3 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.。比尔．马丁和新婚妻子克蕾儿略微不安的展开新生活，她门都带着前次婚姻的小孩，他们希望搬进新家后，能有一家人的感觉。当比尔在后面仓库看到这个可爱的维多利亚式娃娃屋，觉得这是女儿洁西卡完美的生日礼物，但他有点小小的恐惧感，现在，奇怪的事逐渐发生了，克蕾儿死掉的前夫，死而复活，壁炉变得有生命，儿子因为被诅咒力量所伤而住院。最后，家庭成员每个都被恶魔支配，除非他们面对使他们痛苦的人，然后尽已所能的和他们战斗，他们自己决定自己命运，将自己内在潜力发挥，他们和邪恶面对面，然后发现了唯有彼此之间的爱，才能和恶魔相抗衡。。
