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二十世纪三十年代，最流行的娱乐靠戏班。在川渝大地上，戏班中最风光的就算给老佛爷唱堂会的莫家班了。 然而花无百日红，川剧大师莫大江（侯桐江 饰）七十大寿当天,军阀龙大胜（刘承俊 饰）的妹妹龙剑冰（王美英 饰）突然逼迫莫家班解散。除了关门弟子莫小河（陈国坤 饰）不肯离开，还有千里寻夫的娃娃亲梁梦梵（徐冬梅 饰）找上门，逼他圆房。 为了让莫小河学会责任和担当，不再逃避龙剑冰的肆意玩弄，梁梦梵逼着莫小河习琴练武，收效甚微；面对貌若天仙的未婚妻，莫小河视若无睹，为生计干着坑蒙拐骗的事。 身兼秘密任务的梁梦梵离开莫小河的那一天，他的生活失去了重心，一张没有烧尽的地图，让他反省自己的顽劣，才明白失去的恰是自己的最爱。 于是当梁梦梵执行刺杀任务，九死一生之际，莫小河决然登场，与梁梦梵共赴患难，血溅军阀…… 浪漫，随处可见。 真爱，一生难寻！。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.。