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.
虽然大部分剧情和演员颇尬，但在当下的动作片领域，《盲战》居然让我两眼放光了。女反派饰演的神经病也不违和，甚至有些哈莉奎茵的气质。大量的长镜头和主观镜头的运用能感受出主创的确用心了。谁能想到华语动作片最后的倔强居然是一部网大？
2.5。里面的女疯子多少故意刻画的有些刻意。
这...多少带点特殊癖好在里面 看得尬尬的 打戏女反派比男主更帅一点 但感觉演技有点用力过猛
哇，被女主惊艳了一下。（总感觉那个探长的角色好多余……）
又名《后来的我们因为像小学生一样谈恋爱而不欢而散》，就像看了穿插好几个MV的电视剧，导演技法也非常平庸，尤其对于视听毫无把握，很多镜头处理和鬼片差不多。而故事层面几乎都在没话找话，恋爱段子集，快手小剧场，却没有真正的情感内核，甚至不如《后来的我们》还有一两个有真实触感的瞬间，所有的情节转折全部都在意料之中，看完之后对男女主角的爱情真的一点惋惜都没有。PS：从来没有把宠物狗如此工具化的处理，编剧真的一点诚意都没有。
没看完就去考岳麓区编制，导致脑子里都是希娜这个女疯子，但这次题目挺合我胃口的～
十分应景的跨年电影，从一个跨年夜开始，到一个跨年夜结束，像是一场期间限定的恋爱，有甜到牙疼，也有难敌现实。快节奏的都市生活里，工作、生活都被加了速，七年之痒也被快进成一年，也许只有让人生慢一些，才能重新记起爱情本身的醍醐味。
2021年5月18日毫无征兆的在我上班的时候突然说想自己一个人生活了…然后就搬走了…都不等我下班回家，直到最后我们都没有一个解释，两年半就这样结束了…
吵架逻辑特真实，其他细节就…………Emm………【1】成年柴犬至少25斤+，背着去医院难道比打车更快？大北京晚上没有出租？【2】故事背景线2019-2020，机场不用防疫戴口罩？？？【3】广东会下雪？如果是，原谅我没见识
全场表演就叨叨是本色出演，3分给抖音网红叨叨，哈哈哈哈哈
bug挺多，但还算是不错的网大了，“冬草”没想到你是这样的女疯子，演的不错
工业糖精片，四平八稳的情节发展，仓促发糖的结局，跨年特供得理所当然。花了很多笔墨在所谓生活细节，但是却拼不成一个完整的人物。重庆籍导演可以尊重一下重庆方言吗？演员痛苦我也痛苦，反正是不是重庆在这个故事里真的没有太大意义，何苦要这样折磨我呢？
好悬没给我尬死。。。纯套路电影：先是惊鸿一瞥一见钟情，然后就意外偶遇接触，再然后主角一方做了些什么触及另一方内心深处的阴影/过去，然后是甜甜蜜蜜，接着就吵吵闹闹分手就此别过，最后过了一段时间就重逢和好。。。剧情还真是没有哪怕一点是可以吸引观众继续看下去的，观众都不用思考，因为片子是完全机械化地推进剧情，没有一点波澜起伏，哪怕是最低级的转折都没有。剧情白瞎演员的演技，完全就是一个加长版的PPT式MV。故事很完整，并且故事的每个点都给你带到了，但是没重点。就这种剧本，我都能给你量产！
大家都忙这么别养狗，狗子太可怜了…心都碎了，我…5555…我家肆仟乖乖。
就是前面创业者恋爱婚姻关系的表述极其真实，细节很到位，甚至还有些少，后面分手和复合就扯了，成功哪里那么简单，男主如何生存下去真存疑。
千篇一律，刚恋爱时说的每句话，总会被推翻，因为忙因为工作一切都是为了你或另有新欢，这些通用的绊脚石一个也不缺的上演，爱情的保质期已经越来越短，以年为单位已经太长，当下年轻人的速度远超于此，只是撕掉过期标签，重贴一张就新鲜了吗？
这电影 刚开始 神父男 丝袜女 表情挺狠
盲人可以自理就已经够牛逼了，超出这个范围的请改拍武侠片
星星都给的病娇杀手夫妇 略有浮夸 但整体比较突破中国此类电影刻板形象 比小丑和小丑女的情感描述多一点 但还是看不够吧 其实这个杀手夫妇的点和病娇感个人还是很吃这一套的。个人觉得电影里硬转比较多 感觉在刻意用“猎人小屋里墙上的一把枪”
剧情一般般，女主如果是模仿哈莉奎茵真的有点儿东施效颦了甚至有点儿用力过猛。
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