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.
评分过低了😢，再加一星吧
馬心瑞很美
2022.02.15于南大科学园创新创业学院
还不错的，有老版本的感觉了，虽然故事内容简单了点儿，其他人物也少了点儿，但是女主的感觉真的不错，演出了另外一种俏皮感。
合格的作品吧～
2022.02.15于南大科学园创新创业学院
不看以前星爷版，这个还是挺有感觉的
好故事比有流量重要，好演技比长得美重要。瑕不掩瑜，居然有点想哭。
作为铁杆西游粉，强行四颗星。简单是简单了点，生硬是生硬了点，但依稀在片子中能找到西游那味儿，这就很不容易，比大话三强得多。对于不了解大话的人可能逻辑不是很硬。相比大话结局的水到渠成，这片最后强行煽情，有点尴尬。不过这是现在的通病，有原作的加持，不至于像那些烂大街的喜剧人一样尬到扣脚趾头。
抱着怀念达叔的目的去看的，没想到竟然意外不错，剧本很好啊，完成度也很不错，就是时常短了点
看着看着有点恍惚，在演职员表里却找不到星爷的名字，但总感受到了他的存在。
作为前作，将紫青、三世情缘补充的很恰当，故事说的过去，女主也很甜美，《一生所爱》响起时，忍不住感动。
碰这个IP本身就很大胆，居然没有很烂，这个应勤资源应该不够，演技还可以，只好找网大剧组接戏
好多地方算是致敬原版大话西游吗？还行吧，有紫霞，有齐天大圣，有爱情。。。
但有我想要的美
存在很多不成熟，然而内核确实是真大话紫霞的演员非常加分
紫霞看着很舒服真的 笑得好好看 居然是剧版微微里的孟逸然 果然是发型造型耽误美女
紫霞可爱灵动，男主火候欠佳，
我感觉这个电影的感觉是对的。所以值得推荐。也就1个小时的小故事。我觉得很好。
超越是不可能了，不过也有一些亮点，最后花絮达叔靠在墙边的画面一出来，不由得感动万分，片尾曲要加分。
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