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.
我就是来看孙锡久肉的 之前看melo的时候就独喜欢两导演这条线 这男的性张力也太…🥺另外看了花絮他好可爱哦 果然infp 哈哈哈哈哈哈哈
去见朋友也不一定能说出实话呢。这缘分啊，只要时机一到，就会相遇。
不过都市爱情剧情给出了 现实恋爱的观感
打橄榄球，那是我唯一擅长的事。。。
单说剧情的话，太幼稚单调，没起伏波澜，一眼看到结局。
是我喜欢的那种浪漫轻喜剧，虽然俗套，但轻松。让我想起《我的PS搭档》。19禁的台词元素也用得比较恰当，展现了30代男女的真实困境，不想恋爱，但想被爱。全钟瑞演欲求不满的女性居然意外的古灵精怪，孙锡久也有一种性冷淡的奇怪魅力，两人的搭配既违和又融洽，怪有意思的。
c9这个小眼镜造型也太可爱了😭😭😭😭
我真的很想给一星，完全没有新意的老套路、浪费了演员的演技。话说韩影现在都是丑男当道吗？男主丑的目不忍睹，女主声音难听的不可理喻…两颗星真的很大方了
好喜欢金钟瑞的演戏方式。燃烧的时候就感觉真的洒脱又自然，在这种偏小妞电影里也是很吊打，台词表达的特别舒服，不然很容易变成说教。奔着具先生的气质来的，但真的有点被女主压风头了。
孙锡久真的很难不让人着迷。和全钟瑞化学反应也很不错。
失之简单化，不过有些描写很到位，特别是宿醉后的懊悔，心有戚戚然。
草根理智的主题虽然很普通，但作为传记电影算的上好片。
很多人都成不了励志故事的主角……
前半段无节操台词也太好笑了 然后就日渐变甜……最后只能感叹 只有使用dating app的幸运儿的故事才能被拍成电影啊 故事很老套 但姐姐太美了
男女主化学反应很好，应该说是演技好，但是结尾部分有点草率。
tacky但真的是我的神仙男女主！两位头顶泡沫的镜头可爱死了><
并不想谈恋爱，但是想做爱。不恋爱必然孤独，但恋爱太麻烦了，搞不清楚，搞不清楚。别伪装坚强了，其实都他妈寂寞得要死。终究没有忍住，说出了那句……我爱你。比起恋爱，暧昧才是更有趣的。主角也当看看，临时演员也当当，配角也当看看，这样活一生才是真的有意思。该相遇的缘分，终究会相遇。那不恋爱，相爱如何。专属于我俩的，特别的罗曼史。
前面太灵了！全钟瑞出现的第一下就很不一般，好喜欢，孙锡久也好可爱
又一部先性后爱的电影，这两位演员都太有魅力了，这门亲事我同意了！
不知道为啥就是喜欢喜欢 这两个人简直性张力max 想看他俩多演点19🈲️
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