Somewh ere in the remote region, the war ends. In the mid st of r uined cities and houses in the str eets, in rural hamlets, ever ywher e where people still live, are children wh o have l ost their hom es and parents. Aband oned, hungry, and in rags, defenseless and humili ated, t hey wander through the wor ld. Hunger d rives them. Little stre ams of orphans merg e into a river which rushes forw ard and submerges every thing in its path. The children do no t know a ny feeling ; they know onl y the world o f their enemies. They fight, steal, struggle f or a mouthful of food, and violence is mere ly a means to get it. A gang led by Cahoun f inds a refuge in an aba ndoned castle an d enc ounte rs an old compo ser who has volunt arily reti red in to solitude from a worl d of hat red, treason, and c rime. How can they find a com mon g roun d, how can they becom e mutual friends The castle beco mes their h iding plac e but possibly it wil l also be their firs t home whic h th ey may organ ize and must defend. But even for t his, t he price will be very h igh. To this simple story, the journalist, writer, poet, scriptwrite r, mov ie dire ctor, an d film the oretician Béla Balázs applied many years of experience. He and the di rector Géza Radványi create d a w ork which ope ned a ne w post war chapte r in Hungarian fi lm. Surprisi ngly, this film ha s not lost any of its impact over the year s, especiall y on a p rofound philo sophical level . That is to say, i t is not merely a movie about war; it is not impo rtant in what location and in what p eriod of time it takes place. It is a story outside of time a bout the joyless fate of children wh o pay dearly for th e cruel war games of adults. At the time it was prem iered, t he mov ie was ent husiasti cally r eceived by the critics. The main roles were taken b y streetwise bo ys of a ch ildr en's g roup who created their rol es improvisationally in close contact with a fe w professional a ctors, and in the ch ildren 's acting th eir o wn fresh experience of w ar's turmoil appears to be reflected. At the same time, their p erfor mance fits a dmirably into the mosai c of a very complex movie lang uage. Balázs's influen ce revealed itself, above all, in the introductory sequences an a ir raid on an amu semen t park, see n in a monta ge of dramatic s ituations evoking the last sp asms of w ar, where, undo ubte dly, we discern the influe nce of class ical Soviet cinematography. Sh ooti ng, the b oy's escape, the locomotive's wheels, the shadows o f sold iers with submachi ne guns, th e sound of a whi stle—the images are linke d together in abrupt sequences in which vary ing shots and expressive sharp soun ds are em phasized. A perfectly plan ned screenplay avoided all elements of sentime ntality, t ime-worn s tereotypes of wronged children , romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic aby ss of the metamorpho sis of a children's co mmunity. Their tel ling of t he story (th e scene of pillaging, the assault on the castle, etc) indep enden tly introduced some neorealis t element s whi ch, at tha t time, w ere being propagated in Ital y by De Sica, R osse llini, and other film art ists. The rebukes of contemp orary critics, who called attent ion to form alism for its own s ake have been forgott en. The masterly art of ca meraman Ba rnabá s Hegyi gi ves vitality to the poet ic images. His angle shots of the chil dren, his composi tion of scenes in the castle inter ior, are a living document of the t imes, and underline th e atmosphere and th e char acters of th e protagonists. The success o f the pic ture was also e nhanced by the musical art of composer D énes Buday who, in tense situations, inserted the them e of the Marse ilaise into the movie 's structure, as a mot ive of community unifi cation, as an expression of friendsh ip and the possibility of understanding. Valahol Eu ropaban is the first significant postwar Hungarian film . It origina ted in a relaxed atmos phere, replete with jo y and euphoria, and it inclu des these elements in order to demonstrate the st rength of humanism, tolerance, and friendship. It represents a general condemnation o f war anywhe re in the worl d, in any form.
精彩剧情/对白：“如今皇帝一心想要 对付苏家，倒是与我不谋而合了，爹娘和生母的死，苏家可不无辜。如今皇 帝想要借着我对付苏家，便顺着 他吧。皇帝 赐字的匾 额，还有搬府的事情，你帮 着一起宣扬，越多人知道越好。多意的人有能力，可惜她的人手不够。
“二皇子是正统不错，可是其他几个皇子，来势汹汹，二皇子可没有完全的胜算 。月衫嫁了陆轻寒，二皇子 便的了他的支 持。陆轻寒如今可是 皇上跟前的红人，有了他的支持，还有他背后的那 么多势力，二皇子这里，还需要愁吗？”
“只怕是难了 ，如今顾 府也是左右为难。意郡主的确 是很聪慧，为百姓做了不 少的事情，但 也就是因为她 为百姓做 了那么多的事情，皇上才会忌惮。当初意郡主进了大理寺，那么多的百 姓请命，只怕是惹恼了皇上了。这会儿皇上难保不会有趁着 这次机会除掉意郡主 的意思。”
“安家也没 有帮什么，倒是安氏拿出了自 己的嫁妆银子一 部分，来支持他读书 ，虽然只是拿出了一点，稍稍改善了一点点的条件，只是读书上面稍稍好点，可以去书院了，再就是 吃饭稍稍好点了，但人家感恩着呢，如今安家也给 他换了一个好的书院。”
“自然是愿意 的，如果分家，我巴不得这样呢，我自己单干，什么日子会没有？我就 是不想自己悻悻苦苦忙活，最后全被人吸走，我爹娘不就是这么累死的 ？但凡有机会，我巴不得呢，就算是付出一些代价，我都是愿意的！只是乔家人聪明，不肯放我走！但凡是有一点点 的机会吸 血，他们都不会放过的！”
