• 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：DVD
    • 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：2024-08-09 03:57
    • 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/

    • 扫一扫用手机访问

     立即播放 腾讯节点

    选择来源

    • 腾讯节点
    • 搜狐节点
    • 优酷节点
    1.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    68次评分
    1.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    68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

     当前资源来源腾讯节点 - 无需安装任何插件
     倒序
     腾讯节点 搜狐节点 优酷节点

    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
    • 高清版
      HD
      暗夜戒律
      5.0托德·特里/布雷特·瓦维尔/Josh/Strychalski/Drew/Varvel/Baylee/Toney/Myles/Clohessy/
    • HD
      罗特岛的妇女
      4.0Van/Jhoov/Leonard/Leo/Leba/Merlinda/Dessy/Adoe/
    • 豆瓣高分
      HD中字
      郊游2023
      5.0Picnic/
    • HD
      法医朝颜2025新春特别篇
      10.0上野树里/时任三郎/风间俊介/志田未来/中尾明庆/森本慎太郎/藤原季节/齐藤阳一郎/坂之上茜/永濑柚凪/中村千岁/石田光/户次重幸/平岩纸/友坂理惠/三宅弘城/杉本哲太/板尾创路/山口智子/酒向芳/手塚理美/
    • HD
      鸟2024
      10.0巴里·基奥恩/弗兰茨·罗戈夫斯基/詹姆斯·尼尔森-乔伊斯/贾思敏·乔布森/里斯·耶茨/Joanne/Matthews/弗兰琪·波克斯/妮基娅·亚当斯/Jason/Buda/
    • 高清版
      HD
      舞出人生2025
      1.0马维福/边琪琪/赵宇恒/
    • 正片
      HD中字
      绝地重生
      9.0Turning/Point/
    • HD
      杂种2023
      10.0麦斯·米科尔森/阿曼达·科林/古斯塔夫·林德/克里斯汀·库亚斯·托普/丽丝·瑞森·奥尔森/索伦·莫灵/马格努斯·克雷佩/托马斯·加比利尔森/雅各布·豪伯格·罗曼/Morten/Andersen/费利克斯·克拉默/西蒙·本尼杰格/阿韦德·弗里斯/Patricia/Slauf/Hagberg/Melina/
    • HD
      12年级的失败
      5.0Vikrant/Massey/Medha/Shankar/Joshi/Anantvijay/Anshuman/Pushkar/Geeta/Agrawal/Sharma/Harish/Khanna/Sarita/Joshi/普里耶修·查特奇/Vikas/Divyakirti/Abhishek/Sengupta/Triaksh/Chhabra/Darius/Chinoy/Vijay/Kumar/Dogra/Fasi/Khan/Sam/Mohan/Rahul/Dev/Shetty/Suraj/Naagar/Sa/
    • TC
      小小的我
      10.0Big/World/
     换一换

    最新资讯

    更多
    更多

    评论

    评论已关闭

    剧情片排行榜

    更多