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.
小时候就听说过没有双脚的苏联英雄飞行员的故事。致敬英雄！
迪士尼的东西是越来越没有新意，冒险动作片拍成了儿童主题乐园，过家家般的剧情，喜剧的元素也大大削弱了冒险的危险惊悚感，特效丰富的场景又放在又黑又暗的夜晚，就很鸡贼，不死诅咒的梗也是加勒比海盗玩剩下的，强森和艾米丽布朗特演起喜剧来倒是得心应手，不过又是不断地重复自己，反倒是那个长得像小岳岳的德国反派算是亮度，结局又是皆大欢喜，迪士尼，早已经没有新东西。
一部标准的、合格的迪士尼儿童爆米花，效果逼真，惊险奇趣。合家欢的冒险套路，陈旧但好用。
11.6 发行灾难，不功不过的迪士尼冒险片，我们还是回不去《加勒比海盗》时代了
个人来讲非常喜欢，期待这么久，这么好的卡司阵容没让人失望，一贯的巨石强森系喜剧电影，轻松幽默有些老套的合家欢冒险。配乐特别的赞，另外艾米莉·布朗特永远是我不变的女神，全片看的那叫一个享受惬意。
1、伊尔2空袭德军纵队，德军4号坦克竟然抬高火炮仰角准备打飞机？这是啥？《战争雷霆》吗？2、半履带装甲车上的装甲掷弹兵竟然无一人跳车逃跑，都在车里坐着与俯冲下来的伊尔2大眼瞪小眼？3、伊尔2与Me 109空战，用了个眼镜蛇机动把Me 109晃过去了？
苏联的英雄片，冻死人的风雪，奇迹般地活下来，还能二个义腿重新打击侵略者，这个不错。
挺普通的迪士尼合家欢电影，没什么特别突出的点，集齐碎片和地图沿着传说寻找宝藏，路上偶遇重要线索人物，再闯闯关打打怪，最后不负使命拿到宝藏。不过坐在4D影厅里跟着剧情摇也挺像在迪士尼乐园里体验过这个项目了🤣。
虽然看过丹麦原版，但是最爱的Jake Gyllenhaal表现得很棒
前面藏宝室的那段致敬夺宝奇兵3，整体电影质感应该是参照加勒比海盗，电影拍得相对于比较复杂，但还是迪士尼那套讲故事，过多的爆米花元素，最后Happy End。
科目：<真正的键盘侠> + <如何云办案> 合并授课 || 讲师：Jake Gyllenhaal || 总结：配枪 ||
前半部很紧凑。结尾震惊了，这么多苏联英雄，截肢后继续开战斗机
那个年代的苏联英雄都很猛，真正的布尔什维克，但客观来说，电影制作一般，战争场面，丛林里的荒野求生，英勇救人的铁匠一家，处理的都不够到位，可以更好。
迪士尼是真的神 什么故事都能弄得有声有色 这个探险找寻可以治愈任何病的树的故事 说不上有什么新奇 但是创造出来的这个特效超级好 森林那些蛇那些鸟那些彩色青蛙等等 都让人拍案惊奇 就是那种无论什么人看下去都会跟着捏一把汗的刺激。另外 艾米丽布朗特真的好有气质 这个红唇好好看 值得6分。
普金同志拍的片子一般都不错，空战挺刺激的。
战斗场面太平庸，而且里面突然冒出的俄语配音很出戏
标准的好莱坞电影流水线作品，从故事情节，到人物设定，不越界，也不出彩
荒野求生还行，其他就算了！不过，根据真实事件改变，原来那个年代真有这么多断腿飞行员。。
坠落后靠着自己的毅力以及同胞们的舍命相助，以失去双腿的代价活下来了。
还可以！就是没有拍出苏联的味道，一股好莱坞商业片的味道！
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