歌剧院谜案 法国电影
10 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.。该片以科学考古工作为主要线索，张献忠及其大西国的故事为副线索，两条线索交错进行，最终呈现主题故事。和一般的历史考古类纪录片不同的是：本片不只是把目光与焦点放在历史探究上面，而是更多地着墨于现代的考古事件本身，以及与之相关的人的故事，科学的故事。其中，张献忠的沉银宝藏的来历，以及其工艺价值，史学价值，都将第一次在本片完整、细致、精美地进行展现。。
