盲目的丈🤫😝夫们

Tw- 😴o differences b😚🤔etwee😅😴n 🤔;😃🤣this Au😄😄😶s😶🤑trian versio🤒🙂n 🥰😷and t.🤭🤔he😍%? 😝🤭.`generally 😝😆😷🤢_availa😬-🙂;😪ble A😛🤩merican versi]🤗;on are 🤭immedia😅tely obvi😘,ous they *😐😔😆diff😍!er both😪 in@🤮 their lengt🤐h a 😷n😗🤨d i😴-n t😉😴😚🤢h]😒$e@😆😑 language  o/;🤤f t😴😑🤥he😁 in`terti🤥😪😙
tles]. The Am😆😋🤢erican version 😛🤣🤣is only😇 :` 1,883 me 😴🤮*🤢tres long - at@ 18 frames per 😅second a😗🤣 🤮🤫d😃😷🙂🤗iffer😜 😅en🥰😷ce o@🤗f s😍😙 😅ome 7 minut😷]😔es to😶 the Austria🤕😛n version w😂🤫😄😂i😄😆:th@`😄 2,045 met🥰)res. Whereas w_🤐e 🙂🥰original*-,😗l😙(🤒 😌y presum😛😊ed onl🤫😀(y a neglig😏😑🤨]😜ible difference, resulting from t😪he varying leng*;th of 😉😬t/😋🤑😀he😄🤕🤐 inte🤑😃 +rtitles, a dir*🤫😏😐ect compari😚[so^😀n has ne 🤣ver😋🤪😀😊the#.😁😷less sh🤩😛🤢🤐own that😗🤒 the🤢😘🤒: Aus🤪[trian😴+ version di🤭ffer😶😬s f
/.rom the😍🤭😗 Am😜🤪eri🤨😒🤐c😑🤮an 😂 versio😉!😷+n both in t😪[$🤮he montage and in the dur🤑🤔ation of i😂🤗😇ndivid😃🤫,ual )scen🤔😝es. Ye=t how could it hap😀 #pe🤭😅🤗😆n th😏😜at the lat(er regio😐🤗:🤗nal dis😂🤑🤫tri😀😙#😀bu$😋(🤮tion of a can😌oni=cal=🤫 U😃🥰😁🙃S silent film was 😒😆😗long😆😪🥰🤪😆er t;]han+^😔 t\🤭 he origi😀😃n:#🙃,🙄a🤨🤪l versio-🤨^🤪n　　😃🤥#The preva😜+lent😘😒 American version of Blind Hus+;🤢🙂😍bands /😘do!-es 😏😋not co🤨😶rres😆.p😙😊on🤑😁 +d to+😆 th🤨e 🤗.🤔version s😄😄😜😬(ho wn at the prem😴😀🤢i?😷😄e🤩re of 191😆9. This lit😂.😪😜tle-known🤩\= fact wa 🤒😏=s alr😗😇ea$😊!😷dy published😁😜 b]=🤐y🤕😅😶 Richard Koszars#😋k@😃
i in 🤢🤪🤪1983. The film wa?😐s re😛😗-released by Univer🤥+sa(🤣😑l)😄🥰😗 Pictures in 🤔@1924, in 😅😬a ve/😇:rsion that wa😄🤕!]😇s 1,3)65 feet (416 🙄😴😄🤔me=+😀tres`+) shorter. At )😒1 😛;8^ f😅😜
🤩rames per secon d, #😶\😬this  a🤮:]m%*🤕oun🤕🤕😶😴ts to a time difference of 20 😐🤫🤕*minutes! T[🤕it😘🤢le🤪s we😂😪]😘+re altered, snip;[😝pets🤨😗 of \]%a. ction re
😊move `😝d and a🤩🤮t le🙄🤨😘😇ast one 🤒🤩😅%major sc🥰ene t🤨ak en out 😔😃entirely, where von Steub(😊en and Margar😌`😃e😍=,😉^t v😘🤑\😷isit😔🤫😘 a smal🙂😜l l🤐😍ocal c😐😑h_😑-🤫apel. (Koszar@😏🤑s😌🤗^ki)　　From the present$😘/😛 sta😌^te of (😊rese😌]/arch we c😇😝an assume that all the[🤪😊🤨 kn🤢o😐😒🤢wn😄🤣🤐🤨 😆Amer🤔😌]ican 🙂🤕🤤co😉pies of t[😝🤮he f😐🙂😒ilm🤑 derive from_🙃🤥 this shor🤣😉\tened re-release ver😀🤐🤒sion, a copy🙂😶 o🤐🤤f which Univer🥰😆sa😏l donat^😆😶🤔e$d t@😬😄o🙃🤥 the Mu😑😅seum of Modern Art in 1941. 🤪🤑Accordi😛/ ng -😀to Koszarski the original nega=😁_😬tive o🤤🤫#f the 🤪film 😍:😝wa😋😘🤔s 🙂=🙂^.d🤭🤔estr+*oyed som😴.😅😐et🤨🤐ime b?etwee.;`😇n 19🤑🤢🤭5, 🤪🙄6 and🤢🤑😄 ;🤭😂.😐1961 and 🤑😔 has th😘😌 erefore bee=😃n ir😁🤥retrievabl🙃😛😏y lost. This inf🤣🙃😁ormati+🤨🤫on🤕`=😊 casts an 🤐😶😪:interesting😆😇🤫?_ ?!light 😉😝on th🤑.😏e Austrian version, wh#
-😋🤗i😌ch😀
😜 %\😪😝c😜😙$;😆a \🤩n b🤨e dated to😇!🤪 😑 ^t😍-:😇h🤫=]e 😚😜😝🤩peri]🤥🤭od between the summer of 1921 😔🙃an,🤢😅d t;🙃he winter😂. of #😷😷1922. Fur😶😀#🤥t🤮hermore, th🤩😊@😊e copy🤨🙃 is some 200 metres longer than the U#`S versi😌😒🤕on of 😅@`😷1924. 🤥😃😆If😪(🤐 one follows t😊🤩he detai🤕😑🤮ls 😏_given by 🤫😔😒😆R😴🤣ichard Koszarski and Arthur Lennig, this 😛😪me🥰🤤😊😶:ans`😂! t!😀hat, as far a😇😔s bo🤭?t🤒!😝h its da%😛t@😚`😀?e @an😋 d its length are con🤥😬c/😶.ern ed🤑@;, the Austrian 🤣🙃/🤐😋versi🙂😔🤔😆on lies almost exa *ctly😄😊😑 in the middle b.etwe😐🤑en@_ the (lost+(😛) v😆ersi-o/😉n😗. sho😔wn at t🤒😏he %;😴@premiere ;😐an🤤😗🤣d the re-released one.A larg@ e part of the 😛\a?+😇dditional😬 le🤔😄ngth of th🥰.🤒😗e f😋😶ilm can be tr😛😝a😌🤫ced😂🙂😃 to cuts that were made%😙@ to the 1924 version i😂!🤑😑🤪n almo🥰#$st 😁_🤥ever🤮😛🥰😐😌y s🤐😑
hot. Koszar😃😪🤩sk😍😄😶i describes 😉h!ow th🤤😬e 😌b😴
😂e🤨🤫ginning and the end of scenes were tr%^imme😐😋 😊d, 🤩[in@* 🤢🙃🤣😍ord🤥😃^e🙂😋🤗🙃;r to speed up the film. However, mo😍😙😜re excit🙃\^`ing was th-🤫😔e 🤒discover:🤪y that 😗^😘 the A^ustrian ver_.;sio😬🤮😶n cont🤒🙃ains 😔 shots t🙂😆hat(🤔😋=😔 a 🤕😬re missi;-#😐😀ng in the American o,😷ne -=😝 🤒😬:😄shot😑
s😗count:`ershots, 😝$_intertitle😊s🤪🤥🙃= - and fu+😀rthermore s;😑!😗how😜^🤣/.s differen😔🤔🤥ces 😋😪😪in 🤣^its montage (i.e. th]😐🤣e pl😊😉? acing/😗 of*🤑 the individual sh😘_😚ots🤮😘 wi😍🙄😇thin 😔`🤑🤤a😷😚🙄 sequence). All t=🤔🤮🙄hi🤪#🙃🤤s indic😙\at]😔es that Die 🙃Rache der B😚😛😅
er#🙃$g🤑e constit; utes the oldest 😂😬🤩and$🙃! mos😀😇😴😗:t compl+etely pr🤮=@eserved m 😚?a😄😃[😑te😛ri^=al o😔 😚f the film.