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剧情简介

Tw@o` di%])ffe_re/]\nces between this Austria^)!n v`*ersi$.on an
@
d the generally available American ver ! $sion are,:@) immediately obvious t,
hey diffe!]r b^oth in their len.,%gth and:?`@
in the languag)[e of-
 the
/,*int!ert?
itles. The ,American versio@n is only _1,883 metres long [*)- at 18 frames per:[ second:[? a diffe_^rence of some 7 m:(inu
,!tes to; +\ ^`=the  Aust@%/rian ver]sion with 2,045 metre=#\s. Whereas we or
/+,igi$,:*/nall --[:y presumed only a +-n;\egligi_#\ble d@ifference$, resulting]` from the va.r(/;yi(ng length of the inter*( [titles, a direct com\ pari:son ha)s neverth@]*eles^?/s sh`,own th) at th*-e [Aus;trian=%( v;_[ersio+:n
dif[fers fro+m the American version b`:oth _ in the m#ontag*;e and in the duratio/%n ;]?of i!.ndividual/ s/`#=cenes=%. Yet( h[ow could i ?t+\ happ!*en that.? the later region .al dis!\tributi?on of a canonic$[al US si(le-* n/.@t film ?was longer than the original version　　The p=^revalent- American .,versi;on of Blind Husbands doe)/s-^) no/;t c%/o:^rrespond t%o
th,,e ve?,.rsion $\`:shown at the premiere of 1919. `*[Thi\.@s little-known\
/ fac%t \`was?%\ already
 publ;^ish`@ed by Richard Kos@#];za[*
rski.@( in )?-198 _;3. The f ]ilm w[$-a s re-released by Universa]l Pict+u^res;\ in; 1924, in a vers,)/ion*. that wa%)s \1,365 fee \$t (416* metre_s) s) [hort.?er. At; 18 frames-,  p+
%`er?$ [,.second, this a[%?mo?unts* t:o a  time difference ?of [*2/[0 m inutes! $#Tit*@l[;[?es were alter_.ed, snipp_]/_et(@#s of ac^`tion* removed /and at =,# leas?[t ^one \ major scene t#+!aken ._
out entirely, where von  Steuben and Margaret visit a small local chap[el. (Koszarski)　　From t-\;=he present state _of research we ^@ can assume t/^hat ] all the known A/*%?m^+e@!rican copies of #,?.the fil])!m d,%erive from this shortened re-releas\+;e version, ,=a?* copy .,of which [%Univ 
_ersal ]=d)[=o)na,)t
ed to the Museum!,) of Modern Ar! ]t / in 1941. Acc.#ording_/ to Koszar[:`*ski the o rigina)@(l . n,:egative of #`the f,+ilm was ` %/ destroyed so=]?metime between 1956 and 196*?1 and has ther`\ef_ore b`[^e]en^ =irr@@et@=rievab/_/ly lost*,. This i^#nfo+/
=rma+%(tio.+$n c@ \asts an `/./interesting light o:](n the_ Aust+%\ria/n) ve,)rsion, ;+which can be d
@!ated t
o the period b%?e$tween the su;mmer of 1921 and the w,#(inter of@_ 192(2. F,(urthermore, the copy is some 200^[ me#t_ res lo-^nger t_han the US v+,,e_rsio #;=n: o@f 192*4. If one follow)s th#,e de;tails g ^;iven b*?=y Ri^chard;\ Koszar. ski and @%?Arthur Lennig, this means that, as far as both ;its d 
ate an\ d its le.:n-gth are concerned,\@ ,the %Aus:
trian version li$[es +almost *exactly* in th_(
e middl/_e between t-@he (lost) ve+$,rsion shown at the premiere and the=]!/ re-rel eased one.A? l-a_rge  part of the additional lengt,h _of the f_ilm can be@= traced ^to  cuts@(. tha*`t were made to the 192!=4 versio$@_*n in
 `a/
lmost\ every s?] hot._: Ko:s
za!-rski @describes how the be[g$-inning and the: end;: of scenes were trimmed^@, in _ord\*(er !to s@peed up? the. film?.\ H#o(wever, more !exciting w++as -%the discov%ery that the! Austrian version c#.^on[?tains s#hot?-s @`,that are missing in#! the Amer ican __o!@n
,% e $]-[ %shot:`scountershots%\^,[ intertitles - and furthermore shows diffe  r`ences=! i+[?/n its monta/\ge ((#;(i.e. the placing of the ]%indi+ vidual shots within a/ )sequ=e(* nce). All  t_==his )_ind% ]icates# tha)t `Die Rac \)he der Ber
[ge cons%tit(,utes th@*e oldest and most comple:\tely preserved@ mater?=ia+.l of the film.