剧情简介
女孩向美兰是“山窝窝飞出的金凤凰”，蓝胡有着一份令人艳羡的爱情和前程。为毕业设计，蓝胡她和富二代男友回到山乡，目睹美丽乡村的日渐凋敝，选择留下来将古民居改造成“乡村民宿”。创业路上，她遭遇封建迷信的干扰，传统势力的阻碍，村民的误解和爱情的波折，历经磨难，将乡村文明与都市文明相融合，令古老的山村重焕生机。
蓝胡子的第八任妻子
女孩向美兰是“山窝窝飞出的金凤凰”，蓝胡有着一份令人艳羡的爱情和前程。为毕业设计，蓝胡她和富二代男友回到山乡，目睹美丽乡村的日渐凋敝，选择留下来将古民居改造成“乡村民宿”。创业路上，她遭遇封建迷信的干扰，传统势力的阻碍，村民的误解和爱情的波折，历经磨难，将乡村文明与都市文明相融合，令古老的山村重焕生机。
梁文音
回复 :诺尔（阿迪亚·罗伊·卡普尔 Aditya Roy Kapoor 饰）从童年时代起就展现出了惊人的艺术天赋，一次偶然中，他救了一位名叫莫扎姆（阿贾耶·德乌干 Ajay Devgan 饰）的男人，之后，皇室后裔巴古姆（塔布 Tabu 饰）雇佣诺尔成为自己的女儿菲尔多斯（卡特莉娜·卡芙 Katrina Kaif 饰）的玩伴，希望菲尔多斯身上能多一些艺术气息。因为参加姐姐的葬礼而未能及时赶回来的诺尔错过了和菲尔多斯见最后一面的机会，菲尔多斯出国了。一晃眼多年过去，诺尔已经成为了大名鼎鼎的艺术家，享受着无上的声誉，此时，出落得美艳动人的菲尔多斯回到了他的身边，遗憾的是，此时的菲尔多斯即将成为别人的妻子。
杰米福克斯
回复 :影片基本还原了《The Apology(苏格拉底自辩篇)》和《Crito(克里托篇)》。剧的后半段，苏格拉底和雷托辩论的那场戏是原文的删减版，基本涵盖了自辩篇的重要思想。一. 反驳“腐蚀青年人的思想”的罪名二.反驳“无神论者”罪名以及关于“他最有智慧”和对于死亡的看法。可是在判决死刑后，与帮助其逃狱的好友克利托的对话却少了一大截，不过影片到了结尾，更多应该渲染苏格拉底的死前氛围，而不是以高谈阔论来破坏悲剧气氛。
李基灿
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.
