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.
ps：李善均大叔真的是劳模，这几年大屏幕小屏幕皆是佳作！
传统的合家欢电影，没有第一部那么感人，歌也不怎么好听
有点无趣了，浮华过多，却没有一开始那种童真
sffilm 点映场，剧情很随机，但是做个太空歌剧的音乐剧点子还不错，虽然场面都用来炫技了，另外这是逼U2出新专辑吗？
高处不胜寒 登到顶峰的时候看身边人个个都或多或少有嫌疑
虽然故事比第一部更套路，但是这出大制作太空音乐歌舞剧还是很有创意很好看的。用了这么多歌真不简单，以及BTS真的火遍美国。
三星全给李善均的精彩表演，台词功力太强了。至于剧情，实在太理想化了。搞政治，那就是阶级斗争，是要见血的。教员早就说过：“所谓政治，就是把朋友搞得多多的，敌人搞得少少的。”看看纸牌屋与大明王朝1566，不同的策略与战术，都是功利主义的；如果这里面掺杂着大义与道德，那也是需要站在舆论制高点上发声的一种手段而已。
是正义重要？还是通过不择手段达到的目的重要？
金大中啊金大中，最后还是入主青瓦台，但是曾经的梦想是否圆了可不一定！还是值得一看的，就是室外的背景太假了？预算不够？
还能说啥，平平无奇，还行吧。
一直以为是《造，王者》，没想到是《造王，者》，直接从创造王者变成了创造王者的人……总的来说徐昌大在影子里，而DJ和ys在人群簇拥中牵手那段，实在是太扭曲胃疼了，什么竹马打不过天降。
剧情一般，平平无奇。
画面漂亮，技术贼强，流行歌曲大串烧，还把Bono弄过来唱，这就算剧情硬凑了点儿也还能看下去啊……狼父女真好看，福瑞赛高!!!
三星半水准，还是靠波洛的献声提高了半颗星。比诸于2016年的第一部而言，故事没有了新意，从小城市顶尖到大城市的中流水平，然后大融合各种风格不断壮大自己的母题很好，但是构建剧情的时候很多情绪没有调度到位，事件推进剧情，情绪处理得略微潦草。还有就是整个舞台呈现出来的视觉不好，不仅仅显得冗长，而且四个章节太一板一眼，不如第一部台上台下各种矛盾交相呼应来得圆熟。
套路又怎么了！就是吃这个套路啊！！在我看来续集唯一的缺点是没有绵羊基友了
「Your song saved my life.」
如果信仰可以轻易的崩塌，还能称之为信仰么？
sing along 指路80min之后正式演出比较好看，被音乐感染有点泪目，前面都很无聊，也许是行业敏感，无法单纯投入，知道这个行业不是这么运作的。抛开理性，Moon这个角色一直懦弱，也和第一部不一样啊OOC啊，就很泄气，塑造最成功的角色是蜥蜴，被她逗得笑出声。U2主唱Bono一开嗓就认出来了，寡姐唱歌也好好听，蛋蛋的A Sky Full Of Star差点意思（发现自己稍微有点福瑞控？
Taron唱得真好！怎么又是富二代逐梦演艺圈（x）看完只想要那个设计图立体书wwwww这个剧本应该推荐给布莱恩梅（x）哎……好想去剧院看音乐剧啊！！！！
看到老狮子哪个福瑞控直接高潮了。它又老又毛绒，又炸，有点起静电。你们懂吗？谁懂？
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