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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.。1947年春，胡宗南匪帮进犯延安，负责阻击敌人的某旅旅长把坚守松树岭的任务交给了苏强，要他带人务必坚守七天。苏强到阵地后发现，不少战士心存轻敌麻痹思想，他严肃指出轻敌思想的危害，并令战士抢修工事，他们一连打退敌人数次进攻。几天过后，敌人仍难越我阵地一步。敌旅长使出迂回战术，企图包抄二连，苏强识破敌人意图，在游击队协助下打退了进攻的敌人。脑羞成怒的敌人万炮齐轰松树岭，阵地变成一片火海。此时，六昼夜过去了，疯狂的敌人成扇形压了上来，苏强怀着与阵地共存亡的决心，带领杀红了眼的战士们作最顽强的抵抗......。