剧情简介
亚伯拉罕是一个88岁的犹太裁缝，欧美他准备离开布宜诺斯艾利斯前往波兰，欧美在那里找寻在纳粹占领时期救过他一命的恩人。面对种种困难，在将近70年没有任何关于恩人的消息后，亚伯拉罕还是竭尽一切试图找到他的老朋友，并履行他的承诺：当他们终有一天见面时，亚伯要告诉他精彩的一生
欧美 日韩中文字幕
亚伯拉罕是一个88岁的犹太裁缝，欧美他准备离开布宜诺斯艾利斯前往波兰，欧美在那里找寻在纳粹占领时期救过他一命的恩人。面对种种困难，在将近70年没有任何关于恩人的消息后，亚伯拉罕还是竭尽一切试图找到他的老朋友，并履行他的承诺：当他们终有一天见面时，亚伯要告诉他精彩的一生
雷诺儿
回复 :宛如格格逃婚来到清河县，却因无银两而陷入困境，无奈中以借为名偷入一户人家，却看到了大清库银，于是隐藏身份向县令伍四六举报，举报之人是战功显赫连皇上都要敬三分的退休将军。宛如咬住常胜不放，伍四六暗中调查…
海潮
回复 :清末鸦片战争前夕，国力羸弱，鸦片肆虐，民不聊生。民团教头黄飞鸿被秘密组织火莲教暗算，生死未卜，禁烟行动也因此受阻。苏灿临危受命，与江湖丐帮女子明心联手继续彻查火莲教销售鸦片的证据；同时深入虎穴，全力营救黄飞鸿。火莲教将鸦片比作仙草，用奇门异术蛊惑民心。期间，操纵傀儡药人的绝偃道长、神秘阴毒的邪皇，亦敌亦友的火莲教女杀手明灵陆续登场，邪皇设局陷害苏灿将其抄家贬为乞丐，桀骜不驯的苏灿跌入谷底，生不如死。在心仪苏灿的明心帮助下，丐帮长老将禁地绝学传与苏灿。重新振作的苏灿联合禁烟大臣李大人，与火莲教展开终极决战，热血男儿苏乞儿由此踏上了一条救国之路……
吴淼
回复 :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.
