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.
被封面吸进来的，网大算是比较努力了，但也就仅此而已。镜头不错，但剧情不够硬核，台词前言不搭后语，武打动作摆拍的太明显了，对方刀还没过来这边已经架好等着了。个人最有洁癖的是语言，两个南方人标准北方口音，实在没法入戏。抱歉。
摄影、布景、动作设计算的上优秀，故事情节太老套了，人物行为做事，毫无逻辑，编剧太差了
国内少有的西部武侠片，虽然感觉有点碰瓷《东邪西毒》、《绣春刀》 ，但是瑕不掩瑜，动作设计依旧出彩，唐刀耍起来是真有英气。
向传统武侠致敬，刀刀见血，没有那么多废话，不象现在的那些仙侠片，飞来飞去，叨逼叨逼，磨磨唧唧。刀出手就是要吃肉喝血的。故事没啥新意，吃技术饭的小林被信任的老大老陆坑了，不过是老陆看上小林媳妇了，十年流放没换来小林的醒悟，最后还是被老陆当刀使了一回。不过影片为了政治正确，终究没让老陆获得善报，也算是圆了善有善报的因果轮回的美好意愿了。动作打斗的场景推荐朋友们好好看看，怀念最后的剑圣于承惠
诚意满满，动作犀利，介于徐浩峰“师父”和剑雨等传统武侠之间，就是故事设定略显不足，侠的精神也没有表达彻底，但是也不失为一部好的作品！武侠后继有人的赶脚
有点实验电影那股味儿，网大《#千里不留行 》没走院线，大漠孤烟直，千里不留行。 这电影为行走江湖的人指明了一个硬方向：花有重开日，人无再少年——脑子不清楚的女人不能娶，娶了会坏事儿。
《论补刀的重要性》：超出预期的作品，值得一看。
如果这也不行，那不知道什么还行。
模仿白人西部片的黑人西部片电影。说得很别扭，看着也很别扭。但暴力是满满的，音乐做得可以，黑人音乐，除了这两点好像没别的啦！
打斗的一般不说，台词一点气势没有，太过苍白无力，演的比偶像剧强一点。别说跟《新龙门客栈》经典老港片比，跟《双旗镇刀客》的草莽之气也差了一大截。5
配乐好，剧情好，演的也不错，可惜现在是小鲜肉和无脑特效的年代，要不然为什么如此空洞无物的沙丘会比复仇分高这么多。就像冯导说的，垃圾电影就是因为垃圾观众太多。这是垃圾的时代！
本打算拍一个武者的哲人电影，故事却很拧巴……
道理我都懂，但是既然30年前就有《双旗镇刀客》了，30年后还拍这种片子作甚。🤡
没有刀意纵横，也没有什么终极奥义，难得一见的还原真实刀剑砍杀的好片，很喜欢。
虽然不是同一类型的影视，但是我还是要说，那个《且试天下》里的一大票所谓的天下第一恐怕连这里的一个小喽啰都打不过
久违的国产古装西部片 西部刀客也曾火过一阵 不过这片有点狗血了 哥们陷害霸占妻女 感觉好水浒传 整体还可以吧
故事混杂了很多电影的影子，漏洞也比较多，动作打斗还是有些设计的，剪辑太一般，整体没有什么风格，作为网大还是挺用心的
这电影拍了个寂寞，剧情简单的一匹，几句话就说完了，以为男主流放归来后剧情会达到高潮呢，结果是想多了。不知道说啥好，这种剧拍出来真不是洗钱的吗。。。
就这武打居然还有人评价不错？对不起，完全get不到不错的点在哪，说写实吧，跟早期的双旗镇刀客差远了，说写意吧，袁和平，程小东，元彬才是我喜欢的风格，内地还有一个赵箭，这部视频的武指跟谁都挨不上
动作戏尚可，剧情逻辑有些混乱，不如扬长避短
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