故事发生在八十年代的中国，宋莲生坐青年画家郑庄（赵友亮 饰）从外地归来，宋莲生坐住进了位于前三门的一幢居民楼里。让郑庄没有想到的是，这里的电梯女郎，竟然是曾经和自己有过一面之缘的秦爽（肖雄 饰）。和郑庄同住在这栋楼里的，还有肖凌霞（韩影 饰）一家人，和傻白甜秦爽比起来，肖凌霞更加有心计，会来事，懂得为自己争取更多的利益。 为了拉拢袁局长，肖凌霞想要帮袁局长的女儿袁晓申介绍对象，但是被后者拒绝了，因为袁晓申一直都默默的喜欢着郑庄。郑庄决定参加全国画展，但一直都缺乏灵感，秦爽成为了他的缪斯，在两人的共同努力之下，郑庄最终创作出了满意的作品，两人之间也碰撞出了爱情的火花。
李明洋
回复 :《紫香槐下》主要讲述的是一位老校长、一位女教师、一个学生和一棵老槐树的故事。影片制片人、陕西文化教育题材影视剧创作办公室主任刘瀚辰介绍，电影《紫香槐下》由56位教育影视专家历时大半年，深入走访了西安320多所中小学校，聚焦数十位优秀的一线教育工作者，搜集了大量真实的素材，又从中选出130多所学校的200多个感人情节，形成影片剧本的原始材料。他表示，中国槐是西安的市树，紫香槐是槐树的一种，花开清香、高贵典雅，符合教师的品性。
谢丹
回复 :在老街以回收废物为生的彭达（乔任梁 饰）与龙哥（林雪 饰）做梦也没有想到一封遗书将二人地位华丽逆转，彭达一跃成为五星级大酒店的继承人，龙哥更是每天吃喝玩乐美女相伴。欧阳先生义子Danny（吴镇宇 饰），在酒店摸爬滚打多年，冷酷无情，为酒店集团利益不择手段。Danny假意让彭达参与酒店事务，暗中与彭达上演一次次的明争暗斗，为了抢夺生意双方争的是焦头烂额。Danny以董事会的名义派遣各路人马调查彭达身份，只为等待时机将其一举歼灭，Danny没有想到的是早已苏醒的欧阳（郑则仕 饰）暗中观察着自己的一举一动。一直懦弱的彭达对龙哥言听计从，但为了老街街坊和他所爱的凉茶铺盲女阿英，他开始违背龙哥对抗Danny，瞬间废物变英雄，万夫莫挡……
李慧珍
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.
