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.
分分钟教你可可爱爱做人
今年看过的最好的动画片，不但讽刺了某些企业家（南山必胜客说的就是你），还阐述了不能依赖社交媒体交朋友的真谛，就是这个机器人长得太像某鹅了
真的有必要最后强行那样结尾吗 而且那样结尾本来可以更有意义的 现在就觉得不上不下
Be friend远比Be my friend来的深刻
设定并不新鲜，可能过几年这台智能设备产品就会出厂吧，不过影片几处狠辣的讽刺很到位：再多的点赞也遮掩不了孤独，科技资本公司确实带来了便利和进步，但背后仍旧是贪婪。
作为一个孩子的家长，当然是不喜欢自己的孩子最好的朋友是个机器人了，哪怕算法再高级，也是个机器人，不好。
主要是对互联网社交的责备和互联网公司的影射，剧情还是挺套路的，挺欢乐但没太多亮点
快没电的Ron把巴尼从森林里扛出来以及数据库里Ron发出微亮光芒陪伴他这两处实属把我看哭了，但是不喜欢结局，最后所有小孩子的机器人都没事但只有Ron不在巴尼身边了，为什么会哭的孩子永远有奶喝？最懂事的孩子永远要去牺牲呢？
我也想要个小Ron，不用保持2米内，10米也行啊
个人评分6分（主观影评、不喜勿喷）
每个家庭不富裕的男生应该都体会过其他小朋友有游戏机而自己没有的窘境，所以前半部分还挺有代入感呢。后半部分感觉都能大概猜到剧情，有点像..大白(●—●)？
前半段剧情俗套，但我很吃，哭得稀里哗啦。但是吧…这后半段也太扯了，强行圆满……
ET，还有点T2的味道。可惜票房不太好，可能和Mitchell vs Machine有点撞题材。
讽刺苹果和乔布斯
讽刺，借机(机器人)讽机(手机)，写实，也许这就是几十年后小朋友的真实状况，不过这部电影小朋友不一定看得懂里面友情的纯真和意义，大人觉得太肤浅，不够深刻，而且一味的隐喻和变相说教，又缺乏良好的手段和方法，让本片又刻板又缺乏娱乐性！
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。
美国动画长片风格的作品，聚焦点很社会化，能看到导演把库克给玩了一把，同时更指出了高科技长假安排对孩子、友谊、乃至人际关系的破坏。最终的结局很温暖人心，我也希望以后孩子的生活能多接触人，而不是冷冰冰的机器。
我单方面宣布2021最佳动画属于它的
无论是想象力还是内核都太普通了……结尾又太过强行
Nonsuch Middle School（暴力起名法）
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