{"name":"\u6ca1\u6709\u548c\u89e3","type":"\u5267\u60c5\u7247","area":"\u5176\u5b83","year":"1965","lang":"\u5176\u5b83","play":"HD\u4e2d\u5b57","type1":"\u7535\u5f71","vod_content":"The subtitle of Jean-Marie Straub and Dani\u00e8le Huillet\u2019s first feature, from 1965, \u201cOnly Violence Helps Where Violence Reigns,\u201d suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich B\u00f6ll\u2019s novel \u201cBilliards at Half Past Nine,\u201d which they strip down to a handful of stark events and film with a confrontational angularity akin to Bart\u00f3k\u2019s music that adorns the soundtrack. The subtlest of cues accompany the story\u2019s complex flashbacks. The middle-aged Robert F\u00e4hmel 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\u00e4hmel is considering architecture, just as the exiled brother of Robert\u2019s 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\u2014as much in style as in substance\u2014that it demands."}