歐洲的某個(gè)地方
影片信息
- 狀態(tài)：已完結(jié)
- 主演：Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki
- 導(dǎo)演：Radványi,Géza
- 年份：1948
- 地區(qū)：其它
- 類型：劇情/
- 時(shí)長：內(nèi)詳
- 上映：未知
- 語言：其它
- 更新：2025-02-02 00:37
- 簡介：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.
- 726
關(guān)注公眾號(hào)觀影不迷路
掃一掃用手機(jī)訪問
1.0
網(wǎng)友評(píng)分
924次評(píng)分掃一掃用手機(jī)訪問
劇情簡介
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.
為你推薦
換一換- 更新20241207期2.0董凱/文杰/璐璐/王旭/王群/
- HD2.0邁克爾·戴維奧特/Andrew/Gourlay/梅根·特雷梅西克/
- 正片8.0斯蒂芬妮·列尼達(dá)斯/丹尼·戴爾/Calum/MacNab/菲利浦·布化尼克邁耶/丹尼爾·弗恩/Dean/Harrison/Phillip/Ray/Tommy/Jennifer/Lane/Leon/Dean/珍妮特·庫馬赫/Dean/Christie/Stanley/J./Browne/Jonathan/Ralph/Whittaker/Gurditta/Singh/杰瑪·吉亞諾斯/Declan/Doyle/Gus/Hudgins/Del/Cleveland/
- 已完結(jié)1.0鄭佩佩/林黛/沈殿霞/井淼/田豐/李菁/
- 正片2.0蒂姆·羅斯/尼克·諾特/路易斯·古茲曼/
- 已完結(jié)6.0本尼西奧·德爾·托羅/米婭·塞普雷頓/邁克爾·塞拉/湯姆·漢克斯/布萊恩·克蘭斯頓/里茲·阿邁德/馬修·阿馬立克/杰弗里·懷特/理查德·艾歐阿德/斯嘉麗·約翰遜/本尼迪克特·康伯巴奇/魯伯特·弗蘭德/霍普·戴維斯/比爾·默瑞/夏洛特·甘斯布/安東尼婭·德斯普拉特/基特·拉庫森/馬克斯·毛夫/馬修·喬丹/米洛·詹姆斯/杰米·費(fèi)基克/斯特凡納·巴克/赫克托·貝特曼·哈登/穆罕默德·貝哈德金/
- 已完結(jié)9.0惠特尼·阿貝勒/斯科特·麥克納里/
- 已完結(jié)4.0薩爾曼·汗/安努舒卡·莎瑪/馬雷塞·克倫普/泰倫·伍德利/羅恩·斯穆安伯格/馬克·扎羅/蘭迪普·弘達(dá)/阿米特·薩特/卡比爾·汗/漢斯·馬雷羅/布拉漢姆·沙卜/庫瑪·米什拉/庫布拉·薩特/帕里卡沙特.薩赫尼/希巴妮·丹德卡爾/法如克·賈法爾/
- 已完結(jié)3.0錦戶亮/木村文乃/北村一輝/優(yōu)香/松田龍平/市川實(shí)日子/田中泯/水澤紳吾/
- 已完結(jié)3.0古川雄輝/藤井武美/石井智也/袴田吉彥/小市慢太郎/中田喜子/竹中直人/
- HD3.0伊蓮娜·雅各布/格萊戈?duì)枴た屏?西里爾·蓋伊/BUNHOK/LIM/SOMALINE/MAO/
- HD1.0赫達(dá)·斯蒂埃恩斯特特/約瑟芬·阿斯普倫德/尤漢·雷伯格/亞當(dāng)·帕森/Victor/Iván/Carina/Johansson/Tage/Todd/?ke/Todd/Andreas/Br?nnstam/Hailee/Araya/Olle/Lundberg/Gagik/Galstyan/Johannes/Thomhave/Klara/Ljungdahl/Kristofer/Lundstr?m/Joel/Valois/Issa/Homsi/Tilda/Rohlander/Per/Sinding-Larsen/T/
- 正片9.0役所廣司/內(nèi)野圣陽/土屋太鳳/渡邊圭祐/鈴木仁/板垣李光人/水上恒司/松岡廣大/佳久創(chuàng)/藤岡真威人/上杉柊平/河合優(yōu)實(shí)/小木茂光/丸山智己/真飛圣/忍成修吾/鹽野瑛久/神尾佑/栗山千明/中村獅童/尾上右近/磯村勇斗/大貫勇輔/立川談春/黑木華/寺島忍/
- 正片2.0古月/蘇林/趙恒多/吳志遠(yuǎn)/孫海英/姚居德/
- 正片1.0喬什·哈洛威/拉茲·阿隆索/喬希·佩克/凱蒂·洛茨/克里斯·布朗/
- 正片6.0巴里·基奧恩/弗蘭茨·羅戈夫斯基/詹姆斯·尼爾森-喬伊斯/賈思敏·喬布森/里斯·耶茨/Joanne/Matthews/弗蘭琪·波克斯/妮基婭·亞當(dāng)斯/Jason/Buda/
- 已完結(jié)9.0馬修·卡索維茨/
- 正片4.0查德·康奈爾/戴維·卡梅倫/洛根·克里倫/Mimi/Kuzyk/Tamara/Gorski/Maxine/Gibson/Bruce/Sheila/Campbell/Daryl/Dorge/杰森·維什諾夫斯基/Andrea/del/Campo/John/B./Lowe/Tyhr/Trubiak/Darren/Felbel/Erik/Athavale/Joanne/Rodriguez/
- 正片3.0比爾·赫克/艾米·西米茨/希瑟·卡夫卡/阿什利·斯皮爾斯/David/Gil/Jr./
- 正片4.0范家其/魯佳妮/
- 正片6.0吳鎮(zhèn)宇/任達(dá)華/程媛媛/唐文龍/劉穎儀/楊天宇/洪卓立/趙俊承/
- 正片6.0畢如意/馬犬bo's's/
- 已完結(jié)4.0哈里森·福特/西格妮·韋弗/梅蘭尼·格里菲斯/亞歷克·鮑德溫/瓊·庫薩克/
- 已完結(jié)2.0小泉今日子/Ky?ko/Koizumi/二階堂富美/高良健吾/板尾創(chuàng)路/山田裕貴/黑川芽以/古關(guān)安廣/大竹真/山田望葉/齊木茂/
- HD5.0肖央/余皚磊/范丞丞/李誠儒/耿樂/楊皓宇/焦剛/石兆琪/李建義/劉歡/張藝凡/葦青/林樂炫/蔣詩萌/
- 已完結(jié)10.0葉碩/周楚濋/楊駿/聶礎(chǔ)一/謝宇朦/董浩然/
- 正片9.0阿什利·洛佩茲/Anne/Marie/Gonzales/Nathan/Cajucom/
- 正片4.0未知
- 正片9.0井浦新/水原希子/三浦透子/齊藤由貴/永瀨正敏/甲田益也子/板谷由夏/原日出子/
- HD6.0未知
最新資訊
更多- 超級(jí)保姆中文版電影攻略04月12日
- 自由戰(zhàn)士電影攻略04月12日
- 黃金燦爛的人生電影資訊04月12日
- 電視劇真命天妃全集電影資訊04月12日
- 神探阿蒙第四季電影攻略04月12日