Sabrina（Julia Ormond 朱莉娅·奥蒙德饰）是赖瑞毕家司机的女儿，封神从小她就暗恋二少爷David（Greg Kinnear 格雷格·金内尔饰）。外界对二少爷的评价可远远不及他的大哥Linus（Harrison Ford 哈里森·福特饰），封神人们赞许大少爷睿智冷静，富有商业头脑。二少爷不过是个游手好闲，只知道泡妞的花花公子罢了。可Sabrina才不理那些，她一心一意爱着David，但父亲却为此忧心忡忡，他托人将Sabrina送去巴黎深造，期待她能走出狭隘的小圈子，看到世界的辽阔。果然，从巴黎回来后，Sabrina一洗土气，举止大方，谈吐自如，女人味十足。David迅速拜倒在她的石榴裙下，甚至欲至未婚妻于不顾，这引起了家族的恐慌。Linus为此刻意接近Sabrina，希望能把她打发走，可情节的走向却开始逐渐脱离Linus的掌握……
回复 :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.
回复 :帕特森一家住在动物园旁边，小帕特森跟幼儿园的小长颈鹿拉夫是最好的朋友，他们一同出生、一同长大、一起分享秘密。这天，帕特森和拉夫一起过完了4岁生日，帕特森即将迎来人生中很重要的一个转折：开始全新的幼儿园生活。帕特森非常兴奋，他以为会和自己的好朋友拉夫一起上幼儿园，然而幼儿园并不接受小长颈鹿。为了安慰无法一起上学的孤单好朋友，帕特森每天都要想尽办法，最后，帕特森想出了一个大胆计划，他要把拉夫偷偷带到学校去。一场精心策划的“长颈鹿上学计”即将上演，在动物园小动物和幼儿园小朋友的帮助下，帕特森终于实现了和长颈鹿拉夫一起上学的心愿，拉夫也成为了幼儿园里最让人惊喜的临时学生。
林强
回复 :清洁工人老杜捡到30万元巨款，第一时间把钱带回环卫队并交还失主。电视台来采访，老杜却拒绝接受采访。后续采访中，记者得知失主丢的钱是35万！原先都视他为“无名英雄”的身边人对他有了另一副表情，但老杜依旧像以往那样乐观、积极地生活着。 ……
