欧洲的 某个地方
简介: 【欧洲的 某个地方】 Some[wh)^ere in the ]rem o!te^=-- region, the war ends, . In the _@m_`=$i ds +t $(of ru-/@i/ned cities a;nd[, ?= =houses in the st?reets, in rur_ )a@..l ham!lets, ever yw;):here whe @#re pe=ople s%till live$,#+ a*[_;re children w/__ ho have `*lost their ho; mes a^]+`nd parents. Ab;a=ndoned, h!u;=ngry, an d $_*in+ rags, d!)efenseless and humiliate %d, th)%e]y wan(der thro ugh : the !world. Hu;`^nger[% -* :+` d.riv$ es them. Li ! /ttle ]str eams of orph)ans merge*# into a r[iver #! _which =(`@rush es for_-:ward and submerges everything in its ! ,/path . The chi ldren% do no *t=? kn\]ow a(^ ny (` feeling` th ey know only the wor ld of thei#- r enemies. *They _+:+fi\:! ght*, steal*,, st\\$ ruggle %for a mouth[fu]l[ of f*/ood, and vi]$ol+`@ence is merely a means to get`. it. A ga_ ng le;(d by Cah o!];! un f;!!$ inds a;] ref,?-uge in` an abandone( d castle an% d encounters an o]-ld ;` @c ompose+]]r @who has voluntarily retired _! into s(o$ %litude ); from a world of hatr_ *ed, treason^ :(, and crime. Ho?]$w can they ) \f] i; n@d a co; m?=? mon*+ ground, how can t he+y \.bec`*ome mu[tual $ ] frie$\%nds? ! -The castle beco@*mes t^]heir hiding place +] ( , but %possibly it will also be !their fi^`rst home which they m,ay /organize an@ ?d must defen?(d. But even for this, the . price will ; be very (high. To th/#is_; -\ simpl)$?e story, ) the j o(urnalist!, w^ !ri!te@r, po[ et, scriptwr?``*iter, mo$vie dir+#ec tor, and fil m the]oretician Béla Balázs applie d many? years of experience. He-% a%nd the director Géza_ Radványi_ cr-eated ? a work. +?w=*hich =;^op) ened a n ew postwar chapter i n H.] ungarian f ilm. Sur`(= prisingly, t ?his =[ fil\!%m %__$has n :=ot los-?t any of#] i *= ts impact o. ver the yea:]rs, esp/_ecially on a(%: p! \*ro; )\found p hilosophical -@,/level. _That is to ;* say, it i/@;s]^ not me\rely \ ]a\!) movie ab* ou /t= w/] ar it is n ot importa= `nt in what lo^\cation and in wha _t*\ period ! `\of tim#e it t@[akes]] place. It ?^is a`+ / story ou/@:tside o.f time ab!\++out ?$the joyle[]ss- ] fat[e of chi%ldren `who p [-ay^? dea[ rly .for the. cruel (war games of adult: :+s. At th )-e tim^;_e it -was+ p_+^remiered, the movie wa@ s . enth;,\u ,si`_astically r:/ ec\eive?!d by the cr.itics. The main roles were t #aken by stree.,twise b,:+o$ys of a ch ildren&# :39s g roup w/\ho cr eated thei?^r roles improvisational/-ly in close contac- /t;,) wit *h a few professional!- %#a:ctors(,.: ,` an d in the childr*%- en's acting the! -ir o\ ^+wn fre+?= sh experie+nce;_ of - _wa;_r's turmoil appears to be reflect[ed. \(At the s( ame!(% time, their performance @*f its = adm* irably in@to th+ e mosaic o- f a very complex movie@ lan#gua?(,ge. ;B-@*a+/l+ _ ázs's i(:nfluence rev#)ea_le`, d itself, above all, in the* `introdu_ c !tory sequences: an air raid on a,@n^$ a[ musement ),,park, seen., in a ,montage of dramatic situations ev( ok:%ing the last spas` m#^%s of wa )r, where, und. oubtedly, we discern $the inf_[#l=uence of% = classical !So]-viet cinematograph #y. S hooting ,. ) the boy's es @c@ape,.; the ?=locomotive's whee*ls, th e shadows of soldiers @; wi) th % :submachine guns :-!, the so und of a whist\le—th :?e images !`(are.? ; linke=;d togeth` er in abrupt +s#= equences in wh= *ich`= v@-arying shots a: nd exp?[@-re@ssive sharp :@soun-%/ds)- ^[are emphasized.. A perfectly pl #ann%ed screenplay,^; avo $ided al`;:l e `lements of s=:.ent!/im;ental? ity, t=/ime-worn stereoty pes of wronged c:%*hildren, romanticism a nd c :h(?ea :p si^^ `mplif#icat\ion. The authors succeeded in bridging \ the+ .p=,-_erilous dramatic #[`abyss of the#- metamo?= rpho .^s i:.s of ?(=;?a c*hildren's] commu:+ ni)@ty. )[% Their t$@!elling of the story ]!`(`[the scen`e of p.]illagi%*=)ng, th? \e assault !\`on )th)%e castle, $ etc) ind+ependently int ,roduced_. s$]ome)/(? neorealist elements whic_)h, at tha-#]t time,!\. were being+?: p/^rop a.) %gated in I:*taly by De Sica,+` Rossellini, and othe r fil^+ m a_\rti st`_s. The re /bukes of contemporary #(`critics, who c)alled att ention to "formalism +for its own sake" have. be%( en)^ forgot,_ten. T]*]he^!: mast^(e ^ rly art of c?.-ameram%%an$ Barnabás H]#egyi giv[:es /);`vitali^ ty to the po?e tic ]/-im ? age@s. =His an#gle shots of the c$\hildren, hi %!s c_#om_ ;po?(_sitio*n of #^ =scenes in the castle interior, a\r-.;/e /)a living ` document of the t `imes, a nd underlin e the ^ atmo#$:sphere /and_ . the =,charact@er # +s?# )o -(f the- + p+ rot agonists. The )@ success -of the pi$ctur ]e). was also enhanced () @by the musical ^ ?^ar#=t *of co;? mposer#%# Dé@$.*ne?^s\: Bu-da#y who$ , in tense, ; situat! ions, i[n@-+ser=ted@/+ =the th?:eme / -of t.h, -*e Ma ] r)(s, eilaise i;nto;# the movie's structure, as a mo*.tive of community [un*,ification., as [_a +n e@ xpression of=!! frien.dship and the po .)ssibility :of ./unde r/standi\,ng. ./* Va% lahol E u_`^rop/)aban is t@he fir))st signif\ ica*_nt post(!w!ar H[ungarian film.[ .?=I!#$t o.!:_r-\iginated i?];`n. ; a re[lax^* \ed atmosphere,[ r$^ eplete wi,$th jo:y and euphoria, and it.$ i ncludes th-ese ele %m`/ents in order t o demonstrat=)e the st[rengt_h of humanism, +to^ le`#(ra=nce, a%?nd fr ;iendship. It represents a gen** eral co)]]n` demnat?]ion of war an ywh[ere in t he wo$rld, in ! an[y !/form.
剧情简介
【欧洲的 某个地方】 Some[wh)^ere in the ]rem o!te^=-- region, the war ends, . In the _@m_`=$i ds +t $(of ru-/@i/ned cities a;nd[, ?= =houses in the st?reets, in rur_ )a@..l ham!lets, ever yw;):here whe @#re pe=ople s%till live$,#+ a*[_;re children w/__ ho have `*lost their ho; mes a^]+`nd parents. Ab;a=ndoned, h!u;=ngry, an d $_*in+ rags, d!)efenseless and humiliate %d, th)%e]y wan(der thro ugh : the !world. Hu;`^nger[% -* :+` d.riv$ es them. Li ! /ttle ]str eams of orph)ans merge*# into a r[iver #! _which =(`@rush es for_-:ward and submerges everything in its ! ,/path . The chi ldren% do no *t=? kn\]ow a(^ ny (` feeling` th ey know only the wor ld of thei#- r enemies. *They _+:+fi\:! ght*, steal*,, st\\$ ruggle %for a mouth[fu]l[ of f*/ood, and vi]$ol+`@ence is merely a means to get`. it. A ga_ ng le;(d by Cah o!];! un f;!!$ inds a;] ref,?-uge in` an abandone( d castle an% d encounters an o]-ld ;` @c ompose+]]r @who has voluntarily retired _! into s(o$ %litude ); from a world of hatr_ *ed, treason^ :(, and crime. Ho?]$w can they ) \f] i; n@d a co; m?=? mon*+ ground, how can t he+y \.bec`*ome mu[tual $ ] frie$\%nds? ! -The castle beco@*mes t^]heir hiding place +] ( , but %possibly it will also be !their fi^`rst home which they m,ay /organize an@ ?d must defen?(d. But even for this, the . price will ; be very (high. To th/#is_; -\ simpl)$?e story, ) the j o(urnalist!, w^ !ri!te@r, po[ et, scriptwr?``*iter, mo$vie dir+#ec tor, and fil m the]oretician Béla Balázs applie d many? years of experience. He-% a%nd the director Géza_ Radványi_ cr-eated ? a work. +?w=*hich =;^op) ened a n ew postwar chapter i n H.] ungarian f ilm. Sur`(= prisingly, t ?his =[ fil\!%m %__$has n :=ot los-?t any of#] i *= ts impact o. ver the yea:]rs, esp/_ecially on a(%: p! \*ro; )\found p hilosophical -@,/level. _That is to ;* say, it i/@;s]^ not me\rely \ ]a\!) movie ab* ou /t= w/] ar it is n ot importa= `nt in what lo^\cation and in wha _t*\ period ! `\of tim#e it t@[akes]] place. It ?^is a`+ / story ou/@:tside o.f time ab!\++out ?$the joyle[]ss- ] fat[e of chi%ldren `who p [-ay^? dea[ rly .for the. cruel (war games of adult: :+s. At th )-e tim^;_e it -was+ p_+^remiered, the movie wa@ s . enth;,\u ,si`_astically r:/ ec\eive?!d by the cr.itics. The main roles were t #aken by stree.,twise b,:+o$ys of a ch ildren&# :39s g roup w/\ho cr eated thei?^r roles improvisational/-ly in close contac- /t;,) wit *h a few professional!- %#a:ctors(,.: ,` an d in the childr*%- en's acting the! -ir o\ ^+wn fre+?= sh experie+nce;_ of - _wa;_r's turmoil appears to be reflect[ed. \(At the s( ame!(% time, their performance @*f its = adm* irably in@to th+ e mosaic o- f a very complex movie@ lan#gua?(,ge. ;B-@*a+/l+ _ ázs's i(:nfluence rev#)ea_le`, d itself, above all, in the* `introdu_ c !tory sequences: an air raid on a,@n^$ a[ musement ),,park, seen., in a ,montage of dramatic situations ev( ok:%ing the last spas` m#^%s of wa )r, where, und. oubtedly, we discern $the inf_[#l=uence of% = classical !So]-viet cinematograph #y. S hooting ,. ) the boy's es @c@ape,.; the ?=locomotive's whee*ls, th e shadows of soldiers @; wi) th % :submachine guns :-!, the so und of a whist\le—th :?e images !`(are.? ; linke=;d togeth` er in abrupt +s#= equences in wh= *ich`= v@-arying shots a: nd exp?[@-re@ssive sharp :@soun-%/ds)- ^[are emphasized.. A perfectly pl #ann%ed screenplay,^; avo $ided al`;:l e `lements of s=:.ent!/im;ental? ity, t=/ime-worn stereoty pes of wronged c:%*hildren, romanticism a nd c :h(?ea :p si^^ `mplif#icat\ion. The authors succeeded in bridging \ the+ .p=,-_erilous dramatic #[`abyss of the#- metamo?= rpho .^s i:.s of ?(=;?a c*hildren's] commu:+ ni)@ty. )[% Their t$@!elling of the story ]!`(`[the scen`e of p.]illagi%*=)ng, th? \e assault !\`on )th)%e castle, $ etc) ind+ependently int ,roduced_. s$]ome)/(? neorealist elements whic_)h, at tha-#]t time,!\. were being+?: p/^rop a.) %gated in I:*taly by De Sica,+` Rossellini, and othe r fil^+ m a_\rti st`_s. The re /bukes of contemporary #(`critics, who c)alled att ention to "formalism +for its own sake" have. be%( en)^ forgot,_ten. T]*]he^!: mast^(e ^ rly art of c?.-ameram%%an$ Barnabás H]#egyi giv[:es /);`vitali^ ty to the po?e tic ]/-im ? age@s. =His an#gle shots of the c$\hildren, hi %!s c_#om_ ;po?(_sitio*n of #^ =scenes in the castle interior, a\r-.;/e /)a living ` document of the t `imes, a nd underlin e the ^ atmo#$:sphere /and_ . the =,charact@er # +s?# )o -(f the- + p+ rot agonists. The )@ success -of the pi$ctur ]e). was also enhanced () @by the musical ^ ?^ar#=t *of co;? mposer#%# Dé@$.*ne?^s\: Bu-da#y who$ , in tense, ; situat! ions, i[n@-+ser=ted@/+ =the th?:eme / -of t.h, -*e Ma ] r)(s, eilaise i;nto;# the movie's structure, as a mo*.tive of community [un*,ification., as [_a +n e@ xpression of=!! frien.dship and the po .)ssibility :of ./unde r/standi\,ng. ./* Va% lahol E u_`^rop/)aban is t@he fir))st signif\ ica*_nt post(!w!ar H[ungarian film.[ .?=I!#$t o.!:_r-\iginated i?];`n. ; a re[lax^* \ed atmosphere,[ r$^ eplete wi,$th jo:y and euphoria, and it.$ i ncludes th-ese ele %m`/ents in order t o demonstrat=)e the st[rengt_h of humanism, +to^ le`#(ra=nce, a%?nd fr ;iendship. It represents a gen** eral co)]]n` demnat?]ion of war an ywh[ere in t he wo$rld, in ! an[y !/form.
《欧洲的 某个地方》是Radványi Géza于1948年创作的一部经典剧情片作品， 由Artúr Somlay,Miklós Gábor,Zsuzsa Bánki等主演，在其它播出后引发了不少观众的讨论和好评。 影片通过 Some[wh)^ere in the ]rem o!te^=-…， 展现了创作者对于现实生活与情感世界的观察，因此常被不少观众称为“值得二刷、三刷”的剧情片。
很多影迷之所以推荐《欧洲的 某个地方》， 是因为片中无论是故事线的推进，还是演员之间的对手戏，都有着比较强的张力和代入感。 当你跟随剧情慢慢深入时，会发现每个角色的选择背后都有其不得不如此的原因， 这也让整部作品在娱乐性之外，多了一层对现实与人性的思考空间。
从类型角度来看，《欧洲的 某个地方》既保留了剧情片应有的节奏和看点， 又在细节上做了不少打磨：节奏方面尽量避免无意义的拖沓桥段，人物塑造上也不简单脸谱化， 而是通过多场戏份逐步丰富角色背景，让观众在追看的过程中逐渐理解他们的选择与矛盾， 从而对这部作品产生更深层次的情感共鸣。
如果你正在寻找一部既有故事性，又具备一定思考深度的剧情片， 那么《欧洲的 某个地方》会是一个不错的选择。 无论是想在闲暇时间放松心情，还是希望通过剧情获得一些情绪上的共鸣与释放， 这部作品都能够在不同程度上满足你的观看需求，值得在dancihu（dancihu.bgswjd.com/detail-13419.html）完整看完。