• 观看记录
    视频
    视频 文章 明星
    取消
    推荐搜索
    全部
    电影 欧洲的某个地方

    欧洲的某个地方

    影片信息
    • 片名：欧洲的某个地方
    • 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：2024-04-11 14:08
    • 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.
    1948/其它/剧情 /其它/

    • 关注公众号观影不迷路

    • 扫一扫用手机访问

     立即播放  云播资源

    选择来源

    • 云播资源
    8.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    83次评分
    8.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    83次评分
    给影片打分 《欧洲的某个地方》
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    我也要给影片打分

    扫一扫用手机访问

    首页 电影 剧情片 欧洲的某个地方

    播放列表

     当前资源来源云播资源 - 在线播放,无需安装播放器
     倒序
     云播资源

    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
    • 正片
      HD
      钢铁意志
      8.0 中国钢铁/Steel/Will/
    • 正片
      HD
      草木人间
      9.0 钱塘茶人/卷二钱塘/山水图：第二部/杭州三部曲第二部/Dwelling/by/the/West/Lake/Dwelling/in/the/Fuchun/Mountains/2：Qiantang/River/
    • 正片
      HD
      云淡风轻
      7.0 Corner/With/Hope/
    • 正片
      HD
      AR物语
      3.0 莫杀我/
    • HD
      冠军亚瑟
      3.0 马克·沃尔伯格/刘思慕/朱丽叶·赖伦斯/娜塔莉·伊曼纽尔/迈克尔·兰德斯/保罗·吉尔福伊尔/罗伯·柯林斯/伊丽莎白·查欣/维克托·奥克布卢姆-尼尔松/萨曼莎·迪亚兹/阿拉尼·伊隆圭/毛里西奥·阿德里安/路易斯·戴尔·瓦莱/罗杰·沃塞曼/莎伦·盖拉多/奥斯卡·贝斯特/杰森·陈/卡尔顿·马拉德/塞塞·瓦伦蒂娜/
    • 豆瓣高分
      HD
      绝密配方
      6.0 配方的守护者/Chain/Reaction/Guardians/of/the/Formula/?uvari/formule/
    • 正片
      HD
      伟大的沉默
      4.0 圣女的秘密(港)/The/Great/Silence/
    • HD
      西蒙娜：世纪之旅
      5.0 艾尔莎·泽贝斯坦/丽贝卡·马德/埃洛迪·布歇/茱迪丝·谢拉/奥利维埃·古尔梅/马修·斯皮诺斯/菲利普·勒卢什/巴斯蒂安·布永/卢巴纳·阿兹巴尔/弗朗索瓦·罗兰/安托万·夏佩/安托万·高尔友利/露西·鲁塞尔/Esther/Valding/詹妮弗·德克/Hannah/Levin/卡米莉·拉瑟福德/西尔维·泰斯蒂/菲利普·托雷顿/布鲁诺·若里斯/
    • 正片
      HD
      黑色少年
      7.0 Walker/
    • 正片
      HD
      沸腾吧沉沙池
      3.0 任蕾/闫家豪/杨锦琳/杨镇宁/
     换一换

    最新资讯

    更多
    更多

    评论

    共 0 条评论

    剧情片排行榜

    更多