13 年前
搜影视
On the day of a local coming-of-age ceremony, a generation of teenagers stumble into the void of suburban idealism.。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.。故事发生在第二次世界大战期间，范妮娜（瓦妮莎·雷德格瑞夫Vanessa Redgrave 饰）曾经是红极一时的歌星，战争爆发之后，她也因为自己的种族而沦为了阶下囚，被关入了位于慕尼黑的一家集中营中。在这里，所有的女囚都被剃了光头，剥去了衣服，过着宛如牲口一般的日子，但即便是在如此艰难的境遇之中，这些坚韧的女性们依然没有放弃过对于生存和自由的渴求，她们想尽了一切的方法，只为了一件事情，那就是活下去。 范妮娜因为略通音律而幸运的被选入了由囚犯们组成的管弦乐队之中，她们为军官们提供表演，还会为那些被送入毒气室的囚犯们演奏送葬曲。。
