罗海
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沈阳
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温婉可人、处事低调的业内顶尖配音演员时宜，一日在机场偶遇了儒雅的海归化学教授周生辰，两人一见如故颇有眼缘，短暂交往后彼此都留下了深刻印象。为了拯救日渐没落的紫砂壶工厂，周生辰答应母亲的条件，订婚承业。他婉拒了家里安排，向颇有好感的时宜提出了订婚的请求。时宜内心早已认定，欣然答应。点滴相处中，两人默契逐渐产生，两颗心慢慢靠近。周生辰为了振兴家乡的紫砂壶工艺，与长辈产生了经营理念上的巨大分歧，面对亲情和事业的两难境地，幸得时宜始终相伴，并给予了最坚实的支持和鼓励，两人最终携手最大程度地保全了传统手工艺。风雨过后，情意更为深重。然而此时，时宜为了救周生辰遭奸人陷害，身受重伤重度昏迷。周生辰暂时放下事业悉心陪伴照料，终将爱妻唤醒，两人约定相伴此生此世永不分离。
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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.
