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.
啊，五条悟的眼睛实在是太美了！！！
22.3.4 板橋電影院。
很失望，碇真嗣类男主依旧让人着迷，但是剧情的混乱已经不是人设可以包住的了。咒术离神太远。
纯爱战神......！！个人表示还原得非常满意
从节奏到剧情，基本是对原作的重现。
除了觉得乙骨忧太的颜合我口味好像没有其他感觉 还有他台词太炫了。
很满意…！MAPPA制作精良，剧情略显紧凑但没有失控。用一个词总结观感的话我会选“平衡”，在旧闻（正作里反复被提及的历史）和新故事的着墨、粉丝与新观众的要求、新角色和老角色的塑造之间寻找平衡。娜娜美赛高！
爱情是一种扭曲的视角，放弃主从（支配），放弃惩罚（怨恨），就能狗超越他吗？还是说这种扭曲本身就是爱的能量呢？
东堂葵 best friend!
打斗一如既往精彩，剧情概括起来就是“我个人认为，这世上没有比爱更扭曲的诅咒了”。夏五的宿命感和张力确实绝，“想杀就杀吧，你的选择都有意义”，“最后你倒是说点诅咒人的话啊”，“唯一的挚友”😭
看过漫画，剧情其实很一般水准
文戏还是薄了一点，不过可能原作如此吧...打斗对于mappa来说在合格线，不过感觉还可以再过瘾一点呢。IMAX看得还是比较舒服。
不要逃避不要逃避不要逃避
我都不能相信在cinema看純愛戰神啊！乙骨憂太賽高！
补标 比起正片更喜欢纯爱战士的故事！是好看成熟的商业电影了
在伦敦电影院里看这个好幸福（骗自己身在日本）；虽然里面没有我喜欢的三只小朋友但还是爱了爱了>v<
剧版告诉我们 纯爱战士才是坠diao的！另外，我老公好帅 天下第一帅！！！
这超燃的剧情，这超强的声优阵容，我实在找不到给4星的理由
喜欢胖达！看习惯了日本动漫终于能够微笑面对永远都很creepy的男女主关系了。
5t5 永远的神！（闭上嘴就好了）五条悟夏油杰的友谊唯一挚友🥹🥹
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