1970
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小蜜蜂每天都和小昆虫们快快乐乐的玩耍着,和疼爱他的哈妮妈妈过着幸福的生活。因救了小蚂蚁,而认识的甲虫爷爷来到他家做客,小蜜蜂不经意间知道了自己的身世,原来他不并不是哈妮妈妈亲生骨肉。他刚出生时,蜜蜂王国因遭到大黄蜂的袭击,蜜蜂家族全军覆没。哈妮妈妈受女王的嘱托带着小蜜蜂逃了出来。现在知道他的亲生妈妈蜜蜂女王还活着,于是为了重新振兴蜜蜂王国小蜜蜂踏上了寻找妈妈的征程。小蜜蜂在寻找妈妈的路上还帮助了许多遇到困难的昆虫们。他虽然和同样在寻找自己的妈妈擦肩而过,但谁都没有发现彼此。小蜜蜂到底要经历多么艰辛的旅程,才能和妈妈重逢呢?
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Patterning himself after the American gangster John Dillinger, a criminal is tracked by an inspector, a former childhood friend.
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Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’
The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
