Lucienne Delamare and Pierre Maury are having an affair. Lucienne's husband Paul is the mayor, and a French deputy. Pierre's wife Clotilde has been weak and sickly for years. Lucienne's husband holds no excitement for her, and he is always away in Paris on business. Pierre is now the vice-mayor, thanks to Paul. Lucienne and Pierre have a secret meeting spot by a lake along a country lane. Pierre's wife dies suddenly, by suicide the town gossips believe. Pierre confesses otherwise to Lucienne. Paul proposes a shady land deal which will "benefit the town", and wants Pierre's political support and collusion. Then Paul discovers proof of his wife's affair...
亨利(加里·格兰特 Cary Grant 饰)是一名英俊帅气的法国军官,在前线,他结识了前来应援的美国陆军妇女队军官凯瑟琳(安·谢里登 Ann Sheridan 饰),尽管两人之间的交流经常伴随着吵吵闹闹,但随着时间的推移,亦产生了真挚而奇妙的感情。
战争结束后,亨利决定跟随凯瑟琳前往美国,结婚并开始幸福的生活,然而此时,一个难题却摆在了他们的面前,那就是亨利并不能取得美国的合法居留权。为了解决这个问题,亨利和凯瑟琳想了一个损招,那就是让亨利打扮成妇女队的军官,混进美国。让两人没有想到的是,这个看似完美的计划执行起来却遭到了诸多变故,他们能够获得最终的“胜利”吗?
故事发生在法国大革命期间,来自英国伦敦的律师西德尼(罗纳德·考尔曼 Ronald Colman 饰)爱上了名为露西(伊丽莎白·艾兰 Elizabeth Allan 饰)的美丽女子,然而露西早已经有了心上人,没过多久,她便和法国贵族青年查尔斯(唐纳德·伍兹 Donald Woods 饰)结为夫妻。西德尼将对露西的感情深深埋藏在心底,由衷的祝福了这对新人。
革命爆发,法国国内局势一片混乱,革命牵连到了查尔斯,查尔斯遭到了囚禁,并且被判处了死刑。悲痛之中,走投无路的露西找到了西德尼,向他寻求帮助,看着眼前心碎的爱人,西德尼决定不惜一切代价救出查尔斯,哪怕这份代价就是牺牲自己的生命。
故事发生在二十世纪初的北爱尔兰贝尔法斯特,刚刚出狱没多久的约翰尼(詹姆斯·梅森 James Mason 饰)参与了一次抢劫行动,并且为了掩护队友而遭到了警察的枪击,约翰尼失手打死了警察,惹上了重罪,成为了全城通缉的对象,身负重伤的约翰尼体力不支,昏了过去。
穷的叮当响的无赖汉谢尔(F.J.麦考密 F.J. McCormick 饰)发现了约翰尼的踪迹,在他的身上看到了发财的法子,他将情报通告给神父汤姆(W.G. Fay 饰),却被凯瑟琳(凯思琳·赖安 Kathleen Ryan 饰)发现。凯瑟琳赶在谢尔之前找到了躲在疯画家鲁奇(罗伯特·牛顿 Robert Newton 饰)家中的约翰尼,就这样,两个人踏上了逃亡的旅途。
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.