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.
not a perfect movie but a perfect basketball movie
热血体育剧很少看到拍得这么平平无奇，波澜不惊，情节如此老套的。看得出来是大制作，应该是NBA官方配合做了很多事，但就是这么平淡乏味。
Bo最后在左臂上纹了橡树，又选了22号球衣，就很感人
剧情虽然老套 但是运动带来了其他东西无法比拟的热情和荷尔蒙 一瞬间觉得好像有梦想就能励志就能成功 摸了摸身上的肥肉告诉自己我能瘦
NBA的训练真是绝！看得最血脉喷张的不是对抗赛，而是那些狠到非人的训练花招，球星真的不愧是球星，技术体力心理素质每项都必需满分，膜拜。
情节有点老土，NBA球员大多是客串，但桑德斯的眼神确实演活了一个渴望当教练的资深球探的渴望，对于事业的追求，看到结尾隐约有《当幸福来敲门》小感动。
故事虽然俗套，但关于篮球关于NBA的电影实在很难拒绝，两位男主选得不错…
2k生涯模式真人版 体育题材的确是个下限很高的类型
很NBA（篮球迷狂欢），可惜太好莱坞（套路）
《必胜球探》2022年的一部佳作！
很带劲，不打篮球也不妨碍热血，机会定会给到有准备的人，桑德勒没和那个喜剧搭档罗伯斯奈德在一起出演，真的差一点感觉。
另 福斯特的光头蛮丑的
It's an open book, but still gets you.
比较制式化的电影类型了，片中也有致敬Rocky的画面。讲了打破自我”remember it is you against you” 和找到热爱“do you really wanna this”。唯一就是教练sugarman好的有点不真实，有点出戏。
整片节奏很平淡，不像拳击题材戏剧冲突很多，但，这才正常！
九分，运动题材真是容易出彩又不怕俗套的类型，不过最后的高潮稍显平淡。
呐，站在电影的角度，拍得其实挺一般的，最大问题是节奏把握不对，场面调度也有些莫名，但真的就是胜在本子实在太好了！
亚当桑德勒的片子真的看个片名就知道套路，同理还有本斯蒂勒，反正就也差不到哪，也没有什么惊喜。特别热爱篮球的可以一看
老詹搭台，全联盟唱戏，就像是看了一场互动真人秀，我这种已经多年不看NBA的老球迷看到一个个彩蛋都兴奋不已。但是存在很多现实性问题以及人物逻辑不通，比如球探的挑人标准，Bo从业余到专业的过快适应。76人这个家族设定，老爸去世儿子乱搞，女儿先韬光养晦随后出来重整河山，巴斯家族表示你还可以写得再明显一点…
电影里有一段印象很深刻：球探还来了CBA，估计考察的是中锋吧，结果那个大中锋屡次不中。
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