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.
一个矫情的故事，还被剪得稀碎，男女主角也不来电…
还行啊。变成了特工爱情故事了。为了爱人，可以出卖国家利益，为了国家可以出卖线人。结果没死的线人是真正的恐怖分子，返回头胁迫你出卖在飞机上的间谍。
这种题材的片子为什么要拍全果露点的床戏...没看明白结尾。男主自己做的为什么还要去查别人……
剧情老套沉闷乏味，4倍速看的。
太多多余的flashbacks，摄影又很无趣。故事挺不错的，但很遗憾没拍好。
挺无聊的。激情戏完全不必要……俩人真不太般配。
八年前的维也纳机场劫机事件惨败，机上所有的人都死了，如今男主奉CIA维也纳站站长的命令开始追查事件中的内奸。
冲着大明星去的，实际却是部小成本制作，味如嚼蜡，花了1小时稀里糊涂看完，还是再来豆瓣看别人的解读才明白是咋回事。
剧情有点勉强，在女主不发觉的情况下要挟男主，这只有理论上的成功率，完全没有必要。
这么有张力的剧本，这么细腻的演技，这么恢宏的摄影，居然只有这么点分。看不惯，打个五星。
反转的很温柔，通篇场面异常温和，使人昏昏欲睡😪
故事不精彩，桥段让人混混欲睡，导演去学习一下“谎言之躯”…牛顿演技挺好，但我就是不喜欢她
四星（7.9分）。悬疑气氛拿捏很好，劫机事件、民族矛盾、恐怖主义、国家安全危机，一系列宏大题材撑起了故事的前三分之二，吊足胃口，正期待一个悲怆大气的结局，没想到竟然归于男女情爱，格局一下从天上掉到了地下。故事性直降一档。导演技术是一流的，节奏把控完美，剪辑牛掰。表演满分。不失为佳作，值得一看。
一个月两部派恩的电影，和contractot比起来这一部要精致的多。谍战包装爱情，双反转设计严密，画面精致故事铺陈也合理。鼓励新导演和编剧。
摄影美，音乐美，派派的眼睛也美，冲着惊悚或谍战来的当然要失望，是我的菜，片尾曲好好听，可是识不出。
boring.. chris pine的谍战片永远是这么无聊。
片名这是翻译了些啥？旧伤复发也比这个好啊。
摄影美，音乐美，派派的眼睛也美，冲着惊悚或谍战来的当然要失望，是我的菜，片尾曲好好听，可是识不出。
开始以为是政治片，看到后面才发现原来是个爱情片。【论沟通的重要性】
派派演深情不减的昔日旧爱有一手，比在神奇女侠里当工具人耍宝男友顺眼多了
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