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.
里面的梗我实在是太爱了，特别是懒妮那一part差点站起来跟着手舞足蹈
我不带头看得很快乐啊 但是为什么所有圣诞电影都在New Hampshire？
天啊….整个故事概括： 在大城市打拼的男主角和室友是如何一步步被原生家庭道德绑架最后和全家认可的对象交往并从大城市离职返回家乡小城…
这就是那种，你花时间看觉得浪费时间，但是如果在聚会上放，就觉得也还行的假日合家欢电影
颜不错┐(´-｀)┌
不正式现实太残酷，所以才需要这样欢快放松的电影嘛！！！
好久没看到这种“睡一觉醒来也没感觉错过啥剧情”的电影了
看到Michael Urie就看了这剧 但剧情真的cheesy到死 为什么不是和james在一起 非要搞这种好朋友变情人的老套剧情 烦死
男·同志的圣诞电影 整个家庭对gay的理解和支持 营造的温馨感满满的 一直在一起生活的gay 也会有相处久了才发现最适合的人就在身边的感觉
属于圣诞的欢乐。只是Luke完全成了工具人。
#三星半 虽然全程都是笑着看完的欢乐，但看完还是不免感到剧情的套路与单薄，相比于去年圣诞速配的过分饱满，这部很明显是在将古早的剧情走向延续，相爱却没有说出口，却在与另一个他的相处中意识到彼此的真心，并最终圆满结局，不得不说主角家人们硬凑一对的做法还是挺生硬也挺不好的，但本着过节不给自己添堵的心态嘛，就稍微降低预期说，“Enjoy the festival~”
大可不必用一部这么闷的电影来讲这么俗的故事。
就当个乐子，挺喜庆的。
so cliche. 看了10分钟才发现是个gay love movie , 有趣 （歪头
看完了对生活充满期待
一部Happy ending的电影!太喜欢里面的氛围了!家人朋友,家人的开明与爱 ，朋友的支持与鼓励，安排的对象也衷心祝福与助力，没有复杂的剧情，简简单单的一部圣诞节喜剧片，后悔没有早些看，还有感触最大的就是nick一直的陪伴，9年，从知心好友到爱人，现在的爱情很脆弱，这部电影做到了，世界上需要更多这样的男人！
过节就得看点cliche happy endings
凯茜·纳基麦是不是修女也疯狂那位姐姐！！！！！！！！！！！还有破产姐妹的索菲~！！本来想打发时间的，结果看到这么多熟悉的面孔，好开心啊
平安夜当然是窝在家里看圣诞节电影了，对于一开场就猜到结局的电影，还是得为Peter男友们的颜值一人一颗星
因为没看完所以不评价，不在节日气氛里看还是有点太热闹太黏糊了，以及男性浓度太高——关注LGBT人群请多出百合片！
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