《邻家女孩初长成的下一句》

I□ 1961,□Stanislaw Roz□wicz □reated the no□ella film &quo□;□irth□□ertif□□ate" in cooperation with □i□□brother□ Tadues□ Ro□ewicz□as screenwriter. Suc□ b□other tandems are□r□re in the hist□ry o□ fi□m □ut aside f□om family t□es, Stanisla□ □bo□n in 1924)□and Tadue□□ (born in 1921□ □e□□ mutu□lly bound by th□ir □ove fo□ the cinema□ They were□□o□n □nd□grew up i□ □adom□k, a□small□tow□□wh□ch ha□ &qu□t;i□s m□dmen and its saints&quo□; and mos□ impor□an□y, th□ □quot;Kine□a□quot; cinema, as S□anislaw recall□: for□him c□nem□ is &q□ot□heaven, the whole world, enc□□ntment&quo□□. □adeu□z says he con□ide□s □inema □oth a charm□ng mar□et □tal□ and□a my□t□□ious□□e□ple. &□uot;All this savage□land□has always □ttr□cted and fascinat□d me,"□ he say□. &□uot;I am devou□ed by c□nema and □ □ev□ur cinema; I'm a c□n□ma eater." B□t Taduesz □□□ew□cz,□an emine□t writer□ admits this unique f□r□ of c□operation w□s a problem to h□m□ "□t□is th□ □resence of the othe□ perso□ no□ only □n the process of wr□ting□ bu□ □t□it□ □ery□c□re,□whi□h is □nserperable for me from abs□lute□solit□□e.&quo□; Some scenes th□ □□o□her□ □ro□e togeth□r; o□her□ were created b□ the write□ hi□□elf,□following □is□uss□□ns□w□th the direct□r. But□from the perspect□□e □f time, it is &qu□t;Birth Certi□icate&qu□t□, r□the□ □han &quo□□E□ho"□o□ □quot;The □icked □ate", that□Ta□uesz de□crib□s a□ his most intimate film. This □s under□tandable. Th□ tradgey from Septem□er □939 in Po□and was for □he□R□zewi□z brot□ers their pe□so□□l □□□ot;birth certifi□ate&qu□t;. □h□n wo□king on□t□e □il□, the director □aid &qu□t;Thi□ time □t is all about□shaking □ff, gett□ng ri□ o□□□he□psy□ho□o□ica□ burden which the □ar□was for all o□ us□ ... Coop□ra□ion with my b□o□h□r □□□□□n□this □ase e□sier, a□ we□shar□ many □ar memor□e□. We wanted to s□ow to adult vie□ers a pictur□ of wa□ a□ seen□b□ a child. ..□ □n real□ty, i□ is the□adults who□cre□te□ th□ real world of ma□sa□re□. □hildren □e□□ld t□e horrors co□ing b□ck□to life, exhume□ from unde□neath □□e□gro□nd, overwhelming the ear□□."□　□Th□ princi□le□o□ comp□sit□on of &quo□;Birth Certif□c□te&□uo□; is □□t □□v□ous. When w□tching□□ n□□el□a fil□, we tend to thin□ in t□rms of□tr□diti□nal □heatre. We□expect th□t a minia□ur□ story will □inis□ with a s□arp point;□the t□ree film□novellas □n □ozewicz's work lack this feature.□We do □o□ □□ow□wha□ □ill be□happen t□ th□□boy maki□g hi□ al□ne throu□h the□forest towards the e□d □f □quot;On □h□□□oad&q□ot;. We □o not know whether i□□□quot;Let□er □□om the □amp□□□o□;, the hel□ offered by the smal□ □eroes□□o□a Sov□et pri□oner will rescue h□m □rom□the unknown □ate of his compatri□ts. The fat□ of □h□ Jew□□h g□□l f□om &q□ot;Dro□ of Bl□od&qu□t; is□also□un□lear. Will s□e k□ep her□ne□ im□ersonatio□□as□&□u□t;M□rysia□Mali□ow□ka&□uot;? O□ will□the N□zi□ make □er int□ □ represe□□a□ive of□the □quot;Nordic□r□ce"? T□ose questions we□e asked by□the □irector fo□ □ reason. He prece□ved w□r as chaos and perdition□ a□d not as li□ea□ h□sto□y that co□ld be re□lect□d in a pl□t. Although &□uot□Birt□ Ce□ti□icate" is s□turat□d with □□ral content,□□□ does not aim to □e a moral□ty play. Bu□ with the immense□pressu□e of reali□y□ no □arient of fate s□ould be excluded. This app□oache□ can be compar□d □th Krzysztof Kieslow□ki's "Blind Chan□e"□25□ye□□s l□□□r, w□ich p□ctured drama□ic choic□s of a □i□f□□en□□era.　　The□film novella □quot;On the Road&qu□t; ha□ a very□sparing plo□□ bu□□it d□ew s□ecial a□t□ntion of the reviewers□ The□omina□i□g overto□e□of□the w□r fi□ms crea□□d □y th□□Po□ish Film School at □h□t ti□e shoul□ be k□pt in m□nd. Mai□ly□owing to Wajda, those f□lms dealt □□th□r□ma□□□c□heri□age. They w□re perm□ated□□ith path□s, bitterness, an□ i□o□y.□Roze□icz is a□ extraordinary artist. When na□rati□g a story ab□ut a bo□ lost□i□□a war □□ne, ca□ry□ng some □ocuments□from th□□regime□t office□as□i□ the□ w□r□ a t□easure, the narr□tor i□□"On th□ Road&□uot; discovers roug□ prose where one sh□uld find poetr□.□An□□suddenly,□□□e□irrational □o□ches th□s r□ther tame world. The bo□□ □h□□until that□mom□nt □esembled □ Polish versi□n of the Good So□dier□Schweik, s□ts off, l□ke □o□ □uixot□, for h□s □i□s□ □n□ la□t□batt□□. A criti□ de□cribed it as "an ab□urd□ge□□u□e□and som□one else could s□re□y u□e it to crit□cise □he Polish □t□le o□ □ying. ..□ But□the □□zewicz br□thers do no □ccuse: they □nly □o□□ose □n e□egy for the picturesqu□ peas□nt-soldier, probably□the□most important v□□eran of the Polish war of 1939-□945." "Birth □er□ificate□q□ot; is not a □ofty □□atement□about national imponder□bilia. The film□reve□l□ a□pl□beia□ p□rsp□□tive which □le□sander Jack□eqicz □nce contrasted □ith t□□se□&q□ot;lyrical lament□tions" inher□nt □n th□ Kordia□□tra□□tion. Ho□ever, a h□storica□ over□iew of Rozewi□z&□39;s□□ork s□ows □hat the distin□□ive sty□e□□oes □ot signify a□f□ndamental d□ff□re□ce □n i□lustrat□ng th□ Polish Sep□embe□. Just □□ the memorabl□□sc□□e f□o□ □aj□a's "□Lotn□" was in f□ct □n □xpr□ss□□n o□ desperation and d□stres□□ □he same□e□otions per□eate the fin□□ scene of "Birth□Ce□tif□cate".□Thes□ a□e no□ □deo□o□i□al c□nce□□s, though on□e □□scri□ed as suc□ a□d f□rv□□□□y debated,□but □ather p□ychological□creations. I□ this□s□ecific□ca□e,□obser□es □it□□d □□l□wski, it is not about m□n□festi□g □□ightly pride, but about a□gestur□ of a simple □a□ who does not agre□ to b□ en□laved.　　□he no□el□a "□Dr□p of B□□od&□uo□; is, with Ale□□ander Ford's "□or□er Street□□uot;, one□o□□the first nar□ati□ns of the □ate of the □□lish Je□□ during t□e Nazi□o□□upation. T□e stor□ ab□ut a□girl □iterally lo□k□n□ f□r□her place on earth has a□dramatic dime□sion. Es□ec□al□y in □he ag□ of to□ay'□s jour□□listic□dispute□, □ften manipulative, l□□□ing□in e□pathy and □mbued with □ad will, □ozew□cz&□3□;s□story fr□□ the past□shocks with its□authent□city. The small h□rio□□ o□ □he s□ory is□t□e only one who survives a Germ□n rai□□on her family hom□. Physical survia□ does □ot, how□ver,□□ean □□return to n□rmalit□. Her fr□ghtened de□arture□from th□ rubbi□□ □ump tha□ was h□r hi□eo□□□le□d her to a ruined□apartme□t. Her walk around it is □a□n□ul □□□□us□ sti□l f□esh signs□of l□fe are mixed with □□idence of annihilation□ Help is□need□□, but□Mirka does no□ k□ow □nyone□in the outsi□e□wo□ld□□Her subsequent □ttempts□express th□ state of the fugitive's □pirits - f□om hope and □aith, movin□ to doubt, a sen□e of □ppres□ion□ a□d thic□e□ing fe□r, and□□inal□y to despa□r.　　A□ the same t□m□, the □ewish gir□'s search□for□r□fuge □ese□bles the□s□ate of Poli□□ soc□□t□. □he appearance o□ Mirk□ re□ults in confusion□ □nd later, □rouble. T□□s w□s a□ready signall□d □y □ozewicz in □n except□onal scene from "Letter from□the Ca□p" in □hich □h□ boy□;□□neighbou□, seeing a f□giti□e Russ□an□sold□er, retre□ts□i□mediately,□a□□□tti□g that &qu□t;Now, people □orry □nly about t□emselves□&q□□t; Su□h □mba□□ssing ex□us□s □ask fear□□Durin□ the o□cupation, no one□feels safe. Neither socia□ s□atus not the aeg□s□of a charity o□ga□isation protects aga□ns□□re□ress□□□.□□e see the po□□ntial □uardia□□ o□ M□□ka p□ssing her back □nd for□□□among □he□selves.□□hes□ are friendly h□□ds but the□ cannot offer strong support.□□h□ sto□y□ta□es pl□ce o□ t□□□ th□□ line betwe□n s□□□darity □nd heroi□m. Solidarity □rises spontaneously,□but onl□ so□e ar□ capable of heroism. He□p for the girl does not always □esult□from□□□mpassio□; som□t□m□s it is based on past □ela□ions and personal □ies (a□neig□bour of the do□tor takes in the fugi□ive for a□few□days because of past□f□i□ndship□. Roze□icz p□□tr□ys□all□of thi□ in □ su□□□□ way; e□en the smalle□t ges□ure □a□ significance. Tak□, for exampl□□ the conver□atio□ □□th a □t□ang□□ on the tra□n: s□ort□ a□□□f □otted□down on□the ma□gi□, but so □ull of □□□□i□n. And earlier, a peculi□r□exami□atio□ of Polish□□ss:□the□"□oly Fat□e□" p□□yer forced □n Mirka by the□village bo□s □o□chec□ □hat s□e□is□n□t a Jew.□Would□not rising to the challe□ge mea□ □ de□th sentance□　　View□d aft□□ man□ years, &quo□;Birt□ Certi□icate"□ discloses y□t ano□her qua□ity that is □o□ p□ese□t in th□□w□□□s □f□th□□P□lish Scho□l□ bu□ is □romine□t in later B-c□ass war f□lms. This i□ the pict□re of everyday life during the war and□□c□upation □□tli□ed in□the □hre□ nove□las. I□ h□rm□n□□es wi□h the □ogic of speak□ng about "life after □if□"□□□□mall h□r□□s of □ozewicz suddenly enter □he re□□it□□of wa□,□with no experience□or sc□l□□wit□ which □o compare it. F□r them, t□e□□□□sent is□a nat□ra□ □xtension of a□□□at□the same□time a □omplet□ □egation of□t□e pas□□ Consid□□ the□s□eey sm□ll-tow□ □arketplace, t□□□□□h which a□moured□co□□mns□will sho□tly pass. Or □eet□the G□□man motorcyclist□, who look like□□liens □rom outer sp□ce - □ □icture t□ken f□om an autopsy□□ecause this is how□Stanislaw and Taduesz□□erc□ived th□ first Germans they eve□□met. Note the □lurred s□l□oue□tes of people□agains□ a white□wall □ho are □eing shot - □t f□rst□th□y are shocking, but soon they will□□robably □□come a part □f□the grim landscape. □n □he c□□y ce□tre□sta□ds a □□□soner c□mp□on□a□□odden bog (&q□ot;People □eris□ l□kes flies; the bodi□s are transported □uring□the □ight□quot;); in the street th□ childern ar□ running□after □ coal □□go□ □o coll□ct □□m□ □reci□us□pieces of f□e□. There&□39□s□a bus□□e around some f□od (□ bo□ r□pro□□hes h□s□□ounger br□ther's act□o□s by s□nging: □quot;The warr□nt offi□er's□□o□□is be□ging in f□ont of the □h□rch? I'm going to tell□mothe□!")□ and th□ k□tchen, which o□e evenin□ becomes th□ □roscen□um of a re□l□dra□a.□And t□er□ are the symbols□ a bar □f c□□□o□ate f□rc□d □pon □ b□y □y a Weh□macht soldier (&□uot;On the□□o□d"□; a pair of sho□s be□ong□ng to Zbysz□k'□s□father wh□□h the□□oy sponta□eously gi□e□□to a Russi□□ fugiti□e; a priceless s□ice of bread, ground &nb□p;under the heel o□ a p□licema□ in □he guter ("Letters fr□m the Camp"). As th□ □i□ect□r □ut it: &quo□;In□□ve□y □il□, I co□municate my ow□□visi□□ of t□e wor□d and□of the □eople. Only□then the style fol□ows□ the □efined way □f experienc□n□ things.□quot;□In Birth C□rt□ficate, h□ adds, his approach w□s□driven□by the □ubject: &□uot;I attem□ted to create not only the texture of the docu□ent but □□so □o□add som□ poetic ele□□nt. I □n□w i□ is risk□ bu□ as □or t□e merger o□ do□umentati□n an□ □o□ty, □ften hidden □ery dee□, if on□y it m□nages□t□ ma□e its□way□onto□the s□reen□ it r□sults i□ wh□t c□n re□erred t□ as &#□□;art'□.&q□ot;　　After 1945, there □er□ numer□□s films cre□□e□ in Europe that dealt□with war and□chi□dr□n, incl□din□ &qu□□;Som□where in Eu□□pe□q□ot; □&□□ot;Va□ahol□□□ro□aban"□□1947□by Geza Radv□nyi□, &□□ot;□hoesh□ne&qu□t; (&qu□t;Sciesci□", 1946 by Vit□or□o de □i□a),□a□d "□□h□ldhood of Iv□n□q□ot;□(&□□o□;Iwa□owo diets□□o&q□ot; by Andri□j Tarkow□□i).□□□t□there were fewer□than□one□would□exp□ct. Pursuing a□su□ject so imb□ed with□sen□i□ent□lism requires s□ylistic□d□sipli□e an□ a speci□l □bility to□manage child□a□t□□s. The aut□or of &□uo□□Bir□h C□rtif□□a□e&□uot; mastered both□- and it was not by□c□ance. Stanisla□ Rozewicz was□□□ways the b□neficent □piri□ □f the□film milieu; he could□□nite peop□e arou□d □□comm□n goal□ He em□nat□□□pe□ce a□d sensit□v□t□, whic□ □lowe□ to his co-workers and pupils. □ fil□, bein□ a □r□up work□ n□cessita□es □o□e form□of empa□hy□- tuning in with o□hers.　　In a biographical□doc□mentary abou□□Stan□slaw Rozewicz□entit□e□ &□uo□;□alking, M□et□ng&qu□□□□(1999 by Antoni □r□uze), there is a b□autiful scene wh□n th□□d□□e□tor, □□te□□a few decades, meets□Be□ta □arszcz□w□ka, □h□ pla□s□Mi□□czka in th□ novella &qu□t□Drops of □lood"□ The woman□f□lls into the arms of □he eld□□ly man. □hey are both moved. He wonders □ow many□y□a□s hav□□pas□□d. □□e □nswers: "□ few years. □ot too many.□qu□□; And Rozew□c□, wit□ hi□ cha□acteristic smil□ says□ &qu□t□It is true. We sp□nt this □nt□re tim□ together.&qu□□;

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