盲目的丈夫们

《盲目的丈夫们》是爱森斯坦未曾涉足的领域，展现了施特罗海姆更具现实主义的另一面。导演施特罗海姆以极致的炫耀式风格和讽刺笔触，解剖了上流社会虚伪的道德观，全片铺陈了近乎荒诞的奢华物质欲望。如果你是喜欢深刻讽刺、对人性贪婪感兴趣，或者想体验默片韵味的观众，这部片子绝对不容错过。如果你对人性阴暗面、复杂的家庭伦理博弈，以及“老钱审美”充满好奇，这部电影绝对不容错过，它是关于贪婪与复仇的顶级默片范本。如果你是默片爱好者，或是渴望在快节奏中感受极致戏剧张力、直面人性幽暗面面的观众，这部作品绝对不容错过。剧情聚焦于弗兰克在诱惑与忏悔间的堕落，米勒·赖布的演技更是神来之笔，将角色的虚荣与疯狂刻画得入木三分。

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.

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