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.
"Don't be afraid to be you"
是温馨美好的爱情剧，为了反转而反转，只能说剧情老套，女主演技一般，男主还是去说脱口秀吧。
跟着 Youtube 的 reaction 视频看完了。
这搭配挺有意思 Nina一直很美 男主就看他脱口秀了 演的也不错
哈哈 我喜欢这样的好莱坞政治正确。亚洲男终于配了白女。这样的圣诞爱情喜剧谁不爱看！网飞第一也不是白拿的。居然还有一个月就又圣诞了啊！
15分鐘後，凸- -凸。滿屏尷尬滴看完了。
不得不说这真的是部无比烂俗的烂片，开篇就知道结局，只希望结局他们两个不要接吻，可惜事与愿违。剧情也十分不理解，为什么是女主站出来解释一切，明明被骗的是她，完事男主居然逃跑，真是无语。好久没有下载电影静下心来看，我的女神 全程每一帧都无比漂亮， 还是那么完美。
貌似找到了我第二中意的圣诞电影！当然，《真爱至上》榜首位置依旧不能撼动，但这部真是意外之喜啊！好喜欢这个结尾！jimmy yang的演技真细致！Elena老了但依旧美丽～
三星半，本来想打三星的，但是致敬真爱至上的桥段很感人，虽然不太能够合理化他们最终在一起的happy ending。为了Nina多加一星啦！
终于有一天jimmy欧阳也能演rom com男主角了
比较完整的故事，完美诠释了荷尔蒙上来就没逻辑什么事儿了。
可以理解好莱坞为亚裔做出的努力，但咱真的有必要在提起北京前男友后接一句怹房事棒棒么？
虽然他们两个在一起没啥化学反应，但整体温馨就好。
3.5，格式工整又用心，小细节设计和配乐都挺喜欢。特好奇Jimmy OY那段攀岩是替身还是自己登上去的，估计以后段子里会讲。Yippee-ki-yay mother fucker！
Asian male lead who’s not hot is just what we need
nina确实老了，但年轻的时候好美啊！！！！
哈哈，就知道会被批判乳滑，用JIMMY来做男主，必然的结果
社交网络时代的“大鼻子情圣”和“假结婚”，一边是热爱户外的混血帅哥，一边是聊天契合手工制作蜡烛的宅男，女主妮娜即将被踢爆时的一仆二主喜剧感还蛮有趣的，更好玩的是对It’s Cold outside的consent 改编和最后性转版Love Actually 纸板表白桥段（配乐好听
我对这种修罗场恋爱真的没有任何兴趣，尤其是在平安夜观看，很多情节是需要跳过才能避免尴尬共感地步。
我圣诞节会看这个电影！最近几部亚裔为主角的爱情电影真不错
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