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闯关东2
大陆国语2009
  1931年到1949年,是中国现代史上极为重要的一段时期:百余年来,中华民族第一次打败了外国侵略者,获得民族独立,实现了民族解放;中国人民彻底埋葬了黑暗腐朽的半封建、半殖民地的社会制度,建立新中国,实现了全社会的解放。  电视剧《闯关东》(第二部)讲述的就是这段历史时期闯关东人的坚忍生存和英勇斗争。  刚刚二十岁出头的大姐宋天好带着两个妹妹和小弟,从山东来到沈阳寻找父亲。可是,“九。一八”的炮火炸碎了他们全家团圆的梦想,伪满洲国的建立,更使他们沦为亡国奴。父亲宋成祖奋起抗日,不幸身亡;小弟被拐骗,辗转流落到人地两生的茫茫草原;二妹为寻找小弟,走进了杀机四伏的深山老林;大姐宋天好和三妹则逃到了大连。  姐弟四人几度生死,历经磨难, “七。七”事变后,又在长白山深处的秀水屯重逢。面对日本帝国主义的血腥统治,他们不甘当亡国奴,挺直了中国人的脊梁坚忍地生存,和侵略者斗,和汉奸斗,和骄横的日本开拓民斗,用自己的鲜血和泪水,用中华民族的浩然正气书写了闯关东人壮丽的抗日篇章。  抗战胜利,国共开战,中国向何处去?面对这样严峻的选择,姐弟四人或先或后,或直或曲,甚至以鲜血和生命为代价,最终都走上了为建立独立、民主、自由和富强的新中国而奋斗的光明之路。  当五星红旗在天安门城楼高高升起的时候,他们为祖国的新生而欢笑!  当他们回望走过的路时,又为自己和民族所经历的苦难和奋斗流下了滚滚热泪。。。。。。。

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盲目的丈夫们
美国英语1919
  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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