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.
怎么说呢，好似美好的爱情实际扯淡。影片想拍得唯美，但剧情不现实。不管是男人女人，在爱情中都还是有底线的…
连着一口气看了2020和2021，的确2021的一大总结就是人类基本没有从2020的经验中吸取什么教训
男主太圣母了看着真憋屈 最后强开金手指黑老哥逻辑喂狗 政治正确还得看老美 两星给男女主颜值吧拍的很好下次别拍了😅 ps：电影原著居然有9.1…放绿江估计被秒的渣都不剩 纯纯无语住了
…害怕被欺骗，你杀死自己，不再信任任何人。习惯了像行尸走肉一样活着，以为麻木不仁才能让你坚不可摧。直到有一天，你突然发现自己的心脏竟然会跳，发现自己自以为坚不可摧的屏障会在一个人面前瞬间失效。想像活人一样去爱，却无法破除自己身上的诅咒；自杀了无数次，但是那颗心还是忍不住被牵动。一次次逃离却又下意识地找寻着。直到很久很久以后，你才意识到自己的自虐也真真切切伤害到了他，才发现 原来真的会有人 陪你受伤 替你挡伤 也不曾抛开你。所有的诅咒顷刻消散
除了无语以外，无话可说，什么垃圾电影，21世纪了
我能理解女主，但是我无法理解男主…他不是在爱女主，他是在感化女主。
这可能是我看过最深情，且专一的男主了，中间有好多次忍不住吐槽女主很作，但随着剧情的发展，又觉得女主的经历让人唏嘘。惊叹于男主坚定的信仰，好像只有被坚定的选择才有可能获得救赎，或许颜值也占据一部分原因叭。很吃主角的颜。
7.6 “不放音乐，世界末日还不足以让人觉得恐怖吗？”是的，没有bgm的新闻不是好新闻，美国就娱乐至死吧。网飞你把这个系列拍到世界末日吧，我会一直追下去。我要看看电影里的白人还能有多蠢，我怀疑这是一个大阴毛（手动狗头）
整部电影为了宣扬宗教而不惜放弃了剧情的逻辑和人设的合理性，看的时候影院里的其他美国人在看到女主自己一次一次跑回去的时候都笑了。
为啥男主就一眼万年了，无论怎样都能原谅女主？女主放荡自由不羁挣扎，她对自我救赎的关键一步竟然是“信上帝”，好吧
玛丽苏到极致了，男主这优秀爱情品质也只有在那个时代背景下才可能发生吧！
或傻得可爱，或蠢得可恶，戏谑中反讽，回顾并诘问。
Paul，又是装假汤老湿的一天，要啥没啥。
2021年学到了啥，就是人们没从2020年学到任何东西
如果说去年的版本还有点新鲜感的话，今年这个就真的是纯无聊了
以为拯救女孩的是男人，原来是上帝……可怜的姑娘，命运悲惨，最终能获得幸福，还是蛮感人的。
真的女主那无语程度我差点看不下去。但男主这什么圣人爱情我实在感动了。
“…这年头只要看一部影视能吃的东西就少一种。我看过《渔业阴谋》后，就吃不下金枪鱼了。然后我看了《我的章鱼老师》，现在吃不下老师了。每部纪录片都意味着 你能吃的东西少了一种。我根本不会冒险去看《鱿鱼游戏》，因为我超爱吃鱿鱼。”
前两天看了类似的平凡岁月的魅力，同样的上帝的指引，类似的关系，那一部哭的稀里哗啦，这一部演员可能太年轻了，感觉硬凑的……
我连《2020去死》还丢在硬盘里没来得及看呢，2021又该去死了。
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