《超凡小英雄第一季》：

参考资料□提到(👈)，在《诡秘之主》中，魔(👆)女会□□。例如“□秘之主”□尔纳(♉)黛怀孕的□因是她被堕□之母感染了。但关于更□关于□□怀孕的普□情况和具□□节，并□有更详细□切的描(♋)述。说□这里，一□却(🥎)是突(🚛)□打断道：“哎呀，□啦好啦□□□道啦(🔜)，又是那一套□么谦受益满遭损，这些话我□朵都已经听□茧子啦，小五啊□□说你才八□岁□□子，怎么我□觉你就像□个八九十岁的老(🚩)头□🎪)儿□🤵□啦。”In 1961,□□tani□l□w □ozewicz□created the novella film□"□Birth Cert□ficate□q□□t;□in coope□ati□□ wi□h h□s br□the□, □□due□z □oze□ic□ as screenwrit□□. Suc□ brother tande□s are□□□r□ in □he hi□□o□y of fil□ b□t□aside □rom□family□ties, □tanisl□w (bor□ in 1924) and Taduesz (born in □□21)□□ere mutually□b□und by t□e□□ love fo□ t□e cinema. □□ey □ere □orn a□d grew up in R□domsk□ a small town which□had &q□□t□its madmen an□ □ts □aints&q□ot; and most i□por□anly, the "Ki□ema□quot;□cin□ma, □s□Stanisl□w □ecalls: f□r him cinema is &qu□t;heav□n, the□whole □orld□ enchantme□t". Tade□sz says □e consider□ c□nema both a ch□rming market stall an□ a myst□rious□te□□le. &q□ot;□l□ th□s s□va□□ l□n□ has al□ays attracted a□d fascinated m□,&qu□□; □e □a□s. &quo□;I am devour□d b□ □□□□□□ and I□devou□ cinem□; I'm a cinema eate□.&quo□;□B□t Tad□esz Roze□i□z,□an em□□e□t □rit□r, □dmi□s thi□ □niq□e form □f cooperation was a problem to □im: &□uot;It is the□presence □f □he other pers□n not only□i□□the proces□ of writing□ but□at its ve□y core, □h□□h □□ i□serpera□le□for me fr□m abs□l□te soli□□□e." Som□ scenes the brothers w□ote tog□□he□; ot□ers were□cre□□ed□by □he write□ himself, following discussions with□the d□re□t□r. But□from□the p□rspective of time, it is□"B□rth C□rtificate"□□□r□the□ □han□"Ec□o&□□□□;□□r "The Wic□ed Gate□qu□t;, t□at □a□ue□□ describes□as his □ost intimate □i□m. This is understandab□□. T□□ tradgey □□om□□eptemb□r 1939 in□Polan□ was fo□ the □ozewicz brothers □h□ir□□ers□nal □qu□t;birth □ertific□te&q□□□□.□When working o□ the film, the□dire□□o□□said &□uot;□□is time □t is all □b□ut s□aking off□ g□t□ing rid of □h□ psy□hologi□a□ burden□which □he wa□ wa□ for all of u□□ .□. □ooperation □i□□ my b□oth□r □as□in this case□eas□er, as we sh□re□many war memories. □e wanted to show to a□ult viewers a pic□ure of wa□ □□ see□ by a ch□ld. ..□ In re□lit□, □t is the a□ults w□o□c□eated the re□l world □f ma□□acres. Children□be□eld t□e horrors coming back to lif□, exhumed from under□□ath t□e □r□und□ overw□elmi□g th□ earth□&q□ot;　　The p□incipl□□□f composition of "□ir□h Ce□ti□ica□e&quo□; □s□no□ o□v□o□s. □□en□□□t□hin□ a nov□ll□ □ilm, we tend to □hink □□□t□rms o□ traditi□nal the□tre. □e exp□□t that a□m□ni□ture□story will f□nish with □ shar□ point□ t□e □hree f□lm novellas i□ Roz□□icz□□s w□rk lack this □□at□□e. We do no□ know □hat will be ha□□en to the boy □□king hi□ alone through □□e forest towar□s the end of &q□ot;On t□e □□a□". We do not □now whe□□er i□ "Letter from t□e Camp"□, the help□offered□by□the□small heroes □o a S□viet p□isoner will□□escue□him fr□m t□e u□kn□wn fate of □i□ compatriot□. The□□ate of th□ Jewish□girl □□om &qu□t;Drop of Blood"□is also u□clea□. Will she keep□her □□w imp□rsonation as &q□ot;Ma□y□ia Ma□in□wska&□uot;□ □r □□ll the □a□i□ make h□r into□a repr□sentative of the &quo□;Nordic r□ce"? Th□se □uest□on□ were asked □y the directo□ fo□ a□re□son.□He prec□ived war□as chaos an□ perdition, a□d□not□as lin□a□ hist□ry t□at□could be re□lected in a □lot. Al□ho□g□ &q□o□;Birt□□Certific□t□□quot□ i□ saturated wi□h □oral content□□it does not aim to b□ a □orality□□lay.□B□t with the immense □ressure of reality, no vari□□t of fate should be exc□uded□ This□app□oach□d can □e co□p□red wth Krzysztof K□eslowski's "Blind Chanc□&□uot;□2□ years l□ter,□which □ictured□dramatic cho□ce□ of□a dif□erent era.　　The fil□ novella "On t□e □oad&qu□□; ha□ a ver□□spa□i□□ plot, but □t□drew special attention of the revi□wers. The ominat□□g□ove□t□ne of the war films creat□d by t□e□Poli□□ Film School at□that□□□me sho□ld b□ k□p□ in□□□nd. Mai□l□ owing t□ Wajda, those films deal□ wi□h romantic heritage. They were□□□r□eat□d with□pathos, bitterness□□and i□ony. Rozewicz is□an□extr□ordinary□artist. When n□rr□ting a sto□y ab□ut a boy l□□t□in a□w□r zo□e□ carrying so□e do□umen□s□fr□m the regiment offic□ as if the□□wer□ a treasure□ t□e na□rator□in□□qu□t;On□the Ro□d&quo□; discovers rou□h □rose □here one should f□nd poetry. And□□uddenl□, the □rrational touches □□is rather t□me w□□ld. The boy□ □ho □ntil tha□ mom□nt resembled a □o□ish version of the Good Soldier Sch□eik, sets □ff, like D□n Qui□o□e, for his first and last □attle. A □ritic □es□ri□e□ it as &q□ot;an absurd ges□ur□ and some□ne□else cou□d□su□ely□use□it□to critic□se the P□□i□h styl□ of dying□ ... But □he R□z□□ic□ b□others do no accuse: they only□□o□pos□□an □□egy □o□ the pictur□□que peasant□so□□ier,□prob□bly the m□st □m□□rtan□ v□teran of th□ Po□is□ war of 1939-1945.&□u□t; □quot;Birt□ Certifica□e&q□ot; is no□ a□lofty statement□abou□ n□tional impon□□r□□il□a. The f□lm reveals a□pl□beian perspe□tive which Al□ks□nder Jac□□eqicz once contrasted with those □q□ot;lyr□cal□l□mentations" inh□rent in the Kor□ia□ tradition□ Howeve□, a h□storical □v□r□iew of Rozew□cz's work□sho□s that □he distin□ti□e style□d□es n□t si□ni□□ a fund□□e□ta□ dif□erence in illustratin□ the Polis□ S□ptembe□.□□u□□□as the memorable □c□ne □rom Wajda's &q□□t□L□tna" was i□ fa□t an expression of □esperation and distre□s, the □ame emotions permeate the final scene of "Birth Certificate&□uot;. The□e are □ot ideolo□ical □onc□□ts, thoug□ on□e □e□cribed as such and ferventl□□debated□ but□ra□her psychological creatio□□. In t□is specific □ase,□obs□rve□ Witold Za□ewski, i□ is not □bout□m□nifesti□g□knigh□ly pri□e,□bu□□about □ ge□ture o□ a simple □an who doe□ not a□ree□to □□□e□slav□d.　　T□e novella &quo□;Dr□p □f □lo□d" is, with□Al□ksander F□r□&□39;s "Bo□der Street□q□□t;□ o□e□□□ the first□□arrations of□the fa□e of□t□e Polish □ew□ dur□ng the Nazi occupation. The story abo□t a□□irl lit□rall□ looking f□r her pl□c□ on□e□rth□has a dramat□c □imen□ion□ □s□ec□□lly in □he ag□ □f tod□□'s □ourn□listic disputes, □f□□n manipulative, lacking in□em□ath□ and imbue□ with bad will, Rozew□cz's story from the pa□□ sh□□k□ with□i□s authenticity.□The □mall □erio□e □□ □he stor□ is t□□ □nly on□ who survive□ a □erman raid on her □amily home. □□ysical survial doe□ not□□□owe□er, mean a□return to normal□ty. Her frightened d□parture□from th□□r□bb□□□ dump□that w□s he□ hideout□lead□□er□to a□rui□ed apart□e□t. □er wa□k ar□□nd it is pai□f□l □ecause□s□ill □resh s□gns of life □re mixed w□t□□□vidence of an□ihilation. H□□p is needed, □ut Mirka doe□ not kn□w a□yone □n the ou□side worl□. Her su□sequent attempts express□the □tate of□t□e□fugit□□e&□39;s spir□ts - from□h□□e an□ fai□h, m□ving □o doubt, a sen□e of oppression, a□d□□hic□ening fear, and finally to despair□　□At the same □ime□ the□Jewish □irl&□□9;s se□□ch for refu□e□□esembles the state of Po□is□ □ociet□. □he app□a□ance□of M□rk□ □esults in □onfusion,□and later, trouble. This was □lready□□ignalled b□ Rozew□c□ in an exce□tio□al sce□e f□□m "Le□□er □r□m the Camp□□uot; □n □hic□□the □oy's neighbou□, se□ing a fugitive□□ussia□ sol□i□r, re□reats □mme□iately, a□mitting th□t "Now, □eople□worry o□l□ abo□t □□□□selv□s.&q□o□; Such e□bara□sing ex□use□ m□sk fear.□During□the □ccupatio□, no one f□e□s sa□e. □□ither social status □o□ the a□gis of a cha□ity orga□□sation protects against□repressi□n. We □ee t□□ □otential g□ardians of Mirka□p□s□i□g her b□□k□and□□orth a□ong□the□s□lv□s. Thes□□are fri□n□ly hands b□□ they cannot□o□fe□ strong s□pp□rt.□T□□ story □a□□s place on that thin li□e betw□en solidarity□and □□roism. Soli□arity arises sp□ntaneous□y, but□only some are capable of□□eroism. He□p for t□e girl does not□always□□□sult from □omp□ssion; □ometimes□it□i□ b□sed on past r□lations a□d□personal □ies (a neighbour of □h□ doctor takes in□□□e fugitive for a □ew d□□s bec□use of past fr□ends□ip). Ro□ewicz portrays all of thi□□in a su□t□e way;□even the □mallest□gesture has signifi□□nce□ Ta□e, □o□ example, the c□n□ersatio□ with a st□anger on the□train□ sh□r□, as if jotted down on □he m□r□i□□ but so ful□□of t□ns□on□□And □arlier,□a p□culiar □xamin□tion□of Polishness: □he &□uot;Ho□y Fat□er" prayer for□ed on Mir□a □y the villa□e □o□s to □h□ck that□s□e□is not a Jew. Wou□d not rising t□□the chal□enge mean a □eath sentance?　　Viewe□ after many years, "□Bir□h Certific□te□□uot; □i□clos□s yet anot□er quality that is not□present in t□e □orks of the Polish School□ but is □r□minent□in later□□-□lass war f□lms. □h□□ □s the p□ctu□e of everyday□life during the war and□occupat□on□□utline□ in □he thre□ novell□s. It harmonises wi□h the logic of □□eaki□g about□"l□fe after life".□Small heroes of Rozewicz s□ddenly en□er th□ r□□lity□of□war□ □it□□no □xp□rience or scale with which to□co□□are it. □or□the□, the□□resent is a natural e□tension of □nd at□the□same time a c□mplete negation of the pas□. Co□s□der □he slee□ sma□l-tow□ market□lace, □hrou□h which ar□oured□c□lu□ns will sho□□ly pass. Or mee□□the G□rman mo□orcycli□t□, □ho lo□k like alien□ □rom out□r s□ace - a pic□□□e taken f□om an□□utops□□becaus□ this is □ow S□ani□law a□d Taduesz □□rcei□ed t□e firs□□Germans th□y □ver me□. Note□the□blurred silhoue□te□ of pe□p□□ against a white□wall□who□are being shot - at □i□st the□□are shocki□g, but soon□□h□y will □robably□become□a part of the grim□□□nd□cape□ In the city centre stands a prison□r ca□p □n □□so□d□n□b□g □"Peopl□ pe□ish likes fli□s; □he bodies are transported□during the□nigh□"□); in t□□□str□et the childern□ar□ running after □ co□l wagon to colle□t some pr□cio□s piece□ of □□el□ The□e'□s a bustl□ □round some food (a □oy reproac□es□his younger brot□er's actions □y singing: "□The □□rr□nt officer's son is be□g□ng□in front□of the c□urch?□I&□3□□m goin□ to te□l mother!&q□ot□□; and the kitchen, which □ne□evening be□omes t□e pr□sce□□um of□a real□drama. An□ □her□□are the symb□ls□□a□b□r of c□o□□□□te fo□□ed □p□n a boy by □ Weh□macht soldie□ □□q□ot;On the □oad"□; a □a□r o□ shoe□ □el□□gin□ to Zbyszek□□39;s □ather whi□h the boy □p□n□aneous□□ gives to a R□ss□□n □ugit□□e; □ pri□eless□□lice□of brea□, ground &□bsp;□nde□ th□ heel of a p□li□ema□□in the □uter (&qu□t;□etters fr□m t□e □a□p"□). As the di□ec□or put it: "In every□film,□I□commu□icate my own vis□on of the world and of th□ p□□pl□.□Only□then □he□style follows,□□he□□efi□ed □□y□o□ ex□eriencing things.&quo□□□In Birth Cer□□ficate, he adds, his approach was dr□ven b□ the □ubject: &q□ot;I at□e□p□□d□t□ create n□□ only t□e tex□u□e o□ the docum□n□ b□t also to□add some poe□ic element. □□know it□is □i□□y but a□□for□the merger of docu□entation and poety, □ft□n hi□de□ very d□e□, if only □t manages to□ma□e □ts□way onto the screen,□i□ r□sul□s in □□at □an re□□r□ed to a□□'□art&□39;□&q□ot;　　□f□□r□1945, th□re were nume□ous f□lms cr□ated□□n Europ□ that □eal□ with war and ch□l□ren□ including &qu□t□Some□h□re in Eur□p□" ("Valahol Eu□opaban", 1947 b□ Geza Radv□n□i), "□hoeshine&q□□t; (&q□□t;Sci□□c□□", 1946□□y Vittorio de Sica), a□□ &q□o□;Ch□ldhood of Ivan&□uot; □&□uot;Iwanowo dietst□o"□by A□driej□Ta□kowski□. Yet there wer□ fewer□t□□n one□would exp□ct. Pursuing a subje□t □o im□u□□ wi□h sentim□n□alis□ requires stylistic di□□pline □nd□a □pecial ability to m□nage□□hil□ actors□ T□e autho□ o□ &quo□;Birth Certificate&quo□; ma□tered both - and it □as not by ch□nc□. S□anislaw Ro□ewi□z w□s alw□ys the ben□ficent spirit of the film milieu;□he could uni□e pe□ple around a co□m□n □oal. □e ema□ated peac□ and □ensi□ivity, □h□ch □l□wed to□his co-wo□ker□ and pupils. A f□l□, being a group □ork, necessit□tes □□m□ form of empath□ □ tun□ng in with o□h□rs□　　In a bi□graphical □oc□□ent□r□ □bout Sta□□sl□w □oz□w□cz entitled "Walking, Me□□ing&quo□; (1999 by Antoni □□a□ze), □here is □□be□utiful sc□ne when the□direc□or,□after a fe□ □ecades, □eets Be□ta Ba□szczews□a,□w□o□plays□Mireczka□in□□he □ovella □quot;Drop□ of Bloo□&qu□t□□ T□□ wo□an □alls□i□t□ the□arm□ of □he el□□rl□□man. Th□y are□both moved. He □on□er□ ho□ □any□ye□rs have pas□ed. She answers□ "A f□w years. □ot to□ many."□□□nd Rozewi□z□ with his charac□eris□ic smile says□ "□t□is tru□. W□ □pent□thi□ entire time t□gether.□quot;- 《斗破苍穹特□□ 1...

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