产房里，静静电视台女记者曾雨桐（左小青 饰）准备要采访孕妇吴静，静静虽然后者明知胎儿可能患有先天疾病，仍决定生产。这个决定令雨桐甚为不解，她认为这个决定对婴儿并不公平。产后，母子平安，消息传来，雨桐逐渐理解了这对夫妻。雨桐的男友志轩（吴奇隆 饰）是一家国际公司的经理，业务非常繁忙。他们都是孤儿，志轩先天父母双亡，而她是由曾嬷嬷（叶童 饰）抚养的孤儿。由于年迈劳累，嬷嬷生病住院，雨桐急忙打车去和男友汇合。她坐的出租车司机（范伟 饰）有一个患有自闭症的孩子，在父子对话中，雨桐陷入了回忆之中。在志轩的陪同下，雨桐见到了病卧在床的嬷嬷，并意外从她手中得到了两张车票。据嬷嬷推测，这就是雨桐生身父母当时留下的证据，雨桐于是跟志轩一同踏上了寻访亲人之路……
回复 :十八世纪的路易十六时代，一名乡下的地方官麦勒维潘格果侯爵，发现当地居民因洪水问题而普遍感染一种罕见的脚气病，不得不进宫向皇上陈述一套水利改革计划，但到了宫廷却始终找不到向皇上进言的机会。好心的识途老马指点他如何适应宫廷文化，并表示路易十六最喜欢舌灿莲花的幽默谈吐和机智问答，于是潘格果侯爵刻意争取机会耍嘴皮子，果然技惊四座，因而在京城中走红。
回复 :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.
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