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.
CP粉的番外，故事毫无新意。傅首尔连个正脸都不给，如果嫌弃就别用了，真的是（虽然我也不喜欢她）
突然知道杨玏像谁了！吸血鬼日记的Stefan！都是马脸
6.2/10，除了结局，情节放现代爱情里都挺真实的。
感觉拍的挺现实的，男生应该在忙事业的时候尽量照顾一下女生，女生也应该照顾好自己，理解一下男生。电影的三观也挺正，男主最终还是靠自己的努力获得成功，而不是出卖色相靠女人上位。
贴近日常现实，但过于鸡毛蒜皮的生活琐事，让一部商业类型片缺乏戏剧张力，甚至有“小题大作”强行制造矛盾之嫌。而套路化的男女恋爱过程及“爱情事业不能两全”的主题也较为寻常，在主题上并没有更深入或新鲜的挖掘，整体平庸寡淡。。。
“能不能 重来过 回到开始，
我要给这个电影打五星好评！！！
这种相处模式大部分情侣都逃不过吧，不过这类电影真的很难吸引人，无惊无喜
没有任何惊喜的爱情片，主角之外的角色也都只是工具人，可以夸赞的是主角二人的表演，还有用水晶球和宠物狗作为这段爱情的意象。
不想给电影星星了，星星全给毛晓彤小姐姐的颜叭（受电影影响减去了三颗
结尾反而比较假了 虽然我喜欢大结局
看好多人吐槽，所以没报太大希望，当时想去影院看的，附近的影院没排片就没看了。主要奔着男女主CP，结局不是BE就还好
都是恋爱典中典问题，几乎所有的桥段跟🌵都经历过，情感变化太现实了，大多数分手的情侣多少都经历过这些吧，电影观感一般过于现实引起不适。题材应该是受到日本去年新片「花束般的恋爱」启发。看电影的时候还是想起过去的那一幕幕，甜甜的爱情到底在哪里😭
结尾反而比较假了 虽然我喜欢大结局
竟然电影里面主角用的是锤子手机，除了这个觉得亲切以外，电影本身真是平淡如水没啥意思。
最后我也在想，如果两人还在彼此念念不忘，那还是走在一起吧，毕竟如果真的是不对的人，那肯定是没心思怀念过去的，哪怕过去再好，也不会翻开回忆，翻篇才是当下最应该做的。谁愿意停留在记忆中止步不前呢。
4. 看完这个片子，感觉“恋爱”这事儿太不值钱了。
一起看的人好像蛮被戳的，我还好好像很平。
不是所有失去都能找回来，你朝着梦想加油的时候，是否看到那个以你为梦想的人，她要什么呢？
笑的，这电影在同期的衬托下是不错，但是归根结底还是烂！
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