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.
披着谍战的外衣搞了一个爱情剧，是男人悲哀，还是女人悲哀呢？
经典老梗命题:飞机要爆炸了，你媳妇和100个乘客你救谁？
难为导演能把这么点事拍这么臭长。作为一个精英谍报人员，在洗澡期间手机上有个刚威胁过自己的人给自己打的未接来电，然后自己小情人莫名其妙离开自己，自己竟然不做出点什么推测？精英谍报部门，办公室几个陌生电话都搞不清怎么回事？还有这片名，谁翻译的？神他么宝刀未老，翻译成陈年老伤都比这个要贴切吧？
写的就是我的上一段感情......吧
都深爱对方，却做出不同的选择。
一场劫机事件背后的爱情故事。N场床戏，挨个排查泄密人员过程，在饭桌、办公桌和床榻转换之间，爱恨情仇，前因后果，旧伤新恨一一细数。50岁坦迪和42岁克里斯的年轻面容还原得较好。5
没想到哇，挺简单的一个爱情故事，被这样环套环的整的老动人了……最近怎么老被这种强行的反复穿插回忆作品包围！
原来是个爱情片。感觉最佳的是卡梅尔小镇的餐厅，盘算着和小敏一起看日落。
你以为他是悬疑片，其实他是爱情片。不知道为啥，我还挺吃这一套。最后的反转也是精彩的。不论男主还是女主，似乎都有一种“以为对方是小丑，其实小丑是自己”的反差。尽管豆瓣评分不高，但是我喜欢。
影片故事情节来回跳跃、闪回，回忆夹着回忆，开始时真有些如坠云里雾里的感觉，不知所措。做为“小小的烧脑消遣片”，还是可以看看的。
还有这个女的，实在不适合演个spy类型的角色。一直苦情脸。
5分 黑白配的感情戏让人一点感觉都没有，这老娘们50了，而且全片穿插太多了，还双线叙事，麻了，几个场景不是餐厅就是咖啡馆，办公室。更要命的是剧情，男主找内奸，找了半天原来自己是内奸，当年为了救女主。最后女主都嫁人是2个孩子的妈了，暴露身份也不给杀手下命令，不就是还爱着她么，可这爱情戏，我压根入不了戏啊导演编剧。
老美也知道归根结底谁最不地道最不干人事儿了
有点压抑，做爱的时候的BGM也很悲情。 要是早点和扣扣一起看电影，我就不用在冷风中吹一个半小时还花四百大洋了 呜呜
男女主吃饭的那间餐厅外的夕阳真美啊。
打着惊悚片的旗号 但核心是个爱情片 质感上还算不错 滤镜调色和镜头感都算合格 但是剧本核心有点太弱了 爱情的元素也有些过于复杂 整个所谓惊悚悬疑的因素也远没有宣传的到位 克里斯派恩就像被主流抛弃了一样 《星际迷航》之后竟然完全消失了
以为是谍战片或者反恐片，结果是爱情片，只是没有想到。
我不知道为什么这样，爱情不是我想象。有些职业不适合爱情。
2022.1.1晚 朝阳剧场 我的天啊我为什么会哭
片名这是翻译了些啥？旧伤复发也比这个好啊。
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