没有和解3.0
类型：剧情 其它 1965
主演：Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·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,若阿内斯·巴尔斯基,保罗·埃塞尔
导演：让-马里·斯特劳布,达尼埃尔·于伊耶
播放地址
情节概述
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.
观众心声
【A-】施特劳布夫妇电影第二作，机械化表演带来的冰冷气氛明显流露，去戏剧化而直面本质的特性从此起航。若是说把三代人的家族故事压缩成不到60分钟中篇的魄力已经是异于常人，那斯特劳布夫妇在短小的体量下投射出德国1921—1958的时代缩影更是体现出他们作为创作者的天才潜质─摒弃传统情节连贯性，采用跳跃的时空结构、静态长镜头和舞台化的表演，将各个细节塞入情节的插缝，迫使观众主动拼凑历史碎片以直面主旨，构成对主流历史叙事的反抗，正与“没有和解”的主题相呼应：这既是纳粹和战后德国历史的无法和解，也是艺术家对主流意识的反抗，与布列松的极简主义和法国新浪潮形成奇妙的互文。不过这种反抗还是太晦涩了些，需重看。
风格初确立
不管从镜头还是剪辑都避开了常规的电影叙事规则，并且明显的受到布莱希特的影响。至于内容由于翻译实在太差所以无法讨论。
85/100 政治态度尽在闪回、剪辑里。
60年代德国新青年电影，通过三代人的生活表现希特勒时代德国和战后德国现实对比。采用“布莱希特式”的戏剧风格与”间离效果”，注重文学化的台词，严肃庄重细腻，同时含有德国表现主义特点。“用历史的闪回镜头直接回顾了纳粹时期”。
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