陈娟的奶奶煮饭点柴火时不慎引燃了周围柴草火势迅速蔓延，视频正在不远处走访的村妇联刘主任急忙带人奔跑过来…… 刘主任决定用新招，视频她经村上同意把这事放到了网上去，一连几天没反应。 正巧市爱心社区志愿服务指导中心的程渝、胡希夫妇在网上看到消息，他们感概之余辗转联系到了刘主任，一路奔波见到了祖孙三人。程渝夫妇一方面 对他们进行心理与情感的安抚，一方面捐助款项改善他们的生活条件，陈渝夫妇的大爱行动在当地传为佳话。 虽然有了爱心的温暖，陈娟依然给父母写信却多了几分埋怨。 接下来刘主任会同程渝夫妇联手立即启动“寻找工程”。原来陈妻范晓梅两年前下班时摔伤成为植物人，陈春明打工照顾妻子生活也十分艰难，因此不敢向家里说也不敢回家。刘主任立即让村上的人告诉了陈 娟并接通了电话，电话的两端父女泣不成声，在场的人也都潸然泪下……陈春明万分感动跪谢程渝夫妇对儿女的再造之恩。 程渝他...
回复 :本片讲述了一位天才盲人钢琴家对抗不公命运的传奇故事。主人公米耶特出生于波兰一个贫困的农场家庭，12岁时因疾病视力渐逝、又经历父亲离弃、母亲早亡、修道院清冷无助的寄养生活……纵然拥有音乐天赋，他的钢琴之路却始终伴随着冷眼与嘲笑，为了弹琴他不断碰壁，又再次遭受朋友和心爱之人的背离……这个被命运几经捉弄，几乎毫无还手之力的弱者，唯一能够用来反抗的，便是他的音乐，音乐是他重新认识、沟通世界并且对抗不公命运的唯一途径……
回复 :代表着七宗罪“愤怒”的坠落天使Bruce失魂落魄地徘徊在城市钢筋水泥的丛林里。在一个天使般的小女孩儿引领下，Bruce展开了对同为坠落天使的“嫉妒”，“色欲”，“贪吃”，“傲慢”，“懒惰”，“贪婪”的猛烈攻击，并将象征他们力量的斑彩宝石集齐转化成打开天堂大门的钥匙。然而，所发生过的一切不过是一个幻象，一个巨大的阴谋才刚刚开始。
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.
