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.
好喜欢啊。“我喜欢的小说家说过一句话：想谈情说爱的人没办法写小说。”“那我让你写小说吧。”
论电影本身只是及格之作，但两位演员太加分了。有一些不错的台词，但整体很套路，导演也一般。孙锡久应该会更红吧。
挺搞笑的，以为故事结束了，没想到结尾还有这么一大段，一镜到底的杀手团和山下智久可太行了
我笑吐了哈哈哈哈哈哈哈哈哈哈哈哈哈嚯哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈嚯哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈
日常水平的爆米花🍿，常规套路反差喜剧，越往后越狗血，甚至是蠢…后面打斗安排太不走心了，哄小孩呢
这是一定是温哥华来的小子，而且在香港呆过很长一段时间～
我真的get到了伍迪哈里森的帅和可爱——其实这个角色的建立还算成功 冰冷的湖和被熊吃掉的亲人表明他是瞬间失去了世界上的温暖 电梯里对泰迪说的“不要再这样接触我”表示他从没让人接近过他内心 直到安妮和他跳舞让他把手放在自己腰上他才意识到或许自己其实是个很温暖的人 想想他明尼苏达的事 他本质真的不坏——这样看来 这个故事能让多伦多和泰迪在一起完成任务也变得没那么牵强。凯文哈特太呱噪了全程都在说话 那个迈阿密的男子很帅但是最矫情是他 如果他手法爽快一点都能把两男主杀三遍了 剧情算不上惊喜 谁是葛林这一段和最后的7分钟长镜头大战超级精彩 我想就算是网飞被大家骂惨了它的选片还是很深得我心！想起泰迪说“你不觉得很讽刺吗让我一个黑人偷警车？”哈哈哈
因为孙锡久看的 挺好 很都市 就挺生活的
[20220627 下载]太好笑了（可能有夸张成分），好久没看这么弱智轻松的喜剧了，标准没头脑+不高兴
三星半。娛樂性充足，兩位主角亦有火花。敗筆是沒有拍成R級，令全片有綁手綁腳的觀感。
還是有些笑點的，Kevin Hart演殺手誤傷人質瘋狂嘔吐哈哈哈。
不温不火，浪费我的期待！杰森郭说得对：R级可能更美妙！
看着新奇，实则老套。优点大概是没拍很长，刚好符合信息量，也没有很拖沓。“误会”实在是看得太多了，除了“误会”还有别的能推进感情的元件吗？
结尾好暖，当孙锡久说出“我能跟着你吗”，谁又能拒绝呢？男女主养眼，剧情也没有明显让人翻白眼，杀时间还是很下饭的。
标准的双男主动作喜剧，一个啥也不是，一个冷酷无情，最后俩人互相成长，欢喜大结局
经典的白脸黑脸搞笑动作片，好久没有看过自然流畅有笑点的动作喜剧了。
不用脑子 轻松一笑
论电影本身只是及格之作，但两位演员太加分了。有一些不错的台词，但整体很套路，导演也一般。孙锡久应该会更红吧。
不过一些动作和喜剧桥段倒还蛮欢乐的，适合周末打发时间。
凯文哈特这种类型的片子都成流水线了吧，一个套路一个模板
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