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 ) 《盲目的丈夫們你》：施特羅海姆電影譯制系列第一部

埃里克·馮·施特羅海姆（1885.9.22-1957.5.12）是默片時代最偉大的電影導(dǎo)演、演員之一，他也常被認(rèn)為是最早的電影作者之一。雖然他的導(dǎo)演生涯只有十年，但他全程指導(dǎo)的幾部代表作品都是不可多得的經(jīng)典之作。他原本應(yīng)該和阿貝爾·岡斯、大衛(wèi)·格里菲斯等默片時代的巨匠齊名，但世人如今大多只記得他改編自弗蘭克·諾里斯《麥克提格》后被制片廠剪得支離破碎 (時長僅為初版五分之一)的《貪婪》，而他在其他作品中所展現(xiàn)的導(dǎo)演才能則往往被忽視。

施特羅海姆深受自然主義文學(xué)的影像，他常說狄更斯、左拉和莫泊桑是自己的老師。在他的影片多采用高光度的采光去表現(xiàn)優(yōu)美的自然風(fēng)景，他對場面調(diào)度和剪輯有著完美主義的精準(zhǔn)要求，對演員的表演和情感流露都有些極為細(xì)膩的刻畫。

1914年施特羅海姆進(jìn)入好萊塢，前后受到大衛(wèi)·格里菲斯、約翰·艾默生的影響，因美國參與到一戰(zhàn)后好萊塢反德情緒日益加重，而僅能作為特型演員出現(xiàn)，1918年因在《The Heart of Humanity》中成功地塑造了殘暴的德國軍官而成為電影明星，他自認(rèn)為繼承了格里菲斯的導(dǎo)演技巧，也想要對影片進(jìn)行全面掌控，隨后向環(huán)球公司不斷推銷自己的劇本，并由本人指導(dǎo)，在多番糾纏之后，開啟了導(dǎo)演生涯；后因?qū)?xì)節(jié)的完美追求導(dǎo)致時常超出預(yù)算以及工人權(quán)益等方面的原因和制片廠矛盾不斷，導(dǎo)致他多次在拍攝期間被解除導(dǎo)演職務(wù)，最終也失去了指導(dǎo)影片的機會，被迫以純演員的身份維持生計，而他在與讓·雷諾阿和比利·懷爾德分別合作的《大幻影》和《日落大道》中也留下了名垂影史的表演?！度章浯蟮馈分懈翘岬绞┨亓_海姆所飾演的馬克斯·范·梅耶林曾是與大衛(wèi)·格里菲斯、塞西爾·B·戴米爾齊名的默片導(dǎo)演，這自然也有戲里戲外的投射。

喬治·薩杜爾在《世界電影史》曾寫道，"施特羅海姆的命運是有象征意義的，說明好萊塢開始破壞和抹 殺藝術(shù)家的個性和人格。雷內(nèi)·克萊爾認(rèn)為：從施特羅海姆在攝制《女王凱萊》一片中間被歐文·薩爾堡趕出制片廠那天起，就意味著一個新的時代開始，好萊塢真正建立起來了。"

【影片簡介】 《盲目的丈夫們》(Blind Husbands) 和1922年的《情場現(xiàn)形記》(Foolish Wives) 是姊妹篇，前者旨在批 判丈夫冷落妻子，后者是批 判女性盲目從表象去看待男性，兩部作品都有著勸 戒和警 示作用，片中的反派也是施特羅海姆親自出演，他始終對于扮演貴族出身的軍 官形象有著偏執(zhí)的喜好 (最初來到美國時也如此偽飾自己的出身)，在他之后的幾部作品中也延續(xù)了這個形象。本片講述羅伯特·阿姆斯特朗醫(yī)生和妻子瑪格麗特到阿爾卑斯山脈附近的科爾蒂納村莊度假，醫(yī)生因職業(yè)原因和登山愛好多次冷落瑪格麗特，這讓一個輕浮而紈绔的馮·施托伊本中尉（施特羅海姆飾演）可乘之機...

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