《托尼斯科特导演》

伟大的□□大师(🏻)霍元甲在拜师学艺之际(😶)不小心误入了时□隧道，从清(🐛)朝穿越到(🛐)了□代。□换星移之中，困惑而又□惘的□(☔□元甲遇见了阿国、小(💾)胖子和阿国等善良的□□们□在孩子们的帮(🥙)助下，霍(🤸□元甲逃脱了来□秘密探员(⏱)的□捕，□仅如此，阿国还将霍元□□回了家□　　让□□甲(👓)感(🥥)到震□(□)的是，阿国□爷爷□然□□武门的第五□传人，而精武门的创始人□是霍(□)元甲本□，而霍□甲穿越时空之□(🍕)□还尚未创立精武门。在□燕的哥哥的帮助下，霍(🐃)元甲重新找到了时光隧□的□口，然而在误打误□之中，阿国和□胖亦随□时光隧□返回了清朝。利用□代世界里□种种机能，阿国和小(🙅)胖在□□场□挫败了敌人嚣□➕)张的□焰。In 19□□, □tanislaw Roze□i□□ creat□d the □ovella film &□□ot;B□rth C□rtifi□ate" i□ co□pera□ion with□h□s br□ther, Tadu□sz Rozewicz a□□screenwriter. Such brot□er tande□s a□□ ra□e i□ the□history □f □ilm b□t□aside from□family□ties, Stani□l□w□(□orn □n 1924) and Taduesz (bo□n in□192□□ were□mutually bound□by thei□ lo□e□for t□e ci□ema. They were □or□ a□d grew up in Radom□k,□a sm□ll t□wn w□ich□had□&□uot;i□s □admen and its sa□nts" an□ most impor□a□ly, the "□K□nema&q□□t; cinema, as Stanislaw recalls: f□r h□m cinema is "□heaven, the wh□le□worl□, en□□a□tment&□uot;. Tadeu□z says □e conside□s cinema both□a c□armin□ market st□ll a□d a mysterious temple. "□All□this sa□□ge land h□□ a□wa□□□attracted and□fascinated □e□"□he says. "□I am devou□e□ by cin□m□ □nd I devour cin□ma; I&#□□;m a □inem□ eater.□□uot; □ut Tad□esz □ozewicz, an e□□□ent w□iter□ ad□its□this unique fo□m of □oo□erati□n was a □roblem to him□ &quo□□It is t□e□□□esence of t□e other p□rso□ no□□only in □h□ pr□cess □f writing, but at□its very□cor□, w□ich is inserperabl□ for me f□om abs□l□te sol□□ude.&qu□t; Some scenes□□he□□rothe□s wrote together; others w□□□□cre□ted b□ the wr□ter himse□f,□□ollow□ng discus□ion□ □ith the di□ector. But from□the per□□ective of time, i□ is□"□Birth Ce□tificate", rather th□n "Ech□" □r "The W□cke□ Gate&q□ot;, that Ta□uesz□desc□ibes a□ his □□st intimate fil□. This is understand□ble. Th□ tradgey from□September 1□□9 i□ Polan□ was □or □he Rozewicz brothers their pe□s□nal "b□rth□ce□tifi□a□e&quo□;. When wo□k□ng on the film, t□e director said □quo□□This □□m□□it is all about shaki□□ □ff, getting □id□of □he psychological□burden w□ich the war□was□fo□ all of□u□□ ... Cooperatio□ wi□h □y bro□her was □n this case ea□ier,□as□we sh□re many □□r mem□ries. We wanted to□sh□□ to□a□ult viewers □ pic□ure of war a□ see□ by a child. ... In □ea□ity,□it□i□□the adults wh□ cr□ated□t□e rea□ world □f □assacre□□ Childre□□be□e□d the horrors□comin□ ba□k to life, exhumed f□om □□der□eath the□ground, o□e□whelming th□□earth.&□uo□;　　The princi□le of composition of &□uo□;Birt□ Certificate" is n□t obv□□us. □he□ □atching a novel□a f□□m, we tend□to think □n te□ms of traditi□n□l□□hea□□e□ We e□□e□t □hat□a mini□tur□ story wil□ finis□ wi□h□□ sha□p point; the three film novellas in Ro□ewi□z□;s w□rk lack this□featur□.□We□do not know what w□ll be happen□to t□□ boy □aking h□□ a□one th□ough□th□ for□st □owa□ds th□ □nd□of □qu□t;O□ t□e Road". □e do not□know w□e□her□i□□"Le□□e□□from the Camp&qu□t□□□the help offered by the small □□r□□s to□a □o□ie□ □risoner w□ll r□scue him from the unkn□wn fate of□his compatrio□s. The fate of the Jew□sh □□rl from "□rop of Bloo□&quo□; □s a□so uncle□r□ Will she k□ep he□ new □mp□rsona□io□ a□ "Marys□a Malinowska&qu□t□? O□ will the Nazis mak□□her into a r□presentative of the□"No□dic race"? Tho□e questions we□□ aske□ by the d□rect□r □□r a reas□n. He prece□ve□ war a□ chao□ and □e□dition□ an□ not as□lin□ar□h□story that could be □ef□ect□□ in □ plot.□□lt□ou□□ □q□ot;Birth Certifi□ate" is sat□□ate□ w□□h moral c□ntent□ it does□not a□m□to be a□morality play. B□t wit□□t□e imm□nse pr□ssure □f realit□, no □ari□□t□of fat□ sho□ld be excl□ded. This □pp□oa□hed can be □ompar□d wth Kr□ysztof K□eslows□□□;s &□uot;Blind □hance□quo□; 25 y□□r□ later, which □ictured dra□a□ic ch□ice□ of a d□ffe□en□ era.　　T□e film no□ell□ □quo□;□n□the R□ad&□uot; has a ver□ sp□rin□ pl□t,□but it□d□ew sp□□ial attention of the □evie□ers. □h□ om□na□ing overtone of the□war fil□s crea□e□ by the Polish□Film School at □hat time□should□be kept in mind. Ma□nly □□□□g to □a□da, those □ilms d□al□ with rom□ntic heritage□□Th□y we□e permeate□ with p□t□os, bi□t□r□e□□, □□d ir□□y. R□□ewicz is an extraord□□□ry artis□. When narrating a s□ory about a boy□□ost in a wa□ z□n□, carry□ng some docum□nts from the re□iment □f□□□e □s if they were a tr□asure, the narrat□□ in &□uot;O□ th□ R□ad□quot; □is□overs□□□ugh □rose w□ere o□e shou□d fi□d poetry. A□d suddenly, the i□rat□o□al touches this rather ta□e world. □he boy, wh□ until □hat□mome□□ resemble□□□ P□lish ve□sion of the□Go□d□□oldier Schweik,□sets off, li□e□□on Qu□x□te,□for his first a□□ last □a□t□e□ A□critic described it as □qu□t;an absu□d□□estu□e and someon□ else could surel□ u□e it to □ri□icise the Poli□h style □f dy□ng. ...□B□t □he Rozewicz brothers d□□n□ accu□e: t□ey□□n□y com□□s□ an e□egy for the □ic□uresq□e peas□nt-soldier, □robab□y □h□ m□s□ imp□rta□t veteran of the □olish war of□1939-1945." &□uot;□□rt□ Certi□icate□quo□; is□no□ a l□fty□s□□tement about national imponde□abili□□ The□□ilm reve□ls a plebei□n□perspe□tive which A□e□s□nder Jac□i□q□cz □nce contras□e□ □it□ those &q□ot□lyrical la□ent□tions&q□ot□ i□herent in □h□ Kordian tradit□on.□Howe□er, a hist□rical o□erview of □ozewicz's □□rk s□□ws□t□at □h□ d□st□nctive style □oes not□sig□ify□a fundamental diff□rence in□illustrating □h□ Po□is□ Septem□er. Just as the memorable □cene fr□m Wajda&□39;s &quo□□Lotna" was i□ fact an □□pression□of□desp□ration and d□□tress, the same em□tions per□□ate t□e final□scene of &q□□□;B□r□□□C□rtificate". □hese□□re n□t ideologica□ co□cepts, though once descr□bed as □uch and f□rv□ntly debated, b□t ra□h□r□psyc□ological cr□□ti□ns. I□ □hi□ specific c□se, observes□Witold Zal□□□ki, i□ is no□ abo□t ma□ifesti□g kn□g□□ly p□□d□, but a□□□t a gestur□ of a si□pl□ man □ho do□s□not□agre□ □□ be en□lave□.　□The nove□l□ □quo□;Drop □f□Bl□od&q□ot;□is□ □i□h Al□ksander Ford's "B□□□er Street□quot;, one □f th□ □□rst narrations of th□ fat□ of□the P□lish Jews during t□e Nazi oc□upation. The st□r□ abou□ a girl literally l□oking f□r her place □n□ea□th has □ □ram□□i□ dimension.□Especially□□n□the age □f t□da□'□ □o□rnalistic d□sputes, o□te□ manipulativ□, lacki□g in □m□athy and im□□□d with□ba□ □ill,□Rozewicz&□39;s □tory from □he past shoc□s wit□ □ts a□then□icity. The □mall h□rion□ of the s□ory is the □nly□one wh□ survive□ a G□rman rai□ □n□□er family □□□e. □hysic□l survi□l does no□, how□ver, me□n a retu□n t□ nor□a□ity□ □er frightened□de□arture□from□t□e rubbish□dump that was he□ hideout □e□□□he□ to a ru□□ed a□□rtmen□. H□□ wal□ around□it i□ painful because stil□ fresh□sign□ □f life are mixed with □vide□ce of □nnihilation. Help is needed, but□Mirka does not □now□□nyo□□ i□ □h□ ou□□id□□worl□. He□ □ubsequent □ttempts ex□ress the stat□ o□ □□e□fugit□ve□#39;□ spi□i□s - from□hope a□d faith, moving □□ □oubt, a sense of □pp□ession, and t□ickening fear, an□ finall□□t□ de□pair.　　At□th□ sam□ ti□e, the Jewish girl&#□9;□ sea□ch for refuge rese□bles□the sta□e□of□P□lish society. The app□arance of□Mirk□□result□□□n c□nf□□ion□ □nd later, trouble. Thi□ was al□eady si□nalle□ by Roz□wicz in an e□cep□iona□ scene from &□uot□Letter from □he Ca□p" in which the boy&□39;s□ne□gh□our, seeing a fugitive □us□ia□ soldier, □et□eats□im□edia□el□, admitting□t□□t □quot;Now, peop□e worry □□ly □bou□ themselves.□quo□; Such emb□rassi□g excuses mask fear. □uri□g the□occupatio□, no one fe□ls safe□ Nei□her social st□tus □ot the aegi□ o□ a charity orga□i□ation □□ote□ts against□re□□□ssi□n□ We see the pot□ntial guard□ans of□M□rka pa□s□□g h□r□back and forth □mong□□□e□selves.□The□e are fr□endly□hands but they cannot offer□st□□ng suppo□t. The story □akes place o□ t□□t thin line bet□□en solidarity□□nd herois□. Solidarity arises spo□ta□eously□□but only so□e ar□ capab□□ of heroism□ Help for the gir□□does not □lw□ys result fr□m compassion; s□metimes it is based □n p□st relat□ons and perso□a□ □i□s (a neig□□our □f□the d□c□or □akes i□ the fu□itive for a□few day□ b□c□us□ □f□past□friendship). Roze□ic□ por□rays a□l of this □n a subtle way; even the □malle□t ge□□u□e □as □ignificance. □ake, fo□ □xa□pl□,□the c□nversatio□ with □ stranger on the tra□n: short, □s if jo□□ed down on the mar□in, □□t so□□□ll□□□ tensi□□.□A□d ear□ier, a□pecu□iar ex□m□□ation of P□□i□hne□s: □he "Ho□y □ath□r&qu□□; pr□yer f□r□e□ on Mirk□ by □h□ village boys □o check t□at she i□ n□t□a J□□.□Wo□□□□not rising to the ch□□lenge □ean a dea□□ □□ntanc□?　　V□□wed af□e□ ma□□ years, &□uot;□irt□ Certificate"□ discloses□y□t another quality that □□ not □r□sent i□ the □□rks of the Po□ish □choo□, but is prominen□ in l□ter B□class war films□ This i□ □he pi□ture □f everyday□l□fe □uring the war a□d occupation ou□l□□e□ i□ □he three novellas. It harmonises with th□ logic of □□ea□□ng abo□□□&qu□t;life a□te□ li□e&q□ot;. Sm□ll he□oes of Rozewicz suddenly enter □h□ reality of war, wit□ □o exp□□ience or□sc□le wit□ w□ic□ t□ compare it. For □□em,□□he pre□ent is a nat□ral ext□nsion of and a□ the sam□ tim□ a compl□te □ega□ion of□th□□past.□Consider the sleey sma□l-town marke□□lace, t□rough which a□moured column□ will □hortly pass.□O□ m□e□□the German motorcy□lists, who l□o□ li□e aliens f□o□□o□ter space□- a p□□ture taken from an □utops□□because thi□□is how S□□n□□law and Ta□uesz perceiv□d□the□fi□s□ Germans t□ey □ver m□t. Note t□e blurred si□h□uettes □f people against□a white wa□□ who□are being sh□t - at f□rst they are shocking, but s□on they will probabl□□become□a part of□the □rim □□ndsc□p□□□In th□ □i□y□centre □tands a□prisoner camp on a sodden□bog (&qu□t□Peop□e p□rish likes flie□; the□□od□es are trans□□rted during □he□night"); in th□ street the □hildern a□e run□in□ after□a coa□ wagon to co□lect some□prec□o□□ pie□e□ of fue□. Th□re'□□□a□bustle around some □ood (a boy□re□r□a□hes his young□r brot□er'□ ac□ions by □in□ing:□"□The□warrant □□ficer's son i□ be□ging in fron□ of □he c□ur□h? I'm going to t□ll□moth□r!"□); and the k□□chen, which one □vening be□omes t□□ pro□ceniu□□of a real drama. And□□here are the symbols:□a bar of chocolate forced up□n a boy by a Weh□mac□t□soldier ("On the Roa□&qu□t;); a p□ir of sho□s belongin□ to Zby□ze□'s father wh□c□ the□□□y sponta□eously gives□to □□Russia□□fugitive;□a □riceless slice□of b□ead, □round &n□sp;under the he□l o□ a□p□licem□n in □□□ gu□□□□(□quot;Letters from□th□ C□mp&quo□;□. □s the direct□r put it: "In every fil□□ I communic□te my □wn visi□n □f the wor□d and of □he peop□e. Only the□ the s□yle fo□□□ws, the defined way of □xper□enci□g □hi□gs.□qu□t□ □n Birth Cert□ficate,□□e □dds, his □ppro□c□ w□s drive□□b□□the sub□ect: "I□attempt□d to cre□t□□□ot only the texture of the □ocument but also to □d□ s□me poetic element. I kno□ it is r□sky but as f□r the merger□of docu□enta□i□n an□□poety, o□ten hidd□n v□r□ d□ep,□i□ o□ly it mana□es□t□ □ake its way onto th□ s□re□n, it□results in what ca□ ref□r□ed to □s □#39;□rt'.&quo□;□　After 1□45, the□e were numerous□□i□ms cr□ated□i□ □uro□e that deal□ w□th war□and □h□ld□en, includ□ng "□□□mew□ere in Eu□ope" (&q□ot;Valahol □uropaban", 1947□by Geza □advanyi), &q□ot;Shoe□□ine&qu□□; □"S□ie□□□□□quot;,□1946 □y Vitt□□□o de S□□a), and "□hildho□d of□Ivan" □"□wa□owo d□etstwo" by Andriej□□arkowski).□Ye□ t□ere □e□e fewer□than one would□expect□ P□rs□in□ a sub□ect so imbued with sentimentalism□requires styl□s□i□ disiplin□ and a special ability to m□na□e chi□d actors□ T□e author o□ □qu□t;Birth□Certificate□□uot; maste□ed b□th□-□and□it was not b□ cha□ce. □tanislaw □□zew□cz was always th□ benefice□□ sp□rit□of the film milieu; he co□ld□u□it□ p□ople arou□d a common □oal□□He e□anat□d□pea□e and sensitivit□□ wh□ch fl□we□ to his co-□ork□r□□a□d pupils□ A f□lm, b□i□g□a □roup □ork, nec□ss□tate□ s□me form of□e□pathy□-□tuning in wi□h ot□e□s□　□In a biographical doc□□en□ary about S□anislaw Roze□□cz enti□□ed "Wa□king, Meet□□g□quot; (19□9 by An□on□ Krauze)□ there is a beauti□□l sc□ne when the direct□r, □fter □ few decades, me□ts Beat□□Bar□z□z□□s□□, who□plays □□reczka in the □ovel□□ &q□o□;Drops □f Blood&qu□t;. The wo□an falls i□to □h□ arms of the□elderly man. □h□y are both moved. He won□ers how man□ years□have pa□sed□ She answers: &qu□t;A few□years. No□ too many.□quot; And □oz□wi□z, with h□s □haracteristic□smile says: "It□□s true. We □p□□t□this entir□ time together□"

《大奉打更人》是一部由卖□小□□所著的修真小说，□2020年11月1日出版。故事讲□了现代警校生男主角穿越到□侠世界□成为一名□叫许七安□□更人。他利用现代侦□(🗳)技能和科学知识，□功破获了许多离(⬇)□案件，...

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