《法海终于把白素贞日服JH》

In 1961, Stanislaw Rozew□c□ created □he novella film "Bir□h Certificate"□in co□peratio□ with his brot□er, Tadu□sz Rozewicz as□□creenwrit□r. Such brother t□ndems are rar□□in th□ □istory o□□fil□ but aside from famil□ t□es, □tanisl□w (born in 1□□4)□and□Taduesz (born in 1921□ were m□tually b□un□ by□the□r □ove□for the□□inema. They were b□rn and g□e□□up in R□domsk, a small t□wn □hich had "i□□ madmen and its sa□nt□&□uot; and □ost i□□ortanly□ the□"□inema&□uot; cinema,□as S□an□slaw rec□lls:□□or h□m cinema i□ "□eave□, the□whole wo□ld□ enchantment□quot;.□Tadeusz say□ he conside□s□cin□ma□b□th a cha□ming ma□□et stall and a mysteri□us t□mp□e.□&□□ot;All thi□ □avag□ land has□a□wa□□ at□□acted□and fasci□at□d□me," he says.□"I am devoured by ci□ema□and I d□vour□□inema; □'□m a ci□□ma eater." B□t Ta□uesz □oze□ic□,□an e□inent □riter, admit□□this un□que form of □ooperation wa□ □□□ro□lem □o him: &quo□;It i□ the prese□ce o□□the other□person not□□nly □n the process □f □riting, b□t at its□very □ore□ □hich is inserperable f□r me from a□s□lute □oli□ude.&qu□t□ Som□ sc□nes th□□□rothe□s wrote tog□ther; others wer□ c□ea□□d □y □he □riter hi□self, follow□ng discus□ions with the d□r□ctor□ But□□rom t□e p□rs□e□tive of tim□, it is □quot;Birt□ □erti□ica□e", rather t□an □□u□t□Ech□□q□ot; or□"T□e Wick□□□Gat□", □hat Taduesz□d□sc□ibes as h□s mos□ int□mate film. Th□s□is□unders□an□ab□e.□T□e tradgey from Septemb□r 1939 □n P□land was for the R□zew□cz b□others□th□ir perso□al "birth□certificate&quo□;. When work□n□□o□ the □ilm, the d□□ector said □quot;□his time it is □ll about sh□king o□f, gettin□ □id of the□psych□logical□burd□□□which the □ar was □o□ a□l of us. ... Cooperation□wit□ my brothe□□wa□ in this□□ase ea□ie□□ as w□ share ma□y w□□ mem□ries□ We □anted t□□s□ow to □□ult viewers□a□picture□of□wa□ as seen by a □hild. ..□ In r□a□ity, i□ i□□the□adults who creat□d□the re□l□□orld of ma□□a□r□□. Children behe□d the □orrors c□ming ba□k to l□□e, exh□med□fro□ underneat□□t□e ground, over□□elm□n□ the ea□th.&quo□;　　T□e principle of compos□tion of "□ir□h Cer□ificate"□ is not obv□ou□.□□hen□watchin□ a novella fi□m, we □end □o think in□terms □f traditional □heatre. We expect□that a miniature s□□□y will finish with □ s□a□p □oint; the t□re□ film□novellas in Rozewic□&#□9;s □ork lac□ this □e□tur□□ We do not know what w□ll be hap□en to□the□b□y□□akin□ his □lone □hrou□h th□ f□rest t□w□rds th□ end □f "O□ the Road&q□ot;. □e do not kno□ whether□in □quo□;L□tt□r from the□Camp&q□ot;,□t□e □□lp offere□□by the□□□all heroes to a □□viet □ri□oner will □escue h□□ fr□m t□□ unknow□ fate of□hi□□compatriots. The□f□t□ of the Jew□sh□□□rl □rom □□□ot□D□□p of Blood&q□ot□ is□also□u□□lear. W□l□ she ke□p her new i□perso□at□on□as "Mary□□a Ma□inowska&q□□t;? Or wil□□□he Nazis make□h□r □nt□ a□represent□tiv□ of the &q□o□□Nordic r□ce□quot;? Those que□tions □er□□asked □y the direct□r for a rea□□n. □e preceived □ar as□c□aos □nd □er□ition, and not a□ linear history that □ould□□e□r□flecte□□in a□□lot. □l□hough "Birth C□rtificate&q□ot; □s satura□ed □ith □oral □ontent, i□ does not □im□to b□□□ □orality pl□y. But wi□h t□□ immense pressur□ o□ reality, n□ varient of fa□e should be e□cl□ded. Th□s □□pr□ached can b□ □ompared wth□Krzy□ztof □□esl□w□ki&#□□;s &q□□t;□lind Ch□n□e&□uot;□25 □ears later, which□pictured□dramatic choic□s□of a d□fferent □ra.　　The film nov□□la "□n the □oad&qu□□; has a very sp□rin□ p□ot,□b□t i□ drew □pecial attention □f the reviewers. The ominati□g overtone□of the □ar fil□s crea□ed by □he Polish Film School at □ha□ □ime□should be kep□□i□ mind□ Main□y owing to Wajda,□t□ose □i□ms de□lt with rom□ntic her□tage□ They w□r□ permeated wi□h pa□h□s□ bitt□□ness, and iro□y. □ozewicz is an e□traordi□□r□ artist□□Wh□n na□rating a sto□y about □ boy lost□i□ a war z□n□, carrying some documen□s from the□regime□□ □ffic□ a□ □f they □ere a treas□r□, t□e □□□ra□or i□ &qu□t;On□the Road"□□disc□ve□s □ough p□ose wh□re one s□ould fi□d p□etry. □nd sud□enly, the irr□tional touches t□□s rather tame world□ The boy, w□o unti□ th□t mo□en□ □e□embled a □□□ish□ver□io□ of □h□ Good So□dier Schwei□, set□ off,□lik□ Don □u□x□te, for□his first□and las□ battle. A □ritic□described it as "an absurd gestu□e and so□eone□else coul□□s□rely us□ it t□ c□iticise the Polish s□yle of dying. .□. But the Rozewic□ brother□ □o no a□□use□ they o□□y compose an □legy □or□the □icture□qu□ peasant-soldier, probably the mo□t□important□vetera□ of the□Po□ish □ar of□19□9-19□5□&q□ot; &q□ot□Birth Certific□te" □s not a lofty □t□□ement a□out nation□□ imponderabili□□ T□e □ilm reve□ls a plebe□an □erspectiv□ which□Aleksander J□cki□q□□z once contrasted w□□h t□ose "□yri□al lam□ntations&quo□; inheren□ in the Kord□an□tradition. H□wever□ a historical o□ervi□w of□R□z□w□□z□#39;□ wo□□ sho□s tha□ th□ distin□tive□style does no□ □ig□ify □ fun□am□ntal dif□erence in il□ust□ating the□Po□ish□Sep□embe□.□J□st as the m□mora□□e scene □□om Wajda□#39;s "□Lot□a"□was in f□ct□an□expression □f de□peration and dist□es□, the same emotions permeate □□e fin□l scene of "B□rth Certi□i□ate". T□e□e are□not id□ologic□l□concepts, thou□h □□ce d□scri□ed a□ such□□□d f□rven□□y deba□ed, but ra□her ps□□holo□i□al □reations. In □his sp□□□fic case, ob□erves Witold Zalewsk□, it i□ not ab□ut manife□t□□g k□ightly pride, but□about a ge□ture of □ simple man who d□es□not □gree to□□e enslaved.　　The□□ovella &q□ot□D□op of Blood" □s, with□Al□ksander Ford&□39□s□&□u□t□Border S□reet", one of the first□narr□tions □f the□fat□ of the□Poli□h Jews during□the □azi occupa□ion. The□□tory □□ou□ a □ir□ lite□ally l□oking for her pla□e o□ eart□ has a dramatic dimension. Especially in th□ age□of tod□y□;s jour□alis□ic disputes, often manipul□□ive, lacki□g □n empathy a□d imbued with bad wil□, Rozewi□z's story from□th□ p□□t shocks with its□a□thent□□i□y. T□e small □erione of the story □s the only o□e wh□ su□vive□ a Ge□man□raid□on her □amily h□me. Physi□al sur□ial does not, □owev□r, m□an□a□retur□ to nor□ality. H□r frigh□ened dep□□ture f□o□ the rubbish □□mp that was□□er hideout lead □er □o □ ruined apartment. Her walk a□ound□□t i□ p□in□ul b□c□use still fres□ □□gns o□ life□□□e mixed□with evidenc□ of a□ni□ilation. □e□p□is n□□ded□ but□Mi□k□ doe□ not k□ow anyone□□n the outside worl□. Her □ubs□q□ent attem□ts e□□ress the s□a□e of□t□e fugitive&#□9;s □pirits -□from hope and faith, moving to □oubt, a sense o□ opp□essi□n, and□t□□□kening fear, and final□y to des□air.　□⏸)　A□ the□same time, the Jewish□girl&□39;□ searc□ for re□uge res□mb□es □he state of Polish soci□ty.□□h□ appearance□□f Mir□a results in□co□□usion,□and la□er, trouble. Thi□ was □lread□ sig□a□led by Rozewicz in an exceptional scene □□om□&quo□;Le□ter from the□Camp&q□ot; in which the boy's□neig□bo□r□ seein□ a □ugi□ive Russian□sol□ier□ ret□eat□□immedi□te□y, admitting that "Now, people worry on□y□about t□emselves.&q□ot;□S□ch □mbarassing excuses mask f□ar. During the occupation, □o one feels safe. Nei□her soc□al □tatus not□the aeg□s □f a c□a□ity orga□isation pr□t□c□□ aga□ns□ □epr□ss□on. We see the potential gua□□ia□s of□Mi□ka p□ssing her back and forth amo□g themse□ves. □h□s□ are friendly□hands □ut □hey can□ot□offe□ stron□ support. □he s□ory □akes plac□ o□ that thin line bet□een □olid□r□□y an□ heroi□m. □o□idarit□ a□ises spontaneously, but only □ome ar□ capable of heroi□m. Help for the girl does not□always re□ul□□f□om□compas□□on; someti□es it □s ba□ed□□n past rela□i□□s and pers□nal□□i□□ □a □□ighbou□ □□ the d□cto□ ta□es in the □ugiti□e for a few□days □ecause □□ p□st fri□n□ship). Roz□wi□z □□rtrays all of t□is in a □ubtl□ way□ even the□sm□lle□□□g□sture has si□nifica□ce□ Take, for example□ □he□conversation wi□□ a stran□e□ on □he train: sho□t, as if jotted d□wn on the margin, □□□ s□ full of □en□ion. And earl□□r□ a □e□uliar□e□a□in□t□on of Polis□nes□: the □qu□t;Holy Father&q□□□; p□aye□ forced on M□rka by t□e villag□□boy□ to check that□she is □ot a Jew. □□uld not ris□ng□to □he □hallenge m□an a d□ath sen□□nce?　　Viewed af□□r many□years, □quot;Birth Certi□ic□te&q□ot□□discloses yet□an□ther □uality t□at i□ not p□es□nt in t□e works of the Polish Sch□o□, b□t i□□promine□t in later B-class □□r□fil□s. This□is□□he pi□□ure □f □v□□□day life dur□□g the□war and occup□ti□□ o□tlined□in □he thre□ n□vellas. It harmonises □ith the □ogic□of s□eaking about "□ife afte□ □ife□qu□t;. □ma□l heroes o□ Rozewicz sudde□ly enter the re□li□y of□war□ w□th no expe□i□nce o□□sc□le with which to c□mpa□e it. For □h□m, t□e p□esent is a nat□ral□ex□□nsi□n of a□d□□t □h□ same □i□e a□complet□ □□g□t□o□□o□ the pas□.□Consider th□□s□eey sma□l-town□marketplace, through whi□h ar□□ured columns will shor□□y□pass□ Or mee□□the Ge□man□motorcyc□ists, who lo□k like a□□ens f□om□ou□er □pace - a pictu□e taken from an a□topsy b□cause□this is h□w Stanislaw and Taduesz □e□ceived the first Germans they ever me□.□Note t□e□blurred silhou□ttes of peo□l□ against a wh□te□wa□l who are being □h□t -□a□□fi□st□t□ey are s□ocking, but soon they will probably □□come a part o□ the□□rim lands□□p□. □n the city cen□re stands □ prisoner camp on a □odden □og (□quot;People□per□s□ li□es flies; □he □odi□s□are transp□rted du□ing the □ig□t"); in □h□ s□re□t the child□rn a□e running □fte□ a coal wagon to c□□lect□s□me preci□u□ p□□c□□ of fuel. There□□39;s a bustle□a□ound some food (a boy□re□□oaches his youn□er □rot□er□□□9;s action□ □y□singi□g:□&qu□t;The □□r□a□□ officer'□s □on□is b□ggin□ in front of the church? I□;□ going to tel□ moth□□!"□; and th□ kitchen, whi□h one evening becomes□□h□ □□□□□enium of a□real d□a□a. And there □re□the sy□bols□ a bar□of chocola□e force□ □pon□a □oy by □ Wehrmacht soldie□ (□quot□O□□□h□□Road");□□ pai□ of shoes be□o□ging to Zbysze□&#□9;s fathe□ which th□ □oy □pontaneously□gives t□ □ Russian fu□itive; a priceless slice□of bread□□g□ound□&n□sp□und□r the h□el of a □□□ice□an in the g□ter ("Letter□ from t□□ Ca□p"). As the di□ector p□t it: &qu□t;In e□ery □ilm□ I comm□ni□ate □y own vi□ion of the□wor□□ and of the people. □nly th□n the □tyle follows, the □efined w□y of exper□encing□□hings.□quot; □n Birt□□Ce□tificate, h□ ad□□, □is a□p□oa□h was□d□iven□by□th□ □ubject: &□uot;I attemp□□d to create □ot □n□y □he □e□ture of □□e document but□also to ad□□some poeti□ eleme□t. I know it is □□sky but □s f□r the merge□ of documentation and □oety, ofte□ hidd□n □□r□ dee□, if on□□ □□ manages to □ak□ its way onto □he□screen, i□□r□sults in what can □eferred to □s '□rt□#39;.&q□ot□　　A□ter 1945, there were num□r□us□films created □n Europe t□□□ dea□□ with war and chil□ren, includ□ng &quo□□S□m□wh□r□ in Europe&□uot; (&q□ot;Valahol Europ□ba□□quo□;, 1□47□by Ge□a R□d□an□i), □quot□Shoes□ine"□(□quot;Sciesc□□", 194□□by Vittorio d□ S□ca), and &quo□;C□ildho□d□of□Ivan&qu□t; (□quo□;Iwanow□ dietstw□" by Andriej Ta□kowski). Yet there□wer□ fe□er t□a□ o□□ would expect.□Pursuing a subj□ct so □□bued wi□h □□ntimentalism requires stylistic□d□□ipline □nd a spec□al a□ilit□ □o manage child actors. The author□□f "□Bir□h Certifi□ate&quo□; □astered□bo□□ -□and it was □ot by chance.□Stanislaw Ro□e□icz was □lwa□s the□beneficent spirit o□ the fi□m m□lieu;□h□ □ould u□□t□ peopl□ around□a common □oal. He emanated p□ace a□□ sensit□vi□y, which□flo□ed to his □o-workers □nd □upils□ A□film, being a group wor□, □eces□itate□□□om□ form of empathy □ □uning□i□ with others.□□In □ biograp□ica□ documentary □b□ut Stani□l□w R□zew□□z□□ntitled "Walk□ng, Meet□ng" (1999□b□ Antoni Krauze), th□r□ is a b□a□t□□ul□s□ene when th□ dire□to□, af□er a few d□ca□es, meets Beat□ Barszcz□wska, who pla□s Mireczka in the nove□la &quo□;Drops of B□oo□&□□ot;. T□e woman fa□ls into the arms of t□e□eld□rly man.□□hey □re both m□ved. He wonders how □any years ha□e□pass□d. She ans□ers:□&qu□t;A few□y□ars. No□ □□o many.&q□ot□ A□d Rozewicz, wit□ his ch□□acter□sti□ smile □ays: □□uot;I□ is□t□ue. We spe□t th□s □ntire tim□ togeth□r."这(🦗)时，□天□□的苏□，带着他的□剑归一，也杀到了。“妙，实在是妙。极限输出□转瞬间施展战□，补充之前被击溃(🗡□的战技，弥□了木属□比较脆弱的(🍻)缺点，尽管对灵力的消□比较□□□是相比木属性□无□斗力来说，绝对是创造性的进□啊(□)。”□声充满□□的淡□声音突然间(⏰)在张□□□边响起，□后，他便是感觉(□)到一只苍劲有力的手直接掐□了(🏎)他的脖颈。

标本□中□版可以通过虫虫助手进行(□)下载。虫虫助(😏)手□供了标本零(➰)中□版的(🐣)汉□版本□玩(💶)家可以在其中□到中□□面(🛍)的游戏□源。虫虫助□□一个免费□□载平台，可以帮□玩家下载各种游戏和应用程□。通过虫□□手，□家可...□/p□□因为□级域□，百度搜索引□会认为是一个独立网站□所以都会□录不想要这效□的话，□要□全□3□1到同一个□🧛)□站上□如果□在同一目录的话□可通过ro□otstxt□件来□制收录

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