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.
对标去年的最幸福的季节，圣诞就需要这种工业糖度的小基（姬）电影！没头没脑可可爱爱，虽然旁人一把自乱撮合有点自以为是，连带久违的luke也成了可怜的炮灰，但这种土土的都市童话还是需要！
就非得和黑人谈恋爱是吧？？luke帅成那样不配拥有姓名？？太扯了
还行吧，圣诞背景的男同爱情电影。还挺甜，就很热闹
It's so tacky, but Christmas supposed to be tacky, isn't
把同性cp换成异性cp组合 就是最常见最老掉牙的剧情
属于圣诞的欢乐。只是Luke完全成了工具人。
2021了怎么这么白的剧本还有人投 好敢啊
Quite cute 😂 無聊看到就點開看了。梗和橋段都很cliche，但這就是聖誕電影啊，就是RomCom tropes大合集，情緒過山車起起伏伏最後闔家團圓暖暖過冬真愛永遠不分開。啊，聖誕真的是最美好的。（btw有評論覺得奇怪為什麼可以做室友六年也沒發生什麼，其實電影裡都交代了不是嗎，Nick是在暗戀，男主之前有想法也一直有好感，但之前兩人都分分合合各有男友，最重要的是男主不願意ruin the friendship，在一起有可能會分開，為了能永遠有你在我的生命裡寧願做一輩子好朋友，說實話好懂，嗚）
虽然但是，米帅看了可能都想问编剧Luke是哪里不好了，非要男主跑回去选一个可能撞号的室友，想不通啊喂！
太假了，一个1一个0怎么能从小会做那么久的好基友，不相信，很少评论呸
离谱的剧情 看到男主家人不断给男主洗脑他应该和室友在一起我就已经弃了 这啥呀这是 集体PUA吗
我不懂评论区对同志商业片有什么误解，我想如果还在读高中的我看了这部电影应该会对后来的我产生很多正确的引导
喜欢它只因为终于有gay的圣诞电影了，就像所有异性恋电影为了应景节假日一样，俗套的情节，没有惊喜的剧情，但我还是看着好幸福哦，多希望有一天现实生活中就像Peter的家庭一样，家里所有人都帮忙撮合家里的gay relative，太美好了！
非常难看，完全冲着Luke的脸坚持下来的！
james真的好帅给个两星半 虽然剧情好刻意走剧情 但是james真的好帅 peter也好甜 他们拍照那里特别可 每个人拍照片怎么都那么会啊 让我满脑子都是 他们牙都好白哈哈哈
好姐妹最后在一起！！整屋子基佬看炸了！！！！
好俗爛的劇情但是好可愛好溫暖喔 ʕ •ᴥ•ʔ
美剧美影里小镇青年若在大城市里受挫了，最后选择的结果总是回到故乡，和家人团聚。和国产剧非常相反。
我真的没有看到一丁点chemistry，感觉就是一对好朋友被家人gaslight到互相示爱的故事
队友钢铁直，排斥同性，我都不敢让他看到片中kiss的场面。其实手机直出的雪地特写还是很养眼，很温馨的（真的不是单反？）反正我能接受，真爱没有性别，挺真爱！
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