影片名称:欧洲的某个地方
影片别名:
影片拼音:ouzhoudemougedifang
上映时间:1948年
国家/地区:其它
影片语言:其它
视频时长:分钟
影片类型:剧情
影片编剧:
视频集数:全集0集全
资源类别:高清、完整、全集、未删减版本
资源更新:DVD
总播放次数:818+人次
TAG:欧洲的某个地方,thewarends.Inthemidstofruinedcitiesandhousesinthestreets,inruralhamlets,everywherewherepeopl
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.
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360电影网网友: Somewhere in the remote region, the war ends. In the midst of ruined cities an
神马电影网网友:最近《欧洲的某个地方》上映了,没想到制作方非常地慷慨,一来就放全集,观众们可以一口气从第一集看到大结局。这部剧中演员们的高颜值是一大亮点之外,它里面的台词也非常的搞笑啊!台词沙雕中带着可爱。
艾玛影院网友:除了 优酷视频视频软件之外你还可以去 爱奇艺、 芒果tv、 高清不卡免费看-265影院网 百度视频等平台去看正版视频。
6、在《欧洲的某个地方》这部剧中,你觉得Artúr Somlay Miklós Gábor Zsuzsa Bá 的演技怎么样?
影视大全网友:最近有Radványi Géza 导演的剧情片一经播出就受到了很多观众的欢迎和认可,这部剧情片里面,演员的演技都是非常值得肯定的,Artúr Somlay Miklós Gábor Zsuzsa Bá 在里面的演技非常的好,他能够去把握这个角色所要表达的情感,向观众展现出更好的作品
人人影视网友:有以下演员主演:Artúr Somlay Miklós Gábor Zsuzsa Bá 。
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豆瓣电影影评:友:放在豆瓣语境下,是部时至今终于拍出来的其它“高分剧情片”。以现实题材拍商业片,社会意义摆在那里,群戏处理得相当不错。对我国来说,这样的电影多一部是一部,走一步是一步。
丢豆网影评:一个好的导演,会调教演员,知道演员的优势在哪里。《欧洲的某个地方》就像一种来自异国他乡的夏日甜点。虽然不是主菜的配置,但也有独特的勾人风情。坦白说,一开始确实是以Radványi Géza导演的名义看的。毕竟人们讲故事的技巧是有的感情,总体来说,可以和朋友一起看,推荐!!!
mtime时光网影评:这个主题,真的不容易做到这一点。特别是,这部电影在影像上非常有特色,大量的特写镜头、后续镜头、手持镜头和碎片式编辑,创造了强烈的恐慌和不安。这种情感实际上是影片中角色的情感,它以影像的形式最直接地延伸到观众身上。
百度影评:《欧洲的某个地方》由才华横溢的导演Radványi Géza带领著名演员Artúr Somlay,Miklós Gábor,Zsuzsa Bánki在废宿忘食的努力下共同完成,《欧洲的某个地方》影片总能让观众在各行各业演员的热情演绎下更快融入影片中,《欧洲的某个地方》的情节充满了起伏,《欧洲的某个地方》是一部值得观众反复观看的影片,似乎每次都有新的解读,《欧洲的某个地方》广受好评,是一部让很多影视爱好者保存和分享的优秀作品。《欧洲的某个地方》的人物设定符合影片主题,是一部发人深省、意犹未尽的作品。《欧洲的某个地方》总能让人在快节奏的时代慢下来享受这只是你的闲暇时光。.