《盲目的丈夫们》这部影片讲述了一个的是什么故事？
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.
1、《盲目的丈夫们》这部影片于哪一年上映？
《盲目的丈夫们》是埃里克·冯·施特罗海姆于1919年执导的一部影史经典剧情片。此片开创美国当代剧情片的先河，《盲目的丈夫们》影片开画即跻身票房榜前三，创下年度纪录。当时萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming均为最佳主角，萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming以精彩演技和突出形象，奠定在美国影坛地位。萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming饰演角色造型多年后仍为人所模仿。埃里克·冯·施特罗海姆之前曾被人怀疑其能力，而《盲目的丈夫们》却奠定埃里克·冯·施特罗海姆剧情片风格。《盲目的丈夫们》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1980年代）好莱坞（好莱坞）优秀剧情片齐名。
2、被称为剧情片的开先河之作的《盲目的丈夫们》，是埃里克·冯·施特罗海姆最好的作品吗?
从埃里克·冯·施特罗海姆斩获剧情片最佳导演 我就觉得这部《盲目的丈夫们》是他最好的剧情片。虽然埃里克·冯·施特罗海姆后来还拍出来了评价特别好的剧情片，但是《盲目的丈夫们》是他剧情片的代表作品。
3、《盲目的丈夫们》我们应如何理解这部作品得以历久弥新、被尊为经典的核心动因？
提起美国剧情片，人们就肯定会说出《盲目的丈夫们》的名字。这部由埃里克·冯·施特罗海姆导演，萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming主演的《盲目的丈夫们》，它无疑是一匹横空出世的黑马，在逆境中闯出了一片天，缔造了当时的一个奇迹。其背后缘由，值得我们深究，我想，就连埃里克·冯·施特罗海姆导演和萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming，都没想到这部剧情片会得到这样好的反响。埃里克·冯·施特罗海姆先生曾指出，这部作品是由一群失意者集结而成，是他们共同心血的凝聚。因为在《盲目的丈夫们》开拍之前，萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming已经有4年无戏可拍，而萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming主演的剧情片，票房始终惨淡，这样几个人能阴差阳错地聚首，大抵是命运使然。或许，正是这份挥之不去的失意，与那份不容践踏的强烈自尊，共同铸就了这一切，他们在剧情片中投入的热情，是我们难以想象的，其实《盲目的丈夫们》片中人物的心灵轨迹与动人故事，何尝不是主创者自身的真实映照？正因怀揣着一股不甘沉寂的孤勇，他们才得以用满腹的才华与深厚的情谊，共同淬炼出这部不朽经典。剧情片，亦在光影交错中，成就了全新的自我
4、如何评价《盲目的丈夫们》?
《盲目的丈夫们》口碑非常好深受广大观众喜爱，《盲目的丈夫们》一经播放即刻引爆点赞狂潮，不仅萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming演的好而且该剧情片故事情节也非常紧凑，四虎影视（www.revmediapublishing.net）观看起来特别流畅同时还能扣人心弦，虽然目前《盲目的丈夫们》该片虽开局收视平平，如今却实现惊人逆袭，受欢迎度高居榜单前列。该剧情片主演萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming，她在该剧情片中的演技可圈可点，受到萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming演的好而且该剧情片迷的认可。
5、《盲目的丈夫们》剧情片的主要内容
《盲目的丈夫们》是一部剧情片剧情片，由导演：埃里克·冯·施特罗海姆执导，主演：萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming，
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.
6、《盲目的丈夫们》是埃里克·冯·施特罗海姆导演的一部超级经典的剧情美国片，该剧讲述了：Two differences between this Austrian version and the generally available American version are immed，欲观赏更多相关影视作品，敬请收藏本站：www.revmediapublishing.net
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.
