没有和解 / Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (1965)
7.5 
tt0059503
制片国家/地区：
西德又名：
恨难解,Not Reconciled,Not Reconciled or Only Violence Helps Where Violence Rules
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 Paul Esser Joe Hembus Peter Kneip Karsten Peters 鲁道夫·托米 Max Willutzki Hans Zander Max Zihlmann
上映日期：
剧情简介：
1965西德剧情片《没有和解》由让-马里·斯特劳布导演，Heinrich Hargesheimer主演，影片讲述的是：
The subtitle of JeanMarie 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 middleaged 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 thirdgeneration 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 tampeddown 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
The subtitle of JeanMarie 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 middleaged 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 thirdgeneration 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 tampeddown 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
