埃里克·冯·施特

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 er second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally resumed only a negligible difference, resulting from the varying length of the intertitles, a direct comarison 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 haen that the later regional distribution of a canonical US silent film was longer than the quot;original versionquot;? nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs;The revalent American version of Blind Husbands does not corresond to the version shown at the remiere of 1919. This little-known fact was already ublished 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 er second, this amounts to a time difference of 20 minutes! quot;Titles were altered, sniets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chael.quot; (Koszarski) nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs;From the resent state of research we can assume that all the known American coies of the film derive from this shortened re-release version, a coy 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 eriod between the summer of 1921 and the winter of 1922. Furthermore, the coy 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 remiere and the re-released one.A large art 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 quot;seed uquot; 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 lacing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most comletely reserved material of the film.

过气演员诺玛（葛洛丽亚·斯旺森 Gloria Swanson 饰）已经将近50岁，曾经的风华绝代正在她居住的荒废豪宅里慢慢凋谢，身边只有好友马克思（埃里克·施特罗海姆Erich von Stroheim）伺奉。她没放弃重燃光辉的梦想，《莎乐美》的剧本正待编写，而逃避债务逃至此地的没落编剧乔（威廉·霍尔登 William Holden饰），正是这项事业的最佳候选。诺玛收留他住下，给他提供舒适的环境写作，并慢慢的倾心于他。但是，乔并不能接受这个青春已逝的妇人。他拒绝了她，并转过身和另一个美丽的女子谋划新的剧本，他们相爱，打得火热。 nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs; nbs;诺玛得知了乔的“背叛”，她卑微地哀求他，却动摇不了他渐行渐远的心，诺玛终于举起枪对准正要离开的乔。

影片以第一次世界大战为背景，讲述三名法国俘虏在德国集中营越狱的故事。三名法国飞行员在一次任务执行中被德军击落，波迪奥、迈克和罗森塔尔三人被带到战俘集中营。波迪奥与德军监狱长罗芬斯坦都是贵族出身，有着共同的政治见解，二人在狱中成为朋友。三人随后发现狱友正进行越狱计划，他们挖出一条逃跑的通道。迈克和罗森塔尔也加入了挖掘行动。最后他们集体越狱，德军全力追捕，在逃亡中，波迪奥被罗芬斯坦击倒，两名法国俘虏迈克和罗森塔尔逃到一个德国农妇家中，在她的帮助下，二人经过种种波折逃到瑞士。本片是最早的越狱片之一，被评为最伟大的“越狱电影”之一，同时也是导演让·雷诺阿的反战杰作。©豆瓣