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大導演張徹將金庸名著改編搬上銀幕,動用龐大演員陣容,包括由郭追分飾推動故事發展的骨幹人物石中玉、石中堅兄弟、文雪兒飾女主角叮噹、唐菁飾玄素莊莊主石清、劉慧玲飾閔柔、王力飾「摩天居士」謝煙客等等。故事講述石中堅自幼隨養母梅芳姑於深山居住,一日偶拾「玄鐵令」,並得謝煙客傳授武功,卻被長樂幫幫眾誤認為幫主石中玉;及後更被叮噹所騙,願意替石中玉到雪山派代罪領死。最後真相大白,石中堅竟為石清失散多年的兒子……本片結構緊湊,情節曲折奇詭,既描寫武林恩怨,也刻劃江湖兒女情,顯示了金庸作品的超凡造詣以及張徹導演手法的老到功力,是一部不可多得的佳作。。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.。
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