视频简介
本美术片为剪纸动画片，美术设计为韩美林。 顶天山上一张画在壁上的狐狸被道听途说成一只活生生的长有两颗大牙、三只眼睛、四个耳朵和五条腿的凶狠的恶狼，所有动物都吓得躲进自己的家，这个消息传入狡猾的狐狸的耳朵后，他找来老狼商议，装扮成为那只传说中的凶狠的狼。年轻的猎人也被恶狼的传说吓得躲进了被窝，可是为了吃饭，他终抱着侥幸的心理出门打猎，结果怕什么来什么，一声奇怪的叫声令他吓破了胆，“凶狠的狼”的现身更令他丢了猎枪，自此，噩梦缠上了他，他成了不配做猎人的胆小鼠辈。。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.。
