片名:《歐洲的某個(gè)地方》

類型:劇情片

上映時(shí)間:1948

上映地區(qū):其它

導(dǎo)演:Radványi,Géza

主演:Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki

集數(shù): 更新至0集

語(yǔ)言:其它

【天樂影院】推薦電影歐洲的某個(gè)地方高清在線觀看完整版720P播放地址，這是一部追求真實(shí)的其它劇情片，展現(xiàn)了社會(huì)與人性的多面性，讓人大開眼界。歐洲的某個(gè)地方的導(dǎo)演Radványi,Géza巧妙地運(yùn)用鏡頭語(yǔ)言，將故事情節(jié)展現(xiàn)得淋漓盡致，讓觀眾們?nèi)缤砼R其境。

《歐洲的某個(gè)地方》觀后點(diǎn)評(píng)：歐洲的某個(gè)地方的故事設(shè)定太有意思了！充滿了新奇和創(chuàng)意，讓人越看越好奇后面會(huì)怎樣發(fā)展；歐洲的某個(gè)地方的演員有Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki，他們個(gè)個(gè)演技精湛，將歐洲的某個(gè)地方的角色性格特點(diǎn)表現(xiàn)得淋漓盡致，讓觀眾情不自禁地為之喝彩，真是一部好看的電影。

《歐洲的某個(gè)地方》抖音網(wǎng)友點(diǎn)評(píng)：歐洲的某個(gè)地方由導(dǎo)演Radványi,Géza執(zhí)導(dǎo)拍攝，剪輯手法獨(dú)具匠心，每一個(gè)過(guò)渡和剪輯都恰到好處，給人以耳目一新的感覺；歐洲的某個(gè)地方的音樂配樂優(yōu)美，旋律中藏著故事， 畫面里流淌情感，這是一部精彩的電影，打動(dòng)了觀眾的情感，讓人感到震撼。

歐洲的某個(gè)地方講述了：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.