類型：劇情地區(qū)：其它年份：1965評分：6.0分

語言：其它

主演：Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)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

導(dǎo)演：讓-馬里·斯特勞布,達(dá)尼埃爾·于伊耶

影片版本：HD中字

資源類別：正片、全集無刪減版

總播放次數(shù)：933次

入庫更新時(shí)間：2024-06-24 00:06:07

由讓-馬里·斯特勞布,達(dá)尼埃爾·于伊耶導(dǎo)演執(zhí)導(dǎo)的《沒有和解》，自1965年上映以來獲得不錯(cuò)的口碑，是由Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)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不錯(cuò)的其它劇情片。

劇情片《沒有和解》在其它發(fā)行，韓劇網(wǎng)收集了《沒有和解》pc網(wǎng)頁端在線觀看、手機(jī)mp4免費(fèi)觀看、高清云播放等資源，如果你有更好更快的資源請聯(lián)系韓劇網(wǎng)【點(diǎn)擊留言反饋】。

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.

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