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更新至04集
許瑋甯,陳昊森,尹馨,薛仕凌,王渝屏
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更新至預告片
張譯,張頌文,李一桐,張志堅,吳剛,倪大紅,韓童生,李建義,石兆琪,高葉,李健,王驍,蘇小玎,郝平,林家川,阿如那,鮑大志,令卓,岳陽(大陸),寧曉志,孫巖,崔志剛,曲柵柵,王沛祿,王宏,鄭家彬,馮兵,趙梓衝,蘇茂洋,康福震,秦戈,趙龍豪
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獨家中文字幕
劉志賢,閔道允,尚宇,新春,宇烈
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完結
吳磊,趙露思,郭濤,曾黎,保劍鋒,童蕾,李昀銳,餘承恩,徐嬌,曹曦文,施詩,陳意涵,張月,汪卓成,王梓薇,高寒,許娣,張天陽,彭楊,沙寶亮
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預告片
井柏然,譚松韻,李岷城,張柏嘉,王皓,張喬耳,許榕真,梁天,吳玉芳,宋寧峰,郭笑天,劉陸,張恩碩,沙寶亮,海鈴,李墨之,鄭家彬,龔毅星,薛宇檳,賀鏹,吳承澤,孫雅麗,蘇鑫,李思奇,宋一雄,龔銳,杭一帆,陸宇鵬
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正片
鄭大英
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羅雲熙,白鹿,陳都靈,鄧為,孫珍妮,于波,耿業庭,黃馨瑤,鄭國霖,黃海冰,李沛恩,劉敏,何中華,王一菲,肖順堯,常魯峰,張家碩,張芷溪,陳博豪,汪汐潮,李家豪,盧勇,徐美玲,王駕麟,嶽躍利,曲尼次仁
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首支預告
王鶴棣,陳鈺琪,何潤東,曾黎,鶴男,王櫟鑫,關暢,韓浩天,程梓
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更新至06集
鄭愷,陳鈺琪,王鶴棣,張紹剛,袁文康,梁超,吳亞衡,張悅馳,程梓,合文俊,吳明晶
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更新至06集
張彬彬,徐璐,王佑碩,鄭合惠子,王以綸,馬月,張子健,呂行,張雅卓
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正片
李恩美
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更新至27集
陳飛宇,張婧儀,趙志偉,曾可妮,崔雨鑫,錢迪迪,姜梓新,馬可
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更新至06集
鞠婧禕,郭俊辰,劉冬沁,陸婷玉,馬月,張志浩,宋昕冉,寇振海,聶子皓,姜杉,何奕辰,胡坤,章秘蜜,張大寶,張嘉鑫,鼎傑,郭康敏
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更新至01集
陳展鵬,唐詩詠,馬國明,陳山聰,江美儀,劉穎鏇,劉佩玥,張頴康,陳自瑤,歐瑞偉,鄧永健,朱斐斐,胡諾言,郭子豪,伍樂怡,鄭啟泰,彭懷安,莊思明,董敬文,許家傑,吳家樂,楊證樺,容天佑,趙希洛,阮浩棕,李嘉晉,李爾晨,陳國峰,潘冠霖,利穎怡,古天祥,袁鎮業,馮素波,邵卓堯
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更新至06集
李一桐,畢雯珺,何瑞賢,陳鶴一,馬月,楊仕澤,王茂蕾,鄧英,傅首爾
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.