姜俊□□李□基 □）和金□雨（文彩元 饰）是从小玩到大的青梅竹马，姜俊秀一直□🚝)□□都默默喜欢着金□□，然□，当他□定将□(🤽)中的感情传达给对方时，却遭□了金贤雨的拒□。尽管如此，姜□秀却□然不离□弃的□伴在金贤雨的身边，成为了她最亲□□□信赖的朋友。 金贤雨(🎸)是一名气象主播，她□朗而又□泼，在电视台里拥有着很高的人气(🆔)，然而□如此美丽□(🐟)信的她，却□偏陷入(😸)了同前(🥢)辈李东镇（□瑞镇 饰）之间的不伦之恋中无法自拔，每日为了□个不值得她付出的男人伤□□过，并常(😓)常因此而找姜□秀大吐苦水□🏭)。看到金贤雨的痛□和难□，姜俊秀的心(🥣)里□□🐻)分不是□味。□ 白居易《夜雨》□诗，先通...<□p>没想□，面前这位憨厚的□厚，能够搭□玉龙佣兵□🌤)□，还□定了长期的合作。秘书微□一愣，不□□(🐵)刚才结□吗？I□ □961, Stanislaw□Rozewi□z cre□ted□the novella fil□ "Bir□h □ertificate&□u□t;□in□coo□eration wi□□ his brot□er, Taduesz□R□zewicz as □creenwri□er□ Such brot□e□ tandems are rare in the hi□tory of film but a□ide fro□ f□□i□y ties, Stanis□aw (□orn in 19□4) and Taduesz (born in 1921)□wer□□mutually bound b□ t□eir□love f□r the c□nem□. Th□y were bor□ an□ g□ew up in Rad□msk, a small town wh□c□ had &qu□t;its mad□□n a□□ its sai□ts□qu□t; □□d□most impo□t□nly, the &q□ot;Ki□□m□□qu□t; □inema, as Stan□□□□w recalls: for him cinema i□ "h□ave□, the whole wor□d,□enchant□en□&q□ot;. Ta□□u□□ says he □o□s□ders □inema both a charming□market st□□l□and a□myster□ous tem□□e□ &q□ot;All t□is sa□age land has alwa□s □ttract□d □nd f□□c□□a□ed m□,"□□he □ays. □□uot□I a□ d□vo□□ed □y□cinema and I de□our □inem□; I□#39;m a□□i□e□a e□ter." But Taduesz Rozewicz, □n emin□nt writer, admi□□ this□u□ique □□rm of coo□er□tion □□s□a p□obl□□ to □im: &q□ot;I□□is the presenc□ of t□e other p□rson not o□□y□in □he pro□ess of □r□□in□, b□□ at its ve□y □□re□ w□ich □s i□se□pera□l□ for me f□□m abs□lute solitude." □□□e□scenes t□e b□othe□s wro□e t□get□□r; others □ere crea□e□ □y the writ□□ □□msel□□□□ollowing □i□cu□sions wi□h□t□e di□ector. But□from□the □ersp□ct□ve of□time, it is &q□□t;B□rth Certifi□at□&□u□t;, rat□er □ha□ □quo□;□cho" □r &□uot;The Wicked Ga□e&qu□t;, that T□□ues□□describes as his □o□t int□mate□fil□. □his is und□rstandable. The tr□□g□y □rom September□1□39 in P□land was for the Roz□w□cz b□others □he□□ □e□s□nal "bi□th□cert□ficate". W□□n wo□king o□ t□e film, the director sai□ "□h□s time it is □ll a□□ut shaking of□, □e□ting rid□of the psychologi□a□ burd□n which th□ war was for all of us□ ..□□Co□pera□i□n with m□ brother wa□ in t□is case eas□er, □s we s□□re many war □emories. We wan□ed to show□□o adult □iewers a picture□of □□r □s seen by□a child. □.. In rea□□ty□ □t is the□adults who cre□ted□□□□ real world of massacres. Child□en□be□eld□the h□□ror□ □oming bac□ to lif□□ exh□□ed fr□m under□eath the grou□d, □ve□whelming the ea□th." Th□ □□inciple of compositio□ of □quot;Birth Certif□□a□e" is□not o□vious. W□en w□tching a □ovella film, we tend to□think in □erm□ of traditional□t□ea□re. We exp□ct that a miniatur□ s□ory will f□ni□h w□th a sharp □oint; the three □ilm□no□ellas □n R□zewicz's□□□rk lack this□feature. □e□do not□know w□□t wil□ be h□□pe□ to □he bo□ □aki□g h□s alone through the forest towards the □nd of &q□ot;On □he Ro□d□quo□;. We do no□□□now wh□ther in □quo□;Letter from the C□mp□quot;□ the help of□e□ed by the small heroe□ to a Soviet pr□so□□□ □il□ rescue □im f□om □□e □□know□ □a□e of his□c□m□atri□t□.□The fate of the□J□□ish □irl from &□uo□;Drop of Blood&qu□t; is also □n□lear. □□□l she □eep□her □e□ impe□□onation as "Marysi□ Malinowska&□u□t□? Or will□t□e Nazis□make her into a represe□□at□v□ of the "N□rd□c r□ce&□uot;? □hose que□ti□ns w□r□ aske□□□y□the director for a reason. He□preceived □ar □s chao□ and □erdition□ and not as □inear hi□tory that co□l□ be refl□c□ed□□n a □l□t. Alt□ough "B□rth □ertifi□ate□quot□ is □aturate□ with m□ral content, it does □o□□aim to be □□mor□lity play. Bu□ with□the imm□ns□ p□e□sure of reality,□no va□ie□t of fate should be excluded□ This□ap□roached can be compared w□h□□□zysztof□Ki□slowski's "Blind□C□ance&q□□t; 25 yea□s l□t□r, which p□ct□red d□a□atic□choi□es □f a different □r□□ T□e fi□m □ovella "On th□ Roa□&q□ot; has a very spar□□g plo□□ but it□d□e□ special attention □f□□he reviewer□. The ominatin□ overtone of the war films□create□ □y the □ol□sh Film Scho□l at t□at time should□be□□ept in□mind. Main□y o□ing to W□jd□, □hose □i□ms dea□t w□th □omant□c □eritag□. They□were per□eated w□th pathos□ bit□ernes□,□and irony. Rozewic□ is□a□ extrao□din□ry arti□□. W□en narra□in□ a story about a boy lost in a □ar zon□, ca□ryin□□some d□cuments□□r□m t□□ □egiment offi□□ a□ if they□were a treas□re, t□e□narrat□r in□&□uot;O□ the Road□quot; disc□ver□ □ough prose where□one sho□□d f□□□ poet□y. And□suddenly□ t□e□irr□tion□□□□□uches this□□athe□ tame world.□The boy□ who until tha□ mo□e□t□re□emble□ a Pol□sh version □f□t□e G□od Soldier Schweik, se□s o□f,□lik□□Don□Quixote, □or his firs□ an□ l□st battl□. A critic□□escribed it as &q□ot;a□ absur□□gestu□□ and someon□ else could □ure□□ use □t t□ cr□t□cis□ th□ Pol□sh s□yle of dyi□g.□... B□t□the Roze□icz br□thers □o no accuse:□they only compose a□ eleg□ for the picturesque peasa□t-sol□□□r, probably the□□ost important veteran of□the P□□ish wa□ o□ 1939-1945." &□uot;Birth □er□ificate□quot; is not a □ofty□statement ab□ut nationa□ imponderabilia.□The film□reveals □ p□ebe□□n perspect□ve which Aleksander □ackieq□cz on□e con□ra□ted with t□ose &qu□□;lyrical□lame□tat□□ns" inheren□ i□ t□e□Kordian tradition□ Howe□e□□ a historical overview □f Roz□wic□'s work□shows tha□ the □is□inctive□style does n□t si□nif□ a □und□mental□□i□fe□ence in illustrati□□□t□e P□lish □e□tember. Just □s t□□□memorable □□□n□ from Wajda's "Lot□□□quot; was in fact an expression of des□eration and□di□tress, the same em□t□ons permeat□ □he final scene of "Birt□ C□rt□fi□ate□quot;. These are not □deol□gical co□ce□ts, thou□h o□ce□□escribed as such and fer□ently debated, □ut rather psycho□ogi□al □reations. In t□□s spec□fic□□ase, o□se□ves W□to□d □ale□s□i, it is not about manifes□i□g□knightl□ pride, but about a ge□t□re o□ a simple ma□□who□doe□ not □□ree to be enslaved.□ The □ovella "Drop of Bloo□&quo□; is,□wit□ A□eksander F□rd&#□9□□ "□order S□reet", one of the first narra□i□n□ of the fate□of the Poli□h Jews dur□□g□th□□Nazi oc□up□ti□n. Th□ □□□ry abou□ □ girl□□itera□ly looking□fo□ h□r□pla□e□on earth h□s a dramatic dimension. E□p□c□ally □n the age of□today's journa□ist□c □isputes, often □ani□u□ative, la□king in□em□athy an□ □mbue□ w□□□ bad wil□, Rozew□cz&#□9□s story f□om the□past shocks wi□h its authenticity. The s□a□l herione□of the story is the only□one who survives a Ge□man□□aid on her fa□ily home. □hysical survi□□ does □ot, h□□ever, me□□ a retu□n to normality. Her frightene□ d□parture□from □□□ □u□b□sh□dum□ that□was her hid□out lead her to□a ruined a□□rtme□t. Her wa□k around it is pai□□□l because□s□i□l fresh signs of□li□e a□e mixed with ev□denc□□of□ann□hi□□ti□n. □elp□is needed, but Mi□ka does□not kn□w anyone in the □u□si□□ world.□Her su□sequ□□t□attempts exp□ess the state of □h□ fugitive□#39;s spirits - □rom □ope □nd faith, □o□ing to□doub□□ a□sens□ of oppressi□n, a□d thi□kening fear,□an□□fin□l□□ to desp□i□. At th□ □□m□ time, t□□ Je□i□h g□□l□;s search for □efuge res□mbles t□e sta□e□of Polish society. □□□ ap□earance of Mirka resu□ts□in □onfusion, and later, t□ouble. T□i□ □as alread□ signall□d by Rozewi□□ in□an ex□eptional□scene from &quo□;Letter fr□m□the Camp" in whic□ the boy'□s □□ighb□ur, s□□ing□a fugitiv□ Russia□ □old□er, retreats□immediatel□, admitting that &quo□;N□w, □eop□e worry o□ly about t□e□□elve□." Such embar□ssi□g excus□s □as□ fe□r. Dur□ng the □ccu□ation,□no o□e□feel□ □a□e. Neither social sta□us not the aegis of a charity org□nisat□on prote□□s aga□n□t repres□i□n. We see the pot□nti□l guardians of M□rka□passing □er back and fort□ among themselve□. □h□□e are frie□□ly hands b□t □h□□ canno□ o□fer □tro□g s□p□□rt. The□□tory ta□es place on that th□□ line□between□solidarity and heroism. So□i□□ri□y arises sp□□tane□usly, b□t onl□ some a□e□capa□l□ □f heroism. Help for the gir□ does not always res□lt□from c□mpassi□□; some□□mes it is ba□□d on past relations and □er□onal ties□(□ nei□h□ou□ of the doctor takes□in the fugi□i□□ f□r□a □ew□days be□ause□of past friendshi□)□ □oze□icz por□ra□s all□of th□s in □ subtle wa□; □ven □he smallest□gestu□e has signifi□ance. Take, for example, the conve□s□tion with □ stranger on t□e tr□in: short, as if jot□□d d□wn □n the margin, □ut s□ f□l□ of tension. An□ e□rli□r□ a□peculiar examination of Polishn□ss: t□e□"□Hol□ □ather&□uo□; prayer force□ on Mirka□by the village boys to □h□c□ that she is no□□a J□□□ Would not rising to the c□a□lenge mea□ a de□th s□ntanc□? □□ewed□a□ter□m□ny year□, "□Birt□ Cert□□icate&quo□□ discloses y□t □nother qu□lity□t□at is not p□esent in t□e works of the Pol□sh S□hool, but□is□promine□t in□la□er B-cla□s war f□lms□ Thi□ is the pic□ur□ of ev□ryday□li□e □ur□n□ the war a□d occupation outlin□d i□□the three novell□s.□It□harmonises with t□e logic of spe□king about□"life □□ter □ife". Small heroes o□ Roz□w□cz □udd□nly □nter□t□e re□li□y □f war□ wi□h □o □xperie□c□ or s□□le with wh□c□ to compare i□. For t□em, □he □resen□ □s a □atural □□tension of and at the□same time a complete negation of the □□st.□□onsider□the sleey□smal□-town marke□p□ac□, through w□ich □rmour□d□columns wi□l □hortly□pass. Or meet the Germ□n moto□cy□lists, who□lo□k □ike□alien□ from ou□er space□- □ pictu□e□taken from an autopsy be□au□e this is how S□anis□aw a□d Taduesz □e□ceived t□e first □er□a□s the□ e□er □et. N□te t□□ □lurred □ilhouettes o□□peop□e agains□ a wh□t□ wall who are be□□g sho□ - at fi□st □h□□ a□e sh□cking□ but soon they will p□□bably bec□me □ p□rt of the □r□□ lan□scape. In□□he cit□ centre□stands a pr□s□□e□ camp on□a□sodden□□og ("Peop□e per□sh lik□s□flies; th□ bodies are transpor□ed d□□□□g □he night&qu□t□); □n the street the ch□□dern are run□ing □fter □ co□l w□g□n□to collect s□me precious □i□ces □f fuel. Th□re's a bustle around some f□od (a boy r□□roa□h□s his younge□□brot□er's actions by sing□ng: &qu□t□The wa□rant of□icer&□□9□s son □s beg□ing in fron□ of the chu□ch? □&#□9;m going to te□l mother!&qu□□;□;□and□the □it□he□, whic□□one ev□ning□becomes t□e□□roscenium of a real dram□□□□nd there are□□h□ □ym□ols:□a b□r of chocolate fo□ced□□po□ a bo□ by□a Wehrmach□ s□□dier ("On the Road"); a pa□□ of□s□oe□□be□o□gi□g□t□ □bys□ek's□f□ther which the bo□□spontaneo□sly g□ves □o a Russ□an fugitive; a priceless□slice □f brea□, gr□und □u□d□r□the□he□l of a poli□em□n in t□e gu□er (&qu□t;□etters from□the Ca□p□□uot;). □s the dir□ctor pu□ □t:□"□n ev□ry film, I communicate my own v□s□on of □h□ world □nd of the pe□ple□ Only□then □□e style □□llows, th□ defined □ay o□□expe□ienc□n□ □hings.&qu□t; In Birth □□r□ificate, he □dd□, □is ap□r□ach□w□s driven by the □ubject: &quo□;I att□m□□e□ to create not□only the t□xtu□e of t□e documen□ b□□ al□o to ad□□so□e poetic element. I□know it i□ risk□□□ut as for the □er□er of documentation□and poet□, often □idd□n very deep□ if only □t □an□□e□ to make □□s way □nto the screen, it resul□s in w□at ca□ □efer□ed t□□as &#□9;ar□'.&qu□t; □fter 194□, there were nume□ous□f□lms cr□ated□in Eur□pe that d□□lt w□th war and□chil□ren, including &quo□;Som□where□in □urope&q□ot; (&□uot;Valahol E□□opaba□", 1947 by Geza□R□dvanyi), &quo□;Sh□eshi□□" □&□□ot;Sc□esci□&□uot;, 1□□6 b□ Vittor□□ de□S□ca), an□ □quot;Childhood of□□□an" (&q□ot;Iwanowo □ietstw□&q□ot; □□ □ndriej Tar□□wsk□). Ye□ there were fewe□ t□an one would exp□ct.□Pur□u□ng□a su□je□□ so imbued□□ith sentime□talism requires stylisti□ d□sipline and□a sp□cia□ ability□to□m□na□e □□ild ac□ors. The auth□□ of□"Bir□□ □e□tificat□&quo□; mas□ered both - and it was □ot by chanc□. □□a□is□aw Roz□wicz was always the b□neficent □pirit of t□e film milieu; he cou□d unit□ peopl□ around a c□□mon goal. He emanated peace□□□d s□nsi□ivity, □hich □lowed to his co-w□rkers and pupils. A□film, bei□g a□group □ork, n□cess□tates s□□e form □f □mpathy - tuning□i□ □ith □th□rs. (😆) In□a b□ographical documentary □□□u□ St□n□slaw Roz□wi□z e□titl□d &□uot;Walking, Meeti□g&q□ot□□(1999 by An□oni□Kr□uze□, the□e i□ a b□autiful sc□ne □hen the di□ec□or□□□□ter a few dec□de□, mee□s B□ata □ars□c□□wska, who pla□s Mireczka in □he novell□ "Drops □f Blood&quo□;.□The wo□an falls i□t□ th□ arm□ of the elderl□ man. They □□e□b□t□ moved. He □onders h□□ man□ y□ar□ have passe□. S□□ an□wers: &□uot;A □ew □ears.□N□t too many□"□ And R□□ewicz, □i□□ hi□ characte□istic s□ile says: "It is true. We spent thi□ □ntire ti□e t□g□the□.&q□ot;原漫画《一人之下》同样精彩，点击按钮下载 A□p 立享精彩内容！<□p>
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高炳权:112.757.8.434庄黑大喝一声，背着姜灵馨跳进水中，来到了水底的那块礁石后面，这才发现礁石后面有一个深不见底的大洞，洞口中传来一股强劲的吸力，直接把庄黑吸进里面。
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