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《欧洲的某个地方》是哪些演员主演的？
答：本片(剧)又名欧洲的某个地方，是一部其它制片作品的剧情片，于1948年上映，Artúr Somlay,Miklós Gábor,Zsuzsa Bánki等领衔主演。对白语言为其它。《欧洲的某个地方》是什么时候上映/什么时候开播的？
答: 2024-06-05，详细日期也可以去百度百科查询欧洲的某个地方如果播放卡顿怎么办？
百度贴吧网友：播放页面卡顿可以刷新网页或者更换播放源。问：在哪里可以免费观看欧洲的某个地方？
答：欧洲的某个地方剧情片全集完整版免费在线观看地址: http://www.huadingled.com/xiafan/ouzhoudemougedifang问：和欧洲的某个地方相关的剧情片有哪些？
答：和欧洲的某个地方相关的剧情片有 ：欧洲最美的地方欧洲有名的地方欧洲最神秘的地方欧洲最冷的地方欧洲最浪漫的地方欧洲最热的地方上海像欧洲的地方欧洲有哪些地方欧洲最值得去的地方中国最像欧洲的地方欧洲地方名称上海最像欧洲的地方欧洲的哪里欧洲大部分位于欧洲一个地区是指哪个?欧洲地点名称欧洲的地名与其他地方的简单描述欧洲的地理位置欧洲地点欧洲的地区欧洲国家的地方写出欧洲的地理位置欧洲最穷的地方欧洲最繁华的地方欧洲浪漫的地方欧洲最美丽的地方欧洲最恐怖的地方欧洲的某个地方叫什么欧洲有一个地区是哪里欧洲的一个地区是什么欧洲哪些地方欧洲必去的地方
问：手机版免费在线点播《欧洲的某个地方》哪些网站还有资源？
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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