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.
类似藏头诗的名字真的是很有心了，原来都是没被点破的误会造成~作案手法也有点意思~
新兰永恒
悲傷的故事，話不說開導致的死亡悲劇。花栗鼠🐿️真的超可愛❤️
补签，鬼灭前10集算是最平淡的了，后面只剩high了。
据说是在台湾上映了，没事，我看过tv版，内容一样的。新兰永恒！！
我以为新兰早就在一起了，居然是这一部才在一起？？ 有点可爱 高中生甜美青涩的恋爱
hhh，槽点很多，不能理解的剧情，但是看到新一的小兰在一起了，很开心10分
我以为是剧场版害我找了好久。原来是982-985集。
这部好看很多！而且亲了耶、案子伏笔埋的也不错嘿嘿
洗衣机的甜还是很甜的。
戴安对波杰克说：我小时候，那群sb虽然很讨厌，但每周末还会给我一个半小时看电视，我看你主演的电视剧，那样温馨包容的家庭，给了我对待生活的勇气。（大概）（我其实不怎么看案件，我一直拿它放松来着，小兰包容的笑容，哀自我否定和被救赎的笑容，去各种地方旅游，一种公路的感觉）
要是没有那件事 估计都不会放这个出来平息新兰的怒火（虽然我是柯哀 但我磕新兰）但是制作组的确恶心
救命真的甜翻了！！！新兰党的高光时刻！！终于官宣了！！！现在还记得当时看的时候心跳加速的感觉哈哈哈哈qaq案情设计得也挺巧妙的，刷过好几次了，超棒！
不能算剧场版，只能说特别篇，撒糖撒的太甜了。
相对来说作案手法挺复杂的，感觉有点紧。不过剧情线和感情线平行发展挺好的，最后终于交往了，急死了都🤤
虽然迫于因为变身的原因，没有接吻只是亲了脸颊，但是那段音乐响起，我就开始流眼泪了（老阿姨的微笑），案件是怎样的好像也没多么重要了（不是），这次案件是连环杀人案，本格推理，能看到京都的美丽风景，平次助阵，新一还有吃醋的戏份（吃醋对象长得很像自己哈哈），是我个人很喜欢的一部剧场特别篇了。
bgm很好听，糖也好吃，但早期精彩的推理和悬疑色彩早已荡然无存了，没有感情、缺乏深度，只是个流水线上的产品罢了……
画风业界天花板，剧情算是小boss给炭治郎练练手
有些bug就不管了，毕竟有服部！有首次动画化的仓木麻衣！还有麻衣的op ed！
她是他英雄梦想里唯一的个人主义；他是她甘愿一直等待的红色羁绊
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