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.

 1 ) 《盲目的丈夫们你》：施特罗海姆电影译制系列第一部

埃里克·冯·施特罗海姆（1885.9.22-1957.5.12）是默片时代最伟大的电影导演、演员之一，他也常被认为是最早的电影作者之一。虽然他的导演生涯只有十年，但他全程指导的几部代表作品都是不可多得的经典之作。他原本应该和阿贝尔·冈斯、大卫·格里菲斯等默片时代的巨匠齐名，但世人如今大多只记得他改编自弗兰克·诺里斯《麦克提格》后被制片厂剪得支离破碎 (时长仅为初版五分之一)的《贪婪》，而他在其他作品中所展现的导演才能则往往被忽视。

施特罗海姆深受自然主义文学的影像，他常说狄更斯、左拉和莫泊桑是自己的老师。在他的影片多采用高光度的采光去表现优美的自然风景，他对场面调度和剪辑有着完美主义的精准要求，对演员的表演和情感流露都有些极为细腻的刻画。

1914年施特罗海姆进入好莱坞，前后受到大卫·格里菲斯、约翰·艾默生的影响，因美国参与到一战后好莱坞反德情绪日益加重，而仅能作为特型演员出现，1918年因在《The Heart of Humanity》中成功地塑造了残暴的德国军官而成为电影明星，他自认为继承了格里菲斯的导演技巧，也想要对影片进行全面掌控，随后向环球公司不断推销自己的剧本，并由本人指导，在多番纠缠之后，开启了导演生涯；后因对细节的完美追求导致时常超出预算以及工人权益等方面的原因和制片厂矛盾不断，导致他多次在拍摄期间被解除导演职务，最终也失去了指导影片的机会，被迫以纯演员的身份维持生计，而他在与让·雷诺阿和比利·怀尔德分别合作的《大幻影》和《日落大道》中也留下了名垂影史的表演。《日落大道》中更是提到施特罗海姆所饰演的马克斯·范·梅耶林曾是与大卫·格里菲斯、塞西尔·B·戴米尔齐名的默片导演，这自然也有戏里戏外的投射。

乔治·萨杜尔在《世界电影史》曾写道，"施特罗海姆的命运是有象征意义的，说明好莱坞开始破坏和抹 杀艺术家的个性和人格。雷内·克莱尔认为：从施特罗海姆在摄制《女王凯莱》一片中间被欧文·萨尔堡赶出制片厂那天起，就意味着一个新的时代开始，好莱坞真正建立起来了。"

【影片简介】 《盲目的丈夫们》(Blind Husbands) 和1922年的《情场现形记》(Foolish Wives) 是姊妹篇，前者旨在批 判丈夫冷落妻子，后者是批 判女性盲目从表象去看待男性，两部作品都有着劝 戒和警 示作用，片中的反派也是施特罗海姆亲自出演，他始终对于扮演贵族出身的军 官形象有着偏执的喜好 (最初来到美国时也如此伪饰自己的出身)，在他之后的几部作品中也延续了这个形象。本片讲述罗伯特·阿姆斯特朗医生和妻子玛格丽特到阿尔卑斯山脉附近的科尔蒂纳村庄度假，医生因职业原因和登山爱好多次冷落玛格丽特，这让一个轻浮而纨绔的冯·施托伊本中尉（施特罗海姆饰演）可乘之机...

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