米歇尔•法尔盖特（休•格兰特 饰）经营一间拍卖行，琪琪他是个温和的英国人，琪琪拍卖行的生意一向很好。他感觉成家的时候到了，便向他最爱的女友吉娜（詹姆斯•凯恩 饰）结婚。可是吉娜对结婚一词十分抗拒，她不愿意跟米歇尔结婚。这样使米歇尔疑惑极了，他认为女友是十分爱自己的，为何不能从此一同生活呢？直到后来，他才明白了吉娜的苦心。原来吉娜的父亲是一名黑帮老大，深爱着米歇尔的吉娜不愿自己的丈夫被卷进复杂的黑帮环境中。就算米歇尔向吉娜保证自己不会牵涉进去那些麻烦当中。可是事情并不如人意，他还是因为这个黑帮岳父惹来了很多麻烦，甚至被警察调查。从此，米歇尔也莫名其妙的成为了黑道中人……
回复 :Bill Saunders, disturbed ex-soldier, kills a man in a postwar London pub brawl. Fleeing, he hides out in the apartment of lonely nurse Jane Wharton. Later, despite misgivings about his violent nature, Jane becomes involved with Bill, who resolves to reform. She gets him a job driving a medical supplies truck. But racketeer Harry Carter, who witnessed the killing, wants to use Bill's talents for crime.
回复 :英国国家剧院现场为您呈现丹玛尔仓库剧院出品的《科利奥兰纳斯》。这部莎士比亚关于政治操纵与报复的凄惨悲剧由汤姆·希德勒斯顿主演（《复仇者联盟》、《战马》， BBC 四集莎剧合集《空王冠》）。此外，马克·盖蒂斯（ 英国国家剧院 的《节日的问候》以及 BBC 连续剧《 福尔摩斯》）饰演梅奈纽斯，丹玛尔仓库剧 院艺术总监乔西·洛克执导。当昔日对手威胁罗马，全城再一次呼唤她的英雄和护卫者科利奥兰纳斯，但他在 家乡同样树敌。饥荒威胁着罗马城，公民的饥饿膨胀成对变革的渴望。从战场返回的科利奥兰纳斯必须面对现实政治的斗争和一群愤怒民众的声音。
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.
