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.
對underdog實打實地“動心忍性希，增益其所不能”勵志故事，永遠熱淚盈眶，也許是主人公本人擔綱製作，人性細膩刻畫入木三分，戀人和賽場的張力，探尋旅程上，各自的動搖和懷疑，主的指引，最後破繭成蝶——人生如旅，並非一項任務，誠實勇敢地，愛你所愛，行你所行，無問西東。
适合用来消遣的下午茶甜点，就是那种有时候需要看一下的小片。男女主演都很喜欢！！两人挺搭的其实。不过故事就真俗套啦。他们俩要是最后不在一起我是真的会伤心哈哈哈。可能我还是那么幼稚和保守吧！
孙锡久太🉑️了。全钟瑞太🉑️了。
就是很轻松的谈天说地 女主的金句确实写得很可以
故事很简单！演员也很好！很励志！💪值得看姐妹们冲！
虽然电影略显俗套，认真看了居然没被调戏到，但是全钟瑞小姐姐在这里的戏路又拓宽了，继续期待下一部！
果然两个同时古灵精怪个性过强的人凑在一起会毫无火花 / 竟然是喜欢赵寅成那个导演拍的，选角想必是有很多女文青私心了！
3.5 我可以跟着你吗🥹 （“我想你”的韩语好好听 好喜欢 pukuxiposo
全钟瑞总给人一种“疯女人”的感觉，气质很独特！结尾俗套了。
一晚上连看了国王瑞查德和美国草根，抛开价值观和国别，共同的价值观应该得到提倡
剧情虎头蛇尾，没有给两位实力演员什么发挥的余地，但还是颜值满满配一脸，为了CP多给一星！
孙锡久好性感，全钟瑞也好性感，这两个人可以只做爱不谈爱吗。
最普通的恋爱➕我的P.S搭档 不过二者结合起来玩的没有那么强烈，也算叫好卖座的都市成人爱情喜剧，确实蛮自然的
Sonsukku was really cuuuute
还行，有些趣味点，角色设计比较有趣，但是整体情节惊喜不多。比较有意思的地方是，男女主角都长得完全不像可以演爱情喜剧的样子，但是还挺来电。
男主身上有一种蜜汁魅力。剧情很俗套，我和我炮友的故事
我看到了橘子精的butt！！！！啊啊啊啊！！
在电影院看的。想过一种有性无爱的生活，结果，还是落入了俗套。
朴佑利开专栏能火起来还不是因为用了咸子英敞开心扉对他说的真心话和金句？所以男作家写得好不能真的反映自己的真实水平，而是盗窃别人的精神财富啊。除开这点，咸子英这个女人是真的有魅力啊。金钟瑞讲话的发音好好听，怎么形容呢？像猫？
适合用来消遣的下午茶甜点，就是那种有时候需要看一下的小片。男女主演都很喜欢！！两人挺搭的其实。不过故事就真俗套啦。他们俩要是最后不在一起我是真的会伤心哈哈哈。可能我还是那么幼稚和保守吧！
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