《火蓝刀锋2之雄鹰展翅拍了吗》

Somewhere□i□□the□remote regi□□, the□war ends. □□□the midst o□ ruined citie□□and houses □n the st□eets, i□ rur□l hamlet□, eve□y□he□e wh□re □eople still live, are ch□l□ren who have lost the□r hom□s □nd p□□ents□□Aba□do□ed, hungry, □nd in□rags□□d□fens□less□an□ humil□ated, they□wander through □he w□rld. Hung□r drives□them. L□tt□e str□□□s of orphans merge into a r□ve□ which rus□e□ forwa□□ a□d submerges□every□□ing in its pa□h□ The children d□□not □now□□ny feeling□ t□ey kn□w only the wor□d □f their en□mies. They fight, steal, s□rug□le for a m□uth□u□ of food□ □nd□□□□l□nce is me□ely a means to get it. A gang □ed by Cahoun fi□ds a □efug□□i□ a□ ab□ndoned castle an□ enc□unters □n□o□d □omposer who has volu□tarily re□ired i□t□ so□itud□ □□o□ a world of hatre□, tr□ason, a□d cr□m□. H□w can they find a com□on□ground, how can t□ey be□ome □ut□al f□ie□ds? The □ast□e becomes their hiding □lace□but possib□y it□will also b□ th□i□ □i□st□h□me w□□ch they may organi□e□and must def□□d. B□t□even fo□ this, the p□□ce will be very □igh.　　To this simple □t□ry,□the□jour□alist□ w□iter, poet, scriptwriter, movie director, and□fi□m the□ret□cian B□la Balázs□a□plied □any□years□of exp□rience. He and t□□ director Géza R□dványi cre□ted a wor□ □hi□h □pened a □e□ p□stwar ch□pte□ in □ung□rian film. Surprisingly, this fi□□ has not lost □ny □□ its im□act ov□r□the y□□rs, esp□cially on□□ prof□und philosophical □evel. T□at□is □o say, it is□not □er□ly a mov□e abo□□ war;□□t is not important in what□locat□on □nd in wh□t period of tim□ it □akes pla□e□□It is a stor□ outsid□ □f□time a□out the joy□□ss fate of chil□□□n□who p□□ de□rly for t□e□cruel□war□game□ of adults.　　At □he □□me□i□ w□□ □rem□er□□, the□mo□ie w□s enthusiastic□l□□ r□ceived by t□e □rit□cs. Th□ ma□n □ol□s wer□□t□ken by stree□wise □o□s of a chil□ren's gr□□□ w□o □reated their r□les improv□sa□iona□ly□in□cl□se□con□□c□ wi□□ a f□w □rof□ssional □ctors, □nd in the children&#□9;s act□ng t□eir own fre□h □x□erience of war&□39;s turm□il appea□s to□be refl□c□ed. At □□e □ame time, □h□□r □erf□rman□e □its admira□ly□into the mos□□c□of a very comple□□mov□e □angua□e. □alázs□#3□;s i□□l□ence r□vealed itself, above all, in t□e □□tro□uctor□ sequen□es: an□a□r raid □n□an amuse□ent par□, seen in a□montage of dr□□at□c situa□ions evoki□g□□he last spasms of war, w□ere, und□ubtedly, we □is□ern the infl□en□e□of cl□ssi□al Sovi□t c□nematography. Shooting, the bo□□;s esc□pe, t□□ locomotive's□whe□ls, th□ shadow□ of soldiers wit□□□u□ma□□ine g□ns,□the soun□ of □ whi□tle—the images are linked tog□ther □n abrupt s□□□ences □□ whi□h varying□shots and express□ve sha□□ □oun□□ are□emph□□ized. □ □erf□ctly p□anned □cre□nplay av□ided all ele□ents o□ sentiment□lity, □□me-worn st□□eotypes of□□ronged child□en,□□om□n□□cism and che□p simplificati□n. The aut□□rs succee□ed in bridgin□ th□ perilous□dramat□c □byss of the□□□tamo□p□□sis □□ a childr□n's□comm□nit□. Their telling of t□e □t□ry (the scene of pilla□i□g□ the□as□ault on□the castle□ etc) independ□□tly int□od□ced□s□me neorea□ist elements which,□a□ t□at tim□, wer□ □□□□g pr□□ag□ted in Italy b□ De Sica, Rosselli□i, and other□film art□□□s. The reb□kes of contempora□y critics, who called a□tentio□□t□ "formalism for □□s□own sak□"□ ha□□ be□n forgot□en.□The mas□erly□art □f cameraman Barnabás Hegyi gives□vitali□y to the □oetic ima□□s. H□s an□le shot□ o□ the ch□ldre□, his c□mposition□of scenes i□ the □a□□le int□rior,□a□e a li□ing □ocum□nt of t□e times, and underline the atmosp□ere a□d the ch□racters o□□the prot□□oni□□s□ □he success of th□ pictu□e w□s also en□anced b□ th□ musical art of compo□er Dén□s □u□ay □ho, □□ tense si□□ations, □□□erted the th□me □f□□□e□Marseilaise into□the mo□ie□#39;s st□uct□□e, a□□a motive of□com□unity □nifica□ion, as□an□expr□ssi□□ of frie□dship and the □□ssib□li□y of under□ta□d□ng.　　Valaho□ Euro□aban is the first s□gnificant postw□r Hungari□n □ilm. It ori□i□ated in a relaxe□□atmosphere, replete with joy a□d euphoria, and i□ i□cludes these□elem□nts i□□order □o □e□onstrate□th□ st□ength of □umanis□,□□ol□ra□c□□ and friendship. It□represents a g□ner□l condemnat□o□□of□war □nywhere in □he wo□ld, in a□y □orm.□

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