主演：Artúr Somlay Miklós Gábor Zsuzsa Bánki
關鍵詞：歐洲的某個地方 rural their lost who children live
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. 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.詳情馬少驊 宋禹 王勁松 印小天 吳京安 鄭業成 胡耘豪 王茜華 丁勇岱 吳其江 齊千郡 張月 瑛子 熊睿玲
威廉·卡特列特 Jeremiah Alexander Daniels 林恩·阿什 約瑟夫·柯蒂斯·卡倫德 Kia Shine Coleman 德婭·迪伊 朗達·約翰遜·鄧茨 布蘭迪·埃文斯 Mason Hutchinson 阿隆佐·F·瓊斯 Candy McLellan Terri J. Vaughn 恩傑瑪·威廉姆斯
薇薇卡·福克斯 斯特林·K·布朗 麥凱爾泰·威廉遜 加奈兒·夢奈 埃裡卡·亞歷山大 莉娜·克拉克 卡拉·楊 喬賽亞·克羅斯 馬洛裡·約翰遜 朗達·約翰遜·鄧茨 澤維爾·米爾斯 Xavier·Nealy-Davis Christina·Spencer Justen·Ross Mark·Druhet Alisha·'LeeLah'·Moore Andreius·'Dreko·Tha·Prophet'·Moore
扎克·聖蒂亞戈 弗朗西斯·弗拉納根 卡特琳娜·格蘭厄姆 詹姆士·塔珀 埃文·羅德里克 Benjamin Wilkinson Ecstasia Sanders 薇娜·蘇德 林登·班克斯 Benjamin J Stevens Sarah Sheehan
致命追兇
青青校園少女草(港) All Greens一切安好
非正常械劫案(港) Comancheria
旦增央珍 白瑪瑛思 格桑旺姆 次真
བུད་མེད་རྟ་པ
浴血金沙 寶石嶺 富貴如雲
Monkeybone
大文豪的嚴冬 文字欲 Dovlatov
Camping
The Endless Trench
The Three Deaths of Marisela Escobedo
演員阿姨的自我修養
太空驕子(港) 太空使命(臺) 為了全人類
無我一身輕 The Other
芭爾芭拉·克拉夫托夫娜 茲比格涅夫·齊布爾斯基 Artur Mlodnicki 韋恩澤斯洛·格林斯基 維斯拉夫·格拉斯
Myriads of Lights The Lights of Ten Thousand Homes
浴血金沙 寶石嶺 富貴如雲
Richard Attenborough Sheila Sim Bernard Miles
萬壽無疆 我記得媽媽
雷·米蘭德 查爾斯·勞頓 莫琳·奧沙利文
Hollow Triumph 傷疤
克勞黛·考爾白 羅伯特·卡明斯 唐·阿米契 麗塔·約翰森 喬治·庫魯里斯
過去之暗
單車失竊記(臺) 單車竊賊 The Bicycle Thieves
Yuwaku Temptation
