《十秒的冲动》

□下来，苏生也将事□的原委简单叙□了一番，但隐去了很多不(🍺)便(🛀□让人知道□事，关(🥥)于朝花团的事，更□□字未提。In□1□61, □tanislaw Ro□ewicz create□ t□e novell□ film "Bi□th Certifica□□" in coope□at□on□with his□brother, Tadue□z Rozewicz□□s □creen□rit□r.□Such brother tandems are rare in□the history of film □ut aside from□f□mil□□ties, S□□□islaw (bo□n i□ 192□) □nd Tad□esz (b□r□ in 1□2□) were mutually b□und by □heir love for the □inema. T□ey were born a□d□grew□up in □□domsk, □ □ma□□ tow□ whic□ ha□□&q□ot;□ts madmen□and □t□□s□ints&□uot; □nd most impo□tan□y, □he□"Kinema&qu□t□ □i□ema, as St□nisl□□ recalls: □□r □□□ □inema i□ "□eav□n□ t□e whole wor□d, □nc□an□m□nt□□□ot;. Tadeus□□□ays □e co□sider□ cine□a□bo□h a ch□rming market □t□l□□□nd□a mys□erious t□mple. &q□ot;A□l this□savage land has always attracted and fascinate□□□□□&□uot; □e □ays. □quo□;I am d□vo□□e□ by cin□ma □nd I□devou□ □□n□ma; I&#□□;m a □inema eater.&qu□t; □□t Tadues□ Ro□ewicz, an □□inent writer, □dmits this □nique form of cooperation was a □□o□lem to him□ &q□ot;□□□is the□presen□e of □he other pers□n not □nly□in □he□pro□ess of wri□ing, b□t at□its□ve□y □ore, whic□ is ins□□pera□le □o□ me from □bso□u□□ solitude." So□□ □cenes□the□broth□rs wrote together; other□ were creat□□□by the □r□te□□hi□s□lf, follo□in□ di□cussion□ with□t□e director. Bu□ fro□ □□e perspective o□□□i□e, it is "Birth Certificat□&□uot□, ra□her th□n &q□o□;Echo" or "T□e Wick□d Gate&q□o□;, that Taduesz de□cribe□ as□□□s m□st intimate fil□. This is un□erstandable. The □radge□ from September □939 in Poland was for the Rozew□cz brother□ their personal &quo□;birth c□rtificate"□□When wor□ing on t□□ fi□m,□□he d□r□□t□r sa□□ &q□ot;This□□ime it is a□□□about □haking□□ff, getting r□d of□the psy□□ol□gical bu□den which the war□wa□ □o□ all of□u□. ... Cooperatio□ □ith my brot□er was in this case easie□□ as □e share many war□memor□es. W□ wan□e□ to show □o ad□lt□□iewers □ pict□□e □f□w□□ as seen by a child. ... In re□lity, it is the adults□w□o creat□□ th□ r□al w□r□d□of □as□a□r□s. □hi□□ren beheld t□e horrors comi□□ back to□life, exhumed□from underneat□ the groun□, □verwhelming □□e ear□h."　　The p□□nc□□le o□ com□osition□of &qu□t;Birth □ertificate"□ i□ not o□vio□□.□When□□atching a novella fi□m, w□ te□□ to think□i□ terms of t□adit□□nal theatre. We expect that a minia□ure story □ill fin□sh with a s□□□p □□int; □he □hree□fi□m no□el□as in□Roz□wicz□;s□work lac□ this □eature. We□do not know □hat will□be□happ□n to the boy making his □lone □hrou□h the□for□st towards the en□ of "O□ the R□□□□qu□t;. We do not kno□ □h□ther □n□"Lette□ □r□m the Cam□□quo□;, the□help □f□er□d by the small heroes□to □□Soviet p□isoner will r□□cue him □rom the unknown fa□e of his□co□pa□□iot□. Th□□□ate□of the□Je□ish□girl fr□m "□rop o□ Bl□od&qu□□□ is also unclear. Will she□□□ep her □ew impers□nation as "Marysia M□linow□ka&quo□;? □r will □he□N□zis make he□□into a repr□s□ntative □f t□e &□uot;Nordic race&quo□;? Those questions were as□ed □y□the director □□r a reason.□□e □rece□ved wa□ as cha□s□a□d perdi□io□, and n□t □s line□r □istory that coul□□be re□lecte□ in a plot. Although□□quot;B□rt□ Ce□tificate" i□ saturat□d wi□h□m□ra□ □on□ent, it do□s not aim to b□□a morality□play. But□□□th □he imm□□se press□re of realit□, n□ vari□nt of fate□should be e□□lud□d. This appro□ched can be □ompared wth□Kr□ys□tof Kieslowsk□'s □quot;B□ind Ch□nce" 25 years later, □hich □ict□red drama□ic choices of □ differ□n□ era.　　The film □o□el□a □q□□t;O□ the Road□q□ot; □as a□v□□y sparing plot, □ut it d□ew□sp□ci□l □tt□nt□on o□ the reviewer□.□The om□nat□ng overtone□o□□the war film□ cr□a□ed by the P□□i□h Film School at th□t time should be□kept i□□m□□d. M□inly □wing to□W□j□a, □h□se films dealt with roman□ic herita□e. □hey □ere per□e□ted wi□□ pathos, bit□erness, □nd irony□ Rozewic□ i□ a□ extraordinary a□□i□□. When narrat□ng a sto□y □bout a b□y □ost in □ wa□ z□ne, c□rry□ng some docume□ts fr□m the regi□ent□office□as □□ they were □□treasure, t□e □□rrator in "□On the □o□d&qu□t; discov□□s rough prose□where one should find□□oetry. A□d sudde□ly, □□e irration□l touches this ra□her tame world. The boy, who until that mome□t resembled a Po□ish□versi□n o□ the□Go□d S□ldier S□hweik, sets off, l□ke □on Quixote, for his fi□st and□l□st battle. A cr□□ic □e□□ribed □t as "an ab□urd gesture□□nd someon□ els□ coul□□surel□ □□□□it□to criticise□the Pol□sh □tyle of□□ying□ ... But the Ro□ewicz□brothers do no□accuse:□t□ey only□com□ose a□ elegy□for□the picturesque peasant-sol□ie□, proba□ly th□ □ost important ve□era□ of □he Polish w□r □f 19□9-1945.&□uot; "Birth Ce□tificat□" i□□not a □oft□ stat□ment a□o□t natio□al imponderab□lia. The fil□ reveals□□ plebeian perspe□t□□e which□Aleksander □ackie□□c□□once c□ntrast□d with □hos□ "lyric□l lame□tations&q□ot;□□nh□rent in □h□ Kord□□□ t□adition. H□wever□ a□historical overview of□Rozewicz&□39;s work sho□s□that the di□tincti□e style do□s not signi□y a funda□ental diffe□□nce in illu□trating th□ Polish Septem□□r. Jus□ □s□the mem□r□ble scene from W□j□a's □quo□;Lotna"□□was in fa□□□an □x□ression of desperation and distress, the same e□ot□□n□ permeate t□e final □ce□e of□"Birth Certificate&□uot;□ The□e ar□ not□ideo□o□ical con□epts, though on□e de□□ribed a□□such□□nd□fer□ently deb□ted□ □□t rather psycholog□cal cr□ations. In t□□s specific case, □bse□ve□ Wito□d Za□ew□ki, it □s□n□t a□out m□n□festing knight□y pr□d□, but about □ g□sture of a simple man□who does □ot ag□ee□□o be en□laved.　　The nove□l□ "□Drop of Blo□d&q□ot; is, with Aleksander Ford'□ "Bo□der□St□eet", one□of the firs□ narrations of □he fate of the Polis□ Jews duri□g the Nazi□occupatio□. T□e sto□y abo□t a gir□ lit□r□lly look□ng□for h□r pl□ce on eart□ h□s a dramatic dime□□□on.□Especiall□ □n the age of □oda□'s □ou□nal□stic disp□tes, □ft□n manip□lative, □ack□ng in empat□y and□i□bued with bad wi□l, Rozew□cz□#3□;s st□ry □rom t□□□past shocks with □ts au□hentic□ty. The □mal□ heri□□e of t□e □tor□ is th□ onl□ one who s□rvives □□German raid on her f□mily home. □□y□ical survial doe□ not□ however, mean a return to norm□l□ty.□Her frighte□ed d□par□□re from th□ rubbish dump that was her□h□deout lead her to a ruined apart□□n□. Her □alk □round it□is pai□fu□ be□ause□sti□l f□esh signs of □ife □re□mixed with evide□ce of ann□□ilat□on. Help is□□□eded, but Mirk□ □oes not know an□one in □he ou□□ide □orld. Her s□bs□q□en□ attempts expr□s□ the□s□ate of t□e fugi□ive□#□9;s spirit□□□ from hope□and □a□th□ m□ving□to □oubt, a sense of oppressio□, a□d thicken□ng fear, and fina□□y to despair□　　□□ t□e sa□□ time, the J□□ish □irl&#□9;s search for refu□□ resemb□es the state of □olis□ □oc□□□y. The□appearanc□ of Mir□a □esu□□□ in confu□□on□ □nd la□er, troub□e. This□was already□□ignall□d □y Rozewicz in an exce□ti□□al sce□e fr□m &□u□t;Let□er from the Camp&□uot; □n w□□c□ th□□boy□;s neig□bour, s□ei□g a fu□itive R□ss□an soldier, r□□reats immediat□ly□ adm□t□i□g□that &q□ot□Now,□p□ople □o□ry only □bo□□ the□selves." Su□h embaras□ing excuses m□sk fear. During the □cc□pation□ □□ □n□ feels safe. Neither soci□l□□tat□s not the aegis of a charity organ□satio□ pr□tects against repress□on. We see t□e po□en□□□l guardia□s □f □irka p□ss□ng □e□ back a□d □orth□□mong themselves□ These ar□□friendl□ ha□d□ but they canno□ □ffer st□□□g suppo□t. The story□takes place on □□at thin lin□□betwe□n □ol□darity and□h□roism. □olida□ity a□ises □po□□an□□us□y, but only some are□capable□o□□hero□sm. He□p for t□e girl does not always res□lt from compa□sio□; so□□□i□es it i□ based □n□□□□t relat□o□□ and□personal ties (a n□ighbo□r o□ the docto□□takes i□□th□ f□gitive□fo□ a few □ays because □□ past frien□ship). Rozewi□z portra□s all □f th□s in a subtle way;□even the smalle□t gesture has □i□ni□icance. Take, □or□exa□ple, □he conversatio□ □ith a str□nger on□the train: shor□, as if jott□d down on the margin, but□so fu□l□of tension. □nd e□rlier, a□pecul□ar exa□ination of □olishness:□the "Hol□ F□ther"□ prayer forced on Mirka by the vill□ge boys to c□eck□th□□ s□□ is □ot a J□□. Wo□□d □ot r□si□g □o the □hallenge m□an □ death se□t□n□e?　　Vi□we□□after many years, &quo□;□irth □ertificate&quo□□ □isclose□ yet another qua□ity that □s not present □□ th□ works of the Polish School,□but is prominent in later□B-class war f□lms. This□is the p□□ture of ev□□yday life □uring t□e w□r an□ occu□□tion outl□n□□ in □h□ thre□ novellas. It ha□monises□with the log□□ of sp□□□in□ □bout &□uot;life a□ter life". Small h□roes of Rozewic□ sudd□n□y ente□ the□real□t□□□f war, wi□h□no experi□nc□ or scale □□th which□□o compare □□□ For them, th□ pre□ent is □ n□□u□al □x□ensi□n of and□at t□e same□time a comp□ete □□gation of □□e pas□. Con□ider the □le□□ smal□-town □ar□etp□ace,□throug□ which □rmou□ed colum□s will short□□ pass□ Or me□□ the□□er□an motorcyclis□s, who loo□ □□ke□□li□ns from□o□□er s□□ce - a pict□□e taken from an auto□sy □ec□use this □s □o□ Stanis□aw and Tad□□sz perce□ved t□e fi□st G□rma□s they ever met. Note the□blurred□silho□et□e□ □f p□ople □gainst a white wal□ □□o a□e being s□ot□- □t first they are □hock□□g,□□ut so□n □hey will probably become a □art of the grim landscape. In□t□□ city centr□ □tands a prisoner □amp□on a sodden □og ("Peopl□ peri□h lik□s □lies; the□bodi□□ are transpo□ted □uring the ni□ht&qu□t;); in the s□reet□t□e c□ildern ar□ □unning af□□□ □ c□a□ w□□on □o co□lect some preci□□□ piec□s of □uel. The□e's□a□bustle aroun□ some food (a □oy □eproaches□his□yo□□ger brother□#39;□□a□tio□s by sin□in□: "The wa□□a□□ officer□;s son i□ begging i□ front o□ the ch□rch? □'□m going□to te□l mother!"□)□ and the□ki□chen, whic□ one evening becomes the prosceni□□□o□ a real□drama. And there□are t□e symb□ls: a b□r of ch□colate□forced upon □ □oy b□ a □□hrmacht soldi□r ("On the Road&qu□t;)□ a p□ir of shoes b□l□n□□□g to Zby□□ek'□s fathe□ wh□ch t□e □o□□sp□n□aneo□sly□□□□es to a Ru□sia□ □ugitive; a p□iceless slice of bread, ground &□bsp;under the hee□ of a□p□liceman in the gu□□r (&q□ot;Letters from the Ca□p&quo□;). □s the director□put it□ □□u□□;I□ every film, I commu□icat□ my □wn vi□ion of □□□□□or□□ □nd of the people. O□ly □hen the sty□e □ollow□,□th□ defined way of experiencing th□□□s□"□ In B□rth C□rtific□te, he□adds, his a□□roa□h w□s dri□en by□th□ subject: "I attemp□ed to create □ot □nly the□textur□ of th□ doc□men□ but als□ to a□d □ome poetic eleme□t□ I kn□w it□i□ □isky b□t a□ for□the m□rge□ of documen□□tion and poet□□ often hidde□ very deep,□if □□ly □t manage□ to□make its □ay □□to the screen□ it□res□lts in what □□n□referred to □s □#3□;art'.&q□ot;　　A□ter □□45, there □ere nu□erous□film□ created in Europe tha□ dealt wi□h w□r□and □hildren, inc□uding □q□ot;□omewher□ in E□rop□&quo□; ("Va□a□ol □uro□a□an&qu□t;, □947 by Geza Radvanyi), "Shoeshine" ("Sciescia",□1946 b□ Vittorio□de Sica), an□ □□uot;Chil□ho□d of Ivan&□uot; ("Iwa□o□o□d□ets□wo" by□Andriej Tarkowski□.□□□t the□e were f□we□ tha□ one □o□l□ ex□ect□ Pursuing□a subj□ct so □mbue□ w□th□□ent□mentalism requ□res s□y□i□t□c disipli□e a□d □ sp□cia□ □bility□t□ ma□age child actor□. The autho□□of □q□ot;□ir□h Ce□t□f□cat□" maste□ed both□- a□d□i□□was not by□□□anc□. □t□ni□l□□□Rozewicz was always t□e beneficent spirit o□ the film m□lieu; he cou□d□un□te people □round a com□□n goal. □e em□nated p□ace an□ se□sitivity□ □□ich flowed to his co-workers and p□pil□. A □ilm,□being a group wor□,□□ecessitates so□e form o□ emp□thy - t□□□n□□i□ with □th□rs.□　In a biographical□□ocume□□ary □bout Sta□□□law Rozewicz □ntitled &□uot;Wal□in□, Meeting&quo□□ (1□9□ by Anton□ □rauze), □he□e□is a bea□tif□l□scene when the director,□□f□e□ a few □ecades, meet□ Beata Barszc□ew□□a, w□□□□l□ys M□□e□□ka □n the novell□ "Drops o□□Blood".□T□e woma□ fal□s into the arms of the e□□erly m□n. The□□are both move□. He wonders how□many y□ars hav□ □□ssed.□She answ□r□: &quo□□A□few years. Not too m□□y."□And Rozewicz, with his□characteristic □mile says: □□uot;□t□is tr□e. We spent th□s e□ti□e time t□gether.□quot;- 金光上人是书中出□的第□个活着□(🚭□修仙者□本人天赋平□，没有□定(🤚)的向□之心，□迷(🔔)人间的荣华富□。其余几人也都□猛的点(□)头，□万山眼看□也吊足了他们的胃口(🦄)，就神秘兮兮地开口道：“你们□，谁会□到在这里会有一□大杀阵，而(🥟)且，还是没人看管的那□？”2006年6月在Ann□cy国际□□电影节上评选出的□动画的世纪·100部作品”第53□□　(💻)　A□□angy cat□o□ □he □erge of□starvation f□nds□a tin□ □anary and a □o□tl□ of '□□um□o-Gro' fert□lis□r, whi□h□g□v□s □im an idea□that leads to gia□t c□ts, dogs, □i□e□and□c□□aries c□asi□□ each ot□er round L□lliputian towns □nd cit□es...

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