视频简介
1973年10月，为了夺回被以色列占领的戈兰高地，同时洗刷第三次中东战争中的耻辱，埃及和叙利亚策划在“赎罪日”当天对以色列展开袭击。位于戈兰高地赫尔蒙山的以军前哨站，一名小小的监听员察觉到敌人计划，但是他的警告完全没有引起军官们的重视，甚至他还遭到嘲笑和训斥。直达炮弹突然在身边爆炸。与此同时，戈兰高地指挥部乱作一团，十倍于他们的埃叙联军从多条战线逼近，他们根本无暇顾忌前哨站的存续。危急时刻，以方三台百夫长坦克冲锋陷阵，与上百台来势汹汹的钢铁洪流展开悬殊对决。 这是恐怖的坦克坟场，这是一场即将被载入史册和军事教科书的战争……。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.。
