沒(méi)有和解
影片信息
- 狀態(tài)：已完結(jié)
- 主演：Heinrich/Hargesheimer/Carlheinz/Hargesheimer/Martha/Staendner/達(dá)尼埃爾·于伊耶/Henning/Harmssen/Ulrich/Hopmann/Joachim/Weiler/Eva-Maria/Bold/Hiltraud/Wegener/Ulrich/von/Thüna/Ernst/Kutzinski/Karl/Bodenschatz/Heiner/Braun/Georg/Zander/Lutz/Grubnau/若阿內(nèi)斯·巴爾斯基/保羅·埃塞爾/
- 導(dǎo)演：讓-馬里·斯特勞布/達(dá)尼埃爾·于伊耶/
- 年份：1965
- 地區(qū)：其它
- 類(lèi)型：劇情片/劇情/
- 時(shí)長(zhǎng)：內(nèi)詳
- 上映：未知
- 語(yǔ)言：其它
- 更新：2025-01-09 11:59
- 簡(jiǎn)介： The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich B?ll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert F?hmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation F?hmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
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劇情簡(jiǎn)介
The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich B?ll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert F?hmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation F?hmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
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