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

    欧洲的某个地方

    Somewhere in Europe

    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：1948-11-19
    • 语言：其它
    • 更新：2025-09-20 00:32
    • 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 /1948-11-19上映/其它/

    • 关注公众号观影不迷路

    • 扫一扫用手机访问

     立即播放 快车

    选择来源

    • 快车
    • 量子
    5.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    豆7.4201次评分
    5.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    豆7.4201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

    首页电影欧洲的某个地方

    播放列表

     当前资源来源快车 - 无需安装任何插件
     倒序
     快车 量子

    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
    • DVD国语
      打鬼救夫
      2.0許不了/方正/
    • HD中字
      匹田先生，恭喜你太太怀孕了
      7.0 添好孕(台)/匹田家的孕事/引田女士/您怀上了！/匹田先生家的孕事/The Hikita’s Are Expecting!/
    • 正片
      一个木匠的祈祷
      7.0未知
    • HD
      开国宴风云
      7.0 State Dinner/
    • 正片
      原始战争
      9.0杰里米·皮文/瑞恩·柯万腾/翠西亚·希弗/尼克·维切斯勒/安东尼·英格鲁伯/亚伦·格伦尼/Carlos/Sanson/Jr/安娜·图·阮/Adolphus/Waylee/Richard/Brancatisano/马库斯·约翰逊/杰克·莱恩/
    • 正片
      HD
      战火狙杀
      8.0李大强/
    • 正片
      魔鬼碟仙2024
      8.0 麦迪森·伊瑟曼/亚伦·多明格斯/梅尔·贾森/查理·塔汉/安东尼娅·德斯普拉特/杰米·坎贝尔·鲍尔/大卫·拉艾/Victoria Lenhardt/Riley Russell/Kade Vu/Renee Herbert/Elisha Herbert/Francesco Filice/Simon Anthony/Laura Paolillo/Max Laferriere/Meghan Gabruch/Dakota Jamal Wellman/诺亚·帕克/亚历克斯·格雷文施泰因/
    • 正片
      正片
      余烬夺宝
      7.0燃烧殆尽/绝域焚城/
    • 正片
      辣妈辣妹2
      8.0杰米·李·柯蒂斯/琳赛·洛翰/茱莉亚·巴特斯/索菲娅·哈蒙斯/曼尼·贾希尼托/麦特里伊·拉玛克里斯南/赵家玲/查德·迈克尔·墨瑞/马克·哈蒙/瓦妮莎·贝尔/斯蒂芬·托布罗斯基/克里斯蒂娜·怀道尔/海利·哈德森/宋静秀/索菲亚·布伊/里莎·霍内克/杰登·卡森·贝克/基兰·迪奥/凯拉·达维拉/金伯莉·比格斯比/乔丹·E·库珀/
    • 正片
      律政俏郎
      8.0未知
     换一换

    电影排行榜

    更多