Somewhere in the remote reg ion, the wa r ends. In the midst of r uined cities and houses in the streets, in rural hamlets, everywhere where people still live, are chi ldren who have lost their homes a nd pare nts. Abandoned, hungry, and in rags, defe nseless and humilia ted, th ey wander thr ough the world. Hunger dr ives them. Little stream s of orphans merge into a river which rushes forw ard an d submer ges everything in its path. The childr en do not kn ow any fe eling; they know on ly t he wo rld of th eir enemies. They figh t, steal, struggle for a mouthful of food , and violenc e is merely a mea ns to get it. A gang led by Cahoun finds a refuge in an abandoned cast le and encounters an o ld composer who has voluntarily re tired into s olitude from a world of hatre d, treason, and cr ime. H ow can the y find a common ground, how ca n they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which t hey may organi ze an d must defend. But even for this , the price will be very high. To this simpl e story, the journali st, writer, poet , scr iptwriter, movie director, and fi lm theoretician Béla B alázs applied many years of ex perience. He and the director Géza Radványi created a work which op ened a new postwar chapter in Hungari an film. Sur prisingly, this film has not los t any of its impact over the years, especial ly on a profound philosophical level. That is to say, i t is not merely a movie about wa r; it is no t impor tant in w hat lo cation and in what p eriod of time it takes plac e. It is a story outside of time about the joyless fate of children who pay dearl y for the cruel war games of adults. At the ti me i t was premi ered, t he movie was en thus iasti cally recei ved by the crit ics. The main roles were take n by streetwise boys of a childre n's group wh o created their roles improvisationally in close contact with a few profes sional a ctors, and in the children's acting their own f resh experience o f war's turmoil app ears to b e reflected. At the same time, the ir performance fi ts adm irably into the mosaic of a very comp lex movie lang uage. Balázs's i nfluence rev ealed itse lf, above all, i n the int roductory se quences an air raid on an amusement park, seen in a montage of drama tic situations evoking th e last s pasms of war, where, undoubtedly, we d iscern the influence of clas sical Sov iet cinematography. Shootin g, the boy's escape, t he loc omotive's whee ls, the shadows of soldiers with submachine guns, the sound of a whistle—the imag es are linked to geth er in abrupt seque nces in which vary ing shot s and expressive sharp sou nds a re emphasized. A perfectl y pla nned screenpla y avoided all elements of sentimentality, time-wo rn stereo types of wro nged children, romant icism and cheap simplification. The a uthors succeeded in b ridging t he per ilous dramati c abyss of th e metamorphosis of a children's c ommunity. Their telling of the st ory (the scene of pillaging, the a ssault o n the castle, etc) independ ently int roduced some neor ealist e lements which, at that t ime, were being propagated in Italy by De Sic a, Rosselli ni, and other film artists. The rebukes of co ntemporary criti cs, who called attention to forma lism for its own sake have been for gotten. The m asterly ar t of cameraman B arna bás Hegyi gives vitality to th e poetic images. His angle shots of the chil dren, his composi tion of scenes in the cast le interior, are a living document of the times, and underline the atmosphere a nd t he characte rs of the protag onists. The suc cess of the picture was als o enhanced by the mus ical ar t of c omposer Dén es Buday who , in tense situations, inserted the theme o f the Marseilaise into the movie's structure, as a m otive of c ommuni ty un ification, as an e xpression of frie ndship and the possi bility of understand ing. Valahol Europaban is the first significant postw ar Hungaria n film. It orig inated in a relaxed atmosphere, replete with joy and euphoria, and it includes th ese elements in ord er to demo nstra te the strength of hu manism, toleran ce, and fr iendsh ip. It represents a gen eral condemnatio n of war a nywhere in the world, in any form. 星辰影院为您提供《欧洲的某个地方》完整未删减版免费在线观看。
精彩剧情/对白：“因为咱 们龙平县躲过了旱灾的 原因，如今皇上那 里已经了解到情况了，令 我们速速回去京城，所以才会突然赶得那么急。龙平县已 经放了新的县令下来，日 后我们可能照顾不到你们家了，但是也不必担心，我们谢家的人脉还是 够的，若是有什么不得已的事情，便去知府那里，我会打招呼的。”
“苏老太爷，我是生意人，自然是以自己的生意为 主。就像 是你来买冰，也是为 了你们的利益 。只是这事情，我运气好，真的猜中气了。若 是我没有猜 中，那岂不是就是 你们苏家赚了。所以这事情吧，只能，你们苏家的预估失败了。”
“这些年，大哥 也并不容易，咱们阴府上上下下的事情，都是大哥在操持的，大哥每次在外面忙，总要忙上大半个月，鲜少会休息。当初，当初大哥也是为了你好 ，才会那么 做的。如今你去 了玄海几年，我们两个都备受煎熬， 你就不要再怪大哥了吧？”
“不过是事情而已，罗大 人不必这样计较了，这些事情对于我们来倒是没有什么影响， 只是这个事情 罗大人还是要好好的和罗姐 ，将来若是再闹出这样的事情来，那可就是关系到罗姐的声誉了，一个姑娘家的声誉有多重要，不用我 ，罗大人肯定也是知道的。”
“我……是亲眼看着我妈妈跳楼的，但是我却回想不起那段时间的任何事情了。我妈妈是怎么 跳楼的，我怎么出现在那里的，跳完了之后又发生 了什么，我统统不 记得了。我的记忆有一整 段的空白，只记得她第一次服药自杀，我把她送 到医院， 我要去秦家找秦盛天讨要说法，接着便是 她的葬礼了。这中 间发生了什么，我 一点也想不起来了。”
