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.
外甥女执意让舅舅和他多年好友在一起的状态，像极了我磕cp时坚信我的cp必须在一起他们必须是真爱的样子。不过他俩真不合适呢，彼得有点不会胖的那么夸张的asa既视感，尼克的扮演者有点面包机的低配感，俩人站在一起我就一个感觉，这俩人得有一个为爱做1啊！妈妈其实眼光真不错呢，明明她看的健身教练詹姆斯真不错呢，都怪编剧只爱吃朋友变恋人的戏码，人健身教练那演员多好看啊，一看就是难得一见的温柔1呢，我好恨啊！原来美蒂逢年过节，也会被家人追问是否单身，好可怕啊，这个世界就这么容不下成年还单身的人吗？！想起国内有男性出柜后，被家里人介绍男对象呢！孤独终老又怎么了，况且人男主还会养花养草，那花花草草，我们唐僧都说了，不能伤害，也都是生命呢！
看了感觉很勉强，剧情逻辑一般，不知想表达什么呢。
虽然网飞浪费的不是我的钱 但还是有点点痛心
popcorn movie 甜喜剧还是不错的
黑人男友像是亨利和卢卡斯莫拉的结合体lol
第一次看gay看得挺开心，我也想要一个兔子任务。
无语啦！怎么会有这么无聊的电影。。明明看完预告好期待的题材。。尼克你该啊！这么闷活该追不到哇！
剧情基本就是随时能猜到下一步的片子，不差但是也没啥亮点。实在要说亮点的话，就是Jennifer Coolidge吧，仿佛在看破产姐妹，哈哈哈。
Oh lord. This is too SICK! 8年集美突变CP?!Really!? 故事根基整个就大失真！哪怕两人只是面基了8次还没发生点什么，那他们接下来八辈子都不可能发生什么！更何况他们还同居了8年，堪称孪生姐妹的关系了！编剧到底多twisted才把他们写成couple? 圣诞电影搞这么惊悚是要吓谁？感觉这是部打着LGBTQ的旗号反同的电影，让TXL圣诞强烈不适。
太口水电影了，起码的感动观众都做不到，唯一亮点苏菲都没那么招人喜欢…
圣诞催婚季，姐妹变恋人，一部俗套的圣诞爆米花电影，没怎么感觉到chemistry。
又到圣诞季～卷完其他国家种族之后，又卷到LGBTQ了～总体还是家庭团聚+好友变情侣那套～不太喜欢男主家人操纵感情的桥段，但还是好喜欢圣诞气氛啊～男主妈妈一开始介绍给健身教练时说男主是水瓶座，可是水瓶座把情人和朋友分很开的呢～
老套温馨的小品电影。在进入疫情的第三年，喝着酒看一部这样的浪漫电影，大概能开心好几天
刚看完《蓝宇》就看这个
“Cute but not very realistic”, said by both of us
圣诞必备合家欢系列，同性装上异性恋的套路 直接被我基友吐槽到爆，但里面的男人都太可了！非常下饭！
糟心的日子里需要更多这样的电影&剧集 (Luke call me
对话很有趣
就……大家套男女关系到gay身上还要套多久……我看不懂了nick 就是很棒啊
人设和故事那么浪漫的James&Peter be，突然和jm搞上，not convincing
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