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委内瑞拉男星埃德加·拉米雷斯在片中出演著名的巴拿马拳手罗伯特·杜兰,而罗伯特德尼罗饰演他的训练师,同样很有名气的雷·阿赛尔。 上个世纪70年代,杜兰是拳击界最可怕的人物。野性的眼神、黑色的头发、凶恶的战斗作风,使得杜兰在轻量级比赛中是个让对方感到恐怖的人物。从1972年到1979年,杜兰在拳坛上势不可挡。他在至少三个级别的比赛中获得过冠军。这位巴拿马拳手是世界上唯一一位跨越五个不同十年还在战斗的拳手。杜兰2002年退休时已经51岁了。本片围绕杜兰与另外一位著名拳手舒格·雷·伦纳德(Sugar Ray Leonard)的一场传奇之战展开。1980年11月25日,这两位拳手在路易斯安那州第二次相逢,而在此7个月前两人的第一次比赛中,杜兰险胜伦纳德,尽管那场比赛很悬,但是场外裁判一致判定杜兰胜出。在第二场对峙中,本来结局会大不一样,但是杜兰在第八轮比赛中...。该剧改编自诸田玲子的小说,围绕着一个爱上赤穂浪士的女性展开,描写了主人公充满波折的一生。。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.。