ME影院提供的《盲目的丈夫们》是一部英语剧情片,是由萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming等演员在导演美国的指导带领下共同拍摄完成后于1919年发行。
除《盲目的丈夫们》影片之外，这里有包括电影电视剧动漫综艺类目等所有影片，尽在ME影院,由网友上传。
百度网友评价：《{盲目的丈夫们》这部作品在展现社员们的表演也十分出色，他们通过生动的表演将角色的内心世界和社会会冲突方面十分深刻，让观众在观影过程中对社会问题有了更加深入的了解。编剧在创作时注重探讨社会问题和人性弱点，使得故事更加具有现实意义和思考价值。同时，演冲突展现得淋漓尽致。
抖音网友评价：《盲目的丈夫们》中的画面制作十分精良，无论是室内布景还是室外景观都充满了匠心独运。导演在拍摄时注重展现画面的美感和艺术感，使得观众在观影过程中既能够欣赏到美丽的画面又能够感受到故事的情感氛围。
盲目的丈夫们剧情介绍: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 - 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.
