The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. L?nborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merl?se Church. On 4 July, Dreyer went in advance to Ringk?bing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
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自古以來，不論賢君明主，皆自詡風流，閑來追聲逐色，淫亂之情，往往令人嘆為觀止。清代同治皇帝，因經常私出禁宮，尋花問柳，終染梅毒而歿，被視為荒淫君主，然而事件背后，卻有一段哀怨慟人的愛情故事。同治(宋本中飾)雖貴為皇帝，卻無實權，事事皆由慈禧太后作主，年少氣盛的同治深感不滿，但卻無奈，只好與宮女桂蓮(翁虹飾)傾訴。桂蓮與同治青梅竹馬，年紀比同治為大，事事關心，形同姐弟，然而二人內心深處，均視對方為情人。親政之前，慈禧為同治選皇后，慈禧早已內定慧妃為后，豈料同治一意孤行，自立皇后，母子關系再增隔膜，從此種下禍根。慈禧貼身太監安德海一向垂涎桂蓮美色，三番四次對桂蓮不敬，終為同治知悉，聯同小李子(梁思浩飾)及徵貝勒(王書麒飾)，將之怒打，安德海懷恨在心，在慈禧面前進言，逐桂蓮出宮
，然后加以淫虐。最后更將之賣落八大胡同當娼。機緣巧合下練成床上必殺技『天龍八部』。大婚之夜，皇后承歡，可是在同治心中，始終視皇后為桂蓮的化身。未幾，傳聞桂蓮在八大胡同出現，同治遂在徵貝勒安排下私出禁宮，尋找桂蓮下落。桂蓮未能尋獲，卻為花花世界所吸引，先被白俄羅斯女郎色誘上床，繼而迷上妓女的超凡床上技，不時以尋找桂蓮為藉口，出入八大胡同。在機緣巧合下，同治與桂蓮重逢，二人彷如隔世。可是同治已染上梅毒，而且病發，桂蓮為之悲痛不已。另一方面，慈禧決以天花之癥醫治同治，以免丑事外揚。同治臨終前夕，下令暗殺安德海，以報桂蓮之辱。結果安德海被誅，同治駕崩，桂
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