769
8.0

三更·骨头镇奇谭

导演:
关东杰
主演:
曾晨,尚铁龙,寇占文
别名:
未知
8.0
769人评分
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语言
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简介:
民国初期,北方偏远小镇古楼镇自二十年前开始受神秘怪病‘骷髅症’困扰,患病者言行怪异常受幻觉困扰,并且厌食嗜水,病人个个瘦骨嶙峋精神不振,因此古楼镇又被周边百姓戏称为‘骨头镇’。近年来骨头镇周边又添外患,从五年前开始,附近榛子林里出现了一只被称为‘黑瞎子’的神秘野兽,时常跑进镇里滋扰百姓,令骨头镇更是雪上加霜。  骨头镇里,少女三更自幼跟随师父孙老海学习猎术,练就一身例不虚发的精绝箭术,不料五年前黑瞎子突然出现,孙老海在猎杀黑瞎子途中遇害身亡。以至于少女三更暗暗起誓,终身以猎杀黑瞎子为己任,因此常徘徊在附近榛子林内寻找黑瞎子踪迹。  一夜,游方小郎中白小白路过骨头镇外榛子林,突遭黑瞎子袭击,多亏三更及时出现救下白小白一命,三更惊奇发现,黑瞎子不知为何竟恐惧白小白随身药箱中的药品,但询问白小白后,白小白自己也不清楚原因,为查明真相,三更蛮横的降白小白强扣回骨头镇试图破解谜团。来到镇上的白小白发现许多镇民身患骷髅怪病,通过医生的敏锐嗅觉,发现一切并非表面看着的这么简单,但是对于他的危机也悄悄降临。。。
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简介: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.
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