剧情简介
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Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where eole still live, are children who have lost their homes and arents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orhans merge into a river which rushes forward and submerges everything in its ath. 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 comoser 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 lace but ossibly it will also be their first home which they may organize and must defend. But even for this, the rice will be very high.br\ To this simle story, the journalist, writer, oet, scritwriter, movie director, and film theoretician Béla Balázs alied many years of exerience. He and the director Géza Radványi created a work which oened a new ostwar chater in Hungarian film. Surrisingly, this film has not lost any of its imact over the years, esecially on a rofound hilosohical level. That is to say, it is not merely a movie about war; it is not imortant in what location and in what eriod of time it takes lace. It is a story outside of time about the joyless fate of children who ay dearly for the cruel war games of adults.br\ At the time it was remiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children#39;s grou who created their roles imrovisationally in close contact with a few rofessional actors, and in the children#39;s acting their own fresh exerience of war#39;s turmoil aears to be reflected. At the same time, their erformance fits admirably into the mosaic of a very comlex movie language. Balázs#39;s influence revealed itself, above all, in the introductory sequences: an air raid on an amusement ark, seen in a montage of dramatic situations evoking the last sasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematograhy. Shooting, the boy#39;s escae, the locomotive#39;s wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrut sequences in which varying shots and exressive shar sounds are emhasized. A erfectly lanned screenlay avoided all elements of sentimentality, time-worn stereotyes of wronged children, romanticism and chea simlification. The authors succeeded in bridging the erilous dramatic abyss of the metamorhosis of a children#39;s community. Their telling of the story (the scene of illaging, the assault on the castle, etc) indeendently introduced some neorealist elements which, at that time, were being roagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemorary critics, who called attention to quot;formalism for its own sakequot; have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the oetic images. His angle shots of the children, his comosition of scenes in the castle interior, are a living document of the times, and underline the atmoshere and the characters of the rotagonists. The success of the icture was also enhanced by the musical art of comoser Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie#39;s structure, as a motive of community unification, as an exression of friendshi and the ossibility of understanding.br\ Valahol Euroaban is the first significant ostwar Hungarian film. It originated in a relaxed atmoshere, relete with joy and euhoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendshi. It reresents a general condemnation of war anywhere in the world, in any form.
