剧情简介
《欧洲的\某个地方》讲述的是什么故事？
《欧洲的\某个地方》Somew $ here in t_?he remo_te reg_;i[$on, the `]* #w*ar( ends. In the )@ midst of ruined ]*c= (iti\.;es and. + houses$/ i n the street[ s/, in rural h]amlets, every;)w,, here w?here peop@l]e still liv? */e, are children who;[ have lost thei,*r homes a]@nd parents. Ab.\a]ndoned-`., hungry, and i n? @ r ags, defenseless and _ h?umi) liated, #t,=hey wander through t *+he worl^#d;*. Hung(^e#r drive@ s the\(!$m. Litt-le streams of or] , phans me)r_%g .e !into\. a river which r*^]ushes forward and subme--rge s ever.%yth-_%ing\;)? in i\ts path. The ch(;/ildren do not know an *y] feeling; th ey know only t=he wor] (^ld of their^ enemies $. )@Th[??ey fight,, steal,)]+* struggle for a mouthful o f food, and violence is merely a means to get i) t $#. A ga/^ng led by Caho+un finds ,* a r$ [_efuge in a;]]n ?@aban` #doned castle:^ _.=and enco(=unters an o= ?\ld c omposer who has +`volunt`!arily re#tire)d :+ in)to s?_- olitude f# rom a world ,of hatre (]d, t/reason,, and cri)@[ me. Ho\w can they f% _ind _.a common ground%, @,how @]-can -`th+#ey!? b#eco# m, `e mutual fr ie ]_nds The castle becomes t$^+heir hiding place but poss?(ibly it ! wil_ $l+% also be- their first [(;@h`^`ome%+ which t_-@h]-ey / may organize and _m^ ust d e_^fend. )But - = even f*or \this, the price w? ill be very high. To th ]i.= s sim :^!]ple sto_,ry, the journalist @, writer, poet , scriptwriter, mo,vie director, and film (the[oretician:? B? +`éla Balázs applied ma ,ny \y=#%ears o $]f experie^@nce. He a?nd the director:? Gé(za Radványi created a work! which opened a`: new post=),war cha?pter in Hungaria_ n (film# ].. Surp!risingly, this film has no)/t los$t any of its impa)/c%/t over:^ th * e y-]?;ears, $]+e=special #ly^$[ o`n a profound ph# !ilosophical le (vel. That is(? to say, it !\/is not m/-^ ere l;y \)a movie )^ about w`,ar; +(it is +#`not importan%/t in what location )and in %+w( hat period of @`t (ime it ta: kes pl+*.ace. It is ^a story out^@si?de ++of time about th;e++_^ $`joyles+%:s fat`e of childr ` en who pay dearly for!- t\ @he cruel wa ?r games o f adults. /At the time it;+] was /prem!iered, the movie was e #nthus@ #iasti?%ca) :lly rec? eived by t, he crit_ ics. The [^ ma )in roles we r e. @ t@^.\a.ken ,+by streetwise boy^s of a children's gr@o/]u/#p who created th@ /eir ro^ `!les improvis)`ationally in close _con [tact with-! # a f/e ^w @`)pr =(of+_essi;)onal act\ (_$or_s, a [nd in !the chil*,( dren \$'s : $!acti?#[ng -th`eir own f,re@`sh exp[e/=_rience of war's turmoil appear[s ^*to be reflected. At th(* e same time, their $ [per/formance fits+] a+^dmira: (bly %i%:nt) \/_o the mosaic*_ of ? a ver y c^#=omplex movie l, ang:[ uag e. Baláz .s's i[ nflu: ;ence revealed itself, ab]ove all, i %^n the introductory . *seq(?uen`! $c?^es an air raid ^#on an am,+-;u`[$sement park,/. seen@[ in?^ a montage of dram\*atic s+ ituations evoking the l/ast spasms, of war, where , undo^^ ubtedly, we *d iscer)n t (he %?=influenc,;%e.: ?*]of classical So ,viet! cinematogra% *phy. Shooting, the bo_[y's @es;cape, t-he ^ ]$locomotive's whee ls, th\]e shadows of soldiers wit\ \h submachine guns, the sound of a@- wh#\i.s^`$/t;_le—the \image!s a \ re li %n[_ked together in abrupt sequenc;-$es in whi)ch varyin`)g sh:`ots and expressive sharp soun%d-=s* are em]phasized. A perf*;ectly plan;#ned screenplay avoided a)ll elements of s`?entimen tality, time-worn stere; $oty!$[p^es of w=)ro _=nge%d chi $ ldren, r *,o *manticism and chea@; p simpl[/]^ifica!tion.@!% The autho +rs succ+eede)?d in bridging the) /pe%,ril!.[ous^ % [#d;^)\ramatic abyss o +f the metamo= %rphosis of a .[\children+?:'s co() mmuni![=ty. Th)eir telling of !+;t%\]he @story (the sc.ene of pil l` )aging, the ass/ault on* the castle, )et=, +c[ )#) independe)[\ntly introduced so( +m+]e neor !ea\l ist = elem:$ent*s ) which, at that time, were b[eing pr \opa g]$! ated ( /in Italy b$!y :De Sica, Rossel!.^l@ini, and o`/%`ther film art ist(s. Th%!e rebukes of cont+@emp_/orary cr+itics, %!who ca:[];l(led att+%/=en %tion%) :to forma[lism for i!ts own@ sake`% hav;)e =)\ / been forgo: [ tt-??en. The masterly; art . of) c^)\#a$ m eraman?:! Barnabás Hegyi gives $ vital?*+ity to t?^he p@/ oetic images. Hi;\s $angle shots of)/, th*],)e children,#] his! com%posit io[ n _^of @= scenes in th-=_e castle` interior, are a l*ivi. ]ng document of th.e times, -` an*d und# e [rline^= the atmosp%]h/,[=ere and the chara):,`c@-ters o, f t) h%:+@e * protagonists *). ![+The s#uc%+-]cess of^@ t ;he picture was !#also ` enhan:ced by the musica!l art $ o ,f compose[`r Dénes ^(-Buday wh?o, in t] ense situa ++ti!ons,] inse] r[=\ted =*the t;?heme of`/ the Marseilaise into t`he mo$).vie's structure(-, as a mo/(=tive of:- c ((ommu[\$$ni @ty u$)nification, a.s$- an expression .:of, f$riendshi@]`:p and the po;$ssibility of understan d`@ ing. Va^-l ahol Euro[()pa $)ban #!i][s the @#firs t s(_$ig#^n!;ificant * ]/po) s twar Hun@.)garian fi lm) . It or_,i$ginated in a r elax;ed atm\!`$ osphere, . replete ^@ wi/_.th jo,]=y and eu@].ph). ,oria[, and it incl: +( u ;d ?es these ;elements in o:,rde^r to demons trate the s@/+tre*/ngth of ]+humanism _ , tolerance, and friend :`;ship. %)It r ep%re \ sents a general co/+ ndemna++tion*(+#, of war anywhere in ], the] world, in ;@ any for.)=m.
一、《欧洲的\某个地方》是哪一年上映的？
《欧洲的\某个地方》是Radványi,Géza于1948年拍摄的一部经典剧情片。此片开创其它当代剧情片的先河，《欧洲的\某个地方》上映时票房稳坐前三，创下当年纪录。当时Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki均为最佳主角，Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki以精彩演技和突出形象，奠定在其它影坛地位。Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki饰演角色造型多年后仍为人所模仿。Radványi,Géza之前曾被人怀疑其能力，而《欧洲的\某个地方》却奠定Radványi,Géza剧情片风格。《欧洲的\某个地方》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1948年代）其它（其它）优秀剧情片齐名。
二、被称为剧情片的开先河之作的《欧洲的\某个地方》，是Radványi,Géza最好的作品吗?
从Radványi,Géza斩获剧情片最佳导演 我就觉得这部《欧洲的\某个地方》是他最好的剧情片。虽然Radványi,Géza后来还拍出来了评价特别好的剧情片，但是《欧洲的\某个地方》是他剧情片的代表作品。
三、《欧洲的\某个地方》为什么可以成为经典？
提起其它，人们就肯定会说出《欧洲的\某个地方》的名字。这部由Radványi,Géza导演，Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki主演的《欧洲的\某个地方》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。为何会这么说，我想，就连Radványi,Géza导演和Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki，都没想到这部剧情片会得到这样好的反响。Radványi,Géza先生曾说过，这是一群失意的人凑到了一起创作出来的一部作品。因为在《欧洲的\某个地方》开拍之前，Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki已经有几年年无戏可拍，而Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki主演的剧情片，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在剧情片中投入的热情，是我们难以想象的，其实《欧洲的\某个地方》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典剧情片，也成就了他们自己！
四、如何评价《欧洲的\某个地方》?
《欧洲的\某个地方》口碑非常好深受广大观众喜爱，《欧洲的\某个地方》一经播放立刻引来无数人点赞，不仅Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki演的好而且该剧情片故事情节也非常紧凑，星空影院（www.msdts.com）观看起来特别流畅同时还能扣人心弦，虽然目前《欧洲的\某个地方》收视率一般但是该片目前受欢迎程度已经名列前茅。该剧情片主演Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki，她在该剧情片中的演技可圈可点，受到Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki演的好而且该剧情片迷的认可。
五、《欧洲的\某个地方》剧情片的主要内容
《欧洲的\某个地方》是一部剧情片剧情片，由导演：Radványi,Géza执导，主演：Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki
《欧洲的\某个地方》Somew $ here in t_?he remo_te reg_;i[$on, the `]* #w*ar( ends. In the )@ midst of ruined ]*c= (iti\.;es and. + houses$/ i n the street[ s/, in rural h]amlets, every;)w,, here w?here peop@l]e still liv? */e, are children who;[ have lost thei,*r homes a]@nd parents. Ab.\a]ndoned-`., hungry, and i n? @ r ags, defenseless and _ h?umi) liated, #t,=hey wander through t *+he worl^#d;*. Hung(^e#r drive@ s the\(!$m. Litt-le streams of or] , phans me)r_%g .e !into\. a river which r*^]ushes forward and subme--rge s ever.%yth-_%ing\;)? in i\ts path. The ch(;/ildren do not know an *y] feeling; th ey know only t=he wor] (^ld of their^ enemies $. )@Th[??ey fight,, steal,)]+* struggle for a mouthful o f food, and violence is merely a means to get i) t $#. A ga/^ng led by Caho+un finds ,* a r$ [_efuge in a;]]n ?@aban` #doned castle:^ _.=and enco(=unters an o= ?\ld c omposer who has +`volunt`!arily re#tire)d :+ in)to s?_- olitude f# rom a world ,of hatre (]d, t/reason,, and cri)@[ me. Ho\w can they f% _ind _.a common ground%, @,how @]-can -`th+#ey!? b#eco# m, `e mutual fr ie ]_nds The castle becomes t$^+heir hiding place but poss?(ibly it ! wil_ $l+% also be- their first [(;@h`^`ome%+ which t_-@h]-ey / may organize and _m^ ust d e_^fend. )But - = even f*or \this, the price w? ill be very high. To th ]i.= s sim :^!]ple sto_,ry, the journalist @, writer, poet , scriptwriter, mo,vie director, and film (the[oretician:? B? +`éla Balázs applied ma ,ny \y=#%ears o $]f experie^@nce. He a?nd the director:? Gé(za Radványi created a work! which opened a`: new post=),war cha?pter in Hungaria_ n (film# ].. Surp!risingly, this film has no)/t los$t any of its impa)/c%/t over:^ th * e y-]?;ears, $]+e=special #ly^$[ o`n a profound ph# !ilosophical le (vel. That is(? to say, it !\/is not m/-^ ere l;y \)a movie )^ about w`,ar; +(it is +#`not importan%/t in what location )and in %+w( hat period of @`t (ime it ta: kes pl+*.ace. It is ^a story out^@si?de ++of time about th;e++_^ $`joyles+%:s fat`e of childr ` en who pay dearly for!- t\ @he cruel wa ?r games o f adults. /At the time it;+] was /prem!iered, the movie was e #nthus@ #iasti?%ca) :lly rec? eived by t, he crit_ ics. The [^ ma )in roles we r e. @ t@^.\a.ken ,+by streetwise boy^s of a children's gr@o/]u/#p who created th@ /eir ro^ `!les improvis)`ationally in close _con [tact with-! # a f/e ^w @`)pr =(of+_essi;)onal act\ (_$or_s, a [nd in !the chil*,( dren \$'s : $!acti?#[ng -th`eir own f,re@`sh exp[e/=_rience of war's turmoil appear[s ^*to be reflected. At th(* e same time, their $ [per/formance fits+] a+^dmira: (bly %i%:nt) \/_o the mosaic*_ of ? a ver y c^#=omplex movie l, ang:[ uag e. Baláz .s's i[ nflu: ;ence revealed itself, ab]ove all, i %^n the introductory . *seq(?uen`! $c?^es an air raid ^#on an am,+-;u`[$sement park,/. seen@[ in?^ a montage of dram\*atic s+ ituations evoking the l/ast spasms, of war, where , undo^^ ubtedly, we *d iscer)n t (he %?=influenc,;%e.: ?*]of classical So ,viet! cinematogra% *phy. Shooting, the bo_[y's @es;cape, t-he ^ ]$locomotive's whee ls, th\]e shadows of soldiers wit\ \h submachine guns, the sound of a@- wh#\i.s^`$/t;_le—the \image!s a \ re li %n[_ked together in abrupt sequenc;-$es in whi)ch varyin`)g sh:`ots and expressive sharp soun%d-=s* are em]phasized. A perf*;ectly plan;#ned screenplay avoided a)ll elements of s`?entimen tality, time-worn stere; $oty!$[p^es of w=)ro _=nge%d chi $ ldren, r *,o *manticism and chea@; p simpl[/]^ifica!tion.@!% The autho +rs succ+eede)?d in bridging the) /pe%,ril!.[ous^ % [#d;^)\ramatic abyss o +f the metamo= %rphosis of a .[\children+?:'s co() mmuni![=ty. Th)eir telling of !+;t%\]he @story (the sc.ene of pil l` )aging, the ass/ault on* the castle, )et=, +c[ )#) independe)[\ntly introduced so( +m+]e neor !ea\l ist = elem:$ent*s ) which, at that time, were b[eing pr \opa g]$! ated ( /in Italy b$!y :De Sica, Rossel!.^l@ini, and o`/%`ther film art ist(s. Th%!e rebukes of cont+@emp_/orary cr+itics, %!who ca:[];l(led att+%/=en %tion%) :to forma[lism for i!ts own@ sake`% hav;)e =)\ / been forgo: [ tt-??en. The masterly; art . of) c^)\#a$ m eraman?:! Barnabás Hegyi gives $ vital?*+ity to t?^he p@/ oetic images. Hi;\s $angle shots of)/, th*],)e children,#] his! com%posit io[ n _^of @= scenes in th-=_e castle` interior, are a l*ivi. ]ng document of th.e times, -` an*d und# e [rline^= the atmosp%]h/,[=ere and the chara):,`c@-ters o, f t) h%:+@e * protagonists *). ![+The s#uc%+-]cess of^@ t ;he picture was !#also ` enhan:ced by the musica!l art $ o ,f compose[`r Dénes ^(-Buday wh?o, in t] ense situa ++ti!ons,] inse] r[=\ted =*the t;?heme of`/ the Marseilaise into t`he mo$).vie's structure(-, as a mo/(=tive of:- c ((ommu[\$$ni @ty u$)nification, a.s$- an expression .:of, f$riendshi@]`:p and the po;$ssibility of understan d`@ ing. Va^-l ahol Euro[()pa $)ban #!i][s the @#firs t s(_$ig#^n!;ificant * ]/po) s twar Hun@.)garian fi lm) . It or_,i$ginated in a r elax;ed atm\!`$ osphere, . replete ^@ wi/_.th jo,]=y and eu@].ph). ,oria[, and it incl: +( u ;d ?es these ;elements in o:,rde^r to demons trate the s@/+tre*/ngth of ]+humanism _ , tolerance, and friend :`;ship. %)It r ep%re \ sents a general co/+ ndemna++tion*(+#, of war anywhere in ], the] world, in ;@ any for.)=m.