《重生泼辣小军嫂》

下一秒，与□们□隔好几□里的大湖涌(🛅)出一条□柱，冲上万米高空，随后□空落下无数的落□，砸□地面上□这之外(🖤)，□辰留在□(🥊)山部□，也□让她争取到□□生情□机会。□“乾坤子、□蝶你们两个在这里□我一□”说□便下□□使用□息诀跟上那人。“□着车子狂飙，哪(□□有自己在地面一□狂飙化作闪电拉风！”□S□mewher□ in the remote region, the war e□ds.□In the mid□t of ruined cit□es an□□ho□se□ in the□s□re□□s, i□ ru□a□ □a□lets,□everywhere where peop□e still live,□are child□en who have l□s□ thei□ □omes□and parents. □bandon□d, □ungry, an□ i□ rags, d□fensele□s□and□humi□iated, t□e□□wa□der □hr□ugh□the wo□□d. H□□ger dr□ves them□ Litt□e str□□ms of□orp□□ns □e□ge into a riv□r which rushes fo□wa□d□and s□bmerg□s ever□thing □n i□□ path. The c□ild□e□ □□ not□know any f□□ling; they kn□w□only the □orld of□□□eir enemies. They fight, □teal, strugg□e for □ mouthfu□□of food, and violen□e is □erely □ me□ns □o get it.□A gang led by Cah□un finds □ □□fuge in □n □bandoned□cas□l□ and en□ount□rs a□□old □om□oser who has □□□untarily □etir□d into□soli□ude f□om a world of □atred, treaso□, and crime. How c□n they fin□ a common□ground, how can they bec□□e mutua□ frien□□?□□he □astle□□ecome□ t□□ir hidi□g place but□po□sibly i□ □ill□also be t□e□r □irst □ome whic□ the□ may□organize□a□d must de□end□□□u□ □ven f□r th□s□ th□ pr□ce □il□ be ve□y□□igh.　　To this s□mpl□ story, the j□□□□al□st, wri□□r, poet, scriptwrite□, movie director, and□film theoretic□an□Bél□ Balázs□appli□d□many □□ars of experience. H□ and the d□rec□o□ Géza□Ra□□□(🤪)□yi create□ a wo□□□whi□h □pene□ a□new postw□r □□apter i□□□ungari□n fil□. Surprisingly, this f□lm ha□ not □□st any of it□ im□act o□er the years, especial□y on a profound □hiloso□h□ca□ level□ Tha□ i□ to say, it is n□□ mere□y a □ovie □bout w□r□ it□is not im□ortan□ in w□a□ locat□on a□d in w□at period □f time it t□kes place. It is a story ou□□ide of time□about □he joyl□ss fat□ □□ childre□ who pay dearly for th□ □ru□l □ar gam□s o□ adu□ts.　(□)　□t the time it was premiered, the movie was en□□us□asti□a□ly received by th□ □ritics. □he m□in role□ were taken by streetwise boys of a childre□'s □rou□ w□o created th□□r roles□impr□vi□ati□n□□ly in □los□ □ontact□with a few profe□sio□al actors, and in the c□ildren□#3□;s a□ting their own fresh experience□of war'□s tur□oil ap□ears to be□reflected. A□ the same ti□e, □heir perfo□mance□fit□□admirably i□t□ the mosa□c of a very□c□mp□□□ movie la□guage□ Balázs□#□9□s□inf□uence revealed □ts□lf, □□o□e □ll□ in□the introductory sequen□□s: an□air□raid on an □m□se□□nt park, s□□n in□a montag□ □f □ramat□c situa□ions e□oking□the last spasms of□□□r, where, undou□tedly, we discern the i□fluence of clas□ica□ Soviet c□□□matography□ Shooting, th□ boy&#□9;s escape, th□ l□como□iv□&□3□□s wh□els, the shadows of soldi□r□ wit□ submachine guns, t□e sound □f a whistle—□he image□ □re linked □□□eth□r i□ a□□□pt □e□uences □n which var□ing sho□s and exp□e□si□e sharp sounds are emphasized. A □erfectly planned screen□la□ avoided all □le□ents□of sentimentality,□time-worn □tere□types of wronged c□ild□en□ roman□icism□and □heap simp□ification. T□e authors succeeded□in b□i□gi□g t□e pe□ilous dramatic a□yss of t□□ meta□□rp□osi□ o□ a child□en&#□9;s com□u□it□. □heir□telling of □he st□□y (t□e s□ene □f p□l□agin□, □he assault on the □astle□□□tc) □ndep□n□entl□ i□troduced s□me neorealist □lements □hich, □t that ti□e□ w□re□be□ng pr□p□□ate□ in Ita□y □□ De Sica, Rosse□l□□□, and □ther □□lm ar□ists. The rebukes of contem□o□ary □ritics, who called □ttention to □quo□;formalism for its own sake"□□hav□ been f□rg□tten. □he masterly a□t of□ca□er□man□B□rnabás Hegyi gives □itality to□the poetic □mages. Hi□ a□g□e shots of □□□ children, h□s□com□osition □f scenes□□n th□ castle□int□rior, are a living □o□ument□□f□the ti□es, and under□ine □he atmosphere□and th□ □haract□rs of t□e protagonists. □he success of the pic□ur□ w□s also e□hanc□d by the musical art of composer□Dénes Buda□ wh□, in □en□e situa□ions□ i□serted □he□theme of the □a□seil□i□□□int□ □he□movie's str□ct□r□, □s a moti□e of c□mmuni□y un□fication□ as an ex□r□ssion o□ frien□s□ip and the pos□ibility of und□rstandin□.　　Va□ah□□ E□ropa□an is the firs□ signif□cant po□twar H□nga□ian fi□m.□It origin□ted in a relaxed□□tmosphere□ reple□e □it□ j□y a□d euphor□a, and□i□ □ncludes these element□ in o□de□ to □□□onstr□□e the □tre□gth of humanis□, □olerance, a□d □ri□ndsh□□.□It represe□ts a genera□ conde□na□ion of war anywher□□□n the world, □n any form.□□□>以□为□□😡)梳理的一(🌚)些有关玫瑰的爱情故事相关内容：

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