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.
242分钟导演剪辑版，一场属于粉丝的伟大胜利，不完美，但诚意满盈，注定名留影史。莫名其妙而来的泄露版，华纳到底是有多害怕扎导版获得成功？幕后比幕前精彩，持续4年的曲折上映史，各方势力的角力，即便在登陆HBO MAX前夜，仍旧在谱写传奇。回到电影本身，主线变化不大，但终于还来DC浓郁的黑暗风，逻辑自洽。在有限的素材下，更丰富的细节、更压抑的氛围、更顺畅的叙事、更舒适的节奏、更合理的逻辑、更血腥的镜头、更爆炸的动作戏，令人不禁咆哮：这才是真正的正义联盟。PS：终章整节彩蛋，留下正义联盟2各种线索。超人强大至极，乃至1V5，是为黑化后压倒性的力量做铺垫。粉丝们，再次起义吧！
TV版6-10集。boss无惨现身，简单介绍了其势力组成，主角进一步修炼。标准展开，标准的分数。
时隔多年看柯南，尽管不是新兰党，尽管是90分钟的弱推理，可还是有情怀加成打四星。
工藤新一药效快到的时候好像发情的omega
竟发现我和zh是对家，不过我确实不该在这部舞柯哀
等了很久，新一和小兰终于在一起了，很喜欢名侦探柯南
新兰就是最nb的！！！！！！！！！！！（破音）
咬上降谷先生的衬衫下摆以后，尤其是顺便抠住赤井先生的皮带扣以后，总感叹成年人的恋爱就是好，比那些连表白都不会的小年轻强多了（服部平次，yes offense），但修学旅行看多少次还是会心动。虽然到最后都没有亲到嘴嘴，虽然中间还穿了恼人的大冈红叶，可是我们现在算是在交往了吧，可是这还用问，当然是啦。上月读书节为凑单而入了单行本，里面还夹了世纪之吻特写原画，美到我借下辈子的乐感高歌一曲《渡月桥》。（而且还额外赚到了“百密一疏啊，赤井秀一”，我抓床单踹抱枕打滚打到摩擦自燃升天爆炸）（喂
妈哟，等了快30年新兰终于确定关系了，感天动地啊。这个特别篇比这几年的剧场版强多了，主线够甜，案子也很刺激，几个天狗的镜头挺吓人的
小情侣的旅行yyds，谁知道我看到这几集激动了多久，新兰yyds
高甜！这才是名侦探柯南应该有的“日常”水平，最开始不是这样的吗？怎么现在难得一场“正常发挥”都要让我兴奋半天😭主题曲大爱，给剧集增色不少。
清楚记得当时的热搜关键词，官宣。这俩还需要官宣？这不是从第一集开始就知道的吗？二十多年了整这么一出？差不多得了啊，真的恶心人嗷。
6-10合集。虽然鬼灭好看，但花头精过多了。每次看到以为是新剧集，白高兴一场。
我也闹不清楚这是特别篇还是剧场版。well，年轻真美好。
妈哟，等了快30年新兰终于确定关系了，感天动地啊。这个特别篇比这几年的剧场版强多了，主线够甜，案子也很刺激，几个天狗的镜头挺吓人的
bgm很好听，糖也好吃，但早期精彩的推理和悬疑色彩早已荡然无存了，没有感情、缺乏深度，只是个流水线上的产品罢了……
“我们现在算是交往了吧” 啊啊啊啊啊 疯狂锤床，案子一般，就看看高中生谈恋爱好了
悬疑部分做得还是很巧妙的，但是男女主角的感情戏嘛那就……
非新兰党，但觉得等这一吻确实太久太可贵了。
她是他英雄梦想里唯一的个人主义；他是她甘愿一直等待的红色羁绊
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