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.
好俗套好狗血的剧情…都2023年了，居然好莱坞还在拍这种电影？
被JLo美到了！电影后半截yanchh 里面的扮相好美艳好女王，虽然角色并不是女王型，但不妨碍我脑补。然后影片提到的三段婚姻就是在影射JLo她自己吧，还有开场婚礼drama也是在不就是在说自己跟Ben的婚礼在几小时前取消的事情吗？
哎哎这种棒棒糖电影还要求什么呢？Nick抱走
剧情啥的真不忍说了，但是Jlo这状态，太好了！加一星～
无脑甜剧好爽，JLo好美啊🤤我想魂穿男二，兄弟之前和夏奇拉拍MV合作又和JLo一起拍戏好羡慕啊
不要太苛刻，虽然情节是完全没有任何新意但至少歌好听 梦很美。
看演唱会一定要买前排，不然连被点名的机会都没有。
我觉得最离谱的情节是，Alexandra Shipp演Owen Wilson的前妻，后者的岁数得是前者的三倍大吧
就是喜欢这种甜甜的戏， 还有女主保养的真好
不是，虽然吐槽直人写同性恋套套路，但是异性恋的爱情故事也不是圣诞电影里那样呀。甭管你同性异性恋回家过年都给我老老实实的合家欢，谁也别嫌弃谁。
看演唱会一定要买前排，不然连被点名的机会都没有。
没有预想中那么差，不带期待值去看反而还觉得挺有意思，虽然剧情确实没什么新意…
两星半，通篇是洛佩兹个人YY，欧文威尔逊加半颗星
PPS：詹妮佛·洛佩兹太女神了，谁看谁知道，也就只有她可以hold住影片里那些绚丽的战服。欧文·威尔森我嫉妒你T-T
男主帶好友回家過聖誕，本來打算假裝是脫單對象，可是因媽媽找來了約會對象而告吹。豈知好朋友不只是朋友的表象，早已被全家人看了出來，全家人拼命要把男主跟好友湊成一對，只有媽媽要男主跟別的男人在一起。與此同時，男主跟約會對象又是喝聖誕調酒，又是滑雪親親，還來電到考慮搬回家住！好友原本聽了也給予祝福，然而聖誕節越來越近，怎麼可以只顧著約會呢？自然是待在家裡，讓家人製造跟好友相處的機會啦！兩人因工作意外之故，拍起了性感模特照，性感耶！怎麼可能沒感覺？！不過拍完後，約會對象邀約，好友也有事。眼看兩人要散會，全家人趕緊一邊破壞約會、一邊逼好友正視己心且採取行動！全家人助攻啊！後來連約會對象都推一把了！男主只好從了！弄假成真不好嗎？連片尾曲歌手都脫單了啊！麻煩把約會對象Luke Macfarlan讓給我吧！
所以说 男女主的爱情跨越了生死咯？
我不要看Wilson的肉体，我要看马鹿马的😓
编剧水平连小学生都赶不上，让我哭也好让我笑也好，别让我像个木头一样面无表情看完整场。
年纪大了 其实偶尔看下剧情俗爆的电影也挺羡慕的
JLo在这里很美。这年代还能看到chick flick我很珍惜。
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