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.
1很庆幸中国低年龄段动画片还有有童心而不是没脑子的人在做，然而很遗憾他们只是在吃老本，不对，这种程度算啃老本了。。（开场和结局太没诚意了。。。）2另外结尾时候童年动画主题曲的三番轰炸让我想到，今天的小朋友真可怜，原有动画ip巅峰不在，今天的权又握在一群憨批手里（）然而对比下当时的我们何其幸福！
OMG子 开始给了三颗星 忽然觉得对其他我给三分的电影很不公平 还是两颗星吧
中规中矩，除了最后一大堆人在排队数数有新意，其他没什么亮点
挺好的动画片，你们何必以成年人的视角来打低分呢？
这部特辑及格了，天哪，我甚至愿意为了13Y把分给到70/100。终于不再是queer baiting而是queer了，我等这一天等了好久啊啊！！所以没有心的13什么时候能有心。心疼Yaz。
经典的戴立克。中规中矩的剧情吧。突破“它预判你的预判”。
一般吧 比起13季又无聊了起来……亚兹突然表白什么鬼
图图的家，街景，超市画面精致了好多多了很多细节
前半部分水平在线，真切地投入情绪想到自己的娃，后半部分老人环节有点儿过了，霸王龙的主题曲出现遍数太多，也有点尬。
带小朋友来看，太糊弄了，给人家孩子看睡着了……唯一有记忆点的就是那首歌吧：霸王龙，霸王龙，最厉害的霸王龙，嗷嗷嗷……圈钱电影，吃相难看。
不如第一部好看，前段内容大多都是TV剧里面的剧情，不过是重画了的。
孩子现在变乖了也不模仿奥特曼了，天天在家里搞恶作剧，被我一顿毒打，还告诉我这都是动画片里学的
陪她看。好多情节是小时候看过的，但在影院看的很开心，好多小朋友，结束她和我都好可爱地打开听歌识曲准备把《霸王龙》加入歌单。
张小丽的配音没有以前好了，也有好几个部分完全是照搬以前的剧集。
诈骗诈骗诈骗！！！全是动漫的内容直接搬回来了！😓
好家伙，有薛定谔的猫背书，小成本电影也可以拍得这么魔幻，不可否认恐怖，紧张气氛已经拉满，尤其在5.1影院环境服用，非常过瘾，最后还扯到犹太神话，看完之后对数数都有恐惧感了LOL
嗷嗷 咚咚咚
适合幼儿看的电影。图图生长的环境父亲角色严重缺失，图图妈千辛万苦让图图洗澡的时候，图图他爸终于舍得看几眼这场闹剧了，唯一和图图的互动就是图图的想象里爸爸带他玩，图图爸参与了找丢失图图的行动，图图爸对图图解释惊喜是什么。图图妈教育儿子就是靠惩罚和恐惧。比较好的地方是对恶作剧的诠释，不仅要让自己高兴也要让别人高兴，和我一起看电影的人趁机教育了自己的侄子。
前半部分都是以前的动画剧情，后面立意升华为关爱孤寡老人。只能说这一部的目标受众真的是儿童吧？
9.24港汇sfc点映 各位主创还有牛犇爷爷也来了
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