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.
两个人一起有滋有味地看完了，笑点有，泪点也有，音乐元素流畅融入，不能说多完美，但是也可说不尬不突兀，度过愉悦的一下午。
一开始我觉得自己猜对了7788，后面没想到全员坏人哈哈，这样的剧本还说得过去
剧情吧几乎是没什么剧情，但能开心一乐，也是蛮不错的
梦工厂至少是质量的保证 Sam Rockwell 太出彩
Wolf本狼和Sam本人一样迷人！！真的非常欢乐的一部片子，影厅里时不时爆发出此起彼伏的笑声，小鱼鱼实在太萌啦，奥卡菲娜声线太有辨识度了，最爱他们一起戴上墨镜随着音乐摇摆飙车的戏，如果不是最后的豚鼠可爱波实在冲击力太大造成了密集恐惧我可能就给五星了！！
Well…… 我最大的感受是：没有尝试过的事情和没有体会过的感受 不要轻易说不
开开心心的爆米花电影，差点被廉价海报骗了，其实挺值得来看。好莱坞动画一直在技术上总想求新求变，拿技术奖，但是这个片子就不凑那个热闹，但确实也是十多年前的美术水平（也没特别差，就是不细不精美），能感觉到的预算有限。养猫一族快去看，有惊喜
可爱还是可爱的，故事是真的套路，上来就搞低俗小说，后边给我看这个实在受不了，毕竟引进buff……大尾巴狼都开始摇尾巴卖萌了，实在黑不起来
这电影是甄子丹拍来给自己过瘾的，但是除了谢霆锋以外所有人都不太聪明的样子
剧情虽然是常见的坏蛋洗白套路，但场景设计及美术风格大赞。
教科书般的警匪片：剧情节奏快，矛盾冲突鲜明，追车枪战肉搏场面一样不少，而且角色表演到位，简直是标杆。大屏幕上好久不见谢霆锋，演悍匪简手到擒来。
毫无疑问，今天三部连看最好的一部。但是依旧无法逃过只敢隔靴搔痒无法深入病灶的悲哀和遗憾。小谢很好。
-那邦主你呢？
这个世界不是非黑即白，还有很多灰色区域
动作戏略夸张了，尤其是跳车救小孩那一幕，谢霆锋这么多年了，尤其在一个僵脸的衬托下。
@太阳宫，给大人看的动画，坏蛋还是好人，不能光看外表。
1）典型美国合家欢动画；2）哈哈哈哈哈哈的看完了，没啥感想。
文戏果然有bug。。。
邦遇见了难得糊涂的骆 所以不守程序也暂时无事 敖遇见了非黑即白的邦 于是因为听信上级鬼话一无所有 没有谁对谁错 他们都做了当时无愧于心的选择 却被命运推向了两个极端 不知道很多年后 已经分不清黑白的邦是否还会记得那个戴着框架眼镜笑容腼腆的男孩 他曾经光芒万丈 直到被人燃烧成灰烬
没想到自己还是个老文青。
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