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-generat……《沒有和解》于1965年其它上映,由讓-馬里·斯特勞布,達尼埃爾·于伊耶導演,Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達尼埃爾·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·埃塞爾等主演的一部劇情片!蘑菇電影網(wǎng)提供《沒有和解》免費在線觀看,《沒有和解》完整未刪減版在線觀看!蘑菇影視所有迅雷下載資源以及在線觀看資源由云端程序自動抓取,如果你喜歡《沒有和解》最新一期,歡迎分《沒有和解》給你的好友,本片只做交流學習,請勿用于商業(yè)利益行為,請支持《沒有和解》正版影片!請下載觀看后24小時內(nèi)刪除,感謝支持!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.展開