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恨难解 Not Reconciled Not Reconciled or Only Violence Helps Where Violence Rules
影片信息
- 片名:没有和解
- 状态:HD中字
- 主演: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/
- 导演:让-马里·斯特劳布/达尼埃尔·于伊耶/
- 年份:1965
- 地区:其它
- 类型:剧情/
- 时长:内详
- 上映:1965-07-04
- 语言:其它
- 更新:2025-04-20 20:45
- 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.
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剧情简介
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.
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6.0 Life as It Should Be/
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8.0 恨一世的爱(港)//An/Impossible/Love/
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5.0 镜花水母//灿烂未来//光明未来//回光//Bright/Future//Jellyfish//Akarui/Mirai/
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4.0 The Nightsiren Nightsiren/
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5.0 暴雨骄阳(港)/春风化雨(台)/壮志骄阳/
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10.0 蜂巢的幽灵//蜂巢精灵//The/Spirit/of/the/Beehive/
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2.0 扑头前失魂后//The/Man/Without/a/Past/
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1.0 什恩·卡鲁斯/大卫·苏利文/卡西·古登/Anand Upadhyaya/Carrie Crawford/Jay Butler/John Carruth/Juan Tapia/Ashley Warren/Samantha Thomson/Chip Carruth/Delaney Price/Jack Pyland/Keith Bradshaw/Ashok Upadhyaya/Brandon Blagg/Jon Cook/David Joyner/Eric De Soualhat/
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5.0 Taste Humanity at Night/
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5.0 Yern Peh Lay semakute/Three Cripples/
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4.0 暴雨骄阳(港)/春风化雨(台)/壮志骄阳/
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4.0 追访费里尼(港)/费里尼的剪贴簿(台)/Fellini's Intervista/
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3.0 木村文乃/广濑爱丽丝/菜菜绪/沈恩京/大岛优子/室井滋/江口洋介/玉木宏/吉濑美智子/滨田岳/笑福亭鹤瓶/
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6.0 弗洛伦丝·皮尤/哈里·斯泰尔斯/克里斯·派恩/奥利维亚·王尔德/琪琪·莱恩/嘉玛·陈/尼克·克罗尔/西德尼·钱德勒/凯特·贝兰特/阿西夫·阿里/道格拉斯·史密斯/蒂莫西·西蒙斯/阿里尔·斯泰切尔/史蒂夫·伯格/黛西·苏戴奇斯/马塞罗·莱耶斯/梦露·克莱恩/蒂塔·万·提斯/泰勒·梅/莱克茜·休姆/提娅.利泽伍德/
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2.0 Kasper/Michaels/Kasper/Michaels/罗伯·贝尔/Rob/Bell/Lynette/Nusbacher/Lynette/Nusbacher/索尔·戴维/Saul/David/
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