欧洲的某!个地方

剧情简介

Somewhere i] #n the rem[ote r)eg/-ion,+_< the wa/+/r ?(&ends.?& In the mids * t o.\#+f# ruine)d\@[ cities and houses -in t@/ h,:#e $[str=#>eets\, )in\,@/$ rural hamlets, ev_-&erywh  ere w)here peo/@ple`] );still l=$:(ive, are chi$l]dr-= en w;*ho have :"lost thei#/r +^&
homes and parents. Ab)andoned+, hungr y, $,&and: in rags, def"enseless and humil^`/i#-a:- t$
?ed, t*hey w;#ander th.rough the world. Hunger d$<`
r;;ives them. Little streams of orphan)"s&*]!? merg@>@e into a river which r,+u*shes forw[/<!ard and submerges everythin_,^g in its\# path. T[he =# chil_dren do not know%'
an.-y feeling; t+hey?:`< ^/=know on=;ly the world of their enemies. They-)_ fight, steal, st,#rug<gle for a mo+ uthful ])o,.f f
!?o=od,$] and violen.ce is ==merely a means to '_g.et it.<>= A g`, ang led by Cahoun finds a refuge in an aband$(<oned castle and encounter s an old co<>`m\/pos\(-er who! ha:s volunt [<(a\rily retired# int'-o :solitude f,r.$?om a world of ha tre)>d, treason, a<nd)/ crime. ^H*[ ow :can!= they find a common g(!#roun:d*@$, how can they` ( bec
ome mutual friends&! %'The c^astle%^ becomes the..\ir .hiding p\l=^$ace b'[$ut possibly it^ will); also be t `"he(]ir first: !=.%(h+;ome wh)$^i$\"ch they may organize ^^an)d]# mus-[t de;=fen.>d%,.. B`.u??&t even for th*is., the p#],ric ^e wi>'ll +`be +!.[very high.　^>　To this simpl[e story, the jo.urnalist,# -writer(, poet, script*writer, movie d^"irector# *(, and film)[ theoreti%,:cia,:n B:é /^l-a Balázs @>$applied many year."s_/- of e xperience!(. He an\%#d the dir"ecto \r G".; é
za Ra['dványi c/$]re)?,at`ed a work which(_& opened a\= new]$ po*st-%&war cha-$+pter in Hungarian f`

;il(>+m. -:Surpr"i;singly, t
`his( film has not lost+ any o=f its ^]imp>`act o'- ver->@ ( t=`'he"%% years, especia@l*ly on(= a pr;ofou)*nd ph[:ilosoph=+$ica( _ `l level. That is to say, it is not merely a movie ab o$]+&ut war; it is not< ! importan,t in .+wha
[t lo/<cation \<and in 
what period of time it% takes place. It: ? is a story ))(outside of t#`:im'e abo%-ut the joyless'* +fate of <child)[ren =wh
]o pay de?+a)^'(rly fo;'r; the cruel!$?* wa>;r games of adu\(lts-
."　　At the time [`-it was p$@`remiered, the%!-" movie was+  e>nth`+usia?stically rece*)$]i[v,ed by the critics. The mai' /\n ro@les were (\taken by$) str`!]`eetwise boys& of a _c=*hi.% l##dr@
#,e.n's group who created thei`<r roles ??\impr=/ovisation'ally in close contact with a few +[$professi)@ onal actor%<s, and in th e !.ch^ildren'_:%s ac>
ting*< their 'own f]res_ h $^ experience of war's tu/]#rmo!+il a /?ppears to be reflect.;]!^ed. At the same time, their@:  perfor,>mance :\_!fits +admir""abl@y /into / the mosaic * of a very comple(=x mov=ie l/^?_anguage_. Baláz's's ? )-i@(nfl`(uenc_?e revealed it]s)`elf 
, above$ all,_$ in the intr-#odu_][ctory sequence_(]!s a),n =\air raid / on an amuse
&:$ment park, se;%en in a<< mont^[a\ge of dr.amat )ic situations evok_+,i)`$'ng the last spa(sms of war, where/, un( doubt=>+edly:[, we d-<"isce.$!r?:&#n the influen
\ce of classic*al So'+viet cinematography. S$
`h ooting, `@"'th;#e bo
&y's escape, the"& lo; c<
@omotive's wheels, the s@hadows of s[\/)old$>\iers/@ * wit
!h submach$in%  e guns, the sound of a whi's>.tle—th-e =>images ar^ e lin@ `(ked to\
geth er in= abru[ / pt'^ ' sequence` s `@in w!(.'hich varyin;>g s%&hot's an%#d expre/?ssive, sharp sounds are/ emphas >ized. A perfect(",l$_y planned screenplay avoided all elements of *^sentime -(nta`li+t/y, @
time-worn ?ste
[^r ''eoty^(pes of wronge`;d !/ c][hil]))dr

en, rom$,anticis%"m ?and cheap simp+ lifi]>cat[ .io'[
n. The authors succ$eeded in bridging the perilous dra+$matic abyss of 
=the me t? amor>/phos+is of a chi-ldre-[n'^s( community.& Their te(llin"g'"
o)f the ]@$stor( y=: (the s?c#>e?+n.,+[e of ?\<pillag   ing,- the assault o_\*n th+$e ca;=,*stle, etc) independently)/ < ``_intro$d"uced `some neor"ealist elem(;ents whic ^
h-(; , at that time, were be`in+.g #.'propagated in Italy '#by De ;Sica[>`#, @
^Rossel *&)lin <"i, and other 'film'[ art/.ists. The r@#ebuke)#=s of# ] con' temporary critic>\s, who called at+ &*t/+ention t_o[+ formali`%s) m for its own sake.
 ha-ve b$een forg=^otten. (The masterly art ^$?#o].f camer.;aman Barna][ bás H\
egyi gives v_;it&alit)]y to\ th[ ?e poe(+tic image`s. His ?angle s#` [hots\`@ %)of the >)children, his composition of scen_],es& in the cas*:<;tle ![i ',nterior, are a liv>in'%^g doc<
umen.t of the time
s/, and underlin+>.e!; the atmosph]"ere and the '
c-]]hara
,.$ cters of the protagonist\s+-. The success <o@)f the picture was also_% en(hance*+`d ;/by the mu?sical!  a^!(r]/<`t of com)poser Dé#nes Bud -ay who, in ten( .se situ" ^ations, inserted the the#[+me of the Ma+rs`<^e,ila
*ise in:
to the movie's structu$+.re,%+ as a motive:( of comm" ;$uni])+*ty -.u=%,nif icat)="!ion, as an ,e \xpress ._ion of friendship and th)e possibil%
ity = (of underst:[and:`^ing.%　　Valahol!* Europab/=`^:an is the fi `rst sign,&ific^a@#^nt^^$' p(]o<-stwar Hun-#?ga%rian fil  m'`. It orig/
ina "^ted in a+ relaxed \atm**,%ospher#e,+! replete with_
> joy and e/[uphoria, a=_nd it inc,ludes these e#+lem-ents in or["
der to d_]]emons\.trate the str$`.ength o*!%f& humanism, to(leran"=ce, and friendship. It represe?@nts a general `#/?condem)nati=on of-] \war% a %>\ nywh<;] ere in the w!or,ld, in a!<ny f.or;]>(m.