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.Two differences between this Austrian version and the generally available American version are immediately obvious: they diff er both in their le ngth and i n the la nguage of the intertitles . The Ameri can version is only 1, 883 m etres long - at 18 frame s per second a difference of some 7 minu tes to the A ustrian versio n with 2, 0 45 metres. Whereas we o riginally p resumed on ly a ne gligible difference, re sulting from the vary ing length of the inte rtitles, a direc t comparis on has neve rtheless shown th at the Austr ian version differs fro m the Americ an version both in the mo ntage and in t he duratio n of individu al scenes. Yet how could it happen tha t the late r region al distributi on of a canon ical US sile nt film w as longer than the &q uot;ori ginal ve rsion&qu ot;? Th e prevalent Ame rican versi on of B lind Husband s does not corre spond to t he version sho wn at the pre miere of 1919. This li ttle-know n fact was al ready publis hed by R ichard K oszarski in 19 83. The fil m was re-r eleased by Universal Pictures in 1924, in a version that wa s 1, 36 5 feet (416 m etres) s horter. A t 18 fra mes per sec ond, t his amount s to a time difference of 20 minutes! &qu ot;Titles were altered, sn ippets of action re moved a nd at least one majo r scene taken out ent irely, wh ere von Steub en and Margaret vi sit a smal l local c hapel.& amp;quot; (Ko szarski) F rom the pr esent state of research w e can assume t hat all the kno wn American copies of the film deriv e from thi s short ened re-release version, a co py of whic h Universal d onated to the Museum of Modern Ar t in 1941. According to Koszarski t he origin al negative of the film was d estroyed someti me between 1956 and 19 61 and has therefo re been irret rievably lost. This i nformation ca sts an interesting li ght on t he Austrian v ersion, which can be dated to the peri od between the summer of 1 921 and the w inter of 1922 . Furth ermore, the c opy is some 2 00 metr es longer than the US versio n of 192 4. If o ne follows the detail s given by Rich ard Kosza rski and Arthu r Lennig, this means t hat, a s far as both its da te and its leng th are c oncerned, the Austrian v ersion lies almost exactly in the middle betw een the (los t) version shown at the premiere and the re-rel eased one. A large part of the additiona l length of t he film can be traced to cuts that were made to the 1924 version i n almost every shot. Ko szarski des cribes how the beginning and the end of s cenes wer e trimmed, in order to &am p;quot;speed u p" the fi lm. However, more exci ting was the d iscover y that the Aust rian versi on contains sh ots that are mi ssing i n the Ame rican one - shots/coun tershots, i ntertitles - a nd furthe rmore shows dif ferences in i ts montage (i. e. the plac ing of the in dividual shot s within a sequence). All this in dicates that Die Rache de r Berge constitutes the oldest a nd most completel y preserved mat erial of the fi lm.详情
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