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.
安东尼·巴容,拉斐尔·奎纳德,加拉泰亚·贝露琪,多米尼克·雷蒙,伯纳德·布兰卡恩,Nathan Le Graciet,梅兰妮·马丁内兹,迈克·雷勒斯,马蒂厄·阿米利安,埃维莉娜·皮蒂,卡德尔·布阿拉加,玛莉索尔·佛塔德,蒂伯特·巴雅德,玛雅·丹内伊,汤米·李·巴克,费萨尔·德杰杜伊,安东尼·罗德里格兹,维克托·格里特萨斯,乔安·亚当,格里高利·科斯特卡德
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