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.
很难有电影会对人工智能、克隆人持乐观主义立场，《黑镜》《芸芸众生》《爱，死亡和机器人》所涉及的未来生活着力点通常是对人类本体感知力的剥夺，越俎代庖、伦理纠纷或者官能退化等潜在的威胁，此类剧集更多是要求诡异、荒诞、极端事件的戏剧性；而本片立场是“让机器人或者生化人作为一种情感服务”：人类是最后的宰制者，克隆人最终提供的情绪价值依旧是以人类本我认同的意愿为前提。所有生命体验、回忆的让渡对于本我而言是不得以而为之，而“为”或者“不为”同样需要强大的驱动，这个驱动一定是爱，爱是人之为人的情感复杂性的最高形式，是爱让他为了保护好妻子而让渡自己的整个人生；对于克隆人而言，只有懂得去爱，灵魂才完整。最后两周是对克隆人的一场出色的交叉验证。当克隆人叫妻子看着他的眼睛说出“爱”字就论证了人类的爱的伟大。
Always have ,and always will
剧情往往都跟自己想的不一样，剧本很高级，拍好了，闻名于世，拍不好，臭名远扬，中规中矩，就无人知晓
电影细节的描写非常好 剧情有很多可以思考的点 虽然是超现实的未来电影 但是也映射出人想要接受和放下的痛苦和挣扎 不放心任何人可以代替自己 就算那个人就是自己也不行
（但是说实话，我接受不了这种事）
想着找部片子来疗愈一下 好嘛 如此深沉的课题 值得思考 唉 心思又加重了
我看见我生命中的往昔
男主男配都是我自己，参奖的时候可不可以男主男配奖两个都投🐶
未来感太强了，癌症是终结人类的终极武器，再强的科技也不能在本体上延续，不过，所谓本体，又如何
结尾always have always will带给人的无力感，实在是一种最佳的留白方式。
身怀绝症之人要如何延续自己的身体机能、记忆以及情感，要如何学会告别，这部电影给出了一份答案。在冷感科幻的氛围里，平静温柔地讲述了男主做出最终决定的这一过程。想起了黑镜中的某一集，只是那是站在逝去亲人那一方的角度来看待问题的，但感情同样动人。
如果妻子是克隆人，还能感受到一丝温情。苹果定制片，苹果设计理念大赏。
男主男配都是我自己，参奖的时候可不可以男主男配奖两个都投🐶
科技是能导致毁灭性的后果，但是也能带来更美好的未来。一体两面，就看人怎么用了。这是制度创新，很大胆，但是可以实现了！手法和布景看似简洁，其实就是让你思考，减少变量，只加入最重要的几个变量，然后设计。
同样是克隆人，比李安那个双子什么的强多了。除了探讨的话题角度好之外，片子的审美也是一流的，赏心悦目又好哭。
最后的礼物太棒了，泪目。场景设计和背景音乐都好美~
最近很不喜欢讲大道理的电影，宁可把 天鹅挽歌 当一个科幻片看，也不愿去想电影里为爱的人牺牲或者人面对自己的时候有多痛苦。故事是在不远的未来，一个有apple自动驾驶和apple眼镜已经做成隐形眼镜的未来，快病死的男主角在一个apple审美的地方克隆了一个自己，并把记忆移植给了克隆体，让克隆体去替代自己生活。不要问为什么这么多apple，因为播出平台就是apple+。想简单一点，这电影就好看了，阿里一脸便秘式的分饰两个自己也的确该拿金球奖影帝提名。
Apple在这部电影里要兜售的内容太多了：生活方式、生命观念、对待记忆的态度…一切与科技息息相关，也早已超过了之前出品内容里的Apple产品覆盖。无论做产品，还是做内容，Apple最终还是在做上层建筑。
没有猎奇式的阴谋和反转，就是讲述科技如何以人为本的温暖故事。
借用“克隆人替代”来表达人之将死的各种情绪变化，虽非新意十足，但影片营造的氛围和质感还是非常到位的，加上阿里平稳深邃的演出，本片能够在同话题电影中排位靠前。至于克隆和精神复制的科幻成分，其实仅仅用于打造故事背景，无法深究。特别是伦理方面，绝对不允许从肉身到精神完全一样的两个客观存在并行于市的！
Copyright © 2015-2023 All Rights Reserved
