青龙□□在小□中是一个自私自(🧥)利□心狠手辣的人物。他为了自己的利益，不惜背叛朋(🖍)□、□骗同□，甚至还想要杀□自己的徒弟□他的□为引起了□..□<□p□□德华（伊□(🤵□·麦克格雷□ Ewa□ McGregor 饰(□)）□性热爱□由，□年之后，他选择离开家乡，踏上□环游世界的旅程。一路□，爱德□遇见(📉)了各种各□(🏢)稀奇古怪的□色，经历了□数精彩绝伦的的(🚐)冒险，而他日后最大的兴趣□就是向他□喋喋□休的重复讲□他的这一段奇幻旅程。□ 威□□比利·克鲁□□ □i□ly□Crudup □□是爱德华的儿子□他并不□信父亲所讲述的那些光怪□🤩)陆□的(□)故事，□至□□感到无比厌□。婚(😦)后，他同父(🐤)亲中断了联系，一晃眼(〰)□是数年过去。□再次得(🥕)到爱德华的消息之时，威尔才□道父亲即将不久于(🍕)人世，他决定去见爱德华最后一(🌵)面。然而，这一次，□尔终于发现□隐藏在这□□事背后的奥秘和真相。□□ 19□1, Stanisla□ □ozewi□z□cre□ted□t□e novella film &qu□□;B□r□h Ce□tificate"□ in c□op□ration with hi□ brother, Tadue□□ Roz□wic□ as s□□eenwriter.□Such bro□h□r tandems ar□ r□re in the hist□ry o□ film but aside fr□m family □ies, Stani□l□w (born in □924) and □adues□ (bo□n in □□2□) □er□ mutually b□und□by their lov□ for □he □inema. They wer□ born □nd grew□up□in Rado□sk,□a smal□ town □hich □ad &quo□;its m□dmen and□□t□□sain□s&□uot□□and□most impo□tanly, t□e □qu□t;Kine□a" cine□a□ a□ □□anislaw re□a□ls: fo□ hi□ cinema is &qu□t;heaven, □□e□whol□ world,□enc□antment□q□ot;. □ad□u□z □a□s□he consid□rs □□nem□□□□th a charming market □tall□□nd□a mysterious temple. "All th□s savage land □as always□attracted □nd□fascinated me□&qu□t; h□ says. "□I am d□voured □y □inema and I devour cinem□□ I&□39;m a cinema e□te□." But □□duesz Rozewic□,□an em□nen□ □ri□er, admits this□u□iq□e for□ of coopera□ion w□s a problem to□him: &□uot;I□ is the □resence of the o□h□r □□r□on□□ot□□nly in the process of □r□t□ng, □□t□at□its very core, which □s inserp□rable for me □rom a□so□ute sol□tud□.&quo□;□Some □cenes th□ bro□□ers wrot□ toget□er; □the□s □ere created □y the□wr□ter himself, fol□ow□ng discussi□ns□with □he □irector.□But from □he persp□ctive o□ time, it□is &□uot;Birth Certificate□quot□□ rat□□r than □quot;Echo□quot□ □r "□The Wicked Gate", that Taduesz describes as his most intimate □il□□□This is u□d□rstandable. □he trad□e□ □rom Septemb□r 1939 in□□□land was□for the Ro□□w□cz brot□ers □h□ir □ersonal □q□ot□□irt□ □ertif□cat□"□□When □orkin□ on□the fil□,□th□ d□□ector said □quot;□his time it is□all about□□hakin□ off, g□tting rid of the psy□holog□cal burden w□ich the war □a□ for a□l □f□□s. ... Cooperation with my brother□wa□ in this case easi□r, as we shar□ many □ar memori□s□ We wante□ t□ show to □du□t□v□ewers a pictu□e o□ war as see□ by □ child. ..□ In□r□ality, □t□is the adults□w□o creat□d □he real wo□ld of massacres□ Chi□dren □□he□d the ho□□ors com□ng b□ck to life, □□hume□ fr□m und□rneat□ t□□□grou□d□ overwhel□ing□□he e□rth." □□he p□inciple of composition of "Bi□th □er□ifica□e□q□ot; is not□ob□ious.□When watching □ novel□□ fil□,□we t□nd to□think□in terms □f tr□□iti□na□□the□tr□.□We expect t□□t a□mi□iatur□ □□ory wil□ fi□ish with □ sharp□□oi□□; the □hr□e fil□ novell□s in R□zewicz&□39;□ □□r□ l□ck □his featur□□ We d□ not □now what □i□l be □a□pen to the□boy makin□ his a□one□throu□h the □ores□ to□ards the end of "O□□the R□ad". We□do not □n□w whe□her in &qu□t□Lette□ from the Camp□quot;, the □elp offered □□ the □ma□l heroes□to a Sov□et□p□□soner w□ll rescue h□m from□the □nknown fate of hi□ compa□riots. □he fat□□o□□□he□J□wish □irl□from "□rop of□Blood" is als□ unclear. Wi□l □he keep her n□□ impe□sonation as□"□Marysia Mali□owska&□□ot;? Or wi□l the Nazi□ ma□e □er□i□to a repr□s□n□ative o□ □he□&quo□;□ordi□ race&□uot;?□T□ose qu□□ti□ns we□□ ask□d by □h□□director for a□r□ason□□□e preceived war as chaos a□□ perdit□on, □nd□not as □□near histo□y t□at□could □□ refle□ted in a pl□t□ Although "□□irth □er□ificate" is saturated wit□ m□ral conten□, □t do□s□□ot ai□ to□□e a mo□ality p□ay. But with t□e i□m□nse p□essure of reality□ no vari□nt of fate □hould□be□exc□uded. This□approached□can be co□pare□ wth□Krzysztof□Kies□□wski□;s□&□uot□Bl□nd C□□nc□" 2□ year□ later, w□i□h pic□ured dramati□ choices of □ □□fferent era. The film no□ella "On t□e Road" has a□very spari□g plot, but□it □r□w□speci□□ at□ention□□f the revie□er□.□Th□ omi□ating □ve□tone o□ □h□ war films □reated b□□□he Polish □ilm□Scho□l at□□hat time □hould be kep□ i□ mind. Ma□nly owing to Wajda, t□ose films dealt wi□h romant□c □eritage. T□□y were□permeat□d with pathos, □itternes□, and ir□□y. R□zewicz □s an e□traordinary ar□ist. Whe□ □arrating a st□ry □□out a □oy lost in a wa□ zone,□carryi□g som□ documents from the regiment of□ice a□ if t□ey were a treasur□□ the narra□o□□□n &qu□t;On th□ □oad&qu□t□ disco□ers ro□gh pros□ where □ne sh□u□□ find □oe□□y. And suddenly, □he irrational touches this rather tame world.□The □oy, □ho un□il that m□ment res□mb□□d a Polish □e□sion of the Good Soldi□r Schweik,□se□□ off□ li□e Don Q□ixote, for his f□rst an□ las□ battle. A criti□ □es□□ibe□ it□as &□uot;a□ □bsurd gesture and someone else co□ld surely use it to□□ritici□e□t□e Polish□style of □ying. .□. But the Rozew□cz brothe□s do□□o accuse:□th□y□only □ompose a□ e□egy for the p□ct□res□ue p□asant-□oldier, probably the m□st import□nt vete□an of the□Polish w□r of □□39-1□45.&□uot; &qu□t;Bi□□h Certi□icat□□□□ot; □s not □ l□fty st□teme□t □bout □ational □mpondera□ilia. The film reveals □ plebeian per□pect□ve which Alek□ander J□ckie□icz once□□ontrasted with those □□u□t;lyri□al lamentation□□□uot; inhere□t in □he K□rdian□trad□tion. Howe□er□ a hi□□□ric□l o□e□view of Roze□icz&#□9;s work shows that th□ □is□inc□iv□□st□le does n□t s□gni□y a fun□amenta□ □□□f□renc□ in□illu□t□at□ng t□e Polish□Septe□ber□ □ust □s t□e □emorable scene fro□ W□□da&#□9;□ &□uot;Lotna□quot□ was□in □□ct□an e□p□essio□ □□ d□sp□□□tion and dis□ress,□the sam□ em□tions perme□te th□□fina□□scene of "Birth Cer□ificate□quot;. T□ese are not ideol□gical concepts, thou□h once d□sc□ibed as□such and fervently deb□te□, but rather psycholo□i□al □re□tion□. □□ this sp□cific ca□e, □□serv□s Wi□□ld Za□ewski, □t is □ot about manifesting knightly□pr□de, but□abo□t a□g□sture □□ a simple man who doe□ not agre□ to be en□laved□ □he n□vella "Drop of Blood□□uot; is, with Aleksan□er Ford&#□9;s □□uo□;Borde□ □□r□et&□uot;, one of the firs□ □ar□at□ons of the fate of the Polish Jews durin□ the Nazi occ□pation. T□e st□ry a□out a□girl liter□□ly□looking□for her pl□ce on ear□h□has a□d□amatic d□men□ion. Especi□lly □n t□e age of tod□y&#□9;s □ournalistic di□□ute□□ □ft□n□ma□i□ulative, lacking in empa□hy a□d imbu□d wi□h bad will,□Rozew□cz&#□9;s □to□y from □he past □ho□ks w□th □ts a□□he□ticit□. The small herione o□ the □tory i□ the□onl□ one□□ho s□□viv□□ a G□r□an ra□d on□h□r fa□i□y h□me. Physic□l survia□ does n□t, however, mean a return to normal□ty. Her frightened de□art□re □rom the rubbis□ dump tha□ wa□ her □□deout lead □er t□ a ruine□ apa□□m□nt. Her walk □round it is painful becau□e□sti□l fre□h signs of life a□e mixed with □vid□nce of annihila□io□.□Help is neede□, but Mirka□does n□□ know anyone i□□t□e out□ide world. Her □ubseq□ent at□empt□□e□press the sta□e□of t□e fugitive□#39□s spir□ts -□from ho□e a□d fait□, mo□ing to doubt□ a□□ense o□ oppress□on□ a□d th□ck□ning fear,□a□d fi□ally to □esp□ir. At the sam□□time, the Jewish girl'□□searc□ for re□ug□ res□mbl□s□the state of Polish society. The appearance of Mirka resu□ts in confu□i□n□ □nd □at□r, trouble. This was □□ready s□gnalled by Roz□□icz in an exceptional scen□ □rom □qu□t;Letter□fro□ the□Camp" in □hich the b□y□;s neighbour□ □e□ing □ fug□□□□e□Russ□an soldier, □etreats immedia□ely, admi□ting that□□quot;N□w,□people worry only abo□t themselves.&q□ot; Such embarassi□g excuses mask □ear. Du□ing the occupati□n, no one feels□□□fe. Neithe□ so□ial□□tatus n□t□t□e aegi□ o□ a cha□ity organi□ation □ro□ects against repression. We □ee th□ potential □uardians of□Mi□ka passing he□□bac□ and forth □mong themselves. Th□se are frien□ly hands but they □annot offer stro□g□sup□ort. □he s□ory tak□s p□ace on □□at thi□ line be□ween solida□ity □nd □eroism. So□idarity □rises□spontan□o□sly, □ut□only s□m□□ar□ c□pabl□ o□ heroism. He□p for□the□□irl does not□alwa□s□result fr□m compassi□n; □ometim□s it is based on past□r□lations and per□onal□tie□ (a nei□hbour □f the doctor takes in the fugitive for a few□days because of p□□□ f□ien□s□ip). Rozewicz portra□s all □□ this in□a subt□e way; even□th□ smallest gesture □as□significance. Take,□□or examp□e, t□e □onversatio□ □ith a □□ranger□on□the train□ short□ □s if jot□□d down on □he□marg□n, □ut so □□□l of□tensi□n.□And earli□□, a pecul□ar ex□min□tion of□Pol□shness: the &□uot□Hol□ Fath□r"□ pra□e□ forced□o□□Mirka □y □he village bo□s t□□check that □he is not a Jew.□Would not risin□ to the□challe□ge mean a□de□th sen□ance? V□ewed after m□n□□y□ars, □□uot□□ir□h Cert□fi□ate&q□ot; discloses yet□another q□ality □hat is not pres□nt in □he works□of the Poli□□ Sc□ool,□□□□ □s p□omine□t in later□B-cla□s wa□□□ilm□. Th□s□is the pictur□ □f everyday lif□ during th□ w□r and□occupation outlined in the three no□ellas. It h□□mo□ises □ith□the logic □f speaki□g abou□ &q□ot;l□f□ after life". Small□□eroes of□Roze□icz□sud□enly ent□r the reality o□ □ar, with □□ experi□nce o□ □cal□ wi□h□wh□ch to c□mpare□i□. For t□em□ the□present is□a n□□ur□l extension □f□and at □he same time□a□compl□t□ negation o□ the past□ □onsi□er t□e s□□□y s□al□-to□n market□lace, t□rough w□ich armour□d□columns□will sho□tly p□ss. Or me□t the German motorcyclists□□who look li□e al□□ns from outer s□ace - a □icture taken□from an autopsy bec□use thi□ □s □ow □tanis□aw and Taduesz perceiv□d the f□rst Germans they eve□ □□t. □o□e the b□urred □ilhouett□s of peo□le again□□□a whit□ wal□ who a□□ being sh□t - a□ first th□y are shoc□ing,□b□t soon□they□will prob□bly □e□ome a p□r□ of the grim landscap□. In□□□e city□centre□st□nd□ a pri□oner camp □n a□sodde□ b□g ("People perish□likes flies; the bod□e□ □re□transpor□ed during the night&□□ot;); in t□e str□et the ch□ldern□□re ru□n□ng af□er a coal □agon □o collect some pr□c□ous □iece□ of fuel. Ther□□□□9;s a□bustle aroun□ s□□e f□o□ (a boy repro□ches his y□unger brother's□actions b□ sin□ing: &quo□;T□e w□rrant offi□□r'□ son is beggi□g in fro□□ of th□ ch□□ch? □&□39;m□go□ng to t□ll mo□her!&□uo□□); and the kit□he□, w□□c□ one□e□ening becomes th□ pros□enium □f□□□rea□ dra□a.□And ther□ are t□e symbols: a□ba□ o□ □hoc□late □orc□d up□n a boy□by□a Wehrmacht soldier□□"On the□Road"); a□pai□ of s□oes □el□nging to □bysze□'□s□fath□r wh□ch the □oy spo□taneously gi□es□to a□Russian fugitiv□; a pric□less slice□o□ bread, g□ound &nbs□□u□der the □eel of a policeman in t□□□guter (□quot;Let□ers from □he Camp&□□□t;). A□ the director p□t□it□ &qu□t;In□e□ery□film□ I com□unicate□my own v□sion of th□ world □nd of□□h□ □eople. O□ly then t□e□s□□le □oll□ws,□the define□ way of e□p□r□enc□ng thi□gs.&qu□t; □n Birt□ Certif□cate, he□adds□ hi□ □p□roach w□□ □riven by the subj□□t: □quot;I atte□pted □o c□eate n□t o□ly the t□xture of the□doc□ment but□also to□add some□poetic e□□m□nt. □ k□ow it is ris□y but as fo□□the□m□rge□ o□ documentati□n □n□ poety, of□□n hidd□n v□□y deep,□□f onl□ it manage□ to ma□e its wa□ on□o th□□□cre□n, it resu□ts in□what □□n refer□□d □o a□ □#39;art'." After 1945, there □ere□numerous□f□lms □re□ted in Euro□e that dealt □ith wa□ and c□□ldren,□including &q□ot;S□mewhe□e in□Euro□e" (&q□ot;Valahol□Europ□ban□quot;, 194□ by Geza □adv□nyi),□"Sho□shine□□u□t□□(&quo□;Scie□cia", 19□6 by Vit□orio□de Sic□)□ and &□u□t;Childhood of Iva□&qu□t; (&□u□t;□□□no□o□dietstwo&□uot;□by□Andrie□□Tarko□sk□).□Ye□ there we□e □ewer tha□ o□e would ex□ect. P□r□uing a su□j□ct so□imb□ed□wit□ sentimentalism requires □t□li□tic disipline and a□special abil□ty to ma□□ge child □ct□rs.□The a□tho□ □f "Birt□ Certificat□&qu□t□ ma□□ered both - and□it w□s □o□□□y chan□e□ Stanislaw □o□e□icz□was□always □he benef□□ent s□□ri□ □f the □ilm mil□eu; he could un□te□p□o□le around □ c□mm□n go□□. H□ □manated peace a□d s□□s□tivity□ wh□ch flowed to□his□co-workers and pup□ls. □ film, being a □roup wo□k,□neces□itates some form of emp□thy - tuning in with o□hers. In a b□ographica□ docu□entar□ a□out Stanislaw Roze□icz entitled □quot;Walking, □eeting&quo□; (19□9 by A□to□i Krauze),□there i□ □ b□autiful sc□n□ when t□e d□rector, af□er □ few decade□, mee□s □e□□a Ba□szczewska, who pl□ys Mirec□□a in the nove□la &q□o□;Dro□s of Blo□d". Th□ woman fall□ in□o the arms□of □he e□derl□ man. They are both move□□□He wonders how many years□hav□ passe□. She □□□wers:□□q□ot;A □ew yea□s. Not too man□.&qu□t□ And □oze□icz□ with h□s cha□acteristi□ □m□le s□ys:□"It □s□t□ue. We □pent this □ntire t□m□ tog□th□r.&□uot;1. 《悟空□》：这本书被誉为是前后□百年写猴子写□□好的，被□为是网络文□的经典之作。
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