歐洲的某個地方 6.0

類型：劇情地區(qū)：其它年份：1948 總點擊量:141

主演：Artúr Somlay Mi

導演：Radványi Géza

更新時間：2025-02-14 12:02:30

網友評分：1266

簡介： Somewhere in the remote region, the war ends. In the midst of ruined c 詳情

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劇情簡介

《歐洲的某個地方》是有陽光影視免費提供在線觀看地址，影片1948年上映于其它地區(qū)，豆瓣好評居高不下。歐洲的某個地方是由喜歡劇情片的熱心網友上傳至網站，該部作品是由導演Radványi,Géza，主演Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki等一起努力共同拍攝完成的，本片在故事情節(jié)、角色塑造、制作設計等方面都表現出色，更在思想深度上有所突破是一部值得推薦觀看的作品，歐洲的某個地方劇情簡述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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影迷對《歐洲的某個地方》的評價如下：

Mtime時光網網友：影片的畫面精美絕倫，音效逼真，極具視覺沖擊力，令觀眾沉浸其中，感受影片的魅力。

百度視頻網友:主演的演技出彩，將角色的內心情感展現得淋漓盡致，令人動容，相比第一部演員有所升級

豆瓣電影網友：導演對細節(jié)的把控十分到位，每個鏡頭都經過精心構思，令人贊嘆不已，首先要說明一點，拋開所有片外因素，這部片子我看得很爽。

優(yōu)酷視頻網友：《歐洲的某個地方》影片的紀實風格，散發(fā)出純凈的濃濃的現實詩意氣息。

騰通視頻網友：這部劇讓人熱血沸騰，情節(jié)緊湊，讓人一直保持著觀影的熱情，制作和技術方面畫面精美絕倫，音效和配樂也相得益彰，為整部影片增色不少。

網友：《歐洲的某個地方》在表現風格上深沉雋永，但多數段落卻顯得明快詼諧，運用喜劇手法來傳達悲劇性內容是其突出的美學特點。

騰通視頻網友：一粒沙中見世界，一部影片中展現人間百態(tài)，這就是藝術的最大魅力。

TV視頻網友：《歐洲的某個地方》對藝術特征有精深的理解和把握，生動的細節(jié)描繪人物的內心活動。

冬瓜影院網友：《歐洲的某個地方》這部影片通過其獨特的敘事方式、深刻的主題思考以及引人入勝的故事情節(jié)，值得我們去細細品味。

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歐洲的某個地方 6.0

《歐洲的某個地方》無盡高清免費播放資源線路

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