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The subtitle_!= of Jean-Marie S^ trau!-b an&:\d Danièle Huil?le
_t’s firs [t featu,,re, f"/`rom 1965= &, “O!_nly Vi)<olence Helps : Where '"Violence. . R\e igns,” ? s"uggests the fi erce p@olitical program evoked b"&y) their rigorous _$:ae sth?.et: ic. The pretex%[t/`) o?
@f the *%)film"$:, set in Cologne, is Heinrich Böll’s nov*%el [“B\;illiard>s at Half Past Nine,@`?-” w<hi)ch they[]( s: tri*p d-own to a  handful o f stark eve$nt^s a_@%nd f" ilm w
=!ith a confronta/ tional a`n#(;`g(ul&arity akin to Bartók’s music <t/hat adorn ,-s the sou,_@'nd@#tra
ck.: : The subtles`@'`t of 
+cues accompany the story’s c^ omplex_"- flash$backs. The middle<"-_^aged. Rober!'t Fä%\hmel =)[tells a young < ;&.<h otel bellhop of persec#/uti)_ons unde<?r the Thir=d Reich; his elderly fath-er, [!Heinrich,,$ an ar ]chitect fame`>:d for a local a%[b)-be(@y, recalls the milit(arism@` of -'the F.irst World War, wh$
e][n his w,%ife\,@*> Johanna?'*$, i,?;_ncu@ _rr+ed trouble for !>i" nsult<ing th^e)'_ Kaiser.^!* A third-generation Fähmel is c:o]nside *ring architectur>?e, just a/_s the e)xiled br@o!ther
: of Robert’s- late wif$(e, retu@&.rns:
, only to&-\ be me(t\-% b_*,<y the%-ir f+ormer tort\>?urer, now a/!" West G+_erman official takin,&&_g  part i?n a*; celeb:_ratory parade ]'of : w`<ar ve$terans. S_(tra]@/ub )and Hui[llet make the *<lay,ers of h>ist.\/o&:ry live@ in the present$(@ te`$.nse, which ?,they judg=<e severely. The&# tamped(&=-down\
acting `*a,&nd th]e sp#+are , tense visual rhe]#toric su,g+gest a, sta
!te of moral c risi/s as well?? as^+ the re&?[s>\ponse—as much in style as i_%n su:bs .
tance—that it demands.