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“前辈要是不信，晚辈也没有(□)办法。”冷星不冷不热的回(🌓)答道。戈忠□道：“门主曾经□过我一张传讯符，只要将□点燃，门主就知道我们在什么地方，很□💠)快就能赶□(🙅)。”顿一下：“门主□一枚空间戒指□足够带(👮)走这些□西。齐兄弟帮□收拾一□(□)，门主一到(👳)，我们就将这些□🆘□东西(💘)全部交给门主□”□Somewhere□in the remote regi□n, □he□war ends. I□ □he mi□st of ruin□d citi□s a□□ houses in th□ st□eet□, □n rural h□mlets, every□here where p□op□□ still live□ a□e□childre□ who have□lo□t their□homes and □are□t□. Abandone□, hung□y,□and□in ra□s, defe□sele□□ and humilia□ed□ th□y wander th□ough t□e world. Hu□ger d□i□es th□□.□Litt□e streams o□□□rp□ans □erge into □ river w□ich rushes forward□and subm□rges everything in its□pat□. The□c□ild□□n□do n□□ know any □eeling; □hey kn□w□□nly□the w□□ld □f□their enemies. □hey□□i□ht, □t□a□,□s□ruggle for a mouthful□of food,□and□vio□ence is me□ely a □eans to get it□□A □ang le□ by□Ca□oun finds a refuge i□ an aba□doned castle an□ en□ounters an old co□poser who has□v□lu□taril□ ret□□□d into solitude from a□wo□ld of □atred, treaso□, and□c□□me. How can th□y find □ common □ro□□d, □ow □an□□□ey becom□ mu□ual friends? The cas□le bec□mes □□eir □iding□pla□e but possibly□it□will □lso be t□ei□ firs□□hom□ which □hey ma□ organiz□ an□ m□st d□fend. But even for this□ the □ric□ will be ver□□hig□.□　To□this simple story, the jou□nal□st, write□, po□t, s□ri□twriter, movie□dir□ctor, and film theoretician Bél□ Balázs app□ied many years of experi□nce□□He a□□ the d□r□ct□r Géza Radv□nyi □reated a work which o□ene□ a new pos□war chapter in Hungarian fi□m. Sur□□i□ingly, t□i□ film h□s not □□st an□ of its impact□□ver the year□, es□ecial□y on□a profou□d phi□□sophical lev□l. Tha□ i□ to sa□, it □s not □er□ly a mo□ie abo□t □□r; it i□ not□i□portant in□what□l□cation a□d in□wha□ period of ti□□ it takes□place. □□ is a story□outside□of time abou□□the joyless fa□e of chi□dren who p□y d□arly for□the cruel□war gam□□ of adults.　　At the time□i□ was□premiere□, th□□m□vie wa□□e□thusia□tically r□ceiv□□ by t□e cr□tics. The□main ro□es we□e taken b□ streetwise bo□s □f□□ children&□39;s g□o□p who□created □□□ir □oles im□rovisa□ion□□ly □n close con□□□t w□th a f□w □rof□ss□onal□actors, and in th□ c□□□dren'□ acting their□o□n □□es□ e□pe□□en□e □□□war's □urmoi□ appears to be □eflecte□.□At□the□sam□ time,□their p□rformance fits admirab□□ into the □o□□ic of a very comp□e□ movie languag□. □a□ázs&□39;s i□fluence revealed itself, □b□ve □ll,□in the□in□roductor□ se□□ences:□an air ra□d on□an amu□eme□□ p□rk, see□□in □ monta□e of□dr□mat□c □ituations□e□□□ing the last spasms of war, where, undoubtedly, we disce□□ the□influenc□ □f □□assical S□viet cinematograph□. □hoo□in□, t□□□boy's esc□pe□ the □□co□otive's whe□ls, the shadows □f □oldi□rs w□th sub□ac□ine gun□,□the soun□ of a whistle—the□images are l□nked□together i□ abr□pt □eque□ces in wh□□h v□ryi□g sh□ts and expressiv□ shar□ s□unds□are emph□sized.□□ perfec□ly pl□nned sc□eenp□ay avoided all□element□ of□sentim□ntali□y□ t□□e-worn stereotypes of w□onged c□ildr□n, r□□anticism and c□□ap□simplification. Th□ □uthors succeede□ in b□idging □he perilous d□amatic□abyss of the metam□rphosi□□□f □ children□#39;s com□u□ity. Their telli□g of the st□ry (the scene□□f□pil□agi□g, th□ as□ault on □he □as□□□□ etc□ indepe□dently □ntr□duced some□□eo□e□list□ele□ents whi□h, at that time,□were□being □ro□agat□d in Ital□ □y□De□□ic□, Ross□llini, and □ther□fil□ □□□ists. The re□u□es of cont□mporary cri□ics,□who call□d a□tent□o□ to "□f□□malism□for its own sake&q□ot; have been forgotten. □he□masterly □rt of□cameram□n Ba□nab□s Hegy□ □ives vitality □o the po□tic i□ages. His angle shot□ □□□t□e child□en□ □is □□m□□sition o□ scenes □n the castle interior□ are a□l□vi□g □o□ument□o□ the times,□and □nderline t□e □t□osp□ere and t□e □haracters of the protagonists. The □u□ce□s of the □icture was a□so □nhanc□d b□ t□e musi□al art □f □□m□oser□Dén□s □uday wh□, in t□nse si□uati□n□,□inserted□the theme□of the Mar□eilaise into the□mo□ie's s□ruct□re,□a□ a motive of commu□ity unification, as an expres□ion o□ f□iendsh□p and□the possibili□y of u□der□□a□ding□　　□□lahol□Europaban □s □he □i□s□ signi□ica□□ postwar Hungarian □ilm. It□originated in□a □□laxed □tmosphere□ rep□e□e wit□ jo□□and euphoria, □nd □t in□l□des these e□em□nts □n □rder □o demonstrate the strength of huma□ism, tole□ance, and□friendship. □t repre□□nts a general conde□na□ion of war anywhere in the wo□ld, □n an□□form.　　增雨□雪、□封保护、□□疏□清淤、地下□超采治理……按照□湿地面积不减少、功能(📶)□降低□性□不改变”的原则□商都县推进察汗淖尔湿(□□地生态系统完整性保护。□□□总，介绍一下，这是我老婆□雪玉□📒)，诊金的事情和她谈就□□至于你之前要和我谈的事，你觉得合□(🎌□和她□，我(🍨)就□可能答应，如果你觉得不合适□那□就肯定不会□应□好了，□□谈。”

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