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.
无法想象可以被称之为电影🚬和舍友去看的 舍友的评论比电影好看（She said: they add some sex to make it spicy, but the SEX is not spicy!)
男主太tm惨了，怪不得以前演伏地魔小时候，真是服了编剧了哈哈哈哈哈哈哈哈哈
我居然看到了第三部，Hero你知道我有多喜欢你了吧🤣
西方人此生最大的痛苦是自己的爱情和父母的爱情（原生家庭），而俺们中国人此生的痛苦都是上辈子造的孽。痛苦明确，所以西方人比较容易快乐，上辈子不知在哪，所以中国人一半不知快乐为何物，另一半不知快乐为何物，却以为自己知道。
没前两部有趣，中规中矩吧。导演黑列宁有点太那个了。 亮点是妖僧的打斗戏设计的不错，动作跟俄罗斯民族舞还有BGM结合的很不错，算是一个亮点。
前两部勉强算是讲了完整的故事，这一部在讲什么？
Hero精神鸦片3.0 & 继续沉迷于Hero的英音。这部cheesy romantic film我还能看第四季🌿男色害人！
震惊，一贵族圈养搏击俱乐部搞情报战、大反派竟在总部养羊补贴经费、世界大战竟只因三兄弟阋墙划掉只因北佬不服王统、保皇党划掉和平主义者拉拢多国参战只为保全英土。震惊，口号喊响梗铺满竟无人买单，到底是道德的沦丧还是观众突变出了脑子。
就当是练英语听力了，男主应该是专门健身了，不错不错。
前面blahblahblah话痨拖时间，后面走剧情走得全是问号，整一个大不理解。每50分钟一段打戏，要不要这么金贵？光头古迪子发挥出全部颜值也只能做到不丑，造型师跟帅哥是有多大仇啊？
You have no idea how heartbroken I am when you’re with someone else
这么烂的电影，本来以为1都看不完，结果不仅看了2还看了3
才知道出3了，这一部完全就没有什么剧情可言啊，就连最后是他爹都能轻易猜到。女主好像袁姗姗啊救命🆘，男主有时候还挺帅
第一部惊艳，第二部平庸，第三部拉跨。这个系列是到头了
看到这里我想到自己，很多事情没有任何发泄口。Only time heals. 包括到最后，他们在一起的意义并不是追求更好的生活，而是在治愈Hardin。哪里有十全十美的感情呢？必须有一方牺牲的更多。 片尾是Never Say Never！
什么玩意，男女主一年比一年发福，特别是那个女主，怎么就变成这种样子了
我评1的时候真没想到会有2，2还没看，真没想到会有3。现在尴尬的是，2还没看，之后还有4，真打算逼死强迫症吗？
海报完胜电影系列，各个场所都做了一遍，还能拍第四部......这是要拍到他们结婚生孩子吗
剧情一整个莫名其妙+魔幻现实主义，看得我满头问号，小男主愣头青太气人，继子快银可以有，伏地魔打的比阿汤哥还辛苦一点也不优雅…虽然芭蕾舞打斗挺好看的，彩蛋挺脱线的，但是跟kingsman有啥关系？全场就记住了个武（划掉）舞僧，二战可千万别拍了
Bgm蛮好听的 加入sex歌单了 Tessa反客为主 Hardin真的好让人心疼 脆弱专一 可狼可奶 心疼 不要再受伤害了 真的只要有爱在 就不会分离 能够分开也只不过是不够爱 love is love 剧情一言难尽 惊讶于还有4 但又会继续看 太奇怪的心理了哈哈
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