出生-证明
简介: 【出生-证明】 In 1961, Stanislaw _/:Rozewicz crea/];ted the nove*ll$a!#` film$- "Birth Certificate" in .co[\opera=#tio^\n with his br- ot,]her, Tad+uesz [+]Rozewicz as s, creenwri$)?%ter. Su ch brother tande-=ms are r= are in the h) )istor@ +y of fil_m but [?aside from fami]] _l: ]y tie^:$s, Stani\ slaw (b;orn.$, in 1924) and _;Tadues%z (born ($\in \1$!921) were ;m. utua+l= ly bound ;by t:! heir love for the cinem a. They [)were( born and grew up in Radomsk+ , a sm@]all town/% @ wh i c-h ha ^ d &q,@uotits#\ madmen and its saints" a%(\n ,`d ^_:mo )st i;*mport+ an(*)ly, the &`q@uo?^/tKinema&qu:^+ot cinem$^a, as Stanislaw* recalls: f?,_(or (%him]. ^ci?%:+nema is &`:q(u]`otheaven, t@=,he whole wo-_r.$/!ld, enchant[-ment". Ta $d. eusz says ^he cons-/ider;.? s cinema bot$_h a charming+ mar(*ke,(t sta(ll /)and ` a mysterio,/ us. temple. "All this * sa ([v _\@age l ((and has always att#`:ra% ?cted*$ a; nd*( fas\cin.-[at):_ed me,&qu ot he says. &= q]-uotI am devo*ured by cinema and I devour)@ ./cinema ^=$)I'm ( a]; cinema ea ,ter." But T$ adu.#es]!?z ?Roze wicz, an eminen+:\ ^t writer, admits this u$$:n ique form of cooperation ^`%.was a proble *\m to him: &/)=quotIt is !+ the pres, ence )?]o:f ,the other person n?ot #)- onl+$ y in the process of writing, ,!/.but*]( a#%t it s very c ore, whi%,%ch is inserperable fo[])r me f.rom absol`!?ute soli t* % ude. *) &qu];ot S!@ome scen`es[[ +the ;brothe*(rs$- wro,te together# others#/ were creat+`ed b+*?y the;^+ writ./ er hi.[@mself,@ f [ollowin`!g discus %`sions with th / e director!#. But fro# [ m the p/_! ers$%p.ective of ti#me,@. it i;*s$ / &);$quo] _tBirth Certif!;ica =te :", ra_)=%ther than ",)Echo&quo?-:*%t or &q+%]u ./otThe ` Wicked Gate&q; uot]$+, that Ta ]duesz de]scribes as )-his mo, ?! st intimate film ]. % This is und@ e,^rstan$dable. [@The tradgey from September 1939 i: n ; Pola-]nd was for t_: ,he) Roze!? wicz `[bro#$t = h+ers their#%\ pe/rsonal &@ quot\%+ birth certi?fic?ate&quo=t. W[\hen work/( ]ing o!-%n the film, the :!di rector said &qu$ot_This@ time it( is all about shak @i+==) ng o`@@@ff, #]?getting rid o #f the ps^ycho!!$logical , burden w`=,hich = ^-th.e war was for all of us. .._ [ . $^@ Co,_`operation with my % bro ;ther w@ as i:n thi:[ .s_( case easier, as* we sh@ are=. \ many + war ::me!=:mories$[. We \%\wanted to show` to adul t viewer%(s a picture of?` war as seen by !/a child. ... In r e]ality,@] it is .\!the adults who c = reat_ ?ed t*;he real w `orld of ma*.;ss.!a^cre-_\ s$-.+$ Children be$_ held)@* _?th;$.e ho)rrors+ comi ;%*ng :-(\back to life @, exhumed f \rom underneath the gro?# u ?nd, overwhelmin)/g the earth.&qu ot The^=._ `.princi! ple of composition of &quo .=tB ?irth;@# Certificate" is not obviou s@. ,! When -!w*atc#hi=!ng a novella fil? `:m, we# te* !n/:=\d to th,.] ink i: n t=?erms of =trad %itional the=%atr^+e. We exp `ec#t t h$.at a minia t ],ur-e story wil=l finish with a s -`harp p^*o;% int the t-hre,;+e film novellas in. %_?Rozewicz's work `(lac [k t#) h=is fe /`ature.. We do not k\[%now what *wi ll +be happen to the boy maki[;ng his al *one t_hrough the fores) t towa _rds the end of //="On t/he Road #&][q\uo/t. We do not know @ whether @[ in &` )!quot# Letter f`[:(rom: the @ Camp&q^uot, t+ /he help @offered by the small her,o% ))es to a Sovie\t prisoner wi*/l_ l:( ; rescue)=)/+ him from t he unkn.+own) fate of his c@ % ompatriots[ . The f ;ate o ,f the/ Jewish;_% g.%irl from &_quotDrop [%;o,[f Blood&quo t =( #is al==so unclear. Will s^=he keep her? new imp _*(ers.onati ]on as "Marysia= Malinowska"? O\@ r will th ,e Nazi s make h*#er int_ (?o a representat%\?(ive of t`. he` "Nord;%`i+c rac? -e&,q!$uot? Those questions \-?were +!asked by ,the direc *^ to*?r . for a reason. He precei ved ((war as chaos(/ and \ [[_perdi$%\tion, a nd not as linea%=%r hi% :sto(+!ry that$[ c !@_!ould be re flected in a plot. ) Although &q;.uotBirt h Certifi)[^cate" is sa tu. r at$,[ed\+^ wit]`h moral co@ nt=, en t, it@ do `!-e s -: not# aim *? to# b]e a morality %pla.y. Bu::t with the i?m+m./ ense? pressure of [ re al, i ty, $_no - varient o #(/f fa =t %`e/+ s^ .hould be excluded.) [@?This* a- pp @:roached,% can - be comp)a+red]% wth Krzysz- :tof! Kieslowski's &qu (otBli^[_.n:#d Chanc[ e"^- 25 yea:_rs l^ater, which / pict/ u red dramatic #!choice\)$s; of :`, .a different er#^ _a. The film nov`ella &[`qu+!otOn the_ R?] )oad" has a very s_*parin! g plot, but it+$` ;`dr,%ew $#@specia// l ! attent, ion of the \revie.%!wer( s. The omina!`ting ov\^ertone of the wa+r ` f il-$ms create=` d by .)[the Poli(sh]] Film Sc?/hool a\ ^t that ti =me sh)o]%u#@ld !)%^be kept in mind.-* M]*ainly owing+:=. to Wajda, those films d* ealt with rom_%antic heritage. The :-y wer-e # permeated with p:;athos, bitterness, and irony. R+(^oz+*e] w ic+z is an extraordinary artis/ `t.^. When nar?]ra t]ing a) %* ;stor-y abo_ ut a boy lo]#st :[$in a war^[ zone, carrying some docume$\nts from the regim.;/ent office as i]f they we=re a ``treasu!/re, the @? narrator in "O_\[n) `* the [Road& ,quo*+t discovers ro+^ugh prose @[where one s+hou #ld - find poe t` ry. And ,-suddenly/ ,]$ the irra \ tional -=;touches this ra. ther tame ,world. =@.The boy,$? w$/ho until t])ha#\ t m#(ome( /nt resem$\bl.# ed[@ a Poli^].sh ver #^si!=on of the Good Sold] +ier Sc+\=hweik, sets off,! lik^ e Don Quixote, f-or his firs;_t a@^nd$ la st #b:??#attle_%. A c:?#riti`c ]de!_scribed !\\\^it as ;"an : absurd gestu^ re and some (#one else could@ \ :\%surely u se :i?t to crit icise the Polish , s- ]tyle of dyi, -n`!)*g. ... Bu=`t the Rozewicz b(rothers do`` no accuse: the [y only co^mpose %an e legy for th/e p ]ictu resque peasant-soldier, probably+^(( the mo st important ^)vete$( ran #of the P/olish war=) of 1939-194=-5." &qu^/otBirth Certifica?%te" is #not a# lofty statement about % natio ,nal imponderabilia.!`! The $*$ film re [ vea@*ls a plebeian ; perspec*/ tiv!e which Aleksander Jackieqicz once contrasted _ `wit/[ h t hose "lyric-a*$ ]l lamen \:tations&q=uo$ t inher en.t in the ) Ko`#rdian t## ra, =dition.*_\ However, a hist* _or-ical o-;?vervie( )w of R/+ /oz(+ewicz's ]=#work % ),shows that( the disti?=@nctive/? s; ty$ le d?)oes not sig \nify a fundamental d,)iffer).e,*nce /`in illustrating the Polish Sept )=embe#r.$$ Just@` as the memora)_?ble scene from; , Wajda's "Lotna&#^]q+(uo t was i:n fac=)t an\@) expre =] .ssion =of des?_ peration and +]d@(#istress, the same emotio*ns p(ermea?te [th/e /$(final scene of &@quotBirth Certificate". The`:[se\@ are ?not: ;_ideological conce -( pts,#*; tho+\ !ugh on ce descri@;b\ ed])@ a*[#s such and ferve\ ntly[ debated, b ` ut rather psychological creatio,ns. In ]/this specific^ case, ob`(^serves Witold ^ ^ Z ale[wski), it is not a(bo ,ut manif esti; ^ng k.ni..ghtly prid\e, bu@ *t? a@bout a gesture of a simple man who , does no-t_) agr ee to be ens +la !$ved. Th$ *e nove_,lla! &quo..tDrop of Blood&q-uot is, with A%;^ `leksande;#r Ford's ,%("Bord`er Street&q uo\t, :one of the first n+ ar(rations of the)@ fate %- of the #;P;@o.lish Jews duri -ng t[+he Nazi occupa*tion. The story about a)++? g irl literally l # o^oking for he__.r place on earth has a dramati (c di\.m!`ensio]n. Es)+)pec((ially in the age of to+*d#`:ay's journal)^istic disp!utes, o. ft/]\en manipula-=tive,#] la$ c*\king*)` in empa ]\thy and im; ;bued with b\a%[ (d wi ll=, $R%-?ozewicz%+9s story ?,from the past +-shoc?# ks with @ *i ts au)`th%; enti.`/city. The small her#=#ione of the ]story is / .;the@ =o +nl@ y one who /$)surv-^ i! !@ves a German rai ?d on her famil!^*y [ home. Phys)!?ical surv ;ial $;%does $ not, how ever/+! , mean a! return t.-\ /o no_rmal!it`,y [@. Her f;]righ_*t/ =]e_ned departure f]) r =om`, the rubbish #`dum. $p that was her h)]+ideout le:^)=a+d)+* her to a ruined, apartment*+# . He= r walk = aroun- d i;*t is painful because s==- till fre[ =/sh signs of life are mixed ?\wit;%h evidence of an :-nihil at io `n. Help is n`eeded, but Mirka does n o\t know anyone in th!;e outside world. Her$(.^ (s@/[ubsequ(\,e` nt att),empts express th#.e sta] te o) \%f the .`fugitiv^)e$,9s@ $ *]spi;?rits -=[@` from h)\ope and fai, =th;`)%., moving to ,doubt-^, a s ]]ense ?of op @pression, an^d th(@icke*.;_ning fear, /-, and fi/*nall; y to desp$*air. At t (he same time, the Jewish girl +9s search for refuge rese% mbl\ [e#=s [the state$ `of /;Polish soci;^ety. The appea.(ran` $c /.e `$@of Mirka# result_:s i n confusion, a*n( d lat`,er, troub /[le. T .%his was^_ a`lr; :ead ,y signa`,lled by Rozew icz in an :]ex%;`)`ceptional s*cene fro ?m &)^quotLetter,! from^ the [)Camp&=*-quot ),i ( n wh$,ich t h/ =e @,boy: ` 9s ?n(]eighbour , se :[eing !a fug) :itive R^ussia# ;n soldi-`er, r etr=!eats im: ] me\diately, admit!;?ting ( * t^-*hat \ #"N,[ ow, peop!.[le worry only [ab@ $out themse.lve)^s." Su ch embar]^assin#]g excu se!-s mask fear. Durin +;g the occupation, no one feels! saf\\e. Neit#her social status/ n ^.ot the aeg+is of a c%:*harity organ+$is=,atio *$n protects agai nst _ @ re]:pr es ,sion.! We see the ) `po)tent %#`ial guardia ns of Mirka pas.;s- .ing her ba ?ck and forth amon$ [g them!]sel (,ves. %Th _?ese are friendly h@ands but ,= they ca ;nnot off*==er, strong su*/[ pport .. . The st:)ory t+= ?akes place - =on that t-= hi\=n lin =e between solidar,(:,ity and he%roism. Solidarit#y aris?+e `s @spontaneously,;^ but *-@o+nly some are ca .pable \_of heroism. Hel),p for - \\the g?$ir. l d%*+ oes not a@lways result fro!m c ompassion sometimes it ]! is b;-a^`sed on pa st relat`` i,=#ons and pe %? rsonal ti_-=$es (a neigh:b our of the doctor takes .-in th *e fu]@gitive ]for a few d [@ay( s because of past f[ri;endship). R=!oz+_ewicz` p =?or; trays all.` of t]^ his in a( s=u= !btle way even t]he smallest gestur)e has .signi;fica( [nc\,[+e. Take,/. for e*xa,,^_mple, t _he co\ nver\ ]?sation with a( $/str[?a *nger o]n the t+ rain: sh ^ :ort, as if j@otte d) down on the margin, but s(o :full #of tens;ion. And earl(_!ier\ , a peculia^( ]r exami nati ] on of Polishness: t^@h ;?e &quo tHoly Father" pra_=yer forced on Mirka by t he village boys to ch= =eck that sh !e is no\t a ) Jew, :_. W@[ ould not % rising to t he * `challen`ge ;%mean a death sentance? _Viewed- af/.ter ma; /ny years, &q#uotBirth C,ertificate&qu$-ot di+ sclos*es yet^[ anot;h: er quality that # is not #:_prese\+nt i^:n ^ t he works ;%of !,the Polish Schoo)l,- but is prominent in %/(lat$\er B-class war fi-$lms. This is the picture of eve ryday li.+fe durin_ g / the w %ar and o:+ ccupation ou@/ tlined _ [in the= / th . re e nove(llas. I `t ha_^,rmo-nises with t#_ he logic` of spe a `,ki#_`ng, =# about :"life^ aft?%*e=r life". Sma(-*ll heroes of Roz]?ewicz suddenl_y = $enter the,*[ re *ality of war, with no/ ex *perience [$! or scale ): wi$*t,(]h wh@ ^ ich to ] !compare it._ ;^ For t _hem , the present ]?*[?is $a na@/tu]ral extens)?ion of and at the same ti,+@[me a co\\ mple ( $t:^;e negat@?ion of the past. Consi !der the sleey small-town marketplace, throug`*h wh )ich arm +ou.=r^__ed column* s will!` s+/hortly` ` pass. ; (Or meet the __Ge rman motorcyc] lists[ ,\[ wh#o .loo$%$k like aliens from outer$ + ^space - a picture take n from an)\ /, *au+#^topsy bec^%/aus e t@ ?his ](is how Stani ?slaw an\d Taduesz per:, ?ceive;.d `\`the first Germans they ever met.+^ Note: the bl *urred s+ilhouettes of people against a , whi /te` wall @who are being ) \;s@hot - at first they are, shocking, but soon they wi:l/ l probably [ be.*:come #a ?p[]art \/of the grim landscape.+ \ In the @cit;y cent re stands a p* risoner camp o-n a sodden bog (:"Peopl(/e # perish likes fl=^ies the bodies( are_ `]transported dur /`ing-[? the night^\`&quo ,*_t, ) in the s(treet the \[ c hildern are running after; @a c$*.oal w= agon to/% colle$*_ct som`e precious !piece@[ [s of fu?el. ?The ]re+](9s a bustle around : [s_om e food (a boy reproa! `ches his $#! `y, oun@ger br[othe (@[r's ^) actions by: singing: ;+ "The#_ w: $arrant o +?ff ice@ r's s`(on is beggi ng ,`in fro ^-nt of^ t_.he c hurch? I&#+ 39m- going t o te^ #ll mothe%. r!")/ $ ^\and the )*( kitchen, which *;/one evening becomes th e p_+roscen] ?*ium of @ a` rea.$#l_[ dra/ma. And th)`\ere ar $,e the symb. ols: a bar of* cho`,colat $?e force%/d upo+;^n.+* a-\! boy by a ?Weh^ rmacht soldie _#r,-; (&: qu ;otOn the + Road") a pa(% `ir of shoes belon);gi])ng to Zb^] yszek&: #39s father which th;e b oy spontaneous! ly%,\ gives to a`)+ Russian fug/ +itive a price @/less+ slice of]$ brea#d,^] gro. und -* u@nder ]! the; heel of a policeman in the guter ("Letters from the Camp "). A) s ?/@ the di * re(#ctor put i; ?t: "In e:] very film, I commu nicate m$y own vis`ion . of the ` worl! * d and of $, t]*)he people. Only then the style follows,^\, t]he defined way of exp]))e=:riencing things.^+" I\n B _+? i #:rth Certi ficate, he adds, -?(-his =appr!_%oach was d(*:=riven by the s/%(u.[bject: &quo tI +?a [!:ttempt)(ed to create not only the texture of ! ?the document but also to a ;=dd some poetic?@ elem ];@ent. I :@_know it is r*.@isky but @as for the-! merger? of doc$`um$ ;e#:ntation)\;[ and p,; oet.=y, of@!%ten hid den ^ve_ +?.ry de\ep , if only it manag ]es to make \@ it\.s# way onto the[:\ screen, it re su]%_@lts in what $,@,can referred to as \ &@^.#:39art'.[ ^&qu (ot After 19 [45, t;]@he!.re were ,nu/-merous f#@il^ms cr/ eated in Europ e that de+a$@-lt with -! war and chil#%\dren, i ;ncl-[\uding "Somewhere in Europe" (&qu?ot -)Valahol + Europaban&q]uot, 1947 b/y Geza R!?%ad;vanyi/;(), &qu.[otShoeshine&quo ,t ("Sciesci;#a",= 194%6 by (Vitto]-$%rio de ?_ Sic a), and !!"Childh- ood of I $van]" .)(?;#"Iwanow.o \diets tw *`-)o" by Andriej @ T)#arko+_+ :wski). Ye+t there were- \ fewer tha%n one%-/ would expe],! ct. ([Pu- rsuing a subject _:%so imbue d w] ith sent `im $enta(*@lism @ re@,.\qu;ires st ,ylistic di,si*p# =lin[# e and a speci al abil: it:.]y to manage c +(hild acto*rs. The ;auth _ o=:`;r +(-,of "Birth Cert@ificat?=[e^^/=)&q )* uot / maste red both - and i/t !)$was not by chance. = .Stanislaw Rozew !icz was a ,_:lways :_th ,e beneficent spirit of the film m =$-ilieu he c=!oul]d% u-nit\e peo(pl@.?e ar+(ound a common goal. H e emanated peace ! and sensitivity, which flowed to hi] s co-w\;$or ?@kers and pupils +`. `:@A f[\#*`ilm, %be=` ing . a ] g%::r! *oup work, ne*cessitates s ome(#` form /of empathy - tu:ning in with others. In _a biog!-$r aphical documentary abo$ ut Stanislaw. Rozewic)z entit:]led &quo [tWalking, ;. Meet,` =ing" (1%#:9?/99 ? by]_ A n#toni] K_^rauze), th_ere .`i,[ s a bea@utif*(ul scene when /t/he di+%rector*(, after a few )#de*(:= ca,de.]s, #meets Beat;:*a Barszc@z ewska[:,[/? who p$lays Mireczka i]n the no$$vella "Drops of _+Blood @". The woman falls into the arms o:[f: the^[ e l -derly man. They ar= e!? ! b oth mo?ved. He!$ w?-`onde,rs how $many yea?r s have passed. She ans `(w-,ers: &quo+ _ tA few years. No ;;t too many::).*&quo] t An d Rozewicz, wi$th his characteris *ti*:c smile))% says!: ")It is true. )We *?*sp=ent t_$_hi .s* e +[n +=tire^ ti .me togeth: .er/[.%+%"
剧情简介
【出生-证明】 In 1961, Stanislaw _/:Rozewicz crea/];ted the nove*ll$a!#` film$- "Birth Certificate" in .co[\opera=#tio^\n with his br- ot,]her, Tad+uesz [+]Rozewicz as s, creenwri$)?%ter. Su ch brother tande-=ms are r= are in the h) )istor@ +y of fil_m but [?aside from fami]] _l: ]y tie^:$s, Stani\ slaw (b;orn.$, in 1924) and _;Tadues%z (born ($\in \1$!921) were ;m. utua+l= ly bound ;by t:! heir love for the cinem a. They [)were( born and grew up in Radomsk+ , a sm@]all town/% @ wh i c-h ha ^ d &q,@uotits#\ madmen and its saints" a%(\n ,`d ^_:mo )st i;*mport+ an(*)ly, the &`q@uo?^/tKinema&qu:^+ot cinem$^a, as Stanislaw* recalls: f?,_(or (%him]. ^ci?%:+nema is &`:q(u]`otheaven, t@=,he whole wo-_r.$/!ld, enchant[-ment". Ta $d. eusz says ^he cons-/ider;.? s cinema bot$_h a charming+ mar(*ke,(t sta(ll /)and ` a mysterio,/ us. temple. "All this * sa ([v _\@age l ((and has always att#`:ra% ?cted*$ a; nd*( fas\cin.-[at):_ed me,&qu ot he says. &= q]-uotI am devo*ured by cinema and I devour)@ ./cinema ^=$)I'm ( a]; cinema ea ,ter." But T$ adu.#es]!?z ?Roze wicz, an eminen+:\ ^t writer, admits this u$$:n ique form of cooperation ^`%.was a proble *\m to him: &/)=quotIt is !+ the pres, ence )?]o:f ,the other person n?ot #)- onl+$ y in the process of writing, ,!/.but*]( a#%t it s very c ore, whi%,%ch is inserperable fo[])r me f.rom absol`!?ute soli t* % ude. *) &qu];ot S!@ome scen`es[[ +the ;brothe*(rs$- wro,te together# others#/ were creat+`ed b+*?y the;^+ writ./ er hi.[@mself,@ f [ollowin`!g discus %`sions with th / e director!#. But fro# [ m the p/_! ers$%p.ective of ti#me,@. it i;*s$ / &);$quo] _tBirth Certif!;ica =te :", ra_)=%ther than ",)Echo&quo?-:*%t or &q+%]u ./otThe ` Wicked Gate&q; uot]$+, that Ta ]duesz de]scribes as )-his mo, ?! st intimate film ]. % This is und@ e,^rstan$dable. [@The tradgey from September 1939 i: n ; Pola-]nd was for t_: ,he) Roze!? wicz `[bro#$t = h+ers their#%\ pe/rsonal &@ quot\%+ birth certi?fic?ate&quo=t. W[\hen work/( ]ing o!-%n the film, the :!di rector said &qu$ot_This@ time it( is all about shak @i+==) ng o`@@@ff, #]?getting rid o #f the ps^ycho!!$logical , burden w`=,hich = ^-th.e war was for all of us. .._ [ . $^@ Co,_`operation with my % bro ;ther w@ as i:n thi:[ .s_( case easier, as* we sh@ are=. \ many + war ::me!=:mories$[. We \%\wanted to show` to adul t viewer%(s a picture of?` war as seen by !/a child. ... In r e]ality,@] it is .\!the adults who c = reat_ ?ed t*;he real w `orld of ma*.;ss.!a^cre-_\ s$-.+$ Children be$_ held)@* _?th;$.e ho)rrors+ comi ;%*ng :-(\back to life @, exhumed f \rom underneath the gro?# u ?nd, overwhelmin)/g the earth.&qu ot The^=._ `.princi! ple of composition of &quo .=tB ?irth;@# Certificate" is not obviou s@. ,! When -!w*atc#hi=!ng a novella fil? `:m, we# te* !n/:=\d to th,.] ink i: n t=?erms of =trad %itional the=%atr^+e. We exp `ec#t t h$.at a minia t ],ur-e story wil=l finish with a s -`harp p^*o;% int the t-hre,;+e film novellas in. %_?Rozewicz's work `(lac [k t#) h=is fe /`ature.. We do not k\[%now what *wi ll +be happen to the boy maki[;ng his al *one t_hrough the fores) t towa _rds the end of //="On t/he Road #&][q\uo/t. We do not know @ whether @[ in &` )!quot# Letter f`[:(rom: the @ Camp&q^uot, t+ /he help @offered by the small her,o% ))es to a Sovie\t prisoner wi*/l_ l:( ; rescue)=)/+ him from t he unkn.+own) fate of his c@ % ompatriots[ . The f ;ate o ,f the/ Jewish;_% g.%irl from &_quotDrop [%;o,[f Blood&quo t =( #is al==so unclear. Will s^=he keep her? new imp _*(ers.onati ]on as "Marysia= Malinowska"? O\@ r will th ,e Nazi s make h*#er int_ (?o a representat%\?(ive of t`. he` "Nord;%`i+c rac? -e&,q!$uot? Those questions \-?were +!asked by ,the direc *^ to*?r . for a reason. He precei ved ((war as chaos(/ and \ [[_perdi$%\tion, a nd not as linea%=%r hi% :sto(+!ry that$[ c !@_!ould be re flected in a plot. ) Although &q;.uotBirt h Certifi)[^cate" is sa tu. r at$,[ed\+^ wit]`h moral co@ nt=, en t, it@ do `!-e s -: not# aim *? to# b]e a morality %pla.y. Bu::t with the i?m+m./ ense? pressure of [ re al, i ty, $_no - varient o #(/f fa =t %`e/+ s^ .hould be excluded.) [@?This* a- pp @:roached,% can - be comp)a+red]% wth Krzysz- :tof! Kieslowski's &qu (otBli^[_.n:#d Chanc[ e"^- 25 yea:_rs l^ater, which / pict/ u red dramatic #!choice\)$s; of :`, .a different er#^ _a. The film nov`ella &[`qu+!otOn the_ R?] )oad" has a very s_*parin! g plot, but it+$` ;`dr,%ew $#@specia// l ! attent, ion of the \revie.%!wer( s. The omina!`ting ov\^ertone of the wa+r ` f il-$ms create=` d by .)[the Poli(sh]] Film Sc?/hool a\ ^t that ti =me sh)o]%u#@ld !)%^be kept in mind.-* M]*ainly owing+:=. to Wajda, those films d* ealt with rom_%antic heritage. The :-y wer-e # permeated with p:;athos, bitterness, and irony. R+(^oz+*e] w ic+z is an extraordinary artis/ `t.^. When nar?]ra t]ing a) %* ;stor-y abo_ ut a boy lo]#st :[$in a war^[ zone, carrying some docume$\nts from the regim.;/ent office as i]f they we=re a ``treasu!/re, the @? narrator in "O_\[n) `* the [Road& ,quo*+t discovers ro+^ugh prose @[where one s+hou #ld - find poe t` ry. And ,-suddenly/ ,]$ the irra \ tional -=;touches this ra. ther tame ,world. =@.The boy,$? w$/ho until t])ha#\ t m#(ome( /nt resem$\bl.# ed[@ a Poli^].sh ver #^si!=on of the Good Sold] +ier Sc+\=hweik, sets off,! lik^ e Don Quixote, f-or his firs;_t a@^nd$ la st #b:??#attle_%. A c:?#riti`c ]de!_scribed !\\\^it as ;"an : absurd gestu^ re and some (#one else could@ \ :\%surely u se :i?t to crit icise the Polish , s- ]tyle of dyi, -n`!)*g. ... Bu=`t the Rozewicz b(rothers do`` no accuse: the [y only co^mpose %an e legy for th/e p ]ictu resque peasant-soldier, probably+^(( the mo st important ^)vete$( ran #of the P/olish war=) of 1939-194=-5." &qu^/otBirth Certifica?%te" is #not a# lofty statement about % natio ,nal imponderabilia.!`! The $*$ film re [ vea@*ls a plebeian ; perspec*/ tiv!e which Aleksander Jackieqicz once contrasted _ `wit/[ h t hose "lyric-a*$ ]l lamen \:tations&q=uo$ t inher en.t in the ) Ko`#rdian t## ra, =dition.*_\ However, a hist* _or-ical o-;?vervie( )w of R/+ /oz(+ewicz's ]=#work % ),shows that( the disti?=@nctive/? s; ty$ le d?)oes not sig \nify a fundamental d,)iffer).e,*nce /`in illustrating the Polish Sept )=embe#r.$$ Just@` as the memora)_?ble scene from; , Wajda's "Lotna&#^]q+(uo t was i:n fac=)t an\@) expre =] .ssion =of des?_ peration and +]d@(#istress, the same emotio*ns p(ermea?te [th/e /$(final scene of &@quotBirth Certificate". The`:[se\@ are ?not: ;_ideological conce -( pts,#*; tho+\ !ugh on ce descri@;b\ ed])@ a*[#s such and ferve\ ntly[ debated, b ` ut rather psychological creatio,ns. In ]/this specific^ case, ob`(^serves Witold ^ ^ Z ale[wski), it is not a(bo ,ut manif esti; ^ng k.ni..ghtly prid\e, bu@ *t? a@bout a gesture of a simple man who , does no-t_) agr ee to be ens +la !$ved. Th$ *e nove_,lla! &quo..tDrop of Blood&q-uot is, with A%;^ `leksande;#r Ford's ,%("Bord`er Street&q uo\t, :one of the first n+ ar(rations of the)@ fate %- of the #;P;@o.lish Jews duri -ng t[+he Nazi occupa*tion. The story about a)++? g irl literally l # o^oking for he__.r place on earth has a dramati (c di\.m!`ensio]n. Es)+)pec((ially in the age of to+*d#`:ay's journal)^istic disp!utes, o. ft/]\en manipula-=tive,#] la$ c*\king*)` in empa ]\thy and im; ;bued with b\a%[ (d wi ll=, $R%-?ozewicz%+9s story ?,from the past +-shoc?# ks with @ *i ts au)`th%; enti.`/city. The small her#=#ione of the ]story is / .;the@ =o +nl@ y one who /$)surv-^ i! !@ves a German rai ?d on her famil!^*y [ home. Phys)!?ical surv ;ial $;%does $ not, how ever/+! , mean a! return t.-\ /o no_rmal!it`,y [@. Her f;]righ_*t/ =]e_ned departure f]) r =om`, the rubbish #`dum. $p that was her h)]+ideout le:^)=a+d)+* her to a ruined, apartment*+# . He= r walk = aroun- d i;*t is painful because s==- till fre[ =/sh signs of life are mixed ?\wit;%h evidence of an :-nihil at io `n. Help is n`eeded, but Mirka does n o\t know anyone in th!;e outside world. Her$(.^ (s@/[ubsequ(\,e` nt att),empts express th#.e sta] te o) \%f the .`fugitiv^)e$,9s@ $ *]spi;?rits -=[@` from h)\ope and fai, =th;`)%., moving to ,doubt-^, a s ]]ense ?of op @pression, an^d th(@icke*.;_ning fear, /-, and fi/*nall; y to desp$*air. At t (he same time, the Jewish girl +9s search for refuge rese% mbl\ [e#=s [the state$ `of /;Polish soci;^ety. The appea.(ran` $c /.e `$@of Mirka# result_:s i n confusion, a*n( d lat`,er, troub /[le. T .%his was^_ a`lr; :ead ,y signa`,lled by Rozew icz in an :]ex%;`)`ceptional s*cene fro ?m &)^quotLetter,! from^ the [)Camp&=*-quot ),i ( n wh$,ich t h/ =e @,boy: ` 9s ?n(]eighbour , se :[eing !a fug) :itive R^ussia# ;n soldi-`er, r etr=!eats im: ] me\diately, admit!;?ting ( * t^-*hat \ #"N,[ ow, peop!.[le worry only [ab@ $out themse.lve)^s." Su ch embar]^assin#]g excu se!-s mask fear. Durin +;g the occupation, no one feels! saf\\e. Neit#her social status/ n ^.ot the aeg+is of a c%:*harity organ+$is=,atio *$n protects agai nst _ @ re]:pr es ,sion.! We see the ) `po)tent %#`ial guardia ns of Mirka pas.;s- .ing her ba ?ck and forth amon$ [g them!]sel (,ves. %Th _?ese are friendly h@ands but ,= they ca ;nnot off*==er, strong su*/[ pport .. . The st:)ory t+= ?akes place - =on that t-= hi\=n lin =e between solidar,(:,ity and he%roism. Solidarit#y aris?+e `s @spontaneously,;^ but *-@o+nly some are ca .pable \_of heroism. Hel),p for - \\the g?$ir. l d%*+ oes not a@lways result fro!m c ompassion sometimes it ]! is b;-a^`sed on pa st relat`` i,=#ons and pe %? rsonal ti_-=$es (a neigh:b our of the doctor takes .-in th *e fu]@gitive ]for a few d [@ay( s because of past f[ri;endship). R=!oz+_ewicz` p =?or; trays all.` of t]^ his in a( s=u= !btle way even t]he smallest gestur)e has .signi;fica( [nc\,[+e. Take,/. for e*xa,,^_mple, t _he co\ nver\ ]?sation with a( $/str[?a *nger o]n the t+ rain: sh ^ :ort, as if j@otte d) down on the margin, but s(o :full #of tens;ion. And earl(_!ier\ , a peculia^( ]r exami nati ] on of Polishness: t^@h ;?e &quo tHoly Father" pra_=yer forced on Mirka by t he village boys to ch= =eck that sh !e is no\t a ) Jew, :_. W@[ ould not % rising to t he * `challen`ge ;%mean a death sentance? _Viewed- af/.ter ma; /ny years, &q#uotBirth C,ertificate&qu$-ot di+ sclos*es yet^[ anot;h: er quality that # is not #:_prese\+nt i^:n ^ t he works ;%of !,the Polish Schoo)l,- but is prominent in %/(lat$\er B-class war fi-$lms. This is the picture of eve ryday li.+fe durin_ g / the w %ar and o:+ ccupation ou@/ tlined _ [in the= / th . re e nove(llas. I `t ha_^,rmo-nises with t#_ he logic` of spe a `,ki#_`ng, =# about :"life^ aft?%*e=r life". Sma(-*ll heroes of Roz]?ewicz suddenl_y = $enter the,*[ re *ality of war, with no/ ex *perience [$! or scale ): wi$*t,(]h wh@ ^ ich to ] !compare it._ ;^ For t _hem , the present ]?*[?is $a na@/tu]ral extens)?ion of and at the same ti,+@[me a co\\ mple ( $t:^;e negat@?ion of the past. Consi !der the sleey small-town marketplace, throug`*h wh )ich arm +ou.=r^__ed column* s will!` s+/hortly` ` pass. ; (Or meet the __Ge rman motorcyc] lists[ ,\[ wh#o .loo$%$k like aliens from outer$ + ^space - a picture take n from an)\ /, *au+#^topsy bec^%/aus e t@ ?his ](is how Stani ?slaw an\d Taduesz per:, ?ceive;.d `\`the first Germans they ever met.+^ Note: the bl *urred s+ilhouettes of people against a , whi /te` wall @who are being ) \;s@hot - at first they are, shocking, but soon they wi:l/ l probably [ be.*:come #a ?p[]art \/of the grim landscape.+ \ In the @cit;y cent re stands a p* risoner camp o-n a sodden bog (:"Peopl(/e # perish likes fl=^ies the bodies( are_ `]transported dur /`ing-[? the night^\`&quo ,*_t, ) in the s(treet the \[ c hildern are running after; @a c$*.oal w= agon to/% colle$*_ct som`e precious !piece@[ [s of fu?el. ?The ]re+](9s a bustle around : [s_om e food (a boy reproa! `ches his $#! `y, oun@ger br[othe (@[r's ^) actions by: singing: ;+ "The#_ w: $arrant o +?ff ice@ r's s`(on is beggi ng ,`in fro ^-nt of^ t_.he c hurch? I&#+ 39m- going t o te^ #ll mothe%. r!")/ $ ^\and the )*( kitchen, which *;/one evening becomes th e p_+roscen] ?*ium of @ a` rea.$#l_[ dra/ma. And th)`\ere ar $,e the symb. ols: a bar of* cho`,colat $?e force%/d upo+;^n.+* a-\! boy by a ?Weh^ rmacht soldie _#r,-; (&: qu ;otOn the + Road") a pa(% `ir of shoes belon);gi])ng to Zb^] yszek&: #39s father which th;e b oy spontaneous! ly%,\ gives to a`)+ Russian fug/ +itive a price @/less+ slice of]$ brea#d,^] gro. und -* u@nder ]! the; heel of a policeman in the guter ("Letters from the Camp "). A) s ?/@ the di * re(#ctor put i; ?t: "In e:] very film, I commu nicate m$y own vis`ion . of the ` worl! * d and of $, t]*)he people. Only then the style follows,^\, t]he defined way of exp]))e=:riencing things.^+" I\n B _+? i #:rth Certi ficate, he adds, -?(-his =appr!_%oach was d(*:=riven by the s/%(u.[bject: &quo tI +?a [!:ttempt)(ed to create not only the texture of ! ?the document but also to a ;=dd some poetic?@ elem ];@ent. I :@_know it is r*.@isky but @as for the-! merger? of doc$`um$ ;e#:ntation)\;[ and p,; oet.=y, of@!%ten hid den ^ve_ +?.ry de\ep , if only it manag ]es to make \@ it\.s# way onto the[:\ screen, it re su]%_@lts in what $,@,can referred to as \ &@^.#:39art'.[ ^&qu (ot After 19 [45, t;]@he!.re were ,nu/-merous f#@il^ms cr/ eated in Europ e that de+a$@-lt with -! war and chil#%\dren, i ;ncl-[\uding "Somewhere in Europe" (&qu?ot -)Valahol + Europaban&q]uot, 1947 b/y Geza R!?%ad;vanyi/;(), &qu.[otShoeshine&quo ,t ("Sciesci;#a",= 194%6 by (Vitto]-$%rio de ?_ Sic a), and !!"Childh- ood of I $van]" .)(?;#"Iwanow.o \diets tw *`-)o" by Andriej @ T)#arko+_+ :wski). Ye+t there were- \ fewer tha%n one%-/ would expe],! ct. ([Pu- rsuing a subject _:%so imbue d w] ith sent `im $enta(*@lism @ re@,.\qu;ires st ,ylistic di,si*p# =lin[# e and a speci al abil: it:.]y to manage c +(hild acto*rs. The ;auth _ o=:`;r +(-,of "Birth Cert@ificat?=[e^^/=)&q )* uot / maste red both - and i/t !)$was not by chance. = .Stanislaw Rozew !icz was a ,_:lways :_th ,e beneficent spirit of the film m =$-ilieu he c=!oul]d% u-nit\e peo(pl@.?e ar+(ound a common goal. H e emanated peace ! and sensitivity, which flowed to hi] s co-w\;$or ?@kers and pupils +`. `:@A f[\#*`ilm, %be=` ing . a ] g%::r! *oup work, ne*cessitates s ome(#` form /of empathy - tu:ning in with others. In _a biog!-$r aphical documentary abo$ ut Stanislaw. Rozewic)z entit:]led &quo [tWalking, ;. Meet,` =ing" (1%#:9?/99 ? by]_ A n#toni] K_^rauze), th_ere .`i,[ s a bea@utif*(ul scene when /t/he di+%rector*(, after a few )#de*(:= ca,de.]s, #meets Beat;:*a Barszc@z ewska[:,[/? who p$lays Mireczka i]n the no$$vella "Drops of _+Blood @". The woman falls into the arms o:[f: the^[ e l -derly man. They ar= e!? ! b oth mo?ved. He!$ w?-`onde,rs how $many yea?r s have passed. She ans `(w-,ers: &quo+ _ tA few years. No ;;t too many::).*&quo] t An d Rozewicz, wi$th his characteris *ti*:c smile))% says!: ")It is true. )We *?*sp=ent t_$_hi .s* e +[n +=tire^ ti .me togeth: .er/[.%+%"
《出生-证明》是斯坦尼斯拉夫·罗泽维格于1961年创作的一部经典战争片作品， 由Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基等主演，在其它播出后引发了不少观众的讨论和好评。 影片通过 In 1961, Stanislaw _/:Rozewicz crea…， 展现了创作者对于现实生活与情感世界的观察，因此常被不少观众称为“值得二刷、三刷”的战争片。
很多影迷之所以推荐《出生-证明》， 是因为片中无论是故事线的推进，还是演员之间的对手戏，都有着比较强的张力和代入感。 当你跟随剧情慢慢深入时，会发现每个角色的选择背后都有其不得不如此的原因， 这也让整部作品在娱乐性之外，多了一层对现实与人性的思考空间。
从类型角度来看，《出生-证明》既保留了战争片应有的节奏和看点， 又在细节上做了不少打磨：节奏方面尽量避免无意义的拖沓桥段，人物塑造上也不简单脸谱化， 而是通过多场戏份逐步丰富角色背景，让观众在追看的过程中逐渐理解他们的选择与矛盾， 从而对这部作品产生更深层次的情感共鸣。
如果你正在寻找一部既有故事性，又具备一定思考深度的战争片， 那么《出生-证明》会是一个不错的选择。 无论是想在闲暇时间放松心情，还是希望通过剧情获得一些情绪上的共鸣与释放， 这部作品都能够在不同程度上满足你的观看需求，值得在dancihu（dancihu.bgswjd.com/detail-13778.html）完整看完。