1970年施隆多夫的《太阳神》在同代西德电影里显得格外“冷”——没有法斯宾德后来的癫狂调度，也没有克拉默式的政治口号。新来的医生（法斯宾德饰）试图打破僵局，却意外触碰了潜藏已久的权力暗流。剧情不追求反转，全凭人物之间微妙的眼神躲闪和沉默缺口推动——一个关于信仰如何被平庸之恶吞没的故事，看完会让你盯着自家天花板发好一会儿呆。这片子更适合习惯在缓慢节奏中“品”出社会隐喻的观众，它不提供爽感，但那种如芒在背的真实感会跟你很久。 施隆多夫用冷冽的固定镜头和大量中远景，拍出小镇压抑的日常——教堂钟声、集市喧嚣与夜间火光交织，营造出宗教寓言般的肃穆氛围。适合喜欢欧洲室内剧、能忍受叙事缓慢但细节密集的观众——你会发现自己不知不觉就在猜谁的背叛先浮出水面。

　　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.

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