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.
看惯了枪林弹雨的谍战片，遇到如此聚焦，视角如此微小的电影很惊喜，观感也很不错。虽然主角二人之外的一些人物和情节不太流畅合理，但依靠剧本依然还算引人入胜。男主的眼睛真是太魅惑了，让人忘了他在说什么，演什么。
一看就是男人拍的，找了两个完全没cp感的演员，俩人感觉各演各的，激情戏像动物世界，完全没有浪漫美感。好好的剧本，前半段又臭又长，后半段干得稀碎，导演是不是拍电视剧出身的？控制不了节奏啊？
墨菲，别来无恙。宝刀未老，宝刀你胖了。电影是好看的，被这个爱情故事感动了。
2022.4.22 剧本演员演技都是还不错的，只可惜导演太烂，剪辑太混乱，叙事线索不清晰。回放了很多次才大概明白电影讲的什么。女主有点老，还好几处露点了，外景也是非常美的。一个爱情片被写成谍战片就有点不伦不类了。
没有追车枪战，讲了一个谍战故事。剧本很好，演员演技在线，讲了一个凄美的爱情故事，男女主为了对方互相付出，最终却凄惨收场。
一部明星云集的大片，里边的故事更是跌宕起伏，我不知道为什么豆瓣得分这么低。非常好看，故事场景看着不多，但是却让人陷入其中，被每一个演员的表演所吸引。间谍不应该有爱情，所有情感的羁绊最后都会成为被勒索的筹码，他们的爱情太美，太沉重！
一言不合就开车 喔喔喔 也说不上不好看吧 至少还挺悬疑到底真凶是谁的 但就是看的昏昏欲睡。。。
效果还行啊，故事不算复杂。那段漏点镜头实在没必要，挺无语的。
本季电影迄今为止最佳。非常欣赏这种配置：剧本作者有料，台词密集然而全员演技在线，摄影、音乐都有亮点。可惜导演火候不足，关键几场戏都很泄气，全靠剪辑才把节奏稳住。小学生多半会觉得这片子沉闷，又不搞笑，又没有打戏，女主还是个高龄黑人。然而女主的表演有望拿奖。
各种让克里斯派恩蓝眼睛闪亮的阴影 但不是想看的动作型特工片 到一半直接拉到结尾了事
影片以访谈式聊天的形式进行，真相在交谈中渐渐露出水面，反转不出意外地发生了，但原来这一切都是为了爱。
打着谍战外衣的爱情苦情片。开局不错，还算精彩。极少的外景和动作场面，剧情推进全靠对话，还有大量穿插叙事，结尾相当狗血，一个小伎俩使久经沙场的特工束手就擒，打着爱的名义叛国，涂害了百余人的性命！
女主是最大的嫌疑人，但男主和女主当年是一对情侣，剧情就在这样复杂的情绪中开始，闪回和审问交叉的进行着。
说不上好看也不难看的一般水平，开始以为是谍战片的爱情故事，和缓但是不慢，就是有点电视感。
三星半 名字有点misleading 实则是披着谍战外衣的爱情片
以为是什么惊天地的谍战片，原来是一部泣鬼神的爱情片。不过挺喜欢这种穿插倒叙的叙事方式。想看动作又悬疑的话，还是绕路吧。
内鬼是自己，一切为了爱，拍得好墨迹，回忆太长能不能只讲重点真的是，男主蓝绿色的眼睛真美，女主好像西部世界那位妈妈桑噢，俩人没有cp感，这让故事的内核显得不成立。
啥东西，用谍战情节突出爱情。抓到了内鬼不利用直接杀了？
只觉得景色和服装好好看，剧情到时没啥让人惊喜的。
还不错，虽然前面和中间有一点无聊的部分，但是故事就是靠着这些慢慢讲起来的。
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