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.
作为一部喜剧片还是可以啦，当然我只认为它是喜剧片，看见男主我就会发大水惹，火舌招惹，我鼠了，想舔
一个多月前看的 记不太清了 印象中就还行吧
浅野一二○的原作已足够优秀，却还是惊讶于上田笃司对于这种「残酷青春物语」的把握度与完成度。《うみべの女の子》的核心在于通过探讨青春期的不伦恋与性冲动来描述成长的迷茫与叛逆的青葱岁月，起初一直担心青木柚那张与年龄高度不符的脸（长得太小太嫩）是否在把握角色内心层面时会有高度的违和感，观影下来感觉是我多虑了。石川瑠华倒是很符合我在内心对于小梅角色的形象预设，但怎奈演技还是有待磨炼与提升。电影的画面感很强，色调也是青春片惯用的阴冷色系，剪辑配乐与整体完成度都相对不错的作品，喜欢原作的可以看看，不会太失望。
哈哈哈哈哈哈哈就是个可可爱爱的傻乎乎动画片
本来跟孩子看的，结果跟老公看的很开心，可爱
除了塞入的网络语有些违和，总的来说片子还是颇有惊喜的，节奏非常紧凑，内容有创意，动物们的造型好萌，小朋友们看得很开心
小孩子看看挺好的，这个应该是国外团队做的吧，有些笑点还是挺有创意的。那个刀插进身体中间是笑到我了
败笔在跨物种的爱情线和那个杂交蛋…
科普有些地方硬了点。不过既然做科普，为什么渡渡鸟要搞错成多多鸟呢？编剧既用功了又没用到位。
有赠票，因为没有鲁西西合适的场次，带小外甥去看的，所以不得不看了这一部没有评分的电影。竟然意外还不错！有头有尾有伏笔，还有很多中国人才懂的梗，老少皆宜！
好可爱的甜甜圈 🍩 反叛修狗也可爱 整个画风就是可可爱爱的！
太多网络用语 略显尴尬 一些历史细节其实能启发一些兴趣
造型毫无亮点。
看到还剩二十分钟去厕所了 也不知道算不算尿点...
太多网络用语 略显尴尬 一些历史细节其实能启发一些兴趣
简直就是小孩子的动画，穿越到中国是我没想到的，好有亲切感。
最后，反派是狗狗，很好，只有在中国，美国导演才有机会不用顾虑政治正确吧。狗也变成政治正确的一份子了，达尔文怎么也想不到的吧。
片名叫错位的青春，电影视听也错位。漫改电影不可避免的夸张化尴尬化在片子里毫无意外一一踩雷。表演的不成熟，剧作和视听的错位，一会黑化丧化，一会情欲化，一会甜美化，一会轻松化，风格反复横跳，看起来内容是塞得满满的，但连最基础的人物动机都没有捋明白。很理解新导演初执导的兴奋，但还是要懂得克制舍得割弃。
对男主这种颓废类型毫无抵抗力…结尾BGM很绝
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