《歐洲的某個地方》是由知名导演Radványi Géza 执导的一部劇情片，Artúr Somlay Miklós Gábor 等倾情出演，该片讲述了：　　Some where in the rem ote regi on, the war ends. In the midst of ruined cities  and houses in the streets, in rural  hamlets , everywher e where people stil l live, are chi ldren who h ave lost the  ir homes   and parents. Abando ned, hungry, and in  rags, defe nseless and humiliated , they w ander through the  world. Hunger drives them. Lit  tle streams of orphans merge into a rive r which ru shes forwar d and submerges everything in its p ath. The ch ildren do n   ot know any  feelin g; they know only the world of t heir enemies. They fight, steal, struggle for a m outh ful of food,  and violenc e is merel  y a mean s to get it.  A gang led by Cahoun finds  a refuge  in an abando  ned castle   and enco unters an old composer who has volunta rily re tired into solit ude from a world of hatred , treason,  and crime.  How can  they find a  common ground , how  can they bec ome mutual friends? The castle becomes the ir hiding place but p  ossibl y it will also be their first home whi  ch they may org anize and must defend. But even f  or this, the price   will be very hi gh.　 　To this simpl e story, the journalist,  write r, poet, scriptwriter, movie director, and film the oreticia n Béla Balá zs applied many years of experienc e. He and the director  Géza Radvány  i cre ated a work  which opened a new postwar chapter in Hunga rian fil  m. Surprisingly,  this film  has not lost any of its impact over  the years, espe  cially on a profound  philosophica l le vel. That is   to say, i t is not merely a movie about   war; it is not important in what locatio n an d in w hat period of tim e it takes p lace. It is a story  outside of ti me about the joyless fate of children who pay dearly for the cruel war games of adul ts.　　At the ti me it was premiered, the movie was  enthusi astically receiv ed by the cr itics. The main roles wer e taken by s treetwise  boys of a c hildren's   group who cr eated their roles improvisationally in close  cont act with a few  professio nal acto  rs, and i  n the children's acting their own fresh experience of war's  turmoil appears to be refl ecte d. At th e same time, their  performance fits admir ably into th e mosaic of a very com plex movie lang  uage. Balázs ' s influence revea  led itself,  above all, in the introducto ry sequence s: an air raid on an am usement park, seen  in a montage of  dramatic situations evoking the last spasms of war, where, un   doub  tedl  y, we discern the influence of classi cal Sov iet cinematography. Shootin  g, the boy's escape, the locomotive&# 39;s wheels, the shadows  of soldiers with subm  achine  guns, the  sound of a whistle—t he images are linked togeth er in  abru pt sequ ences in which   varying sh ots a nd expr essive sharp  sound s are emphasized. A perfectly planned  scree nplay avoided all  elements of sentimentality , time-wo rn stereotypes of wr onged  children, romanticism  and chea p simplificati on. The aut hors succeeded in bridging the pe rilous d ramatic a  byss of the metamorphosis of a ch ildren's  commun ity. Their t elling of the stor y (the scene of  pillaging, the assault on the castle, et c) i ndepende  ntly   intro  duced some neo  realist ele ments which, at that tim e, were being propagated i n Ita ly b y De Sica, Rossellini, and other f ilm  artists. The rebuk  es of contemporary critics, who c alled attention to & quot;f ormal ism fo r its own sake" have bee n forgotten. Th e mast erly art of   cam  eraman Bar  nabás H egyi gives  vitality t o the poetic images. Hi s angle shots of the childr en, his compositio  n of scenes in th e castle interior, are a livin g do cument of the tim es, and underline t he atmosphere and the char acters of the prot  agonists. The success  of the pict ure was also enhanc ed by the musical a rt o f composer Dénes B  uday who,  in tense  situations , inserted the t heme of the Mars eilais e into the movie';s struct ure, a s a motive  of co mmuni  ty unification, as an expr ession  of frie ndship and the possibility of und erstanding.　　Val ahol E uropaban is  the first sign ifica  nt postwar Hungarian film. It originated in a rela xed atmosph ere, replete  with joy and e uphoria, and it in  cludes these elements in order to demonstrate the strength of humanism , tolerance  , an d friendship. It represents a gen eral condemnation of  war anywhere in the world,  in any for m.　　陆灵蹊眨了眨眼，很干脆地把当初在奇 怪岛石殿  抢来的黑漆漆 大鼎放到院中，“老祖，您看它到 仙级了吗？我筑基中期就得到它了，一直想打开它，可是，结丹的时候打不开，元婴以后还是打不开。到了化神，我 一直忙，就把它忘了，  您帮我瞅瞅，若是能用您就用。”