简介: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 Böll’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 Fähmel 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 Fähmel 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.
影片拼音/别名:meiyouhejie
视频集数:未知
上映时间:1965
视频更新时间:2024-05-15 09:23:03
国家/地区:其它
影片语言:国语
影片演员:Heinrich Hargesheimer Carlheinz Hargesheimer Martha Staendner 达尼埃尔·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 若阿内斯·巴尔斯基 保罗·埃塞尔
视频总人气:757
剧情介绍:让-马里·斯特劳布 达尼埃尔·于伊耶 导演执导的《没有和解》,该影片在1965年其它发行,上映至今获得了较好的口碑, 每集分钟由Heinrich Hargesheimer Carlheinz Hargesheimer Martha Staendner 达尼埃尔·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 若阿内斯·巴尔斯基 保罗·埃塞尔 等主演的一部不错的其它的电视剧。
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 Böll’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 Fähmel 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 Fähmel 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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