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.
这几年，这么好看的车戏不多了，也很有创意。其他的，别要求那么多了。
中成本商业片的典范，各方面都没有什么可挑剔的，有点性转版Léon的感觉。飞车戏刺激、感官冲击力强，复仇动作戏拳拳到肉，爽片做到这些基本上就成功了。结局有点强行圆满的意思，不过貌似是因为有续作，期待了。
在电影院看了一集动画片，不到六周的孩子都觉得幼稚了。。。最可悲的是，在这十八线小城，萌鸡小队的上座率居然比雄狮少年还要高！唉。
不过女主长得也太嫩了吧，这28看着和18似的，可惜没脚脖子
同样的题材元素，看完后想再看一遍NWR的《亡命驾驶》
从成年人的视角看，这类电影自然是无感。但小朋友们观影过程中的哈哈大笑、惊吓得捂嘴、兴奋地鼓掌、对着屏幕提醒萌鸡不要开门、末尾处感动得流泪……，都说明了这部片子很不错。能让一众小朋友全程盯着屏幕喝口水都嫌烦不愿错过一秒的电影就是好电影。
带女儿去看的动画片，失去妈妈对四岁的小朋友来说果然是一件毁灭性的打击，看到萌鸡妈妈和宝宝分离小家伙哭的稀里哗啦
看开头本以为是个带子雌狼一路过关斩将的无脑爽片，甚至还有点韩版《狂暴之路》的期待，没想到玩起了性转版《杀手莱昂》……松闸顺坡溜车躲过追兵挺幽默，最后车场黑屋突袭一段算是认真的动作场面，别的都没什么意思。
我们什么时候能摆脱龙虾刑警那种尬的和逻辑不通
女主加分，车技加分，剧情么…一眼望得到结局的那种
太无聊，没看完就来打分了。韩国电影工业化很成熟，大都一个模式，把素材往里一套就迅速拍成了电影，因此也造成了类同感，甚至演员表演也模式化了
女主车技浮夸、做作，不如高司令稳；战斗倚仗的还是血厚，后脑挨了钝器一记重击居然不倒。
美女司机专门送人跑路。接的一单是警方参与的打假球团伙成员，带着其儿子一路狂奔，可警察找到了住地。。。happy ending
女版《玩命快递》。 单眼皮酷妹，还飙车，刺激，加1星。 话说，还是红旗下长大的孩子讲情怀嘛。 贬警察，如果说韩国电影是第二，没哪国敢说第一。估摸韩国警察恨死了电影人士吧😃
娃娃一直在看的一部动画片，这次出了大电影版，第一时间带娃来看，还不错，剧情挺精彩的，落地在保护环境，还有母爱的伟大，点赞
这难道不是个熊孩子玩手机害死自己老爸，还拖累女主，最后害死女主老板的故事吗？
带女儿去看的动画片，失去妈妈对四岁的小朋友来说果然是一件毁灭性的打击，看到萌鸡妈妈和宝宝分离小家伙哭的稀里哗啦
一星动作，剧情一塌糊涂，硬插根硬煽情，小智障的设置更脑残，没有柯南的命还得了柯南的病，先是明明知道有人追杀发朋友圈坑死爹，然后传承韩国娘炮一贯作风一哭二闹三智障
跑路怎么都往中国跑，有病吧，有健康码么你们
没有丝毫新意，坏警察抄袭加里奥德曼画虎不成反类犬。女主的武力值没有一点合理的地方。男人救幼女换成了女人救幼男，编剧这么套模板赚钱真省事。
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