离异多年的画家老白（徐峥 饰）经朋友介绍认识了同样离异，春暖带着一个孩子的李小姐（马伊琍 饰），春暖老白对李小姐一见倾心，可是李小姐似乎对这段感情有所顾虑，一直止步不前。老白在家里开设了美术班，教成年人画画，格洛瑞亚（倪虹洁 饰）是他的学生之一。热情奔放的格洛瑞亚虽然已经结婚，但是丈夫远在国外常年不回家，她似乎对老白有着超越了师生的感情。蓓蓓（吴越 饰）是老白的前妻，两人虽然已经离婚多年，而且是蓓蓓背叛了老白，但老白的母亲还是希望两人有朝一日可以复婚。在上海的弄堂里，一个男人和三个女人的故事徐徐拉开序幕。
回复 :1952年的伦敦，担任公务员多年的威廉已经成为战后英国重建的官僚体制中的一枚螺丝钉，办公桌上堆积起无尽的文书工作，而此时这个疲惫的男子得知自己身患绝症，便开始想在死去之前，为灰暗单调的生活寻找一些意义。他尝试了纵欲，忽视家人和工作等，随后，威廉被同办公室年轻的女同事玛格丽特吸引，她本人似乎就代表着生命和生机，和威廉人生中路过的东西。两人的友谊逐渐加深，她不经意地向他展现了如何去面对人总有的一死，如何累计自己的人生经验和奉献最后一次全心努力，克服一切困难去推动一个被推迟已久的项目，帮助动伦敦贫困地区的孩子们。
回复 :都市白领吴大伟和妻子馨雅的婚姻亮起了红灯，他的好友吴勇等四人决定帮助两人和好，这却导致了吴大伟两个孩子被绑架。在众人努力下，最终吴大伟夫妇找到了孩子并重归于好，吴勇等人也重新找回自己的幸福。
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.
