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.
我没啥情怀，但纪录片拍得还挺好的，除了里面令人不适的美式价值观输出，其他都还在合理的温情范围内。十年时光难忘如许，真是难得。
对老友记、suju的爱，都源于从陌生到大半辈子陪伴前行的友谊的羁绊。不相信亲情，不相信爱情，屏幕中or现实世界，友情总能直触内心柔软之处❤
主创们都好赞 台前幕后都是用爱倾注 pheeb mon rach joe chanchan ross（ross是不是没有昵称 哈哈哈
我一个一集都没看过的人，看这个重聚很快就被卷进这个剧的能量场里面了。真的很能感同身受，我们每个人的人生似乎都有那么一段最黄金的时期，最好的爱人朋友都在身边，喜怒哀乐都那么深刻，虽然它终会远去，但是始终熠熠生辉，永远刻在了我们的生命印记里，永不磨灭。
你总有一段人生是朋友们就是家庭，但你终将有自己的家庭，他们25年没有六个人坐在一起过，发生了什么呢？
哭得想死又笑得打鸣 虽然就是卖情怀但是我愿意我愿意😭
Nostalgie et jeunesse. Mais le montage WTF?
PS，Joey其实后来还拍了番外篇Joey，但那部剧明显太狗尾续貂了，所以现在也没人提起了，在这里结尾也只是说什么威尼斯的三明治店......
莫妮卡：「这是我们最后一次聚会，以后不会再聚了。」
一切总有开始，也总有结束
笑中带泪 泪中带笑 最后再听主题曲是那么精准而正确
一集老友记都没看过的我先看了重聚特辑，结果也哭了，真的是很感人，复刻场景什么的太戳泪点了，还有RR当年的crush，天呐！不拍续集是对的，就让美好永远封存！
Nostalgie et jeunesse. Mais le montage WTF?
老友迷才懂的无法言说的感动，看完感觉要再去刷一遍老友记了
让一群幼儿园小孩提前奔向青春终点，是不是有点揠苗助长？燃成灰烬的青春没有符合这份青春的身份与年龄，再多的感悟也只是空话，只剩下明目张胆的小新风间狗粮。
具体感受真讲不出…看了剧自然就体会到…但在我个人看来老友记最牛逼的是 它自打诞生至今 从来就没有“过时”一说 无论是服装 笑点、价值观 就…它似乎一直在流行文化的前沿 不断吸引着人们称为它的“门徒”
这个重聚我不知道看哭了多少次 但其实正片我都还有两季一直没看 ……
燃炸，甜炸，好看炸。最后居然泪目了。青春是铁面具，青春是恋爱，青春是闪闪发光，青春是自卑感，青春是后悔，青春是道义，青春是孤独，是狂欢，是曾经，是当下，是 fire……中二的非常合适。画面和配音也都非常舒服，是享受。
原来笑声是现场录制的！好真实。根据笑声反响。修改剧本。
I will be there for you.
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