埃里克·冯·施特罗海姆

过气演员诺玛（葛洛丽亚·斯旺森 Gloria Swanson 饰）已经快要50岁,已经的风华旷世正在她栖身的旷废豪宅里渐渐凋零,身边只有挚友马克思（埃里克·施特罗海姆Erich von Stroheim）伺奉。她没废弃重燃辉煌的妄想,「莎乐美」的脚本正待编写,而回躲债权逃至此地的败落编剧乔（威廉·霍尔登 William Holden饰）,恰是这项奇迹的最佳候选。诺玛收容他住下,给他供给恬静的情况写作,并渐渐的倾慕于他。然而,乔并不克不及接收这个芳华已逝的妇人。他谢绝了她,并转过身跟另一个俏丽的男子策划新的脚本,他们相爱,打得炽热。诺玛得悉了乔的“背离”,她低微地乞求他,却摇动不了他渐行渐远的心,诺玛终于举起枪瞄准正要分开的乔。

影片以第一次天下大战为配景,报告三名法国俘虏在德国会合营逃狱的故事。三名法国飞翔员在一次义务履行中被德军击落,波迪奥!迈克跟罗森塔尔三人被带到战俘会合营。波迪奥与德军牢狱长罗芬斯坦都是贵族出生,有着独特的政治看法,二人在狱中成为友人。三人随后发明狱友正直接逃狱筹划,他们挖出一条逃跑的通道。迈克跟罗森塔尔也参加了发掘行为。最后他们群体逃狱,德军尽力追捕,在流亡中,波迪奥被罗芬斯坦击倒,两名法国俘虏迈克跟罗森塔尔逃到一个德国农妇家中,在她的赞助下,二人经由各种曲折逃到瑞士。本片是最早的逃狱片之一,被评为最巨大的“逃狱片子”之一,同时也是导演让·雷诺阿的反战佳构。

　　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.