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.
交友需谨慎啊。
2.说警察杀人在海边，又开车送人，这时间咋想的？
治愈与被治愈吧。反正爬山这个事儿还是免了吧！
整体完成度不错。除了故事设定之外其他没啥看的了。
既然不是警察杀了你朋友，监控是怎么回事，监控出现了，后面再来反转，就很假了吧。结尾居然是女主干掉前夫，潇洒地走出家门？
没想到能降智到这种程度，集合了所有狗血元素，但我看得津津有味。以及，烂到疯癫，疯癫到我以为女主在做梦或者有心理疾病啥的，我幻想着会有一个跟致命ID似的结局，可惜了，并没有，就是普通的烂。
整体完成度不错。除了故事设定之外其他没啥看的了。
剧本真糙，讲故事也没重点，不是所有带反转的都是好电影。司机存在的意义是啥？
一杯白开水，5分钟就可以喝完了，真不用一个半小时。
有一场追逐戏让我觉得克罗地亚好美！最后半小时反转又反转 不过这种也是有点套路化
Queen B 的电影真的是没有一部好看的😅
整体平庸，无功无过，真实故事以及女主+1星。
一颗星给救人与自救的大主旋律，两颗星给无限旖旎的山谷风光。冰风暴刮得清醒 生疼 沧桑，女主在这种环境下毫发未损，还依靠主角光环将一个废男拖下山，厉害。雪景比人更耀眼，可以截屏好～多张桌面。
展示了富二代可恨和可爱的双面性，还是挺有意思的。
纯当风景片观赏了（白山国家森林公园），电影要这么拍其实挺无聊的
无聊消遣……不过做爸爸也太难了……女主五星……
“即便是身处暴风雨，即便是承受痛苦，顶着寒风，依然有太多的美好。宇宙，就是一场美好的无限风暴！”这就是一部救人与被救的故事，两个心灵同样深受创伤的人，被困的人和去援救的人就这样相逢在暴风雪肆虐的山上，在险情丛生的山野，援救者给予受困者太多太多的鼓励与鞭策，自己也在这次救援中得到心灵的救赎。所以多做好事总没有错的。
看到是《放牛班的春天》的男主，我甩手就是四颗星，其他的都不管了，哈哈哈
你想看的它都有系列，两个陪酒郎也太没有职业道德了
跟远山恋人差不多，这种雪山救援题材真的很难拍精彩，最后拉回来一点
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