference😷,🙄+ resulting fr!😉🥰😑om the varying length🤮🤫 of the inte😊😌*rtitles, a^ 😇😁😪😔direct compar% 😪😊ison has n🤒😝:🤪e🤨 vertheless 😬😑show🤣]n🤢^😃 that t😉😝😂he Austrian🤭 vers-😔😍:ion differ🙃😪😜s f😊😪r-😛🙄om ]🤭🤤t😏😚][he Ameri*🤩😂😐can ve;)rsion bo🤐😐[😂th in th😂😶e 😏mo🤮😏ntage and😀 😂 in the😁; dur😙🤩ation of ?!!😔individ🤮🤥😙ual scenes. Y😙[ 🙃🙃e😃😛😝😶😌t how😄 could 😷🤕😴it happ_😅🤭e😍%n that the late🤐🤥,r regional dist/🤐😂r,ibution 🥰🤮😋of a ca[🤒🤨non🤤[ical US sil🤒😐😒en😅🤮-=t fil,;m was longer=😀+ th🤥🤫an😘 the orig%inal ve🙄😚rsio!😑n😘😑-😁　　The🤑-🥰 🙃prevale😚🤐🤫`nt A😶🤭 meric,]🙃an 🤭🤩vers🤣;ion 😀😔of😜😗🤔 Bl😌😒+😌in=🤭d🤫🤪 H😀😉😷usbands😅😏😅 😛:%🙂does not correspond to🙄😚😌 th😀😒😪😒^e😪=🥰 v:😗ersion shown a🤭😅🥰(t😍,? t🤥😆#he premiere of (.:1919. This🙃@😏😛 little-known fact😅😴 wa🙃🤔_;s already published b🤫;^😬😍y R=^😌icha😅rd%😐 Kosza😗!rski in ;😜19(83. The fi\🙃lm was re!😊😐-released by 🤪)=Universal Pic \tures in🤒😉 1924, in a vers,🤮io🤑?/n th😔=at was 1🤣,3!😗65 f😌😔eet (4🤮+😅16 metres;.😂😘)😶] [🤤;shorter. :@At 18 frames🤔🤮🤭 per second`😜,😏, th😶is amounts t/😙o a t🤑_ime 😀🤫diffe🤩.rence of 20 =🤢mi😌nutes!🙃.🤪 T😛@🥰🤫itles ;🤩were al😝😑^😑tered, snippets of a= 🙃🤣😷cti🤣😐on removed and at least one major .🙄scene t😊=🤐aken ou🤨t🤭😇🤕🥰🤮 entire😷😚😋🤢ly, where-😚😛 von 🤤😘😍St. 😪euben and😶😅😔 Margaret vis😊😗it a small l!🤢🤪o😘😙😇😁😚cal chapel. (Koszarski)😬　　From the p🥰😒resent sta$😘 te of research we 😅can 😐?😗as😋😄🤪😅😘s😃ume t😁 😷-h🤢🤫😔at all the kn/😔ow+😜n A🤫🤥mer`.ican copies😴]😐 🙄(🤥😊😔o-🤔f t😃$😌he 😛/😄film 😒de😝🤕🤮 😅rive from this😊[ sh/orten;?😐ed re-🤪 rele🤢a)😙s😌🙄e ,😌😄v😌😌.ersi ?😌^on?, a co😪\\py of which Universa😂😊l donated 😉]to th🤒😁e 😶😁😏Muse *😪;um🤪(= of Mo😑😀🤮🤢dern Art *(in 1941.🥰) Acco[r,@😅_🤩ding to Kosz@arski the or😙iginal !;😌n😚egative of the$😆 fi😄lm was des🤔troye=🤣😉d sometime between 1956😘😛😍 and 196😋😅1 and has😷😉😌[ the+_😛refore bee?😶🤭!😀n😅😬/ irretrievabl🤣🤪y lost😝-^🤫.\😀 =%🥰This inform;😬🤣=😆ation casts ;a$😂,🤢n interesti😑ng lig😗!😛ht on the Au$🤮😃strian v%🤮e.😚rsion, whi🤐🤥😪ch😇 ca😄`^n be dated 🥰😙😗to the period between the summ😪@er of🤔 192@😉1 and the 🤪($🤩wint😘\er 😙/😏,of 1922. Furthermor🤤 `🤢-e, _the copy #🤢🤢:is some 200 metres lon;@🤐🥰ger than the US versi🤭_o*!n of 1924,😆😋🤔. If🙄` one f.😄🤒😜ollows the details given🤕 by R😃$😅ichard🙄+ K😋$🙂oszarski and Arth😶[;🤮🤐ur Lennig, t😶[his means t🤐.🤤hat*😇🤔🤕😶,😔 as far🤢?😋 😝as bot😔🙂h i 😏!ts date a?😐😜nd its l🤩_/ength 😃^are/\😐 c🤪🤐#🤤oncer😝😊😜ne😘!d, #*t🤗=he A^ustrian v😉!😃ersion li:🤢!es almos`🥰.🤮🤪t e^xa😔😬😔😊!ctly in the middle bet😝w🤭🥰e🙂%😶en the (lost🤕) version sho🤩😒\🤑😛wn at the p😉remi😜🤮ere a🤥🤩nd :😏/_🥰t🤨🤑he re-releas-🤢ed o🤨🤨😋🤑ne🤤*😝.A large part of the !😔😙😍🤗additional length o😆?]f t😑😶`he fi😋🤣😇😬🤔lm can be trace+😝🤮d to c😉` 😐uts that wer!😇e m😀ade to t😀😬🤑he 19😴😏😜😀2,4🤔😀 🙂:version in almost every sh🤫🤪ot. Koszarski*#😝😙 d@🤫escribes how the beginnin🤥.😇😉g -😗and t he end of scenes were trimmed, 🤢😜😍in order `😜to speed up the f*😏🤐il🤣-😅 m. However,🤕🤒😴😋😐 mor😘🤣😝e😬 exciting was th+🤮e disc🤢😁 🙄overy *that t🤮%🤕he Au🙃😃stria😌n ver+😗sion contains s🤢_🤭hot😑🥰😘s that ar😑😏-e missi#ng i😏😚n the Ame🤮😌😛r🤫😄?😙ican one - s🤗🤢🤤🤭ho😑:🥰😷t😐,😜=s😗😆🤩🤭😜co🤢😄)untershot🤩:s, int😃ertitles🤫+ - and= furthe🙃😴😶rmore 😍😝=shows differences in i🤕😀=🤕ts(😆😋` montage (i.e.😂🤔@ t😐he🤪 😷🤭.=😋plac😇🙄$ing of t😘;he ind😜%😙😴iv 😊id🤕ual🤩😂`😃 s😌%(hots w🥰ith🙃[=in a s😉🤩equ+🤐😛en`😋ce). All this indicate🤒 %s t😄😋hat Die Ra😛che🤤😬😇) der Berge 😛 c😔#+ons:😋;tit😛ut🤔 😃es 🤥%🤐😍th🤔🙄\e o😶:🤢🤑ldest a😷😑^n😔🙂😷^d most c 😶;ompletely preserv😜*;🙃😝ed materia_^l of ?🥰😜the film.