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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.。本片由法国著名导演帕特利斯•勒贡特执导,他的电影题材十分多元,从探讨疯子、性别问题到悄悄解构人类智慧文明,使他成为法国倍受尊崇的导演之一。而男性之间的情谊,更成为勒贡特的电影里常常出现的主题,《大公爵》正是如此,以三个男人之间的友谊为主线,讲述了一段令人啼笑皆非的故事。据说帕特利斯•勒贡特刚从法国最著名的电影学院毕业时,并没有立即投入电影的创作中,而是当起漫画家来,替法国的杂志画卡通,但另一方面他也开始制作一些传奇卡通短片。这些经验替他日后相当风格化的喜剧片品牌,竖立了别具一格的幽默感。《大公爵》充满笑料,但又不乏深刻思考,正是帕特利斯•勒贡特的喜剧经典之作,相信一定不会令观众失望。。A man reluctantly agrees to help the police investigate the robbery of a Warsaw department store. Based on a true story.。