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.
虽然看过漫画，但还是被惊艳了一下。演出上几乎挑不出毛病，寥寥几笔，就勾勒出一个充满魅力的四人组（还有夏油），相比之下本篇的三人组都要黯然失色。片尾有彩蛋，大概是说纯爱战神回归主线？
原作普通的読み切り改电影也是很勉强很普通…制作像是Mappa交的及格分作业，有几个不够好的好镜头剩下的都是应付。听了配音才发觉乙骨是jjxx从真嗣画出来的。夏五高中回忆唤起了漫画怀玉篇的感触，还是好喜欢漫画夏油呀
乙骨忧太最终身份是之前看漫画没注意到的，还挺惊喜，也很忧伤——天赋还是靠遗传啊。
纯爱战神就是yyds呀！
真的是纯爱……不过里香也太惨了，被撞死了还要被诅咒成咒灵，六年没个自由
以及Mappa竟然这么多华人的吗，好像头一次在演员表里看到这么多华人名字。
怪我听不懂日语吧
教祖杰耍游云真的帅，my one and only还是好好磕😇😭
所以悟和杰，里香和乙骨最后说了啥
乙骨的纯爱线友情线还行，但也就是个有始有终的程度。师生线，老师的友情，和最后大战…… ？……可能英文字幕也有影响吧😅
就是纯把漫画影视化，本来还希望可以多一些细节和原创内容的，不过还算精良，相比乙骨的纯爱，悟和夏油的羁绊则更能触动我，真希真的太帅啦，可惜漫画后期毁容了，希望介见不要让她下线呀！
剧情节奏都非常干净利落，毫不拖拉，希望能再出这样的剧场版，值得一看。
纯爱赢了。
怪我听不懂日语吧
俗 堪称AU的EVAＸHP 但我至少知道纯爱战神是啥意思了
剧情是又尬又蠢，设定上更是各种抄袭，给1星纯粹是为了看mappa画的打斗场面
垃圾枪版…操！！！什么时候能很自然的接受世界的信息，能没拘束接受外界信息。哎。难受……多好的片子
PS：真希A爆了！七海好帅！瓦落瓦落一气呵成！感觉剧场版五条悟丑了，一年大家能变化这么大的吗⊙_⊙
“你还一直信任着我么”，“我唯一的朋友”
马趴爸爸对夏油的恶意真的溢出来了哈哈哈 rika咒灵形态都莫名觉得萌可能是香菜的特有魅力
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