没有和解 已完结

评分:
10.0 推荐

分类:剧情片 其它 1965

导演:让-马里·斯特劳布  达尼埃尔·于伊耶   

无需安装任何插件,即可快速播放

无需安装任何插件,即可快速播放

无需安装任何插件,即可快速播放

剧情介绍

片名:《没有和解》

类型:剧情片

上映时间:1965

上映地区:其它

导演:让-马里·斯特劳布,达尼埃尔·于伊耶

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,

集数: 更新至0集

语言:其它

【超越影院】推荐剧情片没有和解在线观看高清完整版720P播放地址,没有和解的角色塑造得生动鲜活,每个都有自己的特点和魅力,让人特别喜欢;没有和解的演员有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,,他们演技精湛,表现非常出色,每一个细微的表情和动作都恰到好处,引发观众的情感共鸣;是一部值得珍藏的电影。

《没有和解》观后点评:没有和解精彩的演技与扣人心弦的剧情,让观众们仿佛置身于其中;没有和解的对白幽默而有趣,让观众们捧腹大笑,是一部其它地区好看的电影。

《没有和解》抖音网友点评:电影没有和解受到观众喜爱,因为没有和解通过感人的故事情节,引发我们对家庭价值的思考;没有和解的视觉效果震撼,音乐催人奋进,让人感到激动不已。

没有和解讲述了: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.

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