盲目的丈夫们

《盲目的丈夫们》讲述的是什么故事？

《盲目的丈夫们》　　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 - shots/countershots, 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.

一、《盲目的丈夫们》是哪一年上映的？

《盲目的丈夫们》是埃里克·冯·施特罗海姆于1919年拍摄的一部经典爱情片。此片开创美国当代爱情片的先河，《盲目的丈夫们》上映时票房稳坐前三，创下当年纪录。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·施特罗海姆爱情片风格。《盲目的丈夫们》首映时曾获海外爱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1919年代）美国优秀爱情片齐名。

二、被称为爱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·施特罗海姆斩获爱情片最佳导演开始，很多观众就觉得这部《盲目的丈夫们》是他极具代表性的爱情片。虽然埃里克·冯·施特罗海姆后来还拍出过评价很好的作品，但是《盲目的丈夫们》依然常被认为是他爱情片创作中的重要代表。

三、《盲目的丈夫们》为什么可以成为经典？

提起美国，不少观众都会想到《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》，在当时凭借鲜明的人物塑造和紧凑的爱情片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《盲目的丈夫们》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《盲目的丈夫们》？

《盲目的丈夫们》口碑表现稳定，深受广大观众喜爱。不仅萨姆·德·格拉斯,Francelia Billington,埃里克·冯·施特罗海姆,Fay Holderness,Richard Cumming的表演有看点，而且该爱情片故事情节紧凑，影院2（2.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《盲目的丈夫们》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《盲目的丈夫们》爱情片的主要内容

《盲目的丈夫们》是一部爱情片作品，由导演埃里克·冯·施特罗海姆执导，萨姆·德·格拉斯,Francelia Billington,埃里克·冯·施特罗海姆,Fay Holderness,Richard Cumming主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的爱情片故事。

《盲目的丈夫们》　　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 - shots/countershots, 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.