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.
4.劇本低智
还是很好笑的，小镇上的同学们长大了还是在小镇，
植物人昏迷20年以后苏醒回到学校继续上学这个题材感觉蛮新颖的，但是剧情依旧脱离不了的老套，青春片常见剧情，爱情，亲情，友情之间的串联，成长，道歉，守护，万变不离其宗。挺乐呵的，美好的大结局。喜欢里面那个gay男生，和卷发女，他俩都好美！
原来是《意外幸运签》啊。就说咋剧情那么熟，看过动画和泰版，可惜一直没有找到过2000电影版
挺喜歡這部的！故事還是美式校園老掉牙套路，但是女主的特殊經歷給電影加了不少喜劇元素，而且新舊觀念的碰撞也很有意思！好懷念以前哦。
亲密关系之间的爱和伤害都是互相的，没有哪一方是单方面的受害者和伤害输出者。多多第三者视角审视自己的生活吧。
很好的一部电影，虽然意外导致昏睡间隔的太长了，在欢乐的表面上内在的一个女孩对生活，未来的积极梦想和希望的一种悲剧，但这一切决不会表明，史蒂芬妮的积极和开朗冲淡了这一切，用她所谓斗牛犬的精神和态度，去一一实现她曾经所期待的目标之一。身体长大年龄依然十几岁，但周围的人不论身心也会随岁月渐渐成熟，与她之间有着深深的隔阂，但因为她的出现也逐渐唤醒了好友们曾经的一面，年轻的自已。史蒂芬妮实现了目标后认清了一件事于是重心放在学业，迎接一个全新的未来，所幸的是，她的可爱的性格，积极向上的态度滨并不会使她所前进的路上充满风险和阻碍，也会一一去战胜它。有个爱她，相信她的父亲，和历久不会变心的好朋友，是一个很幸运的小女孩！
Kill time just for fun. Donot waste your time telling the people who love you the most that they don’t count . They are the only one that count
比如20年前的校园氛围能带给现在校园环境什么启示。
我承认做不到这么乐观，即使18岁那一年的Steven
如果我还是15、16岁肯定会觉得很好看，现在看来剧情老套，电影节奏混乱，剧情也莫名其妙，怎么突然女主和女二女儿就心灵互通了，怎么女主和男闺蜜就亲嘴要约会了？果然是我老了
黑白配、同性恋、异装癖等构成了一个政治正确无比的和谐世界，一个世俗版的迪士尼世界。
热热闹闹的写给千禧年的情书 就是落款部分写着写着笔没水儿了
！！！！！！！！！！
剧情太混乱了，什么都没说清楚，主角莫名其妙的“觉醒”让我才意识到电影已经快结束了。感觉什么都没讲清
多的一分给Steve Aoki和小帅哥Joshua，小帅哥真的太帅了从头目不转睛盯到尾
无脑但出乎意料地没有成为烂片，出其不意加一星
都很好，很多地方有共鸣，就是女主太减分了，可以幼稚，但是不能弱智
就是一个不怎么阳光的童话。几乎可以预测所有情节发展，人物各种脸谱化，尤其是前男友，一副精虫上脑的表演贯穿青少年到中年。最后一句轻飘飘的道歉抹去了这相当于犯罪的伤害，不理解。
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