In 19□1, Stanislaw□R□zewicz create□ □h□ nove□la □i□□ &□□ot□Birth □ertificat□&qu□t□ in c□operati□n □ith□his□brot□□r□ □a□uesz □ozew□c□ as□sc□eenwr□ter. □uch □□other tand□ms□are□rare in□the h□story o□ fi□m□□ut aside □rom family ties, □□an□slaw (□□rn □n 1924) and □aduesz (born □n□19□1) were mutua□l□ □□□nd □y their□□ov□ for□□he □i□ema. They were bo□n □nd□grew up in Radomsk, a small town whi□h □ad "□ts madmen a□d its saints"□an□□most importanl□, t□e□&quo□;□inem□"□c□nema, as S□anislaw recal□s□□□or him cinema is □quot□heaven, th□ wh□le worl□, enc□□ntment&q□ot;. Ta□eu□z □ays he consi□□rs cinem□□both a charming market stal□ and □ mysterious □emple□ "□All□t□□s sav□ge□□and ha□ □lways □□tracted and fascinated□m□,&□uot□ h□ sa□s. "□I □m d□□o□r□□ by cinema and I devo□□□cinema; □'m □ c□nema eater.□quo□; But□Tad□esz□Roze□i□z, an eminent□w□it□r, admits this□unique f□□m o□ cooperati□n □□s□a prob□em to him□ "It is□t□e □re□e□ce of the other person not only in the proce□s of writ□n□, but at □ts very core□ whic□ is inserperabl□ f□r me fr□m □bsolute soli□ude."□Some scen□s the bro□hers □r□t□□together; □ther□ were cre□ted□□y t□e writer□himself, follo□□□g□dis□u□□i□ns with□□he dir□ct□r. But from t□e perspec□ive of time, □t is "Birth Certificate&quo□;, □□ther than &q□□t;Echo&□uot;□or &q□ot;The Wicked Gate", that Ta□uesz □es□ribes as h□s□m□□t intim□te film. Thi□ is understa□d□b□e. The □radgey from September 1□39 in Poland □as for□□he Ro□□w□□z b□ot□ers □he□r personal "bir□□ certificate&qu□t;. Whe□ wor□ing □n the□f□lm, the □irector said "This time □t is all □bout shaking off, ge□□ing rid of th□□psychologi□□l bu□den w□ich the war□was for all o□ us□ ... Co□perati□n□with m□ brother was i□ t□i□ c□se easier, a□ we share many w□□ mem□ries□ We wanted to show□to adult □ie□e□s a pic□□r□ of war a□□seen □y a chi□d. □.. In reality, it is t□e adu□ts who □reate□ the real □□r□d o□ massacres. Children□beheld t□e □or□ors coming b□ck t□□□ife,□exhumed □□om u□□ernea□h□the gr□und,□□verw□e□ming the e□rth." □□he principle of□comp□si□io□ of □qu□t;B□rth Ce□tificate&qu□t; is not obvious. When watching a□novella □i□m, we tend to thi□k in □erms□o□ tradi□i□nal theatre. W□ expect t□at a miniat□r□ □tory will fin□sh□with a sharp poi□□; the three□fi□m n□vellas in Roz□wi□z's□work lac□ th□s feat□re. We do not k□ow what □ill be□happen to the bo□ making his alon□ through the f□rest□□□wards the end of &qu□t□On the Road&□uot□□ □□ d□ not know whethe□ in "Letter from□the□Cam□"□ the help offer□d by□the small□h□ro□s to a Sov□et prisoner will □escue him from t□e□unkno□□□fa□e of □is□c□m□atriots. The□□□□e □f□□he J□wis□□girl from "Drop of □loo□&q□ot; is also un□□ear. Will she□keep her new im□ersonation as □quot;Marysia Malinows□□&qu□t;? Or will□□he□Nazis m□ke he□ □nto □ r□□re□entative of the "No□□ic race&q□ot;? Those□□uest□□ns were □sked□by the □i□ect□r for a□reason. □□ p□eceiv□d war as□chaos□a□□ perdition□ □□d not as linear histor□ □hat could□be refle□ted □n a plot. □lth□ugh□&q□ot;Bi□th Certificate□quot; is sa□urated□with moral□content□ it d□□s not□□□m t□ be□a mo□□l□ty play. But with □he i□□ense pre□sure □f re□lity, no□varient of□□ate should be exc□□d□d.□□his□appro□□□ed ca□□be compar□d w□h□Krzysztof Kiesl□w□□i&#□9□□ □quot;Blind Chance" 25 ye□rs□later, which pi□tu□ed □ram□ti□ choices□of □ di□f□rent era. T□e□film novella &q□ot;On□the R□ad&q□o□; has□a ver□ s□a□ing plot, b□t it dr□w special a□te□tion o□ t□e rev□e□ers. The ominat□ng o□erton□ of th□ war□films□□reat□d by the□Poli□h □□□m School at that time □hould be□kept□in □□□d.□Mainly □wing to Wajda, t□ose films□dealt □□t□ romantic heritage. □hey were per□eated□□ith pat□os, bitterness, and □rony. R□zewi□z is an extraordina□□ artis□. When narrating a st□r□□abou□□a boy lo□t in a□□ar zone, car□y□ng□some documen□s from□the □e□iment□o□f□ce as □f they □er□ a tr□asur□, the nar□a□□□ in "On the Road□quot; □iscove□s rough pr□□□ wher□ one sh□uld find □□etry.□And su□denly,□t□e irration□l t□u□he□ this rather ta□e □or□□. The boy□ who□until tha□□m□m□nt □esembled a Polish□□ersion o□ the Good Soldie□ Schweik, s□□s□□ff, like Don Qu□x□t□,□□or his □□rst and last batt□e. A□cri□ic d□s□r□bed it as &□uot;□n a□sur□ □e□t□re and s□m□one e□se□cou□d surel□ u□e it to crit□□ise the Polish st□le □f dyi□g. ... But th□ Rozewic□ broth□□s d□ no □□cuse□ t□ey on□y compo□e□an ele□y for the pi□tu□esque peasant-soldier, □robably t□□ most□impo□tant □eteran□of t□□ Polish war □f□1939□1945.&quo□;□&q□ot;□□□□h Cert□f□cate&□uot□ is no□□a□loft□ □□atem□□t about□nation□□ impo□derab□lia. T□e film□r□vea□s a □l□beian perspectiv□ which Al□k□a□der □a□kieqic□ once □ontraste□ □ith t□ose□&q□ot;lyrical lamentations&quo□□ i□heren□ □n the Kordian tr□dition□ Howe□e□, a h□st□□ical□ove□view of R□z□wicz&□□9;s□wor□ □□□□□□t□at□the dis□inctive style does □ot□□ignif□ a f□□da□en□al diff□rence □n i□lus□rating the Polis□□□e□tember. Just a□ the □e□o□able sc□ne from □ajda'□ "Lotna&□uot□□□as i□ f□ct□an expr□ssion of□desp□ratio□ and distress□□the same□em□tions perme□te the final scene of "Birth Certifi□ate&□uo□□. T□ese□a□□ not i□eologi□al co□cepts, t□ough on□e d□scribed as su□h□an□ f□rvently deba□e□, but rat□er psych□logical c□eation□. In thi□ spec□fic c□se, obs□rv□s Witold Zalewski, it i□ no□ abou□□manifesti□□ kn□ghtly pr□de, □ut about a gesture of a simple man □ho□does not ag□e□ t□ be enslaved. The novel□a &qu□□;Drop of Blood&□uot; is, with Aleksander Ford'□ &quo□;B□rder Street", one of the first □a□rat□o□s of the□fate of the Polish Jews □uring the□Naz□ occupation. The s□ory a□o□t a gi□l □iterally loo□ing□fo□□her pla□e on ea□th has a□dramatic dimension. Esp□cially □n the□age of today'□s journa□istic d□sputes□ o□ten manipulative, lacking in □mpathy □nd imbued □ith bad will, □ozewicz□#39;s story fr□□ t□e past □ho□ks with it□ □u□he□tici□y. The small□herione of t□e story is□□he only□one □h□□surv□v□□ a□□erman raid on □er family hom□. Physical □urvial do□s n□t, howev□r, mean a return □o normal□t□. Her frightene□ d□partu□□ □rom the rubbish dump t□at was□her hide□ut □ea□ □e□□to a ruined a□a□tm□nt□ □er wal□ aro□nd it is painful becaus□ still□fresh signs of l□fe are mixed with ev□dence of□an□ihilation.□Help is needed, but M□rka□doe□ not know an□o□□ in the □u□sid□ world. Her□subseque□t attempts□express t□□ □ta□□ of□the fugitive's□□pir□ts - from hope and f□□th, moving□to doubt□□a□sense□o□ oppression,□and thickening fear, and fin□l□y to de□pair. At □h□ sa□□□t□me, the □ewish□girl□#39;s se□□ch for refu□e rese□□le□ □he state of□Polish society. The appearan□e of M□r□a results □n□confusion, □nd la□er, troubl□. This □as □l□e□dy signalle□ by R□z□wicz i□ an exceptional sc□ne from &qu□□;L□tter from the Camp&qu□t; in which the□b□y'□s □eighbour, seeing a □□gitive□R□□sian s□ldier, retr□at□ im□ed□ately, admitting that &qu□t;Now, pe□p□e□worry □□ly about th□mselves□" □uch e□□ara□sing excuses□□as□ fea□. D□r□□g □□e occupa□ion,□□o one feels safe. N□□t□er socia□ □□□tus □o□ th□□aeg□s of a charity org□nisa□ion prote□ts □gai□st repression. We see the pot□ntial □u□rdians of □□□ka pas□ing he□ back□an□ □orth among themselves. These a□e fri□n□l□ hand□ but they can□ot off□r strong support. □he story takes □lace o□ tha□ □hin□line bet□een so□ida□□t□ and herois□.□Solidarity ari□e□ □pon□aneous□y, but□only some are capable of he□oi□m. □elp f□r □he girl □oes n□□ alw□ys resul□ from □□mp□ss□o□; sometimes it is based□on □as□ r□latio□s□and □e□sonal ties (□ neigh□our of the□doct□r takes in t□e fug□t□ve f□r a fe□ days be□□use of past □rien□ship)□ Rozewic□ portrays□a□l□of thi□ □n□□ sub□□e way; even th□ small□st□□estu□e has signi□icance. □a□e, for exam□le, the conversat□o□ with a stranger on t□e tra□n: short□ as if □ot□ed do□n on the□□ar□in, but so fu□l of tension. And □arlier,□a p□culiar e□amination of Pol□shne□s: the□□quot;Holy Father" prayer forced on Mirka □□ the □ill□ge boys□to □h□ck□□hat she is □ot□a□J□□. W□uld not□risi□□□to th□ ch□ll□nge m□a□ a dea□h □e□tance? Viewed after□man□ years, &q□ot;Bi□th□Certif□cate&qu□t; di□cl□se□ yet □nothe□ quality□tha□ is not□prese□t in the wo□ks of the □oli□h Sch□ol, □□□□□s□promin□nt in□la□er B-class war f□lms. Thi□ is□the p□cture□of ev□ryday l□fe duri□g□the w□r and occupation□ou□l□ned in the three□n□vellas□ □t □armonise□ with the lo□□c□of speak□n□ about &quo□;life a□ter life&□uot;. Small heroes o□ Ro□ew□cz suddenly enter the □eal□ty of war,□with no □xperience □r□□c□□e with whic□ to compa□e i□. □or them, t□e pr□sen□ is a□natu□al□ext□ns□on of an□ at t□e s□m□ time a co□plete □egati□n of the p□st. Consider t□e s□e□y sm□ll-town marketplace, through whi□h□armoured colu□ns will □□□□tly pass. Or□meet the German □o□orcyclists, who □ook like □□iens f□om outer spa□□ - a pictur□ take□ fr□□ an□auto□sy □ec□us□ this is □ow Stanis□aw □nd Tadues□ pe□□ei□ed t□e first□G□rmans t□e□ □ver□me□. No□e the blurred sil□ouettes □f□p□ople against□a white□wa□l who □re be□ng shot□- at fir□t the□ are shockin□□ but soon they w□ll p□ob□bly b□c□me□a part o□ t□e□grim landscape. In □he□□ity centre□st□nds □□□riso□er camp□on □ sod□en bog ("Peo□le perish l□kes flies; t□e□□□□ies□are □rans□orted □□r□□g the nig□t□quot;); in the street the childer□□□re r□n□ing after a co□l wago□□to□□□llect□□ome precious pieces□of fu□l.□T□ere'□s□a bustle□aroun□ □ome□fo□d (a□bo□ re□r□aches his y□unger b□other's□actions by□singing: &quo□;The warrant of□icer□;s son □s begging in □ront□of the chu□ch? □'m□□oi□g to t□ll mother□&q□ot;); and th□ kit□□en, which one eve□ing bec□mes th□ p□os□en□um □f□a □eal□□ram□. An□ □h□□e ar□□the sym□ols□□a b□r of chocolate force□□upon a boy by a We□□macht soldier ("On□□he □oad□quot;); a pair □f shoes bel□nging to Z□□szek's f□ther which th□ bo□ s□onta□eously □ives to a □ussian fugitiv□;□a priceless slice of bread□ ground &nb□p;unde□ the □e□l of a□policeman in the guter ("Le□te□s fr□□ the Camp"). □□ t□□ dir□ct□r put i□: "In every□fil□,□I commu□i□□te my ow□ v□si□n o□ th□ world and□of the □e□□le. Only□then t□e style follo□s,□the defi□ed wa□□of experi□□c□ng things□" In B□rth Cer□if□cate,□□e adds, his approach was driven □y the sub□ec□: □quot;I atte□pt□d to c□eate not only the □□x□ure □f the document but als□ to add some□poetic e□ement. I kn□w □t□is ri□□y bu□ as for the me□ge□□of documenta□ion an□ poety, □□ten hidden very de□p, i□ o□ly it manages to ma□e i□s□wa□ ont□ the□scre□n, it □esults in w□at can refer□□d to as □;art&#□9□.&q□□t;□ □□te□□19□5, ther□ were □umerous□f□lms created in Europe that dea□t with war and ch□ldre□, includin□ "□□o□□wh□r□ □n Europe&qu□t□□(&□uot;Vala□□□□Europa□an", 1947 by □eza□R□dva□yi), "Shoeshine" ("S□ie□□ia&□uot;, 1946 by V□tto□io de Si□a)□ and "Childhood □□ Ivan&qu□t□ □"Iwano□o □ietstwo" b□ A□dri□j □arkowski). Ye□ there□were fewer th□□ one would □x□e□t. P□rsuing a su□ject □o i□b□ed wit□ sentiment□lism requires stylistic dis□□line□and a special abili□y to □a□age □hild actors. The author of &q□ot;Birth□C□□tifica□e&qu□□□ mastered both □ and it was not□□y chance. Stanislaw Roz□wic□□was al□ays□th□ □eneficen□ spi□it□of□the film□milie□; he □ould unite p□ople around a co□mon goal. He emana□ed peace an□ s□nsitiv□□y,□wh□□h□f□o□□d to □is co-workers□and pupils. □ fil□□ □eing a □□oup w□rk, necessitates □o□e fo□m of empat□□ - t□ni□g□i□ wi□h othe□s.□ In a□b□ogra□hi□al docu□entary abou□ Sta□□s□□w□Rozewicz□ent□tle□ "□Walking, Meeting" (1999 by Antoni Kr□uz□), there is a beautiful scene when th□ di□ector, after a□f□w decad□s, □□ets □eata Bar□□czewska, who pla□□□Mireczka in the□nov□ll□ "Drops of□□lood□q□ot;. The woman falls □nto the arms of the eld□rly□man. □hey ar□ bot□ mov□d. He □ond□rs how ma□y year□ □ave passed. S□e a□□wers:□"□ few years. Not □oo m□ny." A□d□Rozew□cz, with □is characteristic smi□e sa□s: &q□□t□I□ □s □ru□. We □pent□□his entire time tog□ther□"□1□48□□放战争时期□连长(□□谷子□（张涵□ 饰）率领九连47名战士在(🚛□□河岸执□□护大部队□□□任务，团长刘泽水（(🍷)胡□ 饰）下□，以集结号□令，听见□响就撤退。 □惨□的战争□炮弹□□(😷)鸣中开始，九连的□□死伤惨□，□长焦大鹏（廖凡□□），牺牲前说□己听见了(✡)集结号□谷□地自□□有听见，他决定死□阵□□九连打(👰)退了敌人三次进攻(⏲)，炸□二辆(🦄)坦克□歼敌无数，全(💮)连除(🏕)连长谷子地，47□□部阵亡。 这场战争改□了(🎞)谷子地□□□。由于部队□了编号，谷子□找不到组织(🏁)，九连牺牲的烈士们也被认定为失踪(💞□。谷子地开始了艰难的寻找，为九(➿)连的兄弟们讨个说法(🕢)，也为了探明(🎑)当年□结号□真相。□□人闻言也都反应了过来，曲□儿无比兴奋□道：“嘻嘻，真是太好□□我们居□有□会超越两个大境界杀□🕌)人，等事后将咱□的留□水晶播放(□)□□，那还不□要(🦎)全大□轰动(㊙)啊，最让人兴奋□是，李□人(🍕)□道真相过后那□看的(🌱)表情！”虫虫助手是一款提供超精品、超好玩、超新鲜、超热门的游戏的手游□载平台。它拥有免费游(✒)□□大(□)型游戏和□文游戏三大□色板块，可以满足不同年龄段、□同群体对游戏的需求。虫虫助手提供游戏下载□游戏资讯、游戏□动...
然□👺)而□他一进门顿时就愣住了。“可是，如□□们□样一直呆下去(🛌)，没准哪天他就对你下手了。□□梓懿担(🍥)心地□。
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reyoooo.QD:158.241.353.431听说，你前阵子承包了阿贵家的稻子，对吧？”
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