电影空间

影片讲述了一个怀揣着音乐梦想的平凡小人物，他的出现总会闹出让人捧腹的笑话。在别人眼中他是一个不折不扣的傻子。他的傻与这个社会的浮躁形成了鲜明的对比。在追梦的路上，他遭遇到各种让人意想不到的挫折。在现实生活的压迫下他却依然坚持着一颗赤子之心，纵使生活无助，但也有坚持梦想的力量。一系列幽默爆笑后，不乏引人深思的励志故事。。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.。