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性格开朗、与人为善的影视红星萧琼，偶遇英俊潇洒、富有魅力的年轻商人余天君。 余的善解人意和绅士风度使得萧离开了正直倔强的导演关洛川，嫁给了余天君。婚后不久，萧琼发现余竟是个高级诈骗犯和杀人凶手。 为了把余天君绳之以法，萧琼联合关洛川和曾被余欺骗过的姚思丹，与余展开了激烈的斗争。在搏斗中，萧误杀了余的弟弟余万斤，使自己从一个明星变成了“杀人犯”……。抗日战争时期，八路军老六团在黑团长的率领下奉命南下，配合新四军某部参加南岭战役作战。战斗中黑团长身负重伤，警卫员肖九天跟随黑留在新四军卫生所救治疗伤，由此认识了新四军卫生员马骏和护士乔喜珍。 由于伤情严重，医院又缺技术和医生，黑团长生命垂危。情急之中，卫生所孟所长提出，日军野战医院的木村一郎医术高明，如能把他抓来，让他为黑团长做手术，或许还有挽救的可能。新四军支队司令员当即下令攻打日军高堡据点，抓回了日本军医木村，但他不肯为黑做手术。不得已，孟所长只好在没有麻药的情况下为黑团长做手术，黑的英勇气概打动了木村，他主动要求为黑动手术，最后在万般无奈的情况下截去了黑团长的左臂。 团长失去左臂，给肖九天留下永远难忘的记忆。之后，木村留在了新四军卫生所工作。在一段时间的接触中，木村喜欢上勤学好问的肖九天和马骏，向上级提出，把警卫员肖久天留在卫生所跟他学医，他要...。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.。
