战争与和平 Krieg und Frieden (1982)

Name: 战争与和平 Krieg und Frieden
Genre: 剧情, 历史
Released: 1982-12-03
Duration: 2 h 3 min
Cast: 尤尔根·普洛斯诺 Jürgen Prochnow, 君特·考夫曼 Günther Kaufmann, 曼弗莱德·扎帕卡 Manfred Zapatka, Karl-Heinz Merz, 海因茨·本奈特 Heinz Bennent

导演: 斯戴芬·奥斯特 / Axel Engstfeld / 亚历山大·克鲁格 / 沃尔克·施隆多夫
编剧: 斯戴芬·奥斯特 / 海因里希·伯尔 / Axel Engstfeld / 亚历山大·克鲁格 / 沃尔克·施隆多夫
主演: 尤尔根·普洛斯诺 / 君特·考夫曼 / 曼弗莱德·扎帕卡 / Karl-Heinz Merz / 海因茨·本奈特 / 埃德加·泽尔格 / Michael Gahr / 布鲁诺·冈茨 / 安吉拉·温科勒 / Hans Dieter Trayer / Axel-Torg Gros / 汉斯-迈克尔·雷伯格
类型: 剧情 / 历史
制片国家/地区: 西德
语言: 德语
上映日期: 1982-12-03
片长: Germany: 123 分钟 / USA: 120 分钟 / Germany: 242 分钟(DVD)
又名: War and Peace
IMDb: tt0085810

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战争与和平的剧情简介 · · · · · ·

　　War and Peace: At the peak of the Cold War, the short-range missile crisis, neutron bombs could have potentially annihilated Central Europe. 300,000 protesters in Bonn. German Chancellor Schmidt resigns. Why make a film collage about war? "Nothing is more discouraging than not being able to see through a game on which your life hinges."
　　Alexander Kluge about War and Peace:
　　Ther... (展开全部) 　　War and Peace: At the peak of the Cold War, the short-range missile crisis, neutron bombs could have potentially annihilated Central Europe. 300,000 protesters in Bonn. German Chancellor Schmidt resigns. Why make a film collage about war? "Nothing is more discouraging than not being able to see through a game on which your life hinges."
　　Alexander Kluge about War and Peace:
　　There are experiences which move the senses and the heart but which, once robbed of their historical context, are very hard to convey in film in such a way that they remain topical and hold the interest of the audience. One such experience is the missile crisis of 1981-1984.
　　For our part we had made a considerable effort to film it. Why? Even at the time the majority of the audience didn't ask us to.
　　pDuring those years I felt physically afraid. To be honest, I didn't believe Germany was going to be bombarded with neutron bombs or in the total destruction of the Fulda basin, i.e. the zone in the middle of Germany into which the missiles of both sides would fall in the event of a Third World War. Inside me I had a defence mechanism against the thought that a Third World War could be the result of the mistakes made by the experts of both warring powers (what you might call the high priests of the missile arsenals and atomic weapons). That didn't really fire my imagination because I didn't like the picture. Yet during those days my belief that when I went to sleep in the evening I would wake up safely in the morning as if life was everlasting was shaken. My father had died in 1979 and my mother in 1981. Both in May.
　　I would never have believed such "signs" were possible. I would never have thought that these two people were mortal. Which is why I was now afraid.
　　If my experience of cinema was anything to go by, that should have meant that my next film would have concentrated on the polar opposite of such fears. Either a film about the successes of SPACE BIOLOGISTS during the Russian Revolution who almost managed to produce eternal life in their laboratories, or a film "without any compulsion to meaning", a film which would have corresponded to the unreal blue of the sky.
　　Somewhere in my conscience, however, there was a spark which forced me to make the effort to concentrate my imaginative faculties on the scenarios of possible annihilation resulting from the plans hatched by the fundamentally unreliable strategies pursued in the USA, in the Soviet Union and by the military staff of the Federal Republic. Did they really differ, so soon after Soviet troops had marched into Afghanistan, from the PATTERNS OF THOUGHT in the years 1912-1914? One part of my imaginative faculties, of my emotions, chased after such rational deliberations. Another part of me, of my feelings, led me to search for hiding places and tunnels as a defence mechanism against such rational considerations. *Where could I flee to?*