灰鸽子之歌

1961年嘎纳电影节金棕榈提名，斯洛伐克新浪潮的先声。 The May 1961 premiere of The Song of the Gray Dove (Piesen o sivom holubovi, 1960) directed by Stanislav Barabas (1924-1994) marked the start of filmmakers' use of ideologically unassailable themes (in this case, the Slovak National Uprising) to tell stories that were true-to-life and yet were filmed creatively. The Song of the Gray Dove rejected the narrative topics loved by Palo Bielik, who was the most creative member of the founding generation of filmmakers. By using boys as his heroes, Barabas was able to concentrate more on children’s fears, games, and happiness, which had not vanished even during the war years, rather than on reeducating viewers. Critics took notice of the film (it won the 1961 Czechoslovak Film Critics' Award together with the Czech film People Live Here Too [Vsude zijí lidé; dir. Jirí Hanibal and Stepán Skalsky, 1960) because of its intimate storytelling—six stories loosely connected by child-heroes—and its premise that children’s distorted reality can be more truthful than a so-called objective reconstruction of history. Critics also noted that the film was not without hope, despite its tragic ending. 汪新：老马，你把这票补了算什么事儿啊，以后这车上没票，你都补得了，你挺有钱的。 马魁：规矩是死的，人是活的，碰到这种特别困难的人，就得伸把手啊。 汪新：那什么，我就挺困难，你帮帮我。 马魁：手腕子好利索了。 汪新：上次就是没留神，让你有机可乘了。 马魁：你的意思是说，我跟你动手前得提前跟你打个招呼，让你好好准备准备。 汪新：那倒不用。那有些情况吧，你不太了解，咱呢是警校第一，擒拿、侦查、射击，样样满分，尤其是这个射击，人送外号小枪王，别别别出去了。 马魁：对于乘警来说，枪在车上基本用不上，还是得看手上功夫。 汪新：合着就你有本事呗，那你有本事，咋干上乘警了？ 马魁：乘警咋了？你还看不上乘警？ 汪新：我还能看不上我自己，真有意思，我是想说，咱们这办的都是鸡毛蒜皮的小案，那想办大案得当刑警啊，我就想当刑警。 马魁：走还没学会呢，倒想飞了。