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.
尽管拍得套路，但现实这么糟糕，谁不会被这个温暖又美好的故事感动呢，可能最近情绪也不太好，看得我眼泪哗哗。演员选得真好，新人特别可爱，崔岷植一出来我就不行了，永远可以相信崔岷植的表演，永远。
只想说看破不说破 看不懂这个片子真不怨你 键盘侠勿扰
巴西版《骆驼祥子》！视角是纯西方凝视式的，但因为不了解巴西本国真实情况，无法评价细节真实与否。制片人一个巴西的，一个印度的，也是一种奈飞缔造的世界大同啦。
看着看着就想了《闻香识女人》，剧情走向怎么这么相似呢？
所以高潮时，教授勇敢地站出来，不够震撼
少年还没屠龙呢，就变成了恶龙/这虚伪的道德感，还是挣扎着沦陷了
前1个小时挺好的 涉及到南北问题就绷不住了
巴西底层人民想要赚钱也是真难，最终也逃脱不了被资本家剥削的命运！
南美这几年在国际电影节上亮相的作品都是既尖锐又写实的 看完之后不由唏嘘好久 这根本不是什么斯德哥尔摩综合症 对我而言 这就是Good ending
而且，对于投诚过来的数学家你大棒国也没给安排上不是，看到拿奖了就大鱼大肉安排上了，是想表达什么？只能说剧本失败，基本的合理性都没有
另一个问题是人性蜕化。从被压迫者始，以压迫者终，耐人寻味。
年纪大了容易感动些，亦师亦友亦亲的关系让我好感动。
男主一人靠演技撑起全片着实不容易了
喜欢前半部分，后面老师透题和南北问题没意思。
加入南北背景的韩国版垫底辣弟（？）+爆米花版万物理论，但崔岷植的演技和成熟的韩影商业电影叙事手法让整部片有了一定的厚度。台词写得很好，节奏流畅的，结局温暖。
年纪大了容易感动些，亦师亦友亦亲的关系让我好感动。
很写实，目的是救大家，在最优利益面前去，顶多救自己。当处于不同的位置的时候，下面难以理解上面的。
片名感觉很生猛的一部电影。几个想去大城市赚大钱的年轻人误入黑心工厂，打工不仅没有收入，反而一开始就欠了老板钱，需要还债，还被囚禁。很熟悉的剧情啊。本来大家一条心要逃跑，可是老板分化了他们，让其中一个小伙成为了狗腿子。少年尚未屠龙，便成为了恶龙。虽然他一直在挣扎，但终究还是与老板同流合污。曾经一起的小伙伴与他渐渐势不两立，别人的前途始终没有自己的人生重要。不过观众也没办法憎恨这个小伙，因为如果是自己恐怕也会这么选择。
2022年了韩国和朝鲜还没是一团浆糊。数学不好的我和男主狠狠共情了，当年怎么就没有这样一个人启发我。用π弹钢琴那段真美好啊，好浪漫。
挺好看的，上映的时候没有在电影院看，怕不值票价，但是现在看完之后感觉当初如果在电影院看了也会觉得值得的。表面是弱者的无力，利益的斗争，背后确实满满的温情。
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