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.
我对这种宅家里的生活挺满意。
除了一句不太合适的对白（就是病毒来源那句，我们刚开始自己也这么认为的，谁吃了不该吃野味），但这部电影很完美，居家隔离群像，即有鸡飞狗跳也有温馨时刻，也许再过许多年再重温这一切，都是回忆，结尾太让人感动。
一栋楼内的隔离期间众生相。基本上把大多数人对于疫情的心态都囊括了。过度防护的人、完全不在乎的人、因为疫情影响生意的人、因为疫情改变工作方式的人、疫情期间创作了相关歌曲爆红的人、深居简出被误会的医生，以及自己找人试验研制疫苗的“教授”等等。只有孩子仿佛受到的影响不大。最后，大家化解了矛盾，成为有爱的邻居。结尾时，楼管因为感染去世，电影观点得到升华——理性对待，疫情并未过去，现实依然残酷。
设定藏着掖着实际应该没啥，很多灵光一闪的地方。看起来不错
男主是我本人了。。。我还真的买了个防毒面具😂😂😂
新冠命题的现实题材电影，其实不一定非得太过沉重，本片能依然保持法国电影人的诙谐与浪漫，这点还挺难能可贵的。笑点来自形形色色人物身上所展现出的抗疫态度和生活状态，有夸张的，有讽刺的，但都是真实的。泪点则在于，全球疫情肆虐的当下，全人类的失去以及对人性的体现。 * 如果不同家庭的交集再丰富密切些就更好了，角色之间的结绳还不够紧，这也使得最后一场戏冲击泪腺的力度就弱了点。
疫情时期豆瓣生活组拍成电影——（P.S. 他们还是不戴口罩！）
喜欢法国人把疫情题材处理成温情喜剧，这种轻巧在咱们这可能比较难。里面有一些对疫情反应过激的人被夸大处理，可依然是我们的普遍状态。无意评判好坏，只是确实能深切感受到我们和欧美国家对待疫情的差异，被隔离的法国人会憋，会想尽办法让生活继续浪漫，偶尔的违规也只是想体会几刻自由，并非天大的罪过，这也注定了在体制上他们永远不会为了控制疫情而永久性的剥夺自由
自私和共情当然是可以共存的，希望疫情赶紧过去吧。
No.2384 感觉法式喜剧还挺对我口味。小成本制作，但是包含了挺多的内容，展现了疫情下几个家庭的悲欢离合。最后楼管夫妇的妻子因为新冠离开了，这一点没想到，以为会是大团圆的欢乐结局。
小男孩和小女孩的那条线不错，结尾对待死亡的那段很触动。但，给的太硬了，三星不能再多了，我相信这个题材以后会出现更多更好的片。
せんせ会思考把她送回去到底是不是真的为她好，没有一意孤行，太好了。
一栋楼，五户人家，略带夸张不失温情有点搞笑的再现了新冠时代所有人的处境，心态，关系…哦对，欠奉中国模式。
À l'humanité solidaire. 薛定谔的封城焦虑中看一眼巴黎中产们的疫情生活，对病毒的恐惧总是会与其它情感、欲望或责任争夺对于自身身体的控制，每个人都在这一过程中被消耗，幸运的是在个人能量/情感被耗尽前产生与他人的连结，在独自面对丧失时感受到群体的关怀。
特效很棒 整体不错 确实有点恐怖片 中间还僵尸的感觉 但我个人评分五分
但是完全不会像改编之后一样略显空洞
以为会像魔嫁一样好看，但其实很一般，剧情很拖沓……但画风确实好看，像童话一样
本书作画方面最大的特色就是黑与白交融。有时平衡，有时倾向一边，与剧情的走向紧密结合。纯白无瑕的女主希瓦与漆黑丑陋的“老师”的组合，配合作者那细腻且充满意境的笔触，分镜等等呈现出衣服压抑且美丽的黑暗童话绘本世界。
太喜欢两个小孩在彼此的阳台上用影子交流的片段了 太有爱了～
纵使是喜剧片，结尾还是表现了新冠病毒的残酷。唉，挺不错的温馨法式小品
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