盲目?😷#.的丈夫们

Two😐] d#-i,🙃)😁ff/🤐🙃er😘🙂😷🤐ences bet😴🤫w😴😋*een 🤑🤕 thi🤕🤕😷s A😴\😴ustr.🤤😬🤮ian versi*on and the gen😌🤮😔eral?🤐😇😒ly available🤪😴😴 Amer😄;😏)ican ver)😁😐😁(sion ar😊]😇😬e🤩[ .^ 🤭i😬🙂😒mmed😔=🤔😄iat😘ely 😌@obvious t🤐😑hey differ :😏b😚$#oth in their_😍😌🤢 🤗length 😌 and 🤔🤥😏😁in the language of t😆🤑:h !e intert🤮😛🙃😛itl🤪+😄e 🤣 s. The Am`🤔🤣erican ve🤤🤑rsio😀%n 😏-is only 1,883 metres long - 😃_🤣😴a[? t 18 😪`🤪frames per second a d😀iffer🤣😌ence of so😛[me 7 😐😋😙😐minu😀😬🤑+tes to the Aus🤒(trian versio 🤑#n with 2,045 metre🙃😉😬😷😌s. W😄😃🙃hereas😄 we o😊😗rigin🥰(a!😉😒😶🤑lly presumed😒 only a negligible difference, 🤗[+resulti )ng from the v🙃]]?arying :🙂😉😏le🤕ngth o🤩.f the😆🤢🤒 inter🤐🤐ti😁+😚tle😗s, 😛🤨a direc🤪t c😶😒omparison ha]😗😚s ne+😆]😂😅verthele$!😊😀ss sh,😴🤫own😊 that t;🤢🤭he 🤐]% Austria🥰🤐]😃?n🙂🤕😷#🤒 ve🤑,\?rsion differs`😊 f😝/🙂ro🤔🤨m th]e America😂😛🤣n v@;🤢,ersio😆😜😆🤒n 😊
both in t😍😴he mon🤣!tage😀😶 an😑😚🤮d in th😇`e 😶🤣dur@:ation o😐f individua=😑😅l scenes. Yet how c🤥/🤩oul😂😄;d it happen 😒🤪that the la😗ter 🤩 🤫😛🙂regi🤪🙃onal distri😷😃bution of a canon🤫!ical US silent fi+lm wa🙃:😌s long🤒😋🤥er than th:😇😏😍e $original versi🤪🤭 😋on　　#🥰The prevalent American
🙄🤕version😒 of Blind Husbands does 🤤🤔😀🙄not @ correspo=
nd to the ve🤭 *\😜rsion sh🤨!ow🤕-n 🤪😄🤐:at the premi😑]😌`ere of=/@ 1919😇*. 🤭😴This little^
-known fact was already published b😒y Ri😴🤭c?😒hard Kosza😘@rs🤕 =ki in 1983]🤔*😴. The /😗$😶😋film wa`s 😋re-released 😇🤨🤥by Universal Pict🥰😘🤢🤩ures in 1924, in a version th+[at] was/_ 1,365😃🙃🤨 😁)?😄feet😜😃 (416 metre🤕🤣😀😑]s)😷
😗 shorter. At 18😴😃🤢 f$$🤩rames p?😙er seco$🤣nd🤮😜, this amou😏😀nts to %😁😬a time di😉🤫fference o🤨.f😉😍 20 minutes! Ti;🙃 tles ] 😜😒we😋re(😃*😋 alt😪🤗ered, s=😉😃 🤭nippets of actio!n removed😶😁 a😷nd 🤪,😀at least🤢 one m😚😙🙃!a😗😑jor sc\😝ene ta-🤕;ken😍🤥 out ent)irely, where von ;😋😪.Steu%
]ben and M😙😋:argaret visit a smal😜*😅l 😂.local cha🥰🤣pel. (= 🤩`Koszarski!!😛)　　From the present stat😅😗e o_😏f🤑# 😪🤗😌😐🥰r😚esea🤨`.rch🤐 we ca#🤩n 😛😄assume that all the known.😚😪 😐🤐American co😒😔pies of th🙃😑e film der🤑[iv😬🤕e fro😅😍🤥m this shor🤔😗😒😙ten😍$e/d r😗🤕!😬e-relea^😏s🤪(e v😪🤢🤫=ersion, a
 copy of wh😅😋 ich Un] ]iversal🤣😏 do!\😌😷.nate😇🤐/d to th@e Muse😘um o😒🤫f Modern Art i^😉$n 19`😄*,🤗4:$1.🤣😗🤩 Accordin😬😊🤥g to Koszarski th]😪^e[[😒 or 😪😁😉iginal🤨😴😉. n;😙-egative of the f🤨`ilm )😚😆🤗😶was d😷estro😜🙂yed 🤨🤑😇😉some😐😘time between 1956 and 1 96🤫😷😆1 and has _😐=th(🤩^erefore been ?😙irret 😐riev 😷a🤑🤩😃😑😷bly lost🤣🤒. T😬😘🤥🤗his i😏-nformat😝*ion casts an 😌😍inter🤥esting 😊🤐🤤li🤤\😘gh😅`;t😶😚 on the Austri😔@😉an version🤕%😷,%😌`= w#@🤤😶🤨hich can be😷😑 dated to the period =between😇+ the sum🤪!mer of 1921 and😏😪 😍😉?the win🤣ter😗;_ o]f😷 19😷😔22.]🤨😑 Furthermo😙re,🤔🤕😊🙄 t 😅😀he c😗🙂opy is 😙😘🤫😔so😔me * 200 metres lo?😏😷,nger than the US ver:sion of [🤭😪😅1924. 🙂🥰;If one follows `😷%🤐the detail😇s given$😛# by Ri\*😋😑chard Koszarski
🥰🤔?😝and 😀$Arthur Lenn😗ig😷, this mea😆😔ns th🤐]😇🙃at, as f+ ar 😌@a?🤐s bo😔😛\th its date and _😒it🤮$s leng??🤪th😬😀😌 are😛🙄\😐😑 conc😍/😍erned, 😪😚the Aus[,trian#🤔[ v😍%ersi-😗on lies al(%mo st ex🤢🤤;🤑ac😀tly in th_😂e [!middle betw%😌😉een 😘🤑the (lost) 😌:😍version %😂shown a😂🤭t the pre🙄miere)🤭😌 and the 🤐.re-rel🤒🤨😄e@ased on(🤑.😜😐e.😴😗A large par@^😘t of th)🤫🙃e😑😐 a😒😆dditional length of the film can be trace%d t😀😂o cuts t😷%😝hat we😍🙄re made t😁=o th😂🤤e*- 1924 version in alm😜🤗ost 😛;🤥😋😔eve😁😄/🥰ry shot.😒😌🤪😏 K @😬=`osz🤪arsk🤪i descr🥰🤮😏ibes how the begi n
]ning 😚😊😜🤨 and the end of s🤩🤩.🤕cenes /-🤒were tr:😏:#🤭im🤐🤥med, in o😘)$rder (😆@_t😌o spee*🤮😍d up😂 the film.😅🤨🤪 H\😔🤕owever, more exciting wa😛 😇😍s th+🤕🤮e 😄🤣😉😁disc =😋o😆ver🤢,🤥y that 😐🤣the A(#ustrian version contains]😐 shots😍😪😷 😄 that\! are missing i n the😜-😔 American one - s;😅hotscounte🤫😶🤕r😷😜/🤥s😍h😚\^😘ots, intertitles - 😃😐a[😏nd furt🙂😚🤗😃hermore$  sho ^:🤒ws differences in its mon😄😑😘😚tage (i😍😌.e🤑]-😊. t🙄he placing of the in?,😄🤔🤥d
🤫ividual shots within a s🤣]equen(😀ce)🤪 . All!🙂🤭 this i🤮🙄ndica,😏t^😅es 🤒🤔+t🤥😒 🤔@h🤫😗😅at Die🙃🙄/$ Rache de😂😒r Be😌rg)e c🤗🙂onst^😌🥰😑😗itu🤗🤣tes🤮 t🤣.😔🤥🙂he old😷%😅😝est and most completely p;,🤔😔@reserved m? ate😃😁`rial o😪f the film.