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.
20年前的年轻人自信活泼开放，现在沉默内卷疲于应试。
虽然史蒂夫青木出现那一秒我笑出驴叫，但不妨碍这是个悲伤的烂片，一直以为会稍微有些女孩梦三十的水平。
拉拉队的孩子们很可爱
把人摔成这样不用负法律责任也太离谱了吧，前面情节好无聊，后面还算有趣点
两星半，这么个优秀的能展开讲文化变革的设定居然就给拍成俗套的青春校园片了，太浪费了…但客串啊啊啊居然是Alicia Silverstone！！
剧情真的不行，三颗星全部是给歌舞成分的。让人非常怀念8、9年前的美式校园青春电影。
深深地被击中灵魂深处，我想，人生就是一直痛苦地坚持着活下去，去体会那点点绰绰的爱与美好。阿真，好好活下去，我们都好好活下去
意外的还不错 Ps.能不能找个人把我打晕20年阿 让我看看20年后这个狗疫情还在不在
把人摔成这样不用负法律责任也太离谱了吧，前面情节好无聊，后面还算有趣点
我为什么会点开看？？乱七八糟的但是又好像有点好看…小妞电影几十年如一日都是这种充满活力的样子，某种意义上挺好的
哦！对了，我从来没让客人空手而归过…
有十年前看high school musical那味儿了
还以为是电视剧……头一次看不下去………………
不管别人怎么说，就冲着千禧年美式校园喜剧和懒妮的情怀也给五星
千禧年的流行音乐回忆，完美致敬 Britney！
以前看美式校园电影满是青春正当下的热血，现在满是爷青回
一部挺适合30➕的人看的青春片。17岁的时候，谁不想popular 呢，但是37岁以后其实也还是曾经的那个少女，只不过更想做自己了，有没有popular 其实不重要了，活的舒服更重要。35岁的我，无比认同。
《独领风骚》的女主客串前prom queen真的好合适 哈哈 合格的爆米花片 穿插各种小讽刺
我好喜欢啦啦操 我好喜欢少女 我好喜欢青春的味道。we are just we
剧情很简单，但是还是挺有意思的，看片尾花絮的时候好开心，喜欢扑面而来的青春感！有时候也想昏迷个二十年在继续读书看看那时候的生活是什么样子的🧐
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