8 年前
搜影视
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.。富家子庄学文下乡收租，认识了纯朴婉约的穷家女阿霞，常不自禁探访她。不久霞母病逝，文对霞由怜生爱。霞为葬母，卖身庄家为婢。 文与霞相恋遭父母反对，表舅父乘机撮合文与表妹章秀娟，并迫霞做其填房。文明言非霞不娶，决意离家，终令父母屈服，允许两人婚事。文更揭破表舅父舞弊，与霞有情人终成眷属。。
