没有和解

《没有和解》讲述的是什么故事？

《没有和解》　　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.

一、《没有和解》是哪一年上映的？

《没有和解》是让-马里·斯特劳布,达尼埃尔·于伊耶于1965年拍摄的一部经典剧情片。此片开创其它当代剧情片的先河，《没有和解》上映时票房稳坐前三，创下当年纪录。当时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,保罗·埃塞尔均为最佳主角，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,保罗·埃塞尔以精彩演技和突出形象，奠定在其它影坛地位。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,保罗·埃塞尔饰演角色造型多年后仍为人所模仿。让-马里·斯特劳布,达尼埃尔·于伊耶之前曾被人怀疑其能力，而《没有和解》却奠定让-马里·斯特劳布,达尼埃尔·于伊耶剧情片风格。《没有和解》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1965年代）其它优秀剧情片齐名。

二、被称为剧情片的开先河之作的《没有和解》，是让-马里·斯特劳布,达尼埃尔·于伊耶最好的作品吗？

从让-马里·斯特劳布,达尼埃尔·于伊耶斩获剧情片最佳导演开始，很多观众就觉得这部《没有和解》是他极具代表性的剧情片。虽然让-马里·斯特劳布,达尼埃尔·于伊耶后来还拍出过评价很好的作品，但是《没有和解》依然常被认为是他剧情片创作中的重要代表。

三、《没有和解》为什么可以成为经典？

提起其它，不少观众都会想到《没有和解》的名字。这部由让-马里·斯特劳布,达尼埃尔·于伊耶导演，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,保罗·埃塞尔主演的《没有和解》，在当时凭借鲜明的人物塑造和紧凑的剧情片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《没有和解》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《没有和解》？

《没有和解》口碑表现稳定，深受广大观众喜爱。不仅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,保罗·埃塞尔的表演有看点，而且该剧情片故事情节紧凑，影院3（3.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《没有和解》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《没有和解》剧情片的主要内容

《没有和解》是一部剧情片作品，由导演让-马里·斯特劳布,达尼埃尔·于伊耶执导，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,保罗·埃塞尔主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的剧情片故事。

《没有和解》　　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.