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欧洲的某个地方
- 片名:欧洲的某个地方
- 状态:DVD
- 主演:Artúr Somlay/Miklós Gábor/Zsuzsa Bánki/
- 导演:Radványi Géza/
- 年份:1948
- 地区:其它
- 类型:剧情片/
- 时长:内详
- 上映:未知
- 语言:其它
- 更新:2025-03-06 19:51
- 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.
9.0黛西·埃德加-琼斯/雅各布·艾洛蒂/威尔·保尔特/迭戈·卡尔瓦/萨莎·卡莱/查德·科/唐·斯瓦泽/约翰·李·艾姆斯/卡特里娜·坎宁安/丹妮·迪特/杰伊·胡古雷/安德鲁·基南-博尔格/Patrick/Burch/Eric/Brenner/David/Lovio/Kylar/Miranda/布恩·普拉特/Ryan/Shukis/西德·斯基德莫尔/Nick/Taylor/
6.0 Tetiana Malkova/Daniel Salem/Fedir Gurynets/
5.0商天娥/杜丽莎/曾江/吴夏萍/黄韵材/陈家碧/李国平/冯瑞珍/韩俊/鲍伟亮/
8.0周慧敏/吴君如/陈伟霆/万绮雯/张兆辉/谷祖琳/冯宝宝/林二汶/
8.0周慧敏/吴君如/陈伟霆/万绮雯/张兆辉/谷祖琳/冯宝宝/林二汶/
8.0王钟/张国强/金兴贤/泰迪·罗宾/陈欣健/刘诗康/
8.0刘德华/刘嘉玲/李冰冰/梁家辉/邓超/泰迪·罗宾/吴耀汉/姚橹/刘金山/马今/秦焰/王德顺/赵家林/何晟铭/蒋燕鸣/黄信纲/陈晓/哈罗扬/符荷晴/徐楠/柴进/沈盈辛/姜倩/张家鲁/成红军/教学海/陆明/贾金虎/袁征兵/
5.0方力申/邓丽欣/吴佩慈/陈秀珠/傅颖/侯莎莎/关之彤/魏骏杰/谭俊彦/唐宁/王祖蓝/
2.0方力申/邓丽欣/吴佩慈/陈秀珠/傅颖/侯莎莎/关之彤/魏骏杰/谭俊彦/唐宁/王祖蓝/
9.0曾志伟/陈百祥/关秀媚/罗嘉良/张锦程/雷宇扬/罗兰/
7.0曾志伟/陈百祥/关秀媚/罗嘉良/张锦程/雷宇扬/罗兰/
4.0刘德华/吴家丽/马斯晨/林建明/倪雪/曾江/
10.0刘德华/吴家丽/马斯晨/林建明/倪雪/曾江/
6.0余文乐/郑伊健/车婉婉/谢宛谕/李蕴/刘辉/
5.0余文乐/郑伊健/车婉婉/谢宛谕/李蕴/刘辉/
10.0林青霞/王祖贤/王静莹/于荣光/刘洵/高雄/李家鼎/苑琼丹/任世官/
3.0洪金宝/元彪/吴汉润/高丽虹/林正英/秦祥林/张国强/楼南光/袁和平/元奎/元华/夏志珍/仓田保昭/招文茵/狄威/陈龙/周比利/田俊/高飞/午马/黄锦燊/苗侨伟/钟发/汤镇业/莫少聪/戴志伟/何家劲/潘宏彬/林国斌/尹志强/李健生/小侯/钱嘉乐/
3.0洪金宝/元彪/吴汉润/高丽虹/林正英/秦祥林/张国强/楼南光/袁和平/元奎/元华/夏志珍/仓田保昭/招文茵/狄威/陈龙/周比利/田俊/高飞/午马/黄锦燊/苗侨伟/钟发/汤镇业/莫少聪/戴志伟/何家劲/潘宏彬/林国斌/尹志强/李健生/小侯/钱嘉乐/
6.0张国荣/林青霞/梁朝伟/张学友/张曼玉/刘嘉玲/梁家辉/杨采妮/白丽/
6.0张国荣/林青霞/梁朝伟/张学友/张曼玉/刘嘉玲/梁家辉/杨采妮/邹兆龙/
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