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.
醞釀了這麼多年，醞釀一把好大的刀，直接插進胸口還狠狠地轉他個好幾圈。在電影院裡的廁所平復情緒，仍組織不了什麼語言，我心死了。劇 透就是居然有聡哥來配音….エモ，但……媽的我心死了，什麼都拯救不了我。それでもやっぱね、これぞOOO、もう、大好き。
连同核心硬币复活的还有：OOO再版CSM，BirthCSM，鸟盾CSM，永恒鸟真骨雕、OOO王真骨雕，GODA真骨雕，Ankh完全体真骨雕。小到三蛋十周年，大到三虫同框，本质都是为fans提供新一轮的文化消费，出更多的周边。所以从商业框架去看待特摄或漫威，比从电影框架内去批判它更合理些。
现在以为10周年终于能大结局了，结果还是刀子
周年纪念作品，皮套和特效以及全员回归是真的很有诚意，但时长太短了，打戏文戏都短，而且作为真结局真的要用一个be去代替另一个be吗？我不理解
制作方面有些粗糙，但演员们的演绎非常精湛。情怀也是拉到了一个顶峰状态，可惜没能等到观众们都喜爱的结局
10年了，煽情的桥段果然还是拍档的离开，故事很优秀，这种淡淡的伤感回忆真是令人窒息。
我不懂评分为什么会这么高，1600日元的电影票让我肉疼，完全是在消解我的情怀今天刚在电影院看完，我很生气，故事都没有讲好，还有大篇幅的回忆水时长，硬币各种突然出现突然消失都没有交代、整个逻辑都是硬伤、剧组缺钱皮套都是旧的我可以理解，但是故事要讲完啊、要讲完整啊！硬刀对吗？映司死的莫名其妙，完全必要。看看盗版吧去电影院没必要。
十年了，一个人的归来却换来了另一个人的离去
为了回归而回归，一点诚意都没有，妥妥的消费
请不要从我的心中离开，不要离去 ，不要从此消失。
周年纪念作品，皮套和特效以及全员回归是真的很有诚意，但时长太短了，打戏文戏都短，而且作为真结局真的要用一个be去代替另一个be吗？我不理解
相对于本篇对于映司追求的「自我」，安库追求的「生命」来说，剧场版并没有对这些继续探讨下去。安库的那句「你该抓住的手，已经不是我了」在这里显得仿佛虚无。假面骑士本就是悲情英雄，不过下一次，希望悲情的有所意义。
太赶了啊，全片就是为了给每个人一个结局的安排。假如能拍成一个小时以上我必爆哭。
一开始得知OOO有十周年完结篇ankh复活还算是高兴，后续得知剧透映司死了，那我就想着到底看一下他能怎么死，刚刚看完正片，这个完结篇 可以说非常的不满意 ，ankh的复活太过随意，不是说主骑不可以死，但是映司的死太过随意，就是为了死而死，你主打的是情怀牌，可是他妈的，映司本体意识出场都没十分钟，5分钟都没有，情怀个锤子 王复活了 怎么复活的都没说清楚，反派4人组的戏份也不多，无限接近于只露了个脸 正片里还有对TV的回忆杀，直接放的TV片段，你不会以为这就算情怀了吧 我宣布，全篇最燃的地方就是片尾放的tv版OP
TV的回放其实可以不用
为什么这么刀我，说实话剧情顶多三颗星，加一颗星给所有主创和情怀
吐槽：
槽点还是挺多的，片长太短。但是，十年前，作为小孩子的我很喜欢，看的第一部假面骑士
特地把大伙喊出来，原来是为了发刀子啊。谢谢你，东京映画。
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