Somewhere in the remote regio n, the war e nds. In the midst of ru ined cities and houses in the streets, in rural hamlets, e veryw here wher e people still live, are children who have lost their homes and paren ts. Abandoned, hungry, and in rags, defe nseless and humiliated, the y wander th rough the world. Hunger d rives them. Little streams of orp hans merg e into a river which rushes forward and submer ges eve rything in its path. The children d o not know any feeling ; they know only the wo rld of their ene mies. They fi ght, steal, str uggl e for a mout hful of food, and violence i s merely a means to get it . A gang led by Cahou n finds a refu ge in an abandone d castle and encounters an old compo ser who has volun tarily retired into solitude f rom a world of h atred, treason, and crime. How can th ey fi nd a common ground, how ca n they b ecome mutual friends The castle becomes their hid ing place but possibly it will also be their first home whi ch they may organ ize and must defend. But even for this, the pr ice will be very high. To this simp le stor y, the journalis t, writer, poet, scr iptwrite r, movie di rector, and film th eoretician B éla Balázs applied ma ny years of experience. He and the directo r Géza R adványi c reated a work which opened a new postwar chapter in Hungarian film. Surprisingly, thi s fi lm has not lost a ny of its im pact over the yea rs, es pecially on a p rofound philosoph ical level. That is to say, it is not me rely a movie abo ut 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 joy less fate of children who pay d early for t he cruel war games of adults. At th e time it w as pr emiered , th e movie w as enthusiast ically received by the criti cs. The main rol es were t aken by streetwise boys of a children's gr oup who crea ted t heir role s improvisat ionally in close contact with a few profe ssional act ors, and in the children's a cting t heir own fres h experience of war's turmoil appears to be ref lect ed. At the same time, their perfo rmance fi ts admirably into t he mosai c of a ver y co mplex movie la nguage . Bal ázs's influence revealed itself, above al l, in the introductory sequ ences an air raid on an amu sement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we disc ern the influence of classical Soviet c inematography. Shooting, the boy's escap e, the locomotive's wheels, the s hadows of soldiers with submachine guns, th e sound of a whistl e—the images are linked together in abrupt sequences in which va rying shots and expressive sharp s ounds are emphasized. A perfectly p lanned sc reenplay avoided all elements of sentim entality, t ime-worn stereoty pes of wro nged children , romant icism and cheap simplifi cation. The authors su cceeded in bridging the peri lous dra matic abyss of the metamorphosis o f a children's community . Their telling of th e story (th e scene of pillagi ng, the assault on the castl e, etc) independently i ntroduced some neor eali st elements which, at that time, were being pr opagated in Italy by De Sica, Rossellini, and other film ar tists. The rebukes o f contemp orary c ritics, wh o called attenti on to formalism fo r its ow n sake ha ve bee n forgotten . The maste rly art of cameraman Barna bás Hegyi gives vital ity to the po etic images. His angle shots of the c hildren, his comp osition of scenes in the castl e interior, are a living document of the t imes, an d underli ne the atmos phere a nd the characters of the protagoni sts. The success of the picture was also enh anced by the musi cal art o f co mposer Dénes B uday who, in tense situations, inserted the theme of the Marseilaise into t he mov ie's stru cture, as a motive of community unificat ion, as an exp ression of f riendship and the possibility of understanding . Va lahol Europaban is the first significant post war Hung arian film. It originate d in a relaxed atmosphere, replete with j oy and eupho ria, and it includ es these elements i n order to de monstra te the strength of humanism, to lerance , and frien dship. It rep resents a gene ral condemnation of war anywhere in the world, in any form.
精彩剧情/对白：“刚刚臣出宫，左相家的边柔静边姐，拦着臣，什么要给臣做平妻，只要臣 答应，边家就为臣所用。这 倒是事，她还，边家除 了她父亲一人之下 万人之上之外，朝中各个职位多少 边家的人啊 ，除了朝 堂的，在外的，也是做什么的 都樱意思就是，什么事 情都有路子，还不可怕吗？ ！”
“皇上， 平日里在您跟前，的是国家事情 。在国家的事情上面，臣自然是向着为百姓 好的，而不是 怕左相就不了，若是这样，百姓该怎么 办？臣不管怎么 做，皇上 肯定是清楚臣的。但是边姐的事情，是私事，臣就不好哪样了。所以，臣需要皇上做主！”
“从进入到无人 区开始，你 往前面走，再走的，不一定就是我们 走过的那条。无人区如此宽阔的地方，谁也不知道方向在那里，即便是我，也 不一定就可以回到原来的路。若是不同的路，你该当如 何？便是完全没 有办法了，不是吗？”
“我瞧着老大的，就是这么个道理， 不就是考上一个榜首吗，那又怎么样，当初算命的了 ，老大将来是官运亨通的， 只是不到时候而已，等将来 谁怎么样 ，一目了然，你 犯得着现在就求过去吗？老二那副德行什么样，你 还不清楚？那就是一个白眼狼！是不会 感恩的！”
“我已经向我哥带过去的几 个护士了解了 当时的情 况，他们处理的很 及时，手能 抢救回来的概率很大，你也 别太担心。这家医院的血库 很充足，和陆慎血型匹配 的血液也会优先供应，等手术动完好好 休息一下，就不会有大碍了。”
