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.
可可爱爱 想不到中国文化浓度这么浓！意外的惊喜。想去重温卑鄙的我了
小黄人的可爱要说不止一遍！reschedule了五次才看上，结果还是睡着了。幸好前面小黄人的卖萌都看到了
故事在SF，有功夫，有十二生肖，有杨紫琼，有everything everywhere reference。就这些也得买票支持一下。
其实只要放两个小时小黄人搞笑卖萌就行了，真的不要费心思去编什么故事的
挺好的，最难的是在如此意识形态冲突的年代，还能有一部中华文化正面宣传的主流电影。
7分，短小精悍，全程卖萌，中国元素，热热闹闹，孩子还是会喜欢的。
片头曲居然是中文的当场假发惊飞 故事没啥意思看的直困 主要是看黄崽子卖萌 而且居然是一路陪伴格鲁长大的 真好
单方面宣布是今年最欢快最好看的电影，不接受反驳！
我就说Master的声音这么像杨紫琼！
一如既往的可爱。飞机那段一气呵成，结尾偶像死而复生。全片中国元素多到让我有些坐立不安，在全是鬼佬的电影院里不禁揣测他们听着中文歌看着十二生肖打架时的心理活动。
是好看轻松的！三番街车、中国城、Joshua 国家公园啥的都让人很有代入感. 影片里对黑胶情怀满满，对70、80年代风格各种致敬. 片尾中国风的反派又是好莱坞的拙劣模仿，见怪不怪了，片头中文主题曲的歌词也是毫无意义…中国大妈人设很有意思，小黄人们各条故事线也画的很清楚，然鹅除此之外剧情乏善可陈了. 一池子鳄鱼的动作戏加一星！
想不到这么多中国元素：玉佩，功夫，十二生肖，chinatown，三番。minions一如既往的可爱
其实gru对小黄人们很好啊，怪不得小黄人们忠心耿耿。最喜欢热热闹闹的小黄人大合唱了！//邓紫棋献唱主题曲太棒啦！这部影片很尊重中国元素（针灸是🇨🇳的）神偷系列应该落幕了吧？陪伴中学的影片系列啊～
好莱坞电影片头在唱中文歌曲，这真是我前所未见的，邓紫棋的《bang bang》，调调很像《杀死比尔》的bang bang.。影片里加入了无数个老港片桥段和中国元素，在当下这个环境下看着这些，总有点不合时宜的赶脚。没什么用心的作品，到处都是烦人的故意怀旧……
异国独自看电影，响起中文开头曲的瞬间百感交集。唐人街和Kongfu出现的时候，电影院里有人惊呼，文化的力量可能就是，无论身在何处，总有个精神故乡让人停留一下。
@Scotiabank Theatre 不过不失也没什么亮点，当然小黄人电影我们也不一定需要期待别的！萌就行了。片长很短，中式元素多归多但基本都是草草堆砌，也没有第一部对历史梗的黑色幽默改编，倒像是美西/旧金山风光片，可能最大的惊喜是杨紫琼，第二大的惊喜是结尾配了一段滚石做主题曲，别的，嗯嗯。
一部小黄人.feat成龙历险记，可爱且吵闹。是我老了吗，已经没有以前看动画电影的感觉了
就算今年美国电影里不是西语元素就是中国元素，可是从来就没喜欢过小黄人电影系列，照旧不喜欢。
时隔5年，能再看到小黄人们，我还能奢望什么呢？并且！为什么没有马！！！
太棒了，可爱到爆又笑死人，还有今年好莱坞亚裔元素含量好高
Copyright © 2015-2023 All Rights Reserved
