Blind
搜索"Blind" ，找到 5部影视作品
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Michel,Delgado
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加布里埃尔梦想成为电影音乐作曲家，但梦想迟迟未实现，业余教授音乐课的收入几乎难以维持生计。商业学院的一位老同学建议他担任美国一家殡葬企业的巴黎商务经理，他接受了。为了走进这个行当，在去“天与地”公司任职之前，他需要在拉雪兹事务所接受为期三个月的培训。在一位具有15年资历的助手杰尔瓦依•布隆的协助下，加布里埃尔认识了这个做死人生意的特殊行业，熟稔了尸体、葬礼与生意之间的关系……并且一改往日沉默寡言的性格，学会了信口开河、一派胡言，这些都属于殉葬行业学徒期间必须习得的技能。加布里埃尔的父亲是位艺术家，对于传统概念中的事业成功嗤之以鼻；他的情人克莱尔也把他看成一个大音乐家，期待某一天他写出留名千古的旷世之作。弃艺从商的加布里埃尔只得向父母和女友隐瞒他的新工作，为此殚精竭虑，使尽了花招。然而，自从他以金价向某位弗瓦萨尔先生出售了一次葬礼以来，情况变得复杂起来，这位弗瓦萨尔先生不是别人，正是克莱尔的祖父，克莱尔愤怒之极，对这群利用老年人弱点做买卖的贪婪之徒横眉冷对……nbs;
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埃里克·冯·施特罗海姆
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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.
