《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：　　Somewhere in the remote region, the war ends. In the midst of ruined cit ies an d houses in the s treets, in  rural hamlets, everywhere where people sti ll liv e, a re children who have l ost the ir h omes and parents. Aban doned, hungry, and i n rags, d efensel ess and humiliated, the y wander through  the world. H unger drives them. Li ttle stre ams of o rphans merge in to a river w hich rushes for  ward and submerges everythin g in its  path. Th  e childr  en do n  ot know any feeling ; they know  only the   world of the ir enemies. They fight, steal, struggle f or a mouthful of food,  and viol ence is mere ly a means t o get it.  A gang led by Cahoun finds a refuge in an aband oned castl e and encounters an old composer who has  vol untarily retir ed into solitude from a world of  hatred, tre ason, and  crime. How can the y find a common gr  ound, how can they become mutua l friends?   The c astle becomes  their hiding place but possi bly it will  also be their fir st home which they may organize a  nd must defend. But e ven for this, the   pri ce will be v ery high.　　To this simple story, the  journalis t, writ er, poet,  scriptwri ter, movie director, and film theoretician Béla Bal ázs appli ed many yea rs of exper ience. He a nd the director Gé za Radványi created a work which opene d a new pos twar cha  pter in Hungar ian film. Surp risingly, this fi lm has  not lost any o f it  s impact over the years, es pecially on a prof ound  philosophica l level. That is to say, it is not merely a movie about war; it is not importan t in wh  at loca  tion  and in what perio d of time it ta kes place. It is a s tory o utside of  time about the  joyless fa te of children who pay d  early for t he cruel   war games of ad ults.　　At th e time  it was pre  miered, the movie was enthusiastically rec eived by the cri tics. Th e main ro les were taken by st reetwise boys of a children  9;s group who cr eated t heir roles impro visational ly i n close contact with a few professional actors  , and in the c hildren';s acting their own fresh experienc e of war's   turmoil appears to  be reflected. At the same time, their  performanc e fits  admirab ly int o the mos  aic of a very complex movie lan guage. Balá zs's influence  revealed itself, above all,  in the int roductory sequences: an air raid on an a  musement park, see  n in a montage of dramatic s ituations evoking the last spasms of war, where, undoubtedly, w  e discern th e influence of classical S ovie t cinematography. Shooting, the  boy&  #39;s escape, the locom otive's wheels, th e shado ws of soldie rs with  submachine  guns, the sound of a whistle—the images are link  ed together in abr upt sequences in which varyin g shots   and ex pressi ve sh arp sounds are e mphasiz ed. A perfectly pla  nned screenplay avoided all elements of sentimentality, ti me-worn  stereoty  pes of wronged child ren, romanticism and cheap simplificati on. The   author s succeeded in bridging the  perilous dramat ic abyss of the metamorphosis of a children's community.  Their telling of  the story (the sc ene of pilla ging, the assau lt on the castle, etc) ind ependently introduced some neor ealist el ements wh  ich, at that time , were being pro paga ted in Italy by De Sica, Rossellini, and other fi lm a rtists. The reb ukes of  contemporary critics, who cal led a ttention to "formalis m for its ow  n sake" have been  forgotte n. The ma  sterly art o f cameraman  Bar nabás Hegyi giv es vitality to the poetic images. His angle shots of the chil dren, his compos ition of sce nes in the castle interior, are a living docu ment of  the times, and   underlin e the at mosphe re and the characters of the protagonis  ts. The success of the picture was also enhanced by the  music al art of comp oser Dénes Buda  y who, in tense si tuations, inserte d the theme of the Mar seilaise into the movie 9;s structure, as a mot ive of communi ty unif ication, a  s an exp   ression of friendshi p and the po ssibility o f understanding.　　Valahol Europaban is the first signi ficant postwar Hungarian  film.  It origin ated in a relaxed   atmosphere,  replete  with joy a nd euphoria, an  d it includes these elements in ord er to demonstrate the strength  of h  umanism, toleran ce, and friendsh ip. It re prese nts a general condemnation  of war  anywhere in the  world,  in any form.　　这一次 ，她直接从袖中暗袋里摸出一个大  型储物袋，“知道我要来见您，不仅爷爷让我给您带了好些黄金谷做  成的米饭和各类点心，就是我师父师   叔他们，都逼着宗里的大师父，给您弄 了好些好吃的，我师姐采 薇还把她弄的极品花茶给 我了。”