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：2024-04-12 18:47
- 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. 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.
- 6
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. 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粤语4.0林子善/洪浚嘉/张建声/蔡洁/邹文正/徐浩昌/岑珈其/何华超/彭皓锋/吴志雄/王浩信/陈欣妍/柯乃予/丘子健/苏宸褕/何珮瑜/白柳嫣/陈佳宁/陈颖进/
- HD国语5.0林子善/洪浚嘉/张建声/蔡洁/邹文正/徐浩昌/岑珈其/何华超/彭皓锋/吴志雄/王浩信/陈欣妍/柯乃予/丘子健/苏宸褕/何珮瑜/白柳嫣/陈佳宁/陈颖进/
- HD中字1.0特丽莎·克里希南/拉姆·查兰/詹维·卡浦尔/
- HD国语1.0章宇/王皓/张本煜/周政杰/郭月/国义骞/练练/陈昊宇/仁科/茂涛/
- HD国语6.0未知
- HD中字9.0纪尧姆·谷伊/娜威尔·玛达尼/史蒂夫·蒂英楚/尼古拉斯·布赖恩松/艾萨图·迪亚诺·萨格娜/Majida·Ghomari/David·Salles/
- HD中字5.0米其林·兰克图/莫妮亚·乔柯里/萨拉·蒙佩蒂/
- HD中字4.0什沙尔·夏尔马/桑杰达·谢赫/蒂洛塔玛·索姆/阿克夏耶·坎纳/桑尼·戴尔/阿坎沙·兰詹·卡普尔/Dia·Mirza/
- HD中字9.0佩佩·巴罗佐/伊芙·瑞恩/
- HD中字6.0达娜·赫弗斯/莱妮·盖泽勒/露娜·约丹/维拉·菲/Jakob·Gessner/
- HD中字6.0佐藤二朗/洼冢洋介/洼冢爱流/岡エリカ/高橋佳成/
- HD中字6.0Nadia·Calhoun/Monae·Champion/Dyllan·Coleman/
- HD国语3.0马铁摩/阿依夏/
- HD国语10.0龙斌/郑敏/
- HD国语9.0崔宝月///方言/
- HD国语4.0张捷/李晓峰/王柠/董祁明/赵中华/王铂清/许敏/阳光/王侃/朱薇薇/朱海军/刘羽中/陈清奇/李泽华/王千友/关博/
- HD国语8.0亢寒///朱紫豪/
- HD国语5.0佟丽娅/张竣杰/胡军/王千源/李光复/韩东君/杜江/郑中玉/印小天/韩雪/俞灏明/赵滨/张扬/丁海峰/孙书博/王戈/罗嘉良/苏岩/徐正溪/蒋梦婕/张勋/张逸伦/马瑶瑶/刘彦希/
- HD国语8.0王智/孙麒鹏/闫歌/
- HD国语4.0付书豪/何卓恩/
- HD国语1.0林保怡/谢君豪/王丹妮/何启华/徐浩昌/王敏德/栢天男/谷德昭/廖子妤/周志辉/黄子华/陈郁宪/甄懋强/洪林小湛/罗孝勇/杨偲泳/麦子云/韩毓霞/莫然/麦振江/
- HD国语10.0籍皓///苗若兮///黄子淇///黄元洋///朱珠/
- HD国语2.0郭月/薛宝鹤/任杰/龙水林/曹海军/吴钿/
- HD中字9.0 理查德·E·格兰特/克莱尔·福伊/Jack Farthing/
- HD中字9.0桑杰·达特/瑞提希·德希穆克/阿布舍克·巴强/
- HD中字5.0迈克尔·卡尔金/蓓尔·波利/克莱尔·芙伊/罗杰·阿什顿-格里菲斯/理查德·E·格兰特/薇琪·佩珀代因/安格斯·肯尼迪/塞巴斯蒂安·阿梅斯托/理查德·麦凯布/杰克·法辛/迈尔斯·贾普/基拉·洛德·卡西迪/艾琳·巴特尔/Shiona·Brown/Dominic·Charman/Phill·Drew/汤姆·戈德温/Sven·Ironside/Les·Kenny-Green/James·Nicholson/
- HD中字2.0沪瓦隆·威伍飒/潘纳威·帕塔纳斯利/拉塔维·吉沃叻拉/皮拉维·塔奇沙鹏/Aim·Witthawat·Rattanaboonbaramee/周泰然/Non·Inthanon/Minton·Mintra/
- HD中字1.0宋宣美/朴美素/赵伦嬉/
- HD国语10.0孙序博/王建国/常海军/刘占领/何本军/晋枫/
- HD中字7.0詹姆斯·麦斯登/范冰冰/卢卡斯·提尔/布莱恩·考克斯/乔什·赫尔曼/奥玛·希/休·杰克曼/彼特·丁拉基/波波·斯图尔特/尼古拉斯·霍尔特/凯尔希·格兰莫/埃文·彼得斯/伊恩·麦克莱恩/马克·卡马乔/安娜·帕奎因/杰森·德里恩/丹尼尔·库德摩尔/詹姆斯·麦卡沃伊/凯尔·盖特豪斯/帕特里克·斯图尔特/哈莉·贝瑞/肖恩·阿什莫/迈克尔·法斯宾德/莫·尤迪-拉穆尔/周帅/朱利安·凯西/罗伯特·克鲁克斯/卡琳·瓦纳斯/格里戈里·格拉季/麦克·多普德/法米克·詹森/迈克尔·勒纳/泰-霍·乐/安德里亚斯·艾波吉斯/Mi/