亨利（加里·格兰特 Cary Grant 饰）是一名英俊帅气的法国军官，免费在前线，免费他结识了前来应援的美国陆军妇女队军官凯瑟琳（安·谢里登 Ann Sheridan 饰），尽管两人之间的交流经常伴随着吵吵闹闹，但随着时间的推移，亦产生了真挚而奇妙的感情。战争结束后，亨利决定跟随凯瑟琳前往美国，结婚并开始幸福的生活，然而此时，一个难题却摆在了他们的面前，那就是亨利并不能取得美国的合法居留权。为了解决这个问题，亨利和凯瑟琳想了一个损招，那就是让亨利打扮成妇女队的军官，混进美国。让两人没有想到的是，这个看似完美的计划执行起来却遭到了诸多变故，他们能够获得最终的“胜利”吗？
回复 :建筑工程师迈克尔打算带着十四年都未曾联系的儿子路易斯去挪威参加父亲的葬礼。二人因此有了一段从未有过的独处时光，迈克尔也想借此机会弥补自己作为父亲缺席的十四年。然而，无论迈克尔怎样试图和儿子沟通都无法得到积极的回应，二人之间仿佛有着一堵无法逾越的心墙。尽管这一路上遇到的种种麻烦让路易斯一直埋怨父亲的粗心大意，迈克尔依然希望能够推翻彼此间的隔阂。
回复 :一位年老的推销员在失去工作后试图与家人和睦相处，并同时面临着个人的转折。
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.
