《ds-k1t342m》：

原漫画《一人之下□同□精彩，□(✅)击按钮下载 App □享精彩内□！

重□□的□蜀美丽庭院示范片项□➰)目□经进入收尾阶段。□些项目旨在通过改造和提□农房品质(⚾)，打造整□、舒适、安□□□□的□乡人居环境。目前，15个项目已基本完□，预(🐀)计下□□全面完工。这些项目的建(□)设不仅仅□为了..□

In 1961, Stanislaw Rozewicz cre□ted □he no□ell□ f□lm□&qu□t;□irth Ce□ti□i□□te&q□o□; in coop□ration with□□is brother, Taduesz □ozew□cz□as screenwriter□ □u□h brother t□ndems□ar□ rare in □h□ history □f film but a□i□e from fami□y ties, Stanis□aw □bor□□in 1924) and Taduesz (b□rn in □9□1) wer□ m□tua□ly□□o□nd by th□ir love for the□c□nema. T□e□ were born and grew□up in Radomsk□ a small□to□n whi□h had□&q□ot;its □□d□en and its sain□s" and mo□t importa□ly, th□ &q□ot□Kine□□" cinem□□ as Stanislaw r□c□lls: fo□□him □i□ema is "heav□n, the whol□ world, encha□tmen□". Tadeusz sa□□ he □ons□□□rs cinem□ □oth a charming market stall and□a mys□er□ous temple. &□uot;All th□s□savage land has al□ays attracted□an□ □ascinated□□e," he says□ "□□ am de□o□r□□ by cinema □nd□I devour cin□ma; □'m a c□nem□ eater□&qu□□□ But T□dues□ Rozewicz, an e□inent writ□r,□a□mits this □n□que□□□r□ of cooperation□w□□□□□problem to him: □q□ot;It is the pres□nce o□ the other person not□only □n the pro□e□s □□ wr□□ing,□□ut at its ver□ cor□□ whi□h is□i□□erperabl□ for me f□om abs□l□te so□□tude." Some scenes the brothers□wrote togeth□r;□□thers □ere created by the □□iter himself, foll□wing□□□sc□ssion□ wit□ th□ director. But f□om□the pe□spe□tive o□□time,□it is &□uot;Birth Ce□tifica□e",□rather than &q□ot;Echo□quo□□ or □quot;Th□ Wicked □ate", that T□□uesz describ□s □□ his most□intimate film.□Th□s □s underst□nda□le□ The tradge□ from Sep□em□er 1939 in □ola□□ was fo□ t□e R□□ew□cz□brot□er□ □heir □ersonal □quot;b□r□□ □ertifica□e". □hen □ork□n□ on□the □ilm, the d□□ector□s□i□□&q□ot;Th□s time it is all□about □haking off, □e□tin□ rid□□f t□□ ps□c□olo□i□a□ bu□□en whi□h t□e□wa□ w□s □or all□of □s. ... Co□perati□n with m□□brot□er wa□ in this case □asier,□as we share many war memories. W□ wan□□□ to sho□□to□adult viewer□ a□pictu□e of □ar a□ □ee□ by a c□ild. ... In reality, i□□□s the a□u□□s who c□eated t□e r□□l w□rld of□mas□a□□es. Chil□re□ behel□ th□□horrors comi□□ back to life□ exhum□d from undern□ath□the ground, overwh□l□□n□ the earth□&qu□t;　　□he p□inciple of compo□ition of □qu□t;Birth Certificat□&quo□; is□not o□vious. When w□tching □ novell□ film,□□e ten□ to think in terms of traditi□□□l□theatre. We ex□ect that a□miniature □tory will □inis□ with a□s□arp poi□t; the three fil□□novel□as □n Rozewic□&□39;s work lack□this featur□. We do n□t □now what will□□e happen to□the□boy □akin□ his alon□ through the f□□e□t □owards the □nd of &quo□;□n the Road&quo□;. We do n□t kno□ wh□□□er i□ &□uo□;Letter from□the□Camp", □he he□p□□ffere□□by th□ sma□□ heroes □□ a Soviet □riso□er □i□l resc□e him from the □nkno□n fate □□□□□s compatriots. The fat□ of the J□wish girl from &qu□□;Dro□ o□ □lood" □s□als□ unclear. Will she keep her new imperso□ation as &□□ot;Marysia Ma□ino□ska□quot;? O□ □i□l □he Nazi□ make her□□nto a r□presenta□ive of the &qu□t;Nordic r□c□□quot;? Tho□e questions wer□□asked□by the dire□□or f□r□a reason.□He □r□ceived wa□ as ch□os and perditi□n,□and□no□ a□ □□near hi□tory tha□□could □□ □□fle□te□ in a □l□□. Altho□□h "Birt□ Certificate&qu□□;□is □a□ur□ted with moral content, it does n□t□aim to□be □ mo□□li□□ □lay. But with the□im□ens□ pressure of reality, n□ varie□t of fa□e should be□exclud□d□ This app□oached□□□n be compared wth Krzy□ztof Kies□owski's &□u□t;Blind Chance□q□o□; 25 y□□rs later□□□hich□pi□tured dramatic ch□ices of a□d□fferent era.□(□□　The □ilm novella□&q□ot;O□ the□Roa□□□uot□ h□s a very sparing □lot, bu□ it d□e□ spec□al attenti□n of □he□□e□i□we□s. The om□nati□g □vertone of □he □ar□fil□s□□reat□d □y the□Poli□h Fi□m□Schoo□ at that t□m□ □hou□d be kept□in mind. Main□□ □wing to Wajda, those f□lm□ dealt □ith romanti□ heritage. They were permeated with pathos, b□tterne□s□□a□d□□rony. Ro□e□icz i□ an□□xtraord□na□y artist. When □□rrating a□s□□ry about a boy□lost in a w□r zone, □arryi□g s□me□d□cuments from□the r□giment□off□ce as if the□ were a tre□sure, th□ narrator in &□u□□;O□ the□□oad&q□ot; disc□□er□□rough pr□s□ wh□r□□□n□ s□ould f□nd poetry□ And suddenly, the irr□t□o□□l touc□□□ this □ather tame□□orld. The boy, w□□ unt□l that □omen□ res□□ble□□a Po□i□h ve□sion□of th□ □□od Soldier Schwei□, s□ts of□, □ike Don □□ixote, for□his first and last bat□□e□ □ c□i□i□ d□scribed it □□□"□a□□a□surd ge□tur□ and someone el□e□could surely use i□ □o critic□se the Poli□h style of dying. ... Bu□ the Rozewicz bro□her□□d□ no accuse: they only com□□□e a□ elegy for the pic□uresque p□as□nt-soldier,□pr□bably the m□st importan□ vete□an of□□he Po□ish war of 1939-1945." "B□rt□ Certificate"□ is not a loft□ stat□ment about national impondera□ilia. T□e f□l□□re□eals a □leb□ian □erspective□which □leks□nder Jackieqicz □nce contra□□ed with □hose &q□ot;lyrical lamenta□ions&qu□□;□in□erent in th□ □o□□ian tradition. Howev□r, a his□orical overview of Rozewicz&#□9□s work shows th□t □he distin□ti□e style d□es not s□gni□□ a fundamental □□ff□rence in i□lustr□ti□g □□e Polish S□ptember□ □□□t□as the mem□rable □cene□□□om Wa□da□;s□"Lot□a□qu□t; was□in fact an e□p□essio□ of desperation and di□tress□□the same □motions perme□te t□e □ina□ s□ene of□"Bi□t□ Certifica□e". □hese a□e n□t ideologi□al conc□□□□, though onc□ de□cribed as such and fervently deb□ted, but □at□er psychological □re□□ions. In thi□ s□ecific case□ □bse□ves Wit□ld Z□lews□□, it is□not about manifes□ing knigh□ly p□□de, but about a ge□□u□e□of□a sim□le □an□□ho□doe□ not agree to be ens□aved.　　The n□vell□ &□uot;D□op □f□□□ood&quo□; is, with A□eksander Ford&□39;□ □□uot;Border Street□quot;, o□e of□the first narrations□□f the fate of□the P□lish □□□s during the Nazi oc□upati□n□ The story □bou□ a□gi□l li□erally loo□ing for her □lace□on ear□h has a dramatic□dimension.□E□peciall□ i□ □he age of □oday's journa□istic disputes, often ma□ipu□□tiv□,□lacking in □□pathy a□d □mbued with ba□ w□ll, Rozewicz□□□ s□o□y from□□h□□□ast □hock□ w□th its □□t□enticity. The small h□rione of the story□is□the only □ne □ho survives a□German raid on □er □amil□ home□ □hysical□survial does not, □owe□□r, me□n a□return to norma□ity. He□ frightened d□pa□ture□from t□e rubbish dump□that was her□hideo□t le□d her to a ru□□ed□apar□ment. Her walk around it is pa□□ful becau□e□still fresh signs of □ife□□r□ □ixed□wit□ evidence of annih□□□tio□. Help is needed,□but Mirka does n□t know anyo□e□i□ the out□ide worl□. Her □ubsequent attem□ts expre□s□the sta□e□of□the fug□tive□#□9;s□s□irits - from h□□e □nd fait□, mov□ng to□doubt□ □ s□n□□ o□ oppression, and th□□kening f□ar□□and□finally □o □espai□.　　□t the □ame ti□□, the Je□is□ □□rl's s□arch □or refuge □esem□les t□e □tate of□Po□ish□society. T□e appearance□of M□rka re□ults in□confusi□n, □nd later□ trouble. □his was alread□ sig□a□led by Rozewicz in□an exception□l scene from "□Let□er f□o□ t□e C□mp&□uot□ in which □h□ boy's neighbour, s□□ing a f□□it□ve□Russia□ soldier, retreat□ □mmed□a□ely,□a□mitting th□t &qu□□;Now, peop□e□w□rry only ab□ut□themse□ve□.□□uot□ Su□h embara□sin□ □xcu□es mask fe□r. During□□he occupation, n□□one feels□□□fe. Ne□□her □oc□al st□tus not the ae□is of□a charity orga□isation protects□agains□ r□pression. We see the□pote□tial gu□rdi□n□ of Mirka pa□sin□ he□□back and f□rth □mong□thems□lves.□□□ese □re fr□endly □ands□but they cannot o□fer str□ng sup□ort.□The s□ory□takes □□a□e on t□at t□i□ li□e betw□en s□lidar□ty□an□ □eroism□□Solidar□□y □rises spontaneously□□□ut onl□ s□me are□capab□e of heroism. Help for the girl do□s not □lways re□u□t from □ompassio□;□som□□imes it is base□ on pas□ re□ations an□ personal □i□s□(a n□ighbou□ of□□□□ □octor takes in the□fugitive for a f□□ days because of past fr□endship). Rozewi□z□p□rtr□ys all of thi□ in□a□subtle way□ □ven□th□ □mall□st gesture h□s s□gnifi□ance. Take, □o□ exa□ple, the conver□ation with a s□ra□ger on □he□□□ai□: short, □□ if jotted down on the m□rgin, but so full of te□sion. And□earlier, □ peculiar examination of Po□ishness: the &□u□t;Holy Father&quo□; □rayer forced on Mirka□by the village □oys t□ check□that □□e is not a□J□w. Would□no□□ri□i□g to the□□hal□enge mean□a □eath sentance?　　Viewed after ma□y year□, &q□□t;Birt□ Certificate" □iscloses yet□□□□ther□quality □hat□□s□not pres□nt in the □ork□ of t□e Polish School, but is□pr□minent□in later B-□□ass war films□ □h□s□is the pic□u□e of □v□ryday life during the war and occupation outlined□□n □he□three no□ellas. It har□onises with□the l□gic of speaking about &q□ot;lif□ a□ter life". Small□□□roes□of Rozewicz suddenly enter the r□□□ity of war, with no experi□nce□or sc□le with which to compar□ i□.□For□them□ □he□present is a□natural □x□ension of□and□□t t□e same time a complete neg□t□on of □he □□st. C□ns□der□the sl□ey □mall-to□n □ar□etpl□ce, through which□arm□ure□ column□ wi□l shortly pass. Or meet the Ge□man □oto□cyclis□□,□who look lik□□aliens □r□m outer space -□□ pi□t□re taken □rom an□au□opsy beca□se this is how Stanislaw and Taduesz □□rce□ved the□f□rst □ermans they e□er m□t. No□e□the blu□red silh□u□tte□ of peo□l□ again□t a white wall who□are bei□g sh□□ - at□first □he□ are□s□oc□ing, □ut soo□□th□y will □robably □eco□e □ pa□t □f the g□i□ l□n□scap□. In t□e city□centre□s□a□d□ a prisone□ cam□ on a □odden □og (&quo□;Peo□le p□rish li□es□fli□s; the bodies are tra□s□□rt□d□□urin□ t□e night&qu□t;);□in th□ □tre□t t□e childern are runni□g □fte□ a co□□□wagon to c□□lect s□me precious p□eces of fuel. There□#39;s a bustle□aro□nd some f□od (□ boy□repr□□ches his younger br□ther'□s actions□by singing: &q□ot;The warr□nt officer's□son□is□begging in front of th□ church? I'm going □o tell moth□□!&qu□t;); □nd the k□tchen,□which one even□ng becomes the pr□sc□nium of a real dra□□. An□□there □□e□the sy□bols: a bar□of c□oc□l□te fo□ced upon a b□y by a We□rmacht□so□die□ ("On the □oa□&quo□;)□□□ pai□ o□ □hoes belon□ing □o Z□ysz□k's father □hich the boy sp□□taneo□sl□ gives to a Russian fug□tive; a price□ess slice o□ □read, gr□und  unde□ t□e he□l of a□□o□icema□ in □he guter□("Le□□ers from the C□mp"). □s the di□ec□or put it: "In ev□ry film, I c□mmunica□e my ow□ vision o□ t□e world and□of t□e people. Only t□en the □tyle□fo□lows, the □ef□ned way□□f ex□□rienc□□□ t□ings.&□uot; □□ Birth Cert□ficate,□he ad□s, his app□oach was driven by the subject: "I attem□te□ to□c□eate □ot only the texture of t□e□d□□ument but □lso□□o □dd some p□□tic □□eme□□. I know□it is risk□ but as for the merger o□ document□tion and po□ty□□ofte□ □idde□ very de□p, if o□□y it □anages to □ake i□s way□on□o the □creen, it □esults in□what can referr□d□□o □s 'a□t'.&□u□t;　　After 19□□, t□ere we□e num□□ous films c□eated□in Europe □□at deal□ with war a□d ch□ldren,□□nclud□ng &q□ot□Somewhere in E□rope&quo□□ ("V□lahol E□ropaba□&quo□;□ 194□ by G□za Rad□anyi□, &q□□t□□hoe□hin□" ("S□iescia&□uot;, 1946 □y Vit□orio □e Sica)□□and□"Chi□□hood of □van" (□q□ot;Iw□n□wo diets□w□"□by And□□□j□T□rko□□k□)□ Yet ther□ we□e fewer tha□ one would expect. P□rs□ing□a subject so imbued with se□tim□nt□lism □□□uires □tylis□ic disi□li□e□and a sp□cial□abilit□ to man□ge child ac□o□s. The author □f &qu□t;B□rth□C□rtificate" □astere□□b□th - and it was not by chance. Sta□i□□aw R□□ewicz was a□ways □h□ beneficent spirit□of □he□film □ilieu; he cou□d uni□e peo□le □round □□c□mmon□goal. He □ma□ated pe□c□□a□□□□ensitiv□ty□ which flowed □o□h□□ co□w□rkers and□pu□i□s. A fil□, be□ng a gro□□ wor□, □ecessitates some f□rm of em□a□hy □ tun□n□ in with others.　　I□□a biographical docum□n□ar□□about Stanisl□w Rozewicz entitl□d "Wal□ing, □eeting" (19□9□b□ A□t□ni Krauz□),□□here is a□beautiful scene □hen the dire□t□r□ aft□r a□few de□ades, meets Beata□Barszczewska, who plays Mireczka□in the novella "Drops of □lood". □he □o□□□□□all□ int□ the arms□o□□□he elderl□ man. Th□y are bot□ □oved. He wond□□s □ow □a□y years have □□ssed. Sh□ ans□er□□ "□A few □e□□s. Not too many." And Rozewicz, with □is characteristic sm□le says: □□uot;It is true.□We□spent□□hi□ en□□re time t□□et□er.&q□ot;

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