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.
作为网剧已经超出预期了，略显不足的是演员的演技略显生，动作戏确实也是拳拳到肉，谢苗戏路有点窄，可能也是因为长相骨架偏大，脸不够帅，但是胜在动作漂亮呀，而且青年武打演员确实也没几个能拿得出手的，现在谁舍得把自己孩子从小送出去吃苦啊，这也是为什么动作戏没落下去的原因之一吧。希望谢苗的戏越来越好
比较写实的电影，谢苗的演技还是在线的，剧本也不错。
剧情简单，但是动作戏可以，拳拳到肉，谢苗继续加油，演技也到位
时隔多年，童年偶像“小谢苗”重出江湖饰演一位东北警察，剧情干脆利索，打斗也丝毫不拖泥带水，剧情上，实在想不出都21世纪了，东北还有这些“歹徒”？小马仔们拿了多少好处费，敢用枪打警察？这种下半辈子在监狱里度过的犯罪行为，他们不带脑子？可以给到7分，希望以后有更多导演慧眼识珠，多给谢苗一些动作片约，毕竟在这“娘炮遍地奶油乱喷的娱乐圈”，像他这样的演员十分稀有。
性格、作风、语气都挺像回事儿。
真不是想吐槽网大电影，可是看一回失望一回。导演极力想要塑造一个东北县城黑社会三兄弟犯罪团伙，结果因为能力有限，搞成个四不像。老大像憨厚下岗工人、老二像个智障，老三最可笑，一个城乡结合部青年，非要装成面善心狠的留洋高知罪犯……难为谢苗的好身手了，红花没有绿叶配，一人主角确实累。最后普及一个常识，在地面格斗中，只有箍住喉结或两侧颈动脉对方才能昏迷。老大昏的不明不白，替他着急。
故事简单节奏紧凑，打斗场面秉承了龙虎武师的风格，动作设计可谓拳拳到肉。还算不错！
在苦逼的当下，看到这样的精彩打戏真是一种释放，电影院好像离我们越来越远，网剧能有这个水准，值得鼓励！
with mary
可惜了 剧本太弱 不然苗哥可能就翻红了 希望以后有好武打剧多找找苗哥
谁说只有香港才能有英雄主义，大东北也能有超级警察啊。只不过片子有点赶，人物性格和关系塑造不太到位，在网大里算是上乘了
刚开始那三兄弟多牛逼，后来那么拉，就这智商？
这还要啥自行车啊？我觉得就这么点成本已经相当用心了，我觉得五星是值得的，可以看出来是用心的，没糊弄观众，演员也相当卖力，真心不错
难得的小电影拍出大制作的感觉，反正看着就是很爽，味道很正，推荐
拳拳到肉的动作戏真心不好拍 演员的每一个动作都必须经过一次又一次的实战模拟最终敲定 最有魅力的角色是表面看似文气的斯文人 他摘下假面 化身武功了得的动作狠人 最后大巴的戏总让人想起黄海 过于近距离的逼真狠绝 又让人想起犯罪都市 虽然部分情节逻辑拉胯 又要照顾到主旋律弘扬正义这一块 免不了有过于伟光正的场景设定 不过整体还是值得肯定鼓励的 所谓有诚意的电影 好评
谢苗也演得很自然。
网剧动作片里面已经算不错了，一开始ktv的打斗有点刻意夸张，其余动作戏基本拍出效果了，肖家三兄弟的动机还是有点低能，为反派而反派，感觉有点刻意模仿导火线里面的三兄弟呢
拳拳到肉的感觉是真的爽，这不是一部全部精华只局限于短视频的电影，虽说故事结构简单，接地气，但是真的精彩，剧情紧凑不拖沓，完全不觉得无趣。
谢苗有几部网大质量还是很高的，上院线也是可以的，新生代动作演员就靠你抗大旗了。
剧情太稀薄了
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