《出生證明》是由知名导演斯坦尼斯拉夫·羅澤維格 执导的一部戰爭片，Andrzej Banaszewski Beata 等倾情出演，该片讲述了： In 1961 , Stanisla w Rozewicz created the nove lla film &qu ot;Birth Certificate&qu ot; in cooperation with his brother, Taduesz Rozewi cz as sc reenwriter. Such brother tandems are rare in the histo ry of fi lm but aside from family ti es, Stanis law (born in 1924) and Taduesz (born in 1921) were mutua lly boun d by their love for the cin ema. The y were born and gre w up in Radomsk, a small town which had " ;its m admen and its saints" and mos t importanly , the &q uot;Kinema" cinema, as Stanislaw recalls: for him cinem a is "heaven, the whol e world, enc hantment". T adeusz s ays he cons ider s cinema both a c harming market stall and a myste rious temple. " All this savage land has al ways att racted and fascinated me," he sa ys. "I am devoured by cinema a nd I devou r cin ema; I'm a cinema eater." Bu t Tadu esz Rozewicz, an emi nent writer, admits this unique form of c ooperation was a problem to h im: "It is the p resence of t he other p erson not only in the process of writi ng, bu t at its very c ore, whi ch i s inserpe rable for me from absolute s olitude.&qu ot; Some sc enes the brothers wrote together; others were created by the write r himself, follo wing discussions with th e director . But from the perspective of time, it is "Birth Certificate", rather than "Echo&qu ot; or "The Wicked Gate", that Taduesz d escribes as his most intimate film. This i s understandable. The tradgey from September 1939 in Poland was for the R ozewicz br others their personal "birth cer tific ate". W hen wor king on the film, the d irector said ";This time it is all abou t shakin g off, ge tting rid o f the psychological burden which the war was for all o f us. ... Co operation wi th my brot her was in this case easier , as we sh are many war memories. We wanted to s how to adult viewe rs a picture of war as seen by a c hild. ... In reality, it is the adults w ho created the real wor ld of ma ssacres. Children beheld the horrors coming back to lif e, ex humed from underneath the ground, o verwhelming the earth.& quot; The pr inciple of composition of " Birth Cer tificate" is not obvious. When watching a novel la film, we tend to think in t erms of trad itional theatre. We ex pect th at a min iature story wil l finish with a sharp point; the three fi lm novellas in Rozewicz's work lack this feature. We do not know what wi ll be hap pen to the boy ma king his alone t hrough the forest towar ds t he end of " ;On th e Road". We do not know whethe r in "L etter from the Camp", the h elp offered by the small heroes to a Sov iet prisoner will rescue him fro m th e unknown fate of his compatriots. The fate o f the Jewish g irl from "Drop of Blood&quo t; is also unclear. Will she kee p her new imp erson ation as "Marysia Malinowska "? Or will t he Nazis make her into a representative of the "Nordic rac e"? Those questions we re asked by the director for a reason. He preceived war as chaos a nd perdition, and not as linear history that could be reflec ted i n a plot. Although "Birth Certificate" is s aturat ed with mo ral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fa te sh ould be exclu ded. This appr oached can be c ompared wt h Krzysztof Kieslowski's "Blind Chance& quot; 25 years later, which pictured dramatic choices of a different er a. T he film novella &q uot;On the Roa d"; has a very sparing p lot, but it drew special attention of the revie wers. The ominati ng overtone of th e wa r films create d by the Polish Film School at that time should be kept in mind. Mainly owin g to Wajda, those films dealt with romantic heritage. They w ere permeated wi th pathos, bit terness, a nd irony. Ro zewicz is an extr aordinary artist. When narratin g a story about a boy lost i n a war zone, carrying som e documents from the regiment offi ce as if they were a tre asure, the narra tor in &qu ot;O n the Road" dis covers r ough pr ose wh ere one should find poet ry. A nd sudd enly, the irrational touches this rather tame wo rld. The boy , who until that moment resembled a Polish version of the Good Soldi er Sch weik, sets off, lik e Don Q uixote, for his first and last battle. A critic described it a s "an a bsurd g esture and som eone else could surely use it to criticise the Pol ish style of dying. ... Bu t the Rozewicz brothers do no accus e: they only compose an elegy for the picturesque peasant-soldier, probably th e most imp ortant veteran of t he Polish war of 1939 -1945." "Birth Cert ificate" is n ot a lof ty statement about nat ional imponderabilia . The film reveals a p lebeian pers pective which Aleksander Jackieqicz once contra sted with those "lyrical lam entations" ; inherent in the Kordian tradition. H owever, a histori cal ove rview of Rozewicz's wo rk shows that the distinct ive styl e does not signify a fundam ental difference in illustrating t he Polish September. Just as the memorable scene from Wajda's "Lot na" was in fact an e xpression of desperation and distress , the same emotions permeate the final scene of &q uot;Birth Ce rtificate". These are not i deologic al concepts, thoug h once descri bed as such and fe rvently d ebated, but rather psycholog ical creat ions. In this specific case, observes Witold Z alewski, it is not about manifesting knightly p ride , but about a gest ure of a simp le man who d oes not agree t o be enslaved. T he novella "Drop of Blood&q uot; is, with Aleksa nder Ford's "Border Street", one of the first narrations o f the fa te of the Polish Jews during the Nazi occupation. T he story abo ut a girl literally looking f or her p lace on ea rth has a dramatic dimensi on. Especially in the a ge of today's journalistic dispu tes, often ma nipulative, lacking i n empathy and imbued with bad will, Rozewic z's stor y from the past shocks with its auth enticity. The small he rione of the story is the only one who survi ves a German raid on her family home. Physic al survial does not, however, mean a return to normal ity. Her frightened departure from the rubbish dump tha t was her hi deout le ad her to a ruined apa rtme nt. Her walk arou nd it is painful because still fresh signs of li fe are mixed with evidence of ann ihilation . Help i s needed, but Mirka d oes not know anyon e in the outside world. Her subsequent attempts exp ress the st ate of the fugitive's spiri ts - from hope an d faith, mov ing to doubt, a sense of oppressi on, and thickening fear, and finally to despair. At the same time , the Jewish girl's sear ch for refuge resembles th e state of Polish so ciety. The appearance of Mir ka results in confusion, and late r, tro uble. T his was already sig nalled b y Rozewicz in a n exceptional scene fr om " Letter fr om the Camp& quot; in whi ch the bo y's neighbour, seeing a fugitiv e Russian soldie r, retr eats immedia tely, admitting tha t "Now, people worry only abo ut them selves." Such embarassing excuses mask fear. During the occupation, no on e feels s afe. Neither so cial status not the aegis of a charity organisation protects against repression. We see the pote ntial g uardi ans o f Mirka passing her back and forth among themselves. These are friendly h ands bu t they cannot offer strong support. The story ta kes p lace on that t hin line be tween sol idarity and heroism. Solidarity arises spontaneously, but only some a re capab le of he roism. Help for the girl does not al ways result from compassi on; so metimes it is ba sed on past rela tions and personal ties ( a nei ghbour of the do ctor takes in the fugitive for a f ew days beca use of past friendship). Rozewicz por trays all of this in a subtle way; even the smallest gest ure has sig nificance. Take, f or exa mple, t he conversation wi th a stranger on the train: sh ort, as if jotted down on the ma rgin, but so full of tension. And ea rlier, a pecu liar ex amination of Polishness: the "H oly Fa ther" prayer force d on Mir ka by th e village boys to check t hat she is not a Jew. Would no t rising to the challe nge mean a death sentance? Vie wed after m any years, ";Birth Certifi cate " dis closes yet another qual ity that is not present in the works of the Polish School, but is prominent in later B- class war fi lms. T his is the picture of ev eryday life during the wa r and occupa tion outlined in the three novellas. I t harmonis es with the logic of speaking about "life after l ife". Small h eroes of Rozewicz sudd enly enter the reality of war, with no experience or scale with which to compar e it. For them, th e present is a natural ex tension of and at the same time a complete negation of the past. Consider the sleey small-to wn market place, through which armo ured co lumns wil l shortly pass. Or m eet the German moto rcyclists, who look li ke aliens from outer space - a picture taken from a n autop sy because this is how Stanisla w and Taduesz perceived the fi rst Germans they ever met. Note the blurred silho uettes of people against a white wall who are b eing s hot - at first they a re shocking , but soo n they will proba bly become a par t of the grim la ndscape. In the city centre s tands a prisoner ca mp on a sodden bog ("People perish likes flies; the bodies ar e transporte d durin g the nigh t"); in the street the childern are running after a coal wagon to collect some pr eciou s pieces of fuel . There's a bustle around some food (a boy reproaches his yo unger brothe r9;s acti ons by singi ng: " ;The wa rrant of ficer's son is begg ing in front of the church? I'm goi ng t o tell mother!";); and the kitche n, which o ne ev ening beco mes the pros cenium of a real drama . And there ar e the symbols: a bar of chocol ate forced upon a boy by a Wehrmac ht soldier ("On the Road&q uot;); a pair of shoes belon ging t o Zbyszek's father which the boy spontaneously gi ves to a Russian f ugitiv e; a pr iceless slic e of b read, ground un der the heel of a policeman in the guter ("Letters from the Camp"). As the direc tor put it: "In every film, I comm unica te my own vision of the world and of the people . Only t hen the style follows, the defi ned way of exper iencing t hings." I n Birth Cert ificate, h e adds, his approach w as drive n by the subject: "I att empted to create n ot only the texture of the document but also to add so me po etic element . I know it is risky but as for the merger o f documentation and poet y, often hidden very d eep, if only it manages to make its way ont o the screen, it results in what can referred to as ' ;art'." After 1945, t here were numero us films created in Europe that dealt with war and childre n, including "Somewhere in Europe" (&quo t;Valahol Europaban& quot; , 1947 by Geza Radvanyi) , " ;Shoeshine" ("Sc iescia" , 194 6 by Vittor io de Sica), and &qu ot;Childho od o f Ivan&qu ot; (" Iwanowo diet stwo" by Andri ej Tarkowski). Yet there we re fewer than one would e xpect. Pursuing a subjec t so imbued with sentimentalism requires stylistic di sipline and a special ability to mana ge child act ors. The aut hor of "B irth Certifi cate" mastered both - and it was not by chanc e. Stanislaw Rozewicz w as always th e benefice nt spirit of th e film mili eu; he could unite people around a co mmon goal. He emanated peace and sensitivity, which flowed to his c o-work ers and pupils. A film, being a group work, neces sitates some form of empathy - tu ning in wit h others. In a b iographical documenta ry about Stanislaw Rozewicz entitled "Walking, Meeting&q uot; ( 1999 by An toni Krauze), the re is a beaut iful scene when the dir ector, after a few deca des, meets Beata Barsz czewska, w ho play s Mireczka in the novella "Dr ops of Blood& quot;. The woma n falls int o the arms of the elderly man. They are both moved. He wonders how many y ears have p assed. Sh e answers: "A few years. Not to o man y." And Rozewic z, with his chara cteris tic smile s ays: "It is true. We spent this entire time togeth er.& quot; 她朝两边的贵宾席和下面的看台，团团一揖，“佐蒙 人是肯定要杀我的，他们 善用渗透之法，所以，林 蹊在此恳请诸位前辈，诸 位道友，看在我也算为仙界立过一点功劳的份上，一起 监督一下 ，在我未晋天仙之前，不要让任何 人，以任 何理由，打断 我在刑堂的工作。
