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.
陪孩子看的，没想到还挺好看的，就是不知道主角她爸怎么走的？突然笔记本变遗物了，可能给孩子喂水时错过了😭
也满足了男性观众的窥私欲。本哈迪真是全英国最fuckable的男的，但是你骗别人感情公布别人裸照之后还质问老婆为什么不感到内疚？这就是妥妥的绿茶屌啊！
6.5/10完整却又套路的一部电影，基本上没什么惊喜，又是那套你凝望深渊的同时深渊也在凝望你的理论，中规中矩，尺度挺大，打发时间可以一看。
超喜欢izzy 的性格，结局太老套了，略失望
三星半吧，以希区柯克《后窗》为原点的创作，剧本可圈可点，个人觉得算原创里比较可的了。演员可能都比较年轻所以个人感觉人物塑造相对有点平了。但整体来说后面反转还可以，就复仇剪辑故事没说好，所以没那么痛快的临门一脚感。多给0.5星给演员美好的肉体，这片真的很养眼
影片讲述了三个种族的小马因魔法突然消失，所以互相猜疑，互相防备，主人公小马宝莉为了改变这种现状，历经千难万险，终于找回魔法的故事，在寻找魔法的过程中，几个小主人公逐渐发现，真正的魔法是相信友谊，相信爱，只有大家齐心协力，也明白了心里越高兴，光芒就越闪耀，孩子在欢声笑语中也接受了正能量的教育。
我很喜欢这个故事，对偷窥者的心机塑造可见剧本功力，本来觉得眼镜男的自杀动机是不够强的，但看来导演能够自圆其说，推理够严密，光这点就秒杀今年那部《观察者》
秀色可餐还有过得去的情节，还想怎样？不过最后真是画蛇添足，在影展揭幕之时戛然而止就最好了。
造型非常可爱，故事好看，小朋友喜欢！每个人都对应一种优秀的品质，但又不回避它所带来的反面，人物非常立体。
暑假亲子合家欢电影，小马宝莉是女孩们的最爱，玩具杂志动画，这部电影主题是友谊和爱，还是非常正能量的，里面的歌曲也很好听，适合孩子观看
看的时候只觉得小艺的声音让她的性格特征更丰富明显，没想到是ysx配的音
故事还不错，可以说是一个优秀的情色电影，偷窥的视角让情色更加情色。
虽然角色是全新的，但《小马宝莉：新世代》依然延续了整个系列动画的核心主题“爱与友谊”。为了寻回魔法，恢复各族团结，小马们一起出发了，等待他们的是一场载歌载舞的冒险之旅。
闲来无事就看着玩儿，和我的小朋友们看呜呜呜呜为难死我了
97年的Sydney Sweeney，真特么棒。刘承羽也不错。JC在这种剧本里只是收尸的。21/09/11
偷窥之镜，击破隐私，满足性欲，半真半假，以眼和解。
对于懵懂的新观众来说，一个全新的故事更容易把他们带进小马的世界，「友谊是魔法」的威力，也足够吸引小朋友们能够静下心来欣赏。故事主题虽然掺合了许多美国文化的流行梗，但对于情感探索上还是更突出于友谊，这或许就是小马的乐趣吧。
女猪的头发能不能利索一点！（什么破鸡脖片源 卡疯了）
“后窗”惊悚题材，放在2021年轻度探讨了隐私入侵。整体卖肉多过高手过招，主线反转汹涌，但细节失准。西德妮·斯威尼继《白莲花》后火力全开，星味强横，有刻意“藏锋”处理，即便剧本拉胯也不影响她表演上的把控。收尾来得又快又潦草，莫名得像上古港影国产上映版的结尾。
反转再反转，阴谋算计到最后都不会得逞，人间自有公道，就看付出和回报的代价是否值得了。
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