盲目的丈夫们剧情背景
1919年美国电影《盲目的丈夫们》主要讲的是：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their le屏气凝神的三个小时，有种 I don’t know what exactly you’re talking about but I really wanna hear what you gonna say 的赶脚ngth 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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开头逼仄酒吧里出来俯拍市场放飞自我；杀人后退长镜头到白日平静街景，那种无言的绝望感，有空间的转换+时间的假跳跃，摄影机活了！如果要是类似的短时间转换要是用文学语言怎么表达呢？又，虽然表达的情绪不同，想起阿方索卡隆处女作女主角开门出去，摄影机后退到窗边伸着头向下望，那个电影我好像没看完来着?
本片是将同名舞台剧影视化，导演是写《百年孤独》的马尔克斯的亲儿子
开头那某些片段和酒吧里一群疯子花天酒地的场面看起来好风尘好堕落，看起来好粗俗
