《股神1》中，春暖男主人公傲风一路颠沛流离，春暖从长春到北京又至深圳，最终在上海证券市场找到了他一展才华的舞台。他从一个稚嫩的毛头小子，变成万博的金牌操盘手。1995年‘327国债事件’，李翰林暗箱操控，致万博集团陷入绝境，为挽回局面涉及违规操作，万博证券帝国一夜间分崩离析，傲风再次一无所有，更兼亲眼目睹自己心爱的女人驿雪因投资失利香消玉损，多重打击下，身心俱疲的傲风决定隐姓埋名，消失在茫茫人海，就此远离风云跌宕的证券市场。 然而，注定将要在证券市场鼓荡风云的傲风，真的能放弃这一切情仇恩怨，才华和抱负，就此偃旗息鼓么？
徐子源
回复 :讲述了恋物癖女孩珍妮……与游乐园设施珍布……之间的爱情故事。
江玲
回复 :在机场，雷鹏遇见了与前女友高度相似的女孩温柔，又遇到了试图撮合他俩的奇怪男子舒代，双方达成了“假装情侣”的契约，一系列啼笑皆非的温馨闹剧至此展开，原本一切都很平静，孰料，一个惊人的真相浮出水面，直指向前女友的意外身亡…
蝎子乐队
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.
