《头号人物剧情》

韩立通过以□过程实现飞升：吃完饭没多久，他□家□外传来一把男人(🎓)的声□，语调有些慢。樱子、木村与纪香三人被忍者追杀，木村寡□敌□被杀□□子幸运遇上仗义的□(🕦)□彦成功逃脱，纪香则下落□□。忍者首领仓田至，一定要(🐿)追杀纪香□小(🐴□镇□□掀起一场腥风血雨□(🍭) 孝彦与樱子□上调皮可爱的□小福□□连环□□结为好。In□19□1□ Stanislaw Rozewicz created t□e novella f□l□ &q□□□;□irt□ Certificate&q□o□; in cooperation □ith□his br□ther,□Taduesz□□o□ewicz as s□re□nwriter. Su□h □□other tande□s are□rare in□□he history of film but□asi□e fr□m fa□il□ ties, Stanisl□□ (b□rn in 19□4□□a□d Tad□esz (□□rn in 1921) were mutually□bound □y their love for □he □□nema.□They w□re b□rn and□gr□w up □n Radomsk, a sma□l to□n wh□ch□had□&qu□t;□ts □admen and its □ain□s&□uot; □n□ most i□□ortanl□□ the &q□ot□Kinem□"□ cinema, □s□Stanislaw rec□ll□: for him□□ine□a is &□u□t;heaven, the □hole□wor□d, □nchantment&□u□t;. Ta□eusz says□he considers cine□□ both a charming mark□□ □t□ll □nd a mysterio□s temple. &q□o□;All this □avage land has always attracted and fascinate□ me□"□ he say□. &q□ot;I am □evour□□ by□cinema and I devour□cine□a; I'm a cine□a eater.&q□□t; B□□□□aduesz Ro□□wicz, an eminent wri□□r, admi□s□th□s unique fo□m □f coop□□ation □as a problem□to him:□"It is the presence of t□□ oth□□ pers□□ not on□y in the□proc□□s of□w□iting, but at□□ts □□ry core, which i□ □nserperable □or me f□om abso□ute □olit□de.&□uot; Some sc□nes□the□brothers w□□te to□ether;□o□□ers we□e □reate□ □y the □riter □□mse□f, □ollowing □isc□□sions with□□□e □□rector. B□□ □rom □□□ pers□ec□ive of □ime, it□is "Birth Ce□ti□i□at□", rathe□ than &quo□;E□ho"□□or□&q□ot;The Wicked Ga□e&quo□;, that Taduesz describes as h□□ □ost intim□□e film. This □s understand□□le□□The□t□adge□ □rom September 1939 i□ Poland was fo□ the□Rozew□cz brothers □heir person□l &qu□□;bir□h c□□tificate"□. Whe□ working on□the □ilm,□□he director sai□ □quot;This time it is all about sh□king □ff□ g□ttin□□rid □f □□e psy□h□logica□□burde□ which th□ war□was for all of us. ... Cooperation with□my bro□□er was in this case e□sier□□as we share many□war memori□s.□□e wanted to sh□□ to ad□lt □□ewers a picture of war as □e□□ □□□a chil□. ... In re□li□y, it i□ the adults w□o c□e□ted the□rea□ world of mass□cre□. Children□behel□□t□e □orrors comin□ back to □ife, exhume□ from underneath the ground, over□helming □he ea□t□."□　T□e principl□ of co□positio□ of &qu□t;B□r□h Certifi□ate&q□ot; is not obv□ous. □hen watching a novella□□ilm□□we□t□nd to□□hink □n ter□s □f □□aditiona□ □he□tre□ We □xpe□t that a□□□niatur□ story□wi□l □i□i□h wit□ □ sharp p□int; the□th□□e film novel□a□ □n Ro□□wicz's □ork la□k this feat□□□. We do not know what will be happen t□ the b□y makin□ □is alone thro□g□ the forest towards the end of &□uot;On the R□ad&□uo□;. We do not □□□w whether in □q□o□;Le□ter □rom□the Camp", the□□elp offe□ed □y □he□small□he□oes to□a S□viet priso□er w□ll□rescue □im□from the u□□nown □at□ of his compatriot□.□The□fate of □he J□wi□h girl from &qu□t;Dro□ of Blood&qu□t; is □lso□u□clear□ Wi□□ she□keep□her new imper□on□t□on a□ &quo□;Marysia Malinows□a"? Or □ill the □azis □ake□her in□o a representa□iv□ of the &quo□;No□di□ race"? Tho□□ questi□ns □ere □sked□by □he□dir□ctor for a reason.□He pr□ceived wa□□□s ch□os □nd perdition, and n□t as linear histor□ that co□ld be reflected in a plot. A□though &□uot;Birth Certifi□a□e&□uot; is □aturated with mora□ □ontent, it do□s n□t□aim to be a morality play. But with the immen□□ p□essure of r□alit□, no v□rient of fate sho□l□□be exclud□d. Th□s approached□can□be compared wth Kr□ysztof□Kieslowski&□39;□ □quot;Blind C□anc□" 25□years □□ter□ □□ich pic□□□□d dramatic □h□i□es of a different□□ra.□　T□e film nov□lla "□n the Road□□uo□; has□a v□□y□□parin□ pl□t,□b□t it □r□w sp□cia□ a□t□ntion□of□the re□iewers.□T□□ ominat□ng□o□ertone of th□ war films□creat□d□□y □□e Polish Film Sc□ool at that ti□e sh□□ld b□ □ept □n □□nd. M□i□ly □wing to Wajda, □hos□ film□ dealt with roman□ic her□ta□e. They wer□ pe□meate□ wi□□ pa□hos, bitter□ess□ and□irony. Ro□ewicz□□s an extrao□din□ry artist.□When□□arrati□g a □tory□about a b□□ lost in a □ar □one, c□rr□ing som□ d□cuments from □he r□□iment o□□i□□ a□ if □□ey□□ere a treasure, □he□n□rrator in□"□On the□Ro□d" □□s□ov□rs□r□ugh□pros□ where one s□oul□ □in□ poetry. And sudde□ly, t□e irrational□touch□s this rather tame wor□□. □□e bo□, who unti□□tha□ moment r□□embl□d □□Poli□h v□rsion□of t□e Good□□oldier □chweik□ sets □ff, □ike□Don□□uixote,□f□r hi□ fi□st and last battl□. A cr□tic describ□□ it as "□an □bs□rd□ge□ture and□someone else could surely use it to cri□ic□se th□ Polish styl□ □□ dying. ... □ut □he Roz□wi□z br□□□ers do□□o□□cc□□e: th□y on□y co□p□s□ an elegy for□t□□ □ictur□sque peasan□□sol□ier, probably □he m□□□ imp□□tant veteran□of □he Polish war of 1939-1945.&q□ot;□"□Birth □erti□icate&quo□; is not□a loft□ st□t□ment about national □mp□nde□abilia. The f□lm□revea□s a pleb□ia□ pers□□cti□e which Aleksan□er Ja□kieqicz once contrast□d wit□ □hose "□lyr□cal lamentations" inherent □n the K□r□ian t□adi□io□□ Howeve□, a historica□ overview □f R□zewicz'□ work shows that t□e dis□i□ctive □t□l□ □oes not sig□ify □ fundamental difference i□ □□lustrating t□□ □olish Sep□em□er. Just □s t□e□memo□able sc□ne□f□om W□jd□□;s &q□ot;Lotn□&□uot; was in□fac□ □□ ex□res□ion of□desperatio□ an□ distres□, the same emotions□permeate □he □inal□scene of "Birth Certifi□ate□q□ot;. □hese are no□ i□eol□g□cal concep□s□ □hough once described□as □uch and□ferven□l□□debate□, but rather psychologic□l cre□tions□□In this □pecific ca□e, o□serv□s Wit□ld □alewski,□it□is □o□ about □anifesting kn□gh□□y pri□e, but a□□□t a g□sture of□□ s□□□le m□n who□do□s n□□□a□re□ to b□ e□□lave□.　　□he nove□la □quot;Drop of□Blood&qu□t□ □s, with Aleksan□er Ford's &□u□t;Bord□r St□eet□quot;, □n□ of t□e□fi□st □arrations □f □h□ f□te of the Polis□ Jews during the Nazi o□c□□ati□n. □he□□t□□y about a□girl liter□lly looking for her□place□□n earth has□a dramatic □imension. Especially in the age of today's jou□nali□□ic□dispu□□s, oft□n manip□l□tive, lacking□in □m□a□hy □nd im□ued with bad will□ Ro□ewic□'□s □t□ry from□the □ast shocks with i□s aut□enticity. The s□all herione of the□story is the only one□wh□ survives a German r□id□on□her fa□ily□□om□. Physi□al □□rvial doe□ □ot, however, mean a ret□rn□to no□ma□ity. Her □r□ghtened departur□ f□om the rubbish dump □hat □□s her □ide□ut lead her□t□ a ruined apartment. Her walk aro□nd i□ is painful □ecause still □resh□si□□s of li□e are mixed with ev□dence □f annih□lation□ □elp□is□n□eded, but Mir□a □oes n□t know anyone in the□outside wo□ld. Her s□bse□□ent a□te□pts express the state of the fu□itive's spirit□ - from□hope and □ai□h, □oving t□ doubt, a sense of oppression, and□□h□ckenin□ fe□r, and finall□□to des□air□　(🤽)　□t the □□□e t□me, the J□w□□h gi□l's □earch fo□ ref□ge res□□□les the st□te of Poli□h□soci□ty. The □ppeara□ce of Mi□ka□r□sults i□ confusion, an□ □ater, trouble. This□was already signa□led b□ Ro□ewi□z □n an e□cep□io□al sce□□ from &quo□;Le□ter from □he Camp"□ in w□ich th□ boy's nei□hbour□ see□□g a□f□□itive Russian □oldier, retr□ats im□ediately, admi□ting t□at □q□□t□Now□ people □orry only□abo□t themselves.&q□ot; S□ch embarassing excu□es mask fear. □u□ing th□ occupation, no one f□els safe. Nei□her socia□ sta□us□no□ the a□□is o□ a □□arity □rganisa□ion protects□against rep□ession. We see the potent□al guard□□ns of Mirka □a□sing her□back and forth amo□g □□ems□lv□s. T□ese are friendly hands but the□ cannot □□fer □trong su□po□□. □□e s□ory takes place on□that thin l□ne b□□w□en solidarit□ a□d hero□sm. Soli□□rity arises sp□ntaneou□ly, but □nly some are capa□le□□□ he□oism. Help for□the g□rl□□oes□not □lways result f□o□ □ompassion; □ometimes it i□ based □□ past□r□lat□□ns and□personal ti□s (a□□e□gh□our o□ the doc□or t□kes□in the f□gitiv□ f□□ a few days because□□f past□friendship□. Rozewic□ □ortray□□a□l □f□thi□ in□a □ubtle way; even t□e small□st gesture has si□□ifica□ce□ □□ke□ f□r e□ample, the convers□t□on wi□h a stranger o□□the□t□ai□: short, as if□j□t□ed □own on the□margin, but so □ull of□tension□ And ea□lier,□a □ec□li□r examinat□on of P□lishness: the "H□□y Father" prayer □orced □n□□i□ka by the villa□e boys to□□heck that□she i□ not□a Jew. Wo□ld not ri□i□g to t□e c□allenge mean a d□ath sentanc□□　　V□ewe□□after many □e□r□, &qu□t;Birth□Certificate&q□ot; discl□□e□ yet anothe□ q□ality □□□t□i□ no□ prese□□ i□□the □orks□of the Poli□h School,□but □s pro□inent i□ la□er B-class wa□ films. Th□s is the picture of □very□a□□life during th□ war an□ o□cupation outline□ in □he three nove□las. It harmon□ses wi□□ th□ logi□ of sp□aking ab□ut &q□ot;life□after li□□". Small □eroes o□ Roz□□i□□ sudd□nly enter the r□ality □f war□□with no□□xperience or□scale□w□th □hic□ □□ compare it. F□r th□m, th□□pre□ent is a n□tur□l extension of and a□ the same t□me a complete negat□on of the □ast. Consider the□s□e□y small-t□□n ma□k□t□lac□, through □hich armoured c□□umns□will shor□□y pa□s. Or □eet □he □□rman □otorcycli□ts, □ho look □ike aliens from ou□er s□ace □ a pict□□□□taken□from an□autopsy b□cause□this is how□Stanislaw a□d T□duesz perce□v□d the first□Germans t□ey ev□□ □□t. Note □he blurred si□□ouettes of p□□ple□□gain□□ □□w□ite wall who□ar□□being shot - at first they are shocking,□but soon t□ey will probably □ecome a part of the grim□la□ds□ape□ In the city cen□r□ □ta□□s a□pri□on□r camp on a sod□□n bog (&□uot;Peop□e peri□h l□kes □lies; the bod□es are tra□sported □u□i□□ the n□gh□");□in th□ s□reet th□□childern are running aft□r a co□l wago□ to collect □ome precio□s piece□ of □u□l□□There'□s a □□s□le □rou□d□s□me fo□d (a boy□r□pro□ches his younger brot□er's a□tions by□□inging: &qu□t□□□e w□rrant off□□er's son is□begging in front□of the□c□ur□h?□I'm □oing to □ell m□ther!&q□ot□); a□d□the kitchen□ which one evening be□omes the proscenium of a rea□□□ra□□. An□ the□e are the □ymbols: a ba□ of□cho□olat□ forced upon a boy by a□Weh□macht □oldier □&qu□t□On t□e Ro□□&qu□t;□;□a pair of shoes b□longin□ to Zbyszek's□f□□□er which the bo□ spontaneously gi□es□to a Russi□n fugi□ive□ a priceless□slice of bread, □rou□d  un□□r t□e □eel of a policema□ in the guter ("□etter□ from the C□m□"□)□ □□ t□e director put it: "In every□film, I□communica□e m□ ow□□vision of the □orl□□□nd of□th□ people□ Only then th□ □tyle f□□□ows□ □h□ defined way □f exper□e□□□ng things.□q□o□; In Bi□th □e□t□fica□e, h□ □dds□ □is□a□□roach was driv□n by the su□jec□: &quo□;I □ttemp□e□ to□c□e□te n□t only the textu□□ o□ th□ do□u□ent□□ut also to add some po□□□c element. □ k□ow □t i□ risky but a□ for t□e merger □f do□umentati□n and poet□, often h□dd□n ve□y d□ep, if only i□□m□nage□ t□ ma□e its way □nto□the screen,□it□results in what can refe□r□d□to as &#□9□art'□&quo□;　(🉑)　Aft□r□1945□□there were □umerous films created in □urope t□at □□alt with war and children, i□cluding &□uo□□Somewhere in □u□ope&q□ot□ ("□□al□hol Europa□an", 1947 by Geza Radvanyi),□"Shoeshine&q□ot; □&□uo□;Scie□cia", 1□□6 by□Vittorio □e □ica),□a□d &□uo□□Child□ood of Iva□&□uot; (&quo□;Iwan□wo die□□□wo&qu□t; by An□riej Ta□□owski). Yet ther□□were fewer □han □ne w□uld□expec□. Pursuing a sub□e□t so imbued with sentimentalism re□□ire□ stylistic d□s□pline and a s□e□ia□ a□□□ity □o manage□child ac□□□s.□The au□hor of □qu□t;Birth□C□rtifi□□te&quo□;□ma□□er□d both - and □t was□□ot by chance. □tanislaw R□z□w□cz was always □h□ benefic□nt s□irit □f th□□fi□m m□□ie□; he could uni□e peop□e around a□□□mmon go□□. He □manated peace and □ensit□vity, which f□owed to □is co-work□□s and□pupil□. A□fi□m, be□ng a grou□ work, □ecessitates so□e□f□rm of□empa□□y - tuning i□ with oth□rs.　　(💞)In □ biographical documen□ary ab□□t St□nislaw Roze□icz en□itled□"Wa□king□□□eet□ng" (1999 b□□Anto□i □rau□e), □□ere is□a beau□if□l scene when the□□irec□or, after □ fe□ dec□de□, meets Beata Ba□□zczew□□a, who □lays Mir□czka in t□e □o□ella &□uot;D□□ps o□ Bloo□"□ The woman fal□s into the□arms □f□□h□ elder□y m□n□ They a□e both moved. H□ wonders □ow many years ha□□ □ass□d. □he a□swers: □quo□;A □ew yea□s. Not too many.&qu□t; □nd Ro□□wicz, wi□h hi□ charac□eristi□ sm□le says: "It is tr□e. W□ spent this□entire time together.&q□o□;

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