视频简介
改编自太宰治未完成的同名作品为原案创作的漫画。剧情讲述一个受欢迎且脚踏多条船的小白脸，参考太宰治的《Good Bye》小说作品以和自己的情妇们分手的故事。《Good Bye》这部小说是太宰治的遗作而且是没有最终完成的作品，之前以这部太宰治未完成的遗作小说为原案，由漫画家羽生生纯创作了同名漫画，讲述了现代「人渣」的故事，在改编的日剧当中男主角田岛毛（大野拓朗）是个很受欢迎的小白脸脚踩多条船，而田岛毛现在要结束脚踏多条船的生活，田岛毛遇到了自己高中时代的前辈别所文代（夏帆），听了田岛毛想要和多位情人分手的想法后，别所文代突然说田岛毛的这个情况和太宰治小说《Good Bye》剧情一样，田岛毛知道后就开始参考模仿《Good Bye》的剧情，设计和自己的情人分手计划，而别所文代也卷入了这场热闹的爱憎大剧中。。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.。