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明末年间，中原与金国边境战火硝烟四起，姬无双的魔教大行肆虐。朝廷与武林联合抗敌。武当派首徒卓一航自幼桀骜不驯，但天资过人，极受掌门紫阳真人看重。卓一航幼年奇遇不断，先后结识了当时还只是武官的吴三桂与神秘的狼女。成年后的卓一航为人正直，但浪子本性不改，不愿受礼教束缚，仗义行侠却屡屡受指。大师姐对其倾心，卓一航却毫不动心。再次偶遇狼女，卓一航心生爱意，狼女亦为之倾心。然后正邪不两立，有情人面对诸般艰难险阻，终是黯然收场……。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.。