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.
7分。喜欢这种小品文的感觉，后面就有点烂尾了
剧本给的都啥玩意儿……全姐一冷脸就特怕她忽然邪魅然后嗖地抄家伙……整个走向就很奇怪。
甜蜜的告白，浪漫的接吻，即使没有这些，即便我们分手，也希望是一个不那么糟糕的故事。
奇奇怪怪可可爱爱
马马虎虎 比起隔壁大小威的故事略流水了一点
这分数也太低了吧，起码有7啊！两个主演都很甜，演技过关，这不已经吊打一大堆国产爱情电影了吗？？？
看了觉得很暖的一部电影呢，虽然结局有点俗，但是过年看看挺不错的
近期唯一能看完的韩影，迷人的不是剧情，是孙锡久和全钟瑞
55555555什么时候再来一部melo体质嘛(⑉꒦ິ^꒦ິ⑉)
男人是，女人是被爱着爱着就爱了。
女导演作品，给予女性主领“sex-partner”的动机。片中最好看了部分是第一次决定出手见面的尴尬戏，东亚性压抑语境下，真是莫名充满一种尴尬的喜剧感，跟欧美那种还不太一样，就那块笑得挺开心。其次，这片子商业元素里，原声音乐好少啊，都市氛围感没撑起来。
演员挺好，题材也有点意思，拍得头重脚轻。前面几次见面对话还有点火花，结尾太水了。
约炮APP软广没错了哈哈哈 나도 손석구 복근에 한 번 누워보고 싶다ㅎㅎ
一个下半身决定爱情的俗套故事！但谁不是土狗呢！
美国梦从来都不只是一个梦，是一个个真实的故事。
3.5。来看全钟瑞，轻松的性喜剧。交友APP广告、播客与专栏作者。
非常俗套的一个故事。但有几场戏写得很好：第一次开房；女同事伤心事来找男主
张丽薇真的太高大了，像个温柔的大狗狗（这种又正直又专一又温柔的大帅哥现实中真的存在吗）。整个故事套路差不多但是演员们的演技都很过关，完成度很高，中间有些桥段还是很感人的，很喜欢结尾对真实中他们大儿子的关注，让这个故事更有温度
“杂志短篇情感小说影视化”，有趣也有些动人。
很都市，向往的职业，有趣的相遇方式。女主像只灵动的小猫，气质太出众了
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