阿兰．德龙主演的这部犯罪动作片，混合摒弃了一般银行抢劫后分赃不均而终被逮捕的老套情节，混合把劫宝的场面安排在飞机上进行，结局则是因家族内一次无意揭发的奸情而致西西里部落全被逮捕。影片布局可谓层次分明，有峰回路转之妙。从开幕西西里家族营救囚车中的萨丹开始，便推展出不少戏剧性的高潮，如阿兰．德龙如何外出召妓惹祸；保险公司随员的太太如何发现丈夫不在飞机上而在报警时认出阿兰．德龙；探长如何监视阿兰．德龙的妹妹而使西西里兄弟被捕等，这些设计都能顺里成章而前后呼应。
子硕
回复 :罗马电影节开幕影片，多位意大利著名演员联袂出演。电影讲述命运的巧合、错失，和盘旋在其中纯真而炙热的爱情。故事情节在回忆的基础上推进。从上世纪70年代一直到不久的将来，观众也在时间里流动，从一个时代跳跃到另一个时代。在海上，马可遇到了露易莎-拉特斯，一个美丽的、不同寻常的年轻女子——这是一段未竟的，却又终身难忘的爱情故事。
吕继宏
回复 :雨夜，雷伊（约翰•盖兹 John Getz 饰）跟艾比（弗兰西斯•麦克多蒙德 Frances McDormand 饰）在酒店偷情。雷伊是酒吧伙计，而艾比则是酒吧老板玛迪（丹•哈达娅 Dan Hedaya 饰）的妻子。玛迪怀疑妻子出轨，因此雇佣侦探维斯调查。知悉真相的玛迪怒不可遏，潜入雷伊家，企图绑走妻子，却在厮打中受伤。玛迪密会维斯，决定花钱做掉二人。维斯潜入雷伊家翻到了艾比的手枪。回来后，维斯给玛迪看了两人被杀的照片，趁玛迪不备，将其击毙。雷伊发现玛迪尸体，误以为艾比所为，因此毁尸灭迹。晚上，雷伊再次回到酒吧，赫然发现了威斯假造的照片。这时，雷伊和艾比都不知道，死亡的威胁正在步步紧逼……本片为科恩兄弟的处女作，创作于1984年，只用了80万美元，2个月即拍摄完成。2009年，制片人张伟平斥资200万美元购得本片版权，邀请张艺谋据此拍摄了《三枪拍案惊奇》。
李赫焌
回复 :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.
