足球小将世青篇国语版

视频简介

「フランケンシュタイン対地底怪獣」の姉妹編。クローン生物のフランケンシュタインが、より怪獣的になり、分裂によって山の怪獣サンダと海の怪獣ガイラの2体に分かれる。心優しい兄のサンダと人間を食う凶暴な弟のガイラが、骨肉相食む死闘を演じる。2匹の死闘は都市を中心に展開され、従来脇役に徹してきた自衛隊が、今回は生命の細胞までも焼きつくす殺人光線兵器・メーサー光線砲戦車を登場させ、互角の闘いを演じる。この日・米合作によるフランケンシュタイン2部作は、当時の怪獣ブームから、人間不在の怪獣トーナメント化した怪獣映画に一石を投じたが、本流にはならなかった。。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.。