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.
-----------------------------
有关电影天堂《欧洲的某个地方》的常见解答：
一问:
《欧洲的某个地方》讲述的是什么故事？
樱花动漫电影网影迷朋友说： Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the street
二问:
《欧洲的某个地方》这部电影天堂中的台词，大家如何评价？
风车动漫电影网影迷朋友说：最近《欧洲的某个地方》在各大平台热播，而且影视制作公司非常地给力，更新速度非常快，喜欢这部欧洲的某个地方的影迷朋友们可以畅快的免费观看了。电影天堂中演员们饰演的角色比较贴近原著，而且台词也格外的讲究！其中有一些经典的台词可能会成为热搜话题，喜欢欧洲的某个地方的老爷看客们要拿起笔杆子认真做好笔记了，这些内容可能成为必考题目[狗头.jpg]。
三问:
《欧洲的某个地方》的口碑到底怎么样呢？
神马电影影迷朋友说：大家可以去豆瓣网搜索一下该片的影评，点击“《欧洲的某个地方》豆瓣详情”来查看《欧洲的某个地方》的具体情况，顺便也瞅瞅该片是否有获得过奖项，如果有的话樱花动漫还是推荐大家好好看看这部《欧洲的某个地方》的;大家也可以点击这里《欧洲的某个地方百度百科》是否有该片的其他相关介绍。
四问:
《欧洲的某个地方》是哪一年首播的？
青苹果影院影迷朋友说：最早各大平台推出的时间是1948年。
五问:
哪个电影平台可以免费看高清版《欧洲的某个地方》
策驰影院影迷朋友说：除了youku视频APP软件之外各位看客老爷们还可以去iqiyiAPP、芒果tvAPP、百度好看视频APP、西瓜视频APP、哔哩哔哩bilibiliAPP等平台去看正版视频，本站只提供由采集机器抓取各大片源网的下载链接，为的是给大家提供测试网速使用，请大家务必完成测速后立即删除《欧洲的某个地方》文件，以免给影视制作公司带来损失。
六问:
《欧洲的某个地方》电影天堂领衔主演都有谁？编剧是谁？
6080/8090电影网的影迷朋友：欧洲的某个地方的主要演员有：Artúr Somlay Miklós Gábor Zsuzsa Bánki ；该片的编剧是：不知道是谁
七问:
Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki的表演怎么样?演技在线吗？
新视觉电影网影迷朋友说：大家可以去“豆瓣电影网”查看资深影评人对《欧洲的某个地方》演员的评价。
八问:
用安卓或苹果手机怎么免费观看高清版《欧洲的某个地方》电影天堂？
秋霞电影网影迷朋友说：您可以用手机打开百度APP在搜索框里输入：欧洲的某个地方，欧洲的某个地方 电影天堂,，欧洲的某个地方下载,欧洲的某个地方迅雷下载,欧洲的某个地方在线观看,欧洲的某个地方 豆瓣,欧洲的某个地方完整版,欧洲的某个地方免费观看,欧洲的某个地方电影天堂,欧洲的某个地方 1080P,欧洲的某个地方完整版在线观看,欧洲的某个地方票房,欧洲的某个地方演员,欧洲的某个地方大结局。建议大家去正规平台观看正版。
九提示：
其他人还在搜《欧洲的某个地方》小说原著是谁写的？《欧洲的某个地方》原著小说哪里看？《欧洲的某个地方》百度百科，《欧洲的某个地方》预告片，《欧洲的某个地方》定档，《欧洲的某个地方》电影天堂，《欧洲的某个地方》领衔主演列表，《欧洲的某个地方》评价，《欧洲的某个地方》大结局了吗？《欧洲的某个地方》怎么样？《欧洲的某个地方》啥时候上映？《欧洲的某个地方》剧情吧详细介绍，《欧洲的某个地方》在哪个台播出？电影天堂《欧洲的某个地方》故事讲述的是什么？《欧洲的某个地方》剧照图片更新时间，《欧洲的某个地方》小说全文免费阅读
▲▲▲▲▲郑重提示：▲▲▲▲▲
大家测试完下载网速后，请在24小时内立即删除《欧洲的某个地方》文件！本站电影天堂欧洲的某个地方迅雷下载地址由蜘蛛软件抓取自其它片源提供的网站，本站不参与制作欧洲的某个地方BT种子和该片的下载地址，本站www.311.one所用服务器也不存放欧洲的某个地方视频文件，www.311.one提供的资源仅供学习交流及测网速使用,严禁用于商业用途！本站不接受任何涉及《欧洲的某个地方》版权的法律责任！电影天堂《欧洲的某个地方》版权所属归影视制作方所有！