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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.
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田中真弓 冈村明美 中井和哉 山口胜平 平田广明 大谷育江 山口由里子 矢尾一树 长岛雄一 池田秀一 古川登志夫 古谷彻 大塚周夫 津嘉山正种 草尾毅 大场真人 宝龟克寿 园部启一 柴田秀胜 中博史 阪口大助 竹内顺子 千叶繁 三石琴乃 挂川裕彦 堀秀行 田中秀幸 大友龙三郎 有本钦隆 大塚明夫 玄田哲章 小山茉美 土井美加 野田顺子 渡边美佐 野上尤加奈 林原惠美 水树奈奈 园崎未惠 西原久美子 久川绫 泽城美雪 池泽春菜 斋藤千和 神谷浩史 浪川大辅 森久保祥太郎 石田彰 高木涉 桧山修之 子安武人
传奇海盗哥尔•D•罗杰在临死前曾留下关于其毕生的财富“One Piece”的消息，由此引得群雄并起，众海盗们为了这笔传说中的巨额财富展开争夺，各种势力、政权不断交替，整个世界进入了动荡混乱的“大海
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