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.
#海盗与义贼的结合#
连第一部李成桂威化岛回军的背景都没变，换了个姿势又拍了一遍，而且比第一部更乱更吵闹。除了韩孝周的颜没有一个点好看的。
- [ ] 很细致的打戏，感觉到了导演和武指的画面感
【可以改善的：整个影片的信息量不够】
全程：啥啊，这啥啊？…这也能被提名，是我不懂韩国人。
韩式无厘头洒狗血剧情。
姜河那前身look简直帅到没边但是义贼look刚出场时我死活没敢认那是他😂 剧情就…魔幻 | 还有剧外各位演员对这部电影好像付出了很多 战线拉很长 我也有很多期待但是老实说愧对期待
还行吧，跟一一样对照模板写的剧本感觉，但得先忍受前50分钟的无聊稀碎剧情，后面开始寻宝才好看起来
看了大半个小时，竟是没看出到底想拍什么，好像有一些不好笑的强行搞笑，电影里的人不烫头发会死啊。
剧情一般般，但是电影的质感还是很不错，里面的动作真的很可以！！ 男主长得好像张震
哎呦喂，没想到还有李光洙，李光洙的愿望竟然是要成为海贼王🤣🤣最后跟着企鹅找到了宝藏，绝绝子～
为了韩孝周的美貌我承受了太多…… 有一套男式西洋贵族外套（？）look鲨死我！！动画粗陋吵得要死剧情（？？）恶俗，但是有几个笑点倒是真的笑出来了，两星给姐姐一星给笑点。
撸签演的最好
天哪为了权相宇看的，就看了个寂寞，出场一共不到十分钟？作为反派好弱鸡哦。这种烂片也能提名百想啊，今年的百想也太水了。
趣味与观赏性十足，主演们的默契都很不错啊，我的笑点都在光洙身上了，哈哈，5.9也太低了吧
太差，和第一部差好多。尽管韩孝周也挺好看，但和孙艺珍还是差一点
从企鹅叼着金砖出场的那一刻
觉得第二部电影要比第一部差了些，虽然多了些大胆的想象，但是剧情中，一些很奇怪的偶发因素穿插在一起，让人觉得怪怪的。追求奥运精神的坏蛋，加上追求自由的主角，成为了电影的主旋律。
快别拿它是韩国版的《加勒比海盗》说事了，虽然都是打怪寻宝，但海盗里的思路是不足的，看的过程中会有些跳跃。
看得出拍摄得很不容易，从经费、演员到幕后的工作人员都并不是在游刃有余地拍摄电影。但是却给我还原可以非常真实的江湖，是没有这么理想化的，没有侠肝义胆，诗情画意的江湖。有欲望、有贪婪、有虚伪各种各样属于真实的人的特点，在今天大环境艰难的情况下仍能看到这样的作品，真的非常不容易。在这里也不多夸电影里的武术镜头了，对比一下隔壁雪直接就高下立见了，大家都说江湖，可你家江湖和我家江湖确实差别挺大。
Copyright © 2015-2023 All Rights Reserved
