欧洲的某个地方
影片信息
- 状态：HD中字
- 主演：Artúr Somlay/Miklós Gábor/Zsuzsa Bánki/
- 导演：Radványi Géza/
- 年份：1948
- 地区：其它
- 类型：剧情/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2025-07-17 02:15
- 简介： Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high死亡不是生命的终点，遗忘才是。 To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
- 885
-
关注公众号观影不迷路
-
扫一扫用手机访问
网友评分
0次评分
扫一扫用手机访问
剧情简介
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high死亡不是生命的终点，遗忘才是。 To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
为你推荐
换一换-
HD国语彭禺厶/杨新鸣/陈创/程凡/柴园乐/
-
HD中字派特察泰·王卡姆劳/提顶·玛哈由踏纳/Pond Ophaphoom Chitapan/纳查特·佳塔潘/米莉亚·贝内戴缇/普恩佩荻·坤彭·罗萨瓦/新井敬太/
-
HD国语章子怡/王传君/易烊千玺/梅婷/赵丽颖/雷佳音/刘润萱/章宇/安娜·柯克/杨幂/康春雷/张羽霖/彭昱畅/尹昉/沈佳妮/陈国庆/张建亚/周野芒/大鹏/李现/徐祥/孙强/范伟/
-
HD中字思文佳·永/西奥·特里布斯/安婕·特拉乌/托马斯·克莱舒曼/维克多·梅特莱特/Tijan Marei/露西娅·巴拉多/安东·科斯托夫/Sienna Fournet Hoeltschi/
-
HD粤语钟雪莹/吴祉昊/游学修/袁绮雯/
-
HD中字裴淳华/马修·瑞斯/保罗·泰来克/梅根·麦克唐奈/斯蒂文·琼斯/
-
HD中字玛德琳·克莱因/乔什·卢卡斯/K·J·阿帕/索菲亚·怀利/麦迪森·汤普森/奥兰多·诺曼/Marilyn Cutts/J·R·埃斯波西托/Giuseppe Schillaci/Karl-el Santos/Diego Ross/Eva García Montiel/Jorge Osório/
-
HD中字阿梅尔·艾米恩/凯瑟琳·奎南/乔治雅·金/艾尔莎·迪亚茨/马丁·沃斯特罗姆/马克·奥布莱恩/Mark/O'Brien/
-
HD中字杰米·贝尔/克莱尔·弗兰妮/塞伦·希德/索菲娅·迈尔斯/杰米·西弗斯/莫里斯·洛维斯/斯图尔特·赫本/艾文·布莱纳/
-
HD中字李天熙/金赛纶/金雅纶/凯特·特波/
-
HD中字Goran Bogdan/Marusa Majer/
-
HD国语丁海峰/陈紫函/刘天佐/夏望/韩朔/文池/李倩/吕颂贤/
-
HD国语万梓良/恬妞/陈松勇/张复建/张永正/陈博正/陈纬琦/陈维欣/蒋青峰/高振鹏/李淑桢/林秀玲/文森特·林/邓美芳/王美雪/文英/杨庆煌/杨烈/
-
HD国语马钦承/马晗亦/张忻恺/皮宇中/喻庆辉/李桦/谭煜桥/刘轩宇/
-
HD中字萩原利久/河合优实/
-
HD中字李珉载/李艺媛/
-
HD国语姜武/闫妮/曾美慧孜/张博鑫/仁龙/林家川/李增辉/桑平/陈韦欣/张然/陈进/闫钊/马艺芮/吉丽/陈佳妍/郑小毛/王新华/吕建伟/江天帆/郭奕君/李丽虹/
-
HD中字摩根·奥/Omara N. Esteghlal/lHana Malasan/
-
HD中字凡妮莎·柯比/詹妮弗·杰森·李/茱莉娅·福克斯/扎克·高察根/兰道尔·朴/Jennifer Lanier/Jason Rouse/Christian Blair/艾琳·威/J·克劳德·迪林/Smack Louis/史蒂芬·詹姆士/Jami Yaeger/Amanda Sloane/Robert Alan Barnett/Sean Martini/Sheryl Lewis/Rachel Pate/Jen l Rowe/Arkira Chantaratananond/
-
HD中字彼得·萨斯加德/约翰·马加罗/本·卓别林/莉奥妮·贝尼希/齐内丁·苏阿莱姆/乔治娜·里奇/克里·约翰逊/马库斯·拉瑟福德/丹尼尔·阿德奥松/本杰明·沃克/费迪南德·道夫勒/索罗门·慕斯利/卡罗琳·埃布讷/丹尼尔·贝茨/雷夫·艾森伯格/塞巴斯蒂安·贾库尔/罗尼·赫尔曼/杰夫·布克/罗伯特·波特·坦伯顿/斯蒂芬·弗雷泽/
最新资讯
更多-
胡军李乃文主演，《归队》8月25日央视八套播出电影资讯55分钟前
-
今年最震撼我的电影，又是他拍的电影资讯昨天22:14
-
被71岁的成龙打脸了！近十年最佳动作片？！电影资讯昨天22:14
-
贾玲突传新消息！娱乐新闻昨天22:14
-
你们嚷嚷要看恐怖的，这下真来了！电影资讯昨天22:14