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Tw🤪😍🤪o differences between t😪#*his Austri_🙃😙an🤢 😛🙂🤩ver😔😏😔🤪s😋:ion and the gene😷,ra🥰🤤@😴ll🤐😗y ava🤑🤑i😆 `:lable A😌=😪merican ver 🤤😗😁-sion a ;(🙄re immedi🤩`; ately obv😄😏😂io^😀😀us they di🤮_;ffe= ^?r b😛😍😊oth in their%🤪🤥 length and in th🤕]?😙e language of the inte😉😆rti*;😒tle@s. T😂😀he Am🤭[@eric@[😆]an version is on$=🤨ly ](1,8%%,😚8😋3 metres😃 long - 😛$at 18 😘😂frames🤨[😷 per second 🤢;a diff😬🤒 erence of some😁;😌? 7 :😛🤕minutes🙄-: to 😌/😊the🤗 , Aus😴😁trian ve😶😗🤩rs🤒`ion w/#🤢i😔 th 2,045 metres. Whereas 😗😝😛w🤫🙃😂🙃😇e 😑😶origi😶?n 😋/al😚.ly😙 ; presumed onl😜y a negligible dif😪🙄fe😴-😛ren😘ce, resu😊lt🥰i😛😏ng from ^🙄😬the varying ]😁😏🤨-length o😜😚f t😔🤔😇😚)he i?😴#ntertitles, a direc🤮🤢😀😜t comparison😄😉🤑 has never_😌🙂the😪less sh😴;%o🙂\wn😘🤕🤨 t🤥ha?🤗😷+t the A ]u:😗strian version di]/😒ffers😃😗😋 😚 fro🥰m\🙂😙 the 😆🤨🤥🤔A😙^,-merica+n v😘🤐!ers😷ion bo(🤫🤒-th 😏🤗🤔😉in 😙😙🤔the montage and: ` in the dur😬 ati`😷on o_🤢🙃@f 😉🤐🤗😪i, 😊
+ndividual sce,😍nes.^ Yet🤤 how coul🤥🙄*d it ha🤮😗ppen that th😌🤮😃😚e later r!🤕egional dis`😴🙃😏trib😐😙utio🤫😝:😒n of a canoni#🤨cal US ^silent 🤫🤑film was lon.^😂😷ger than th😔😷^🤤e or🙄😃iginal v🤤😇er🤑sion　　Th🤮e prev😷alent American🤕`🤒😆 version o@f B_=🤐lind 😏)`.Husba^(nds does :not correspond to /the ve🤨😝#rsi😙🥰on shown at 🤕🤨😪😴t😏`😙😶he pre😗🤗🤕miere 😄.🙄of 191😄😆9. This little-k😂😄😜nown-😷\,🤩 fact was .🙃=
😇alread=$🙂y 🤤-pu😏😔[🤮bl🤪😂🤥😚is😬😃h)😒🤕ed by🤢? Richard Koszarsk 🤫😬i in 1983./😌🙃😉 The film was🤩?😉 re-released 🙂🤗🙃b😇y Universa😄🤤+🤢l;😍_ Pictures./?😑. in 1😷92🤕😐4, 😉in🤕
😷😙 a v😝😊ers😄🤑io[n that was 1,36 🤔5 feet😛🤒 (41 ^6 metres) sho🤗😉rter. At 😋@😏1🤤😇8😊😁🤫😂 f😇!🤒rame😊s per se🙄😛🤔😔🤕cond😁😗], this amount🥰🤩😁s to a time di😅😌fference of 20 minutes! Title%s=;🤮 were a @?l😇😴/tered, sn😆%😚.ippets o😊😑f action remov🤗🤨^😅ed a🤗\😍)nd#] at lea😪😔st one major scene taken out enti🤢😚`😁rel😘 y, wh🤐ere🙂😌/ von Steuben and Marga🙃🤗re🤒$🤣t vi😒😝sit a small local chapel. (Ko😋🤮=🤫szarski)　　F😇,🤫🙄#ro🤪m😛😷🤕^ the present *😊#🤨state o🤢^🤢f r😋😪
esearch 😉we 🤮];🤐can assume ;🥰that all the known Ameri:.`can , copie;😍s o😇/🤑f@🤔 the f(:@😝ilm 😜😝der😗]/iv!,e😍=[) f ro!🤑
😁^m th🙃./😊`is ;😔shor😶\🤩te@,ned😐 re-release ver🤐/sio😄😀n, a co🤗😋py of whic🤥😘🤗 h Unive😑🥰rs%😜[😊al 🤨😴😊😂donate!.@d+$ to😴😊?🤫😂 t
😗🤤he😋=😊😐😔 Museum o.😊f Modern Art in 🙃😙🤐,1941.%😉😪 Accordin 🙂😏^g to Kos🤣zarski@ 🤢 the origin\@🤢 al negative of😗😬 the film😚😉 was🤔,😊 🤤destro😚?😛🤔ye🤔 😁d sometime betwe🙂😍en 1956 and 19😙🤑😛😊61 and has t😂🤑;herefore be😶😴$ en irret😂@riev^😜ably
😗🥰lost. This in😬*format
ion c^asts an interest🤢,🤤 ing🙄 light*😗😊 on the Au-🤗🤩strian vers😀😆😂ion, w😔🤮hich c🤨🤑😜🤒a=😌😃n😗😊🤢 be😉/ dat 😅😆ed (🙃t_o the period b😁etween the summe[[r of 19😛`2 🤕1😁:.+ a😘nd the wint😬 er of 1922. Further?😛\mor😋😛e, the cop\😙 😝y. i😉.😜*]s 🙂,some 😆😶2🤪😀00 met]🤤🤨😷re )!😘s😃🤗 long:
er tha😗n the US ve😆🤪😆🤫 rs🙂?🤤ion 😚🤪🥰[of 1924. 🙃, If
😘 one f😪ollows!🤮] th😝_😐😐e d🤮🤑🤣😃e ,t_+ails given by R😘🤔ichard Kos-🤑🙂zarski and A😔🤩😷rthur!]😷/ Lennig, this means that, as far a🤩🤔😬s both🤕🤩_🤨 its da🤩🤨te and i🤒ts le:n?\g🤐🤭t*h a😅re concerne😋🤤🤑d, %🤥the $😑Austrian 😉 version 🤮;🤫li🤤🤒😑es almost%: e:x 🤮 actl😔🤒::😏y in*#😙 th 🤒^e m😜🤕😉iddle🤥: between the 🙄,- (los😏#t) ver🤐😶😪😋sion shown 🤕😃😬😑#at the premiere and the re-)released o^😬+ne.A large pa.😐 rt 🥰/of the addi#(🤒tio\😷nal lengt)_😊h of the
🤣 film can be t*😬😉😶raced 😗🤕🤣to cuts that🤗😔😶 were mad😆😙🤩😁:e 😃😉to the 1🤣😃924 ve🤤😜rs🤢😀i😌?🥰😷on i🤪🤢n 😬_😙😌almost every 🤢🤪😘sh😴😛😑o*🤢=t. Kosza🤗🤫🙃@🤒rsk🤫🤤🥰-i describ^es h😁/🤐ow t\🤐😉`h😆?e b🤑!🤮eginning a😷*😴nd the😌🤣 e:😃nd of😔😂 scenes😅/ were trimmed, i😚🤔n 😙order to s^😷😪😀peed up th🤒e😛😛 :^fi🤭+😚😜lm.
🤮😝🤪: However, more excit,🙂ing wa😆🤣🙃😛s the d iscov🤢ery tha%t🤨😛🤤😌 🤒 the Austrian v🙄[ersion🤤🤥 cont@ 🤪😊\ain%_😆🤩s s:😝h#=😷😏🙃ots t🙃/😴 h😪😜%_at are miss😶)😍ing 😷in the Americ=🤩an^@) one😪😷🤑 - 🤣] sh🤩😉ots- countersh🤢ots, i+ntertitles - and furthermore shows differences in its mo.*n).tage (i.e. the😚😴 placing of 😶😶the😘😬 🤥😬😜-in😑🙂😒dividua;🤑😴l !🤤.shot😂🤪s🤐😆🤢 
😅within a sequen!🤪c😪?)😛e). All this🤤 i🤪😌ndicates that .😂*🤣😪Die Rache d😁😪🤪er Berge con=😋st😏+itute🤐😆s the oldest 😪and m😂😝🤪ost complet🤤ely preser😆😒ved ma😜😜ter%/🤪😌ial of th😒😄e fi+😆🤑lm.