观看记录 清空
    • 视频
    3.0 HD中字

    欧洲的某个地方

    立即播放

    扫描二维码手机看大片

    当前网页二维码
    • 播放列表
    • 剧情简介
    • 发表评论
    • 报错

    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.

    相关热播

    • 8.0 HD中字 霍姆斯之雨 Mohammad,AL,Ahmad,Lama,AL,Hakim,Wassim,Kazk
    • 3.0 HD中字 红眼航班 瑞秋·麦克亚当斯,基里安·墨菲,布莱恩·考克斯,杰玛·梅斯,杰克·斯卡利亚,考比·唐纳森,罗伯特·派恩,安吉拉·佩顿,劳拉·约翰逊,罗伦·莱斯特,马科斯·卡锡,Philip,Pavel,凯尔·加尔纳,布列塔尼·奥克斯,苏西·帕尔克森,卡尔·吉丽亚德,Terry,Press,Mary,Kathleen,Gordon
    • 6.0 HD中字 小妇人 西尔莎·罗南,艾玛·沃森,弗洛伦丝·皮尤,伊莱扎·斯坎伦,劳拉·邓恩,提莫西·查拉梅,梅丽尔·斯特里普,鲍勃·奥登科克,詹姆斯·诺顿,路易·加瑞尔,克里斯·库珀,崔西·莱茨,艾比·奎因,萨沙·弗若洛娃,莉莉·恩格勒特,爱德华德·弗莱彻,杰妮·霍蒂谢尔,多梅尼克·阿尔迪诺,汤姆·斯特拉特福,托马斯·马里亚诺,哈德莉·罗宾逊,杰米·加扎里安
    • 10.0 HD中字 别墅灾星 里坡,盖克,宋戈,王卫国,姚橹
    • 9.0 HD中字 丛林战士 Vyacheslav,Krikunov,Aleksandr,Samoylenko,阿尔乔姆·特卡琴科
    • 9.0 HD中字 丈夫、太太与情人 伍迪·艾伦,布莱思·丹纳,朱迪·戴维斯,米娅·法罗,朱丽叶特·刘易斯,连姆·尼森,丽赛特·安东尼,西德尼·波拉克,杰弗里·库兰,布鲁斯·杰·弗里德曼,克丽丝蒂·科纳威,蒂莫西·杰尔姆,Nick,Metropolis,Rebecca,Glenn,Galaxy,Craze,Benno,Schmidt,约翰·多马尼安,Gordon,Rigsby,朗·瑞弗金,布莱恩·麦克康纳契,Ron,August,杰瑞·扎克斯,卡罗琳·阿隆,诺拉·艾芙隆,Kenny,Vance,史蒂文·兰达佐,Merv,Bloch,弗雷德·迈

    RSS订阅  -  百度蜘蛛  -  谷歌地图  -  神马爬虫  -  搜狗蜘蛛  -  必应爬虫

    © 2025 ap33movies.com