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.
女王演这种沙雕喜剧真的是得心应手，虽然总得来说没有解决什么问题，但一如既往的日系风格看完心里暖暖的。
三星半，剧情稍微弱了一点点，但其实挺治愈的，我也想要那种大房子………呜呜
画风真不错 但是剧情太平了（如果这种儿童文学作品能改编成动画的话 安房的几部长篇是不是也能改编呢😢
前面的节奏有些慢导致后面的剧情赶了…但是整体完成度挺好~看着让人特别舒服…CV选的高分~画面和分镜也很好~很治愈~
如果是日常番就好了 但是后面扯的一大堆有点乱
但是后面感觉有点莫名其妙 跟前半部分不怎么衔接得起来 结束得也很匆忙 感觉虎头蛇尾
用一种喜剧化的 温情的手法讲了一个很残酷的事实 很可爱很鸡血 仅此而已
感觉侧重选错了，我觉得故事侧重围绕灾后重建的一些人性光辉比现在这个神话故事好很多。
蛮好看的，中产阶级的奔溃。呼吁大家不要在葬礼婚礼等等不必要的地方花钱太多，普通生活就好。
好像公租房的广告啊，尤其是最后烤肉的画面，像海天酱油投资的公租房广告。
最喜欢婆婆过来一起住，两人拥有共同秘密与生前葬礼的两段。
本来天海就不显老，现场灯光一打，有时候觉得她才30+，这电影跟她的年龄一样充满虚幻感……
直接表现震灾之后的状况和幸存下来的人们的集体创伤在动画少见，全东北地区甚至全国都来支援灾区也是很有感染力的主题，克制（白描）的演出在前半段很有代入感但后半就十分都合，当然从脚本开始就没有扣题发挥导致的剧情割裂也是重要原因
作画很精良，但是剧情子供向，节奏把控也不太好。
完全不觉得评分里说得结尾太突兀迅猛，我反倒觉得正好。想看高燃去看热血片啊。治愈番该做得都做到了。“吞噬心中的悲鸣”从今往后没有任何可以再伤害到你
就，大结局很突然，胜利的很离谱……另外剧情有点牵强吧
印象深刻的一步日式喜剧，似乎之前没看过日本喜剧电影
可以理解为是一个风景片。前后风格不一前面是暖心的救助，后面突然变成妖怪篇。
喜欢画风，剧情有点说不通但无所谓，只有女性的大房子大庭院大花墙很让人向往
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