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.
关于友谊与合群，甚至人类与科技的主题可以走更深一点，但每次都是浅尝辄止。我还是有被感动到。 3.5
挺有趣的，这个机器人太搞笑啦。很可爱。看的粤语版。
值得重刷的动画电影系列，Rong好可爱，和Barney超越人工算法的友谊最后超级感人。电影也有讽刺科技公司监控和利用用户数据的行为，以后家用机器人广泛使用的时候私隐问题真的是最重要的。
最后为什么要让一个小孩做那么艰难的选择，还是把我看哭了，小机器人和瓦力里面那个好像。
感情真摯，但很多位置不流暢且拖沓，畫風也一般。
电影很棒，要让儿子看看。B宝一上世，就大卖，每个小朋友一手一个。用B宝来交朋友，但是大家的眼睛都在B宝身上，都在线上，线下的朋友还是那几个。社恐的巴尼在学校格格不入。只有巴尼没有，他妈妈去世，爸爸忙于工作，还有年迈的奶奶，都不知道他到底想要什么。后来他生日，知道他真正想要的礼物是B宝。阿荣把自己上传到了网络上，分享给了所有的B宝，但是它自己却消失了。巴尼又成了唯一一个没有B宝的小孩，不过他也有了自己的现实中好朋友。而且所有的B宝都很喜欢它，毕竟，它们都有阿荣的影子嘛。电影挺好看的，这样的功能齐全的B宝，我也想要。哦对，因为阿荣没有任何限制，所以其他的B宝都向它学习，在学校演出了一场闹剧。B宝的设定很棒，白白的树脂球，黑点显示的眼睛和嘴可以随意动。阿荣刚开始傻乎乎的，还经常戴个小破帽子，哈哈。
为什么不能从数据库里分出来一个复体给巴尼 最后还是只有他没有小白啊 虽然小白已经无处不在
7.5分，中规中矩，适合家长和孩子一起看。
Be friend远比Be my friend来的深刻
我认同编剧对社交的恐惧和电子产品的警惕。我们已经是离不开电力的电子产品了（说的是我们自己，时时刻刻担心自己电子设备的电力还剩多少）。我们每个人都生活在云端，现在帮助我们回忆某年某月某日某一天的，不是记忆或日记本，而是朋友圈。当我们寄生于云端的那个小格子，是更自由了吗？还有意义吗？谁不想交一个只付出的朋友？这也是为什么现在交朋友越来越难，人们情愿在虚拟网络与人交心，却对身边朋友的困难置若罔闻。影片最终还是将交友建立在电子设备上，有些失望，但是，也许，我们终将与电子设备共生，无法摆脱，也许，与电子设备交朋友更容易，不用口是心非，不用在乎TA的感受，不用试图被理解，也不用理解对方安抚对方帮助对方，只要一味地接受就好了。
哭的稀里哗啦，但内心并不想，是因为知道多了套路，还是不再天真相信
好可爱的机器人。可我们不能总是一个人，也不能只和一个机器人交朋友。
因为你怕黑，我愿意为你成为那抹光亮，真美好呀！
真的很套路，情节漏洞太多，但是我真的好喜欢ron，超有个性超可爱！
最后的结尾，机器还是工具
想要一个阿荣。阿荣不擅长交朋友，但阿荣愿意了解巴尼，不需要巴尼刻意迎合，在知道巴尼怕黑的时候默默点亮自己。
个人评分6分（主观影评、不喜勿喷）
人人皆孤独
全片最暖心的镜头是床下的亮光，但片尾让小白消失的设定让我心情不适( ͡°ᴥ ͡° ʋ)没有煽情到我，还让我很气(-᷅_-᷄)
以前是大白，现在是小白。小孩子都靠着机器人来过活。而不是小猫小狗，这么一想挺可怜的
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