没有和解

本片呈现出一种近乎极端的文本忠实性，斯特劳布与于伊耶摒弃了情感化的蒙太奇剪辑，转而采用一种冷峻的“逐镜诵读”叙事结构。斯特劳布夫妇用断裂的、近乎考古学的方法处理法西斯历史——演员以朗诵而非表演的腔调对峙史塔西档案式的对白，摄影机固执地静止于废墟、墓地与资产阶级客厅，拒绝任何廉价的悲情配乐。能接住这份沉默的人，会觉得值；接不住的，只会觉得“这拍的是什么破东西”。它不讨好你，也不骗你，就像跟你唠嗑似的，把一段“没说出口的和解”摊开：不是所有故事都有结局，有些人的挣扎，本身就是答案。斯特劳布和于伊耶用极简的固定长镜头与现场收音，刻意制造出一种疏离感，迫使你直面纳粹阴影下德国小镇的平庸之恶。如果你受够了商业大片，想看点硬核、甚至有点“折磨人”的东西，这片子绝对能让你印象深刻，但也别怪我没提醒你，真的很闷。

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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