龙巧儿也□□(🍫)嘻一□，道：“你是□长啊，□说了算□”□(🧣□紫曦...□□ 1961, Stanisla□ Rozewi□z cr□a□ed □he novel□a film "B□rth Certificate" in □oop□ration with his br□ther, Tadues□ Roze□icz as sc□□e□writer. S□ch bro□her t□n□ems are □are in t□e history of □□lm but □side fro□□family ti□□, □tanisla□ (□o□n i□ 19□4□□a□d Taduesz (born in 1921) we□e mut□ally bound by th□□r love for the□ci□ema. They were born and grew up □n R□domsk, a □□all town which had□"□ts madmen and□its s□ints□qu□t; and most i□portanl□, t□e□&quo□;□inema&qu□t; c□n□□a, □s Stani□□□w recal□□: for □im cinema □s "h□a□en,□the□who□□ world, enc□a□tment". Tadeusz □□ys □e □o□sid□rs cinema both a□charming market sta□l an□ a my□terious □emple. &□□ot;All□this savag□ land □a□ □□ways a□tracted an□ fascinated□me,&qu□t; he s□ys. □qu□□;I am dev□ure□ by□ci□ema and □ □evour cinem□;□□'m a cinema eater.□quot; But Taduesz Roze□icz□ a□ emine□t wri□□r, admits this u□iq□e form of cooperat□on□was □ prob□em□to him□ &□uo□;It □s the □resence of□□he□other □erson□not onl□ in th□□p□□□ess of writi□g, but□at□its v□□y co□□□ which is□i□s□rp□rab□e for me□f□□m□abs□lu□□ solitude□" □o□e sc□nes the brothers wr□te toget□□r; other□ □□□e c□eated by□the w□iter hims□lf, fo□□ow□ng di□cussions □i□h the d□rect□r. Bu□ from □□e perspe□tive of time,□i□ is &□uot;Bi□th Ce□tif□cate"□ rathe□ than &q□o□;Echo□□□ot; or &□uot;T□e Wi□ked□Gate□quot□, that Taduesz de□cr□bes as his most intimate fi□□. This is□□nderst□ndable. The tra□gey from□Se□tember□1939 in Poland was for□the Rozewicz□□rothers□the□r □erso□al &quo□;birth cert□fic□t□&□uot□. □he□ working on the □il□, the director said "□his □im□ it is all □bout sh□king of□, ge□tin□□rid of the psychol□gical burden w□i□h t□□ w□r was□for all of u□. ... Coo□eration wit□ my bro□her was in this c□se □□□ier, as we s□a□□ many wa□ m□□ories□ □e wante□ □o s□ow to□ad□lt □ie□□rs a pict□re of war as seen by a ch□ld. ... □n reali□y, it□□□□t□e a□□lts who created□the re□l world□of massa□res. Child□en be□□l□ the□horrors□c□m□ng back to □ife, exhumed□fro□ un□e□neath the g□ou□d, □v□rwh□lming the earth.&q□ot; The pri□ciple o□ composition of □□u□t;Bir□h Certificate" is not obviou□. When w□tching□□ nove□la film, □e tend t□ think in□t□rms□of traditional theatr□. □e exp□ct that□a miniature story wil□□f□nish with a sharp p□int□ the □hre□ film novellas in Ro□e□i□z'□□wor□ □a□k this feature. We do not know□wha□ w□ll □e happen to t□□ b□y □ak□ng □is alone through the fore□t□towards□the end of &□uot;On □he□Road&quo□;. We do □ot□know whe□her in "Letter□fr□m□□he □amp&q□□t;, □he □elp off□r□d by□t□e small he□oes to a S□vie□ prisoner will re□□□e him from the □nkno□n fate □f □is□compatr□ots. The f□te of the □ewish□girl□from "□rop □f Blood&quo□; is also□□nclear. □i□□ sh□ ke□p her new impersona□ion as "□Marysia Malinowska&qu□t;? Or □ill the N□zis□make h□r i□to□a□r□presen□at□□e □f the□"□Nordic r□ce&q□o□□? Those□□uest□ons we□e asked by the directo□□f□r □ reason. He preceived war as cha□s □nd per□ition,□□nd not as line□r hist□ry□that c□uld b□ ref□ected in a□plot. Although□□qu□t;□irt□□Certificate□quo□;□is satur□ted with mora□□content, i□ d□es□not aim to□b□□a mo□ality play□□B□t□with the immense □ressure□of □ea□it□, □o varien□ of fate s□ould b□ ex□lu□e□. Th□s a□proached c□□ b□ compared□□t□ Krzyszto□□Kies□owski's□&qu□t□Bli□d □ha□ce" 25□y□a□s later, w□ich pictured□dramatic□choice□ of a different era□ The f□□m nov□l□a "On th□□Roa□&qu□□; has□a v□ry s□aring□plot,□but□it drew □pecial at□enti□n o□ the rev□□□e□s. □he □mina□ing overt□□□ □f the war films c□e□□ed b□ the Polish Fi□m□Sch□ol at□that □ime □hould be kept in □ind. M□inly□owing □o Wajda, t□o□e films dealt with r□mantic□□e□ita□e. The□ we□e permeated wi□h pathos,□□it□erness, a□d irony.□Rozew□cz is □n extr□ordinary □rti□t. When nar□ating a stor□ abou□ a boy lost in a war zone, c□rrying so□e □□cuments from t□e re□□m□nt o□fice as if the□ wer□ a□tre□□ure, t□□□nar□□tor i□□&q□ot;□n th□ Roa□□□u□□□ discovers roug□ prose whe□e on□ should□find poetry. And sudden□y, □he irrational t□uches this rath□r tame w□rld. □he□b□□, who□□□□il t□at □oment res□mbl□d a□Po□ish version of the Good Soldie□ Schwei□, sets off□□like Don Quixo□□, □or his□first□and□la□t□bat□le. A critic described it as "an absurd gesture and s□m□one□els□□co□l□ surely use it to critic□se the □□l□s□ st□le □□ dying. .□. But the R□zewicz bro□hers □o no □c□use□ they □nly co□pose an e□egy for □he pic□uresqu□ pe□□ant-sol□ie□, □r□□ably the m□st□impor□ant ve□eran of the Polish□□ar o□ 1939-1945.&q□□t; "Birth Certificate" □s n□t a lof□□ □t□□ement ab□ut natio□al im□onde□abilia. The film□re□eal□ □ pl□□eian perspective which Alek□an□e□ Jackie□icz once c□□trasted wit□ thos□ "□lyr□c□l lament□t□ons" in□e□ent in t□e Kordian t□adition. □owever□ a □istorical □□ervie□□o□□Ro□ewic□'s □□□k sh□ws□that □he di□t□nct□ve style does not signif□□a fundament□l d□fference□in□illustra□in□ the Polish□September. Just as the memorabl□ □cene from Wajda□#3□;s □quot;Lotn□&q□□t; w□s in □act □n expressio□ of d□speration □nd□dist□ess, the s□□e□emotio□s □e□□eate the □□□al scene of "Bir□h □ertificate". These are not id□ological conce□ts□ though once□described as s□ch and□ferve□tly □ebated, but□r□the□ psych□logical creatio□s. In□this specifi□ case, obser□es Wit□l□ Zalewski, it □□ n□t ab□ut manif□□ti□g kni□htly pride,□□ut about a gestur□ of a□□i□ple□man□who□□o□s □ot a□□ee□□o be enslaved.□ Th□ □ove□la &q□ot□Drop of Blood" is, with□Alek□□nder F□rd'□ "Border □treet&quo□;, one of the f□rst n□r□a□□ons of t□□ □□t□□of the Poli□h□J□ws□during □□e Naz□ occupati□n. The s□ory ab□ut a □irl li□e□ally□lookin□ □or her place□on ea□th □□s a d□amatic□dime□sion. E□pecially in the age of today's jo□rna□□st□c disputes□□often manipul□tive, lacking i□ emp□thy and □mbued with bad will, Rozewicz□#39;s story from the past shocks with its □uthen□ici□y□ The small □eri□ne of the story is the only one who surv□ves a □e□man raid on□her f□mily home.□Ph□□ical sur□ial □oes not, howeve□, mean a return to□n□rma□ity. Her fr□g□tened □ep□rt□re f□om t□□ rubbish dump tha□ was□her hideou□ lead her to a ruined ap□rtment. Her wal□ □round□it i□ □ainful bec□use st□ll fresh sig□s □□ life ar□ mixed with e□□dence of□□n□ihil□tion. Hel□ □s ne□d□d, bu□ Mirka □oes not □now anyone in the outsi□e worl□□ □er s□bsequent attem□ts expr□s□□th□ state□of the □ugitive's s□irits - fr□m□hop□ and fa□th, □□ving to doubt, a sense of oppression, and thick□ning fe□r□ □nd finally t□□despair□ At the sam□ □ime□ the J□wish□girl□#39;s search f□r □efuge rese□bl□s the st□te of Polish□so□iety. The□app□aranc□□of M□r□a resu□ts in confusio□, □nd later□ trouble.□This was already signal□ed by Rozewicz □n an ex□epti□n□l sc□ne□fr□m "L□tter□from th□ □amp"□in whic□ the boy&□3□;s ne□g□bo□r,□□eein□ a f□g□t□ve Rus□□an □old□e□, r□t□eat□ imm□d□ate□y, admitt□n□ that &qu□t;Now, peopl□□w□rry only about t□e□s□lves.□□uot; Such□embarassing e□□uses□mask fear. During□t□e oc□upation, no one feels□s□fe. □e□□her socia□ statu□□□ot the ae□is o□ a char□t□ org□nisat□on protects□agains□ repressi□n□ We see □□□ potential guardian□ of□Mirka passing her□□a□k an□ forth□among□□hemse□□es. The□e□□re friendly han□s but they ca□no□ offer strong □upport. T□e s□ory □akes place o□ that thi□ line between solid□rity and h□roism. S□lidari□y□a□i□□s spo□taneously□ but on□□ s□me□are ca□able□of □eroism. Help for□the girl doe□ not always □esult □rom□compassion; sometime□□it is ba□ed on□□ast relatio□s and□personal ties □a nei□□b□ur of th□ doctor t□k□□ in□□he fugiti□□ for a few □ays □eca□s□ of past fr□□nds□ip).□Rozewicz portrays□al□ of this in a subtle way□□e□en□the □mal□e□t gesture□has □□gnifica□c□. Take, for example, the conv□rs□ti□n wi□□ a stranger o□ the tr□□n: short, as□if□jotted □own on th□ margin, but so□full of tension. □nd e□rlie□□ a peculiar examination□□f Polishness:□th□ □qu□t;Hol□ Father&□□ot;□prayer fo□ced on Mir□a by the v□llage b□ys to □heck tha□ she is no□ a Jew□ Would □ot□ris□ng□to the □□a□lenge □e□n a de□t□ sentance? □Vie□ed afte□ □□ny □ear□, "Birth Cer□ificat□&qu□t; di□c□□ses ye□ an□ther quality□th□t i□ □ot present in th□ □o□ks of the □□lis□ Schoo□,□bu□ is p□omin□□t in□□ater B-class wa□ f□lms. This is the picture o□ □ve□yday□life duri□□ the□w□r □nd occ□pation o□tl□ned in the three novella□□ It har□onises with th□ logic□of speaking about &qu□t;life after□li□□"□. Small h□□oes of Rozewicz□su□denly enter the□reali□□ of wa□, with no experie□ce or sc□le with whic□ to compar□ i□. Fo□ them, t□e □rese□t is a □atural ext□nsi□n□o□□an□□at the same time a com□let□ neg□□ion of the past□□Consider th□ sleey□s□all-town mark□t□lace, through □hich □rmo□red c□l□mns wil□ shortly p□ss. Or meet th□ Germa□□□o□orcycl□sts□ who □ook like□□liens□□rom □uter space □□a p□□ture □ak□n from an □utopsy be□□use□this is h□w □tan□slaw and Ta□uesz□perceive□ the first Ger□a□s they ever met. Note the b□□rred sil□□□e□□e□ of □eople □g□inst a white□wall □ho ar□ being s□ot - at □i□s□ they are□shock□ng□□b□t soo□ □hey□will□p□o□□□ly be□ome□a part □f t□e grim □ands□a□□.□In the city ce□tre sta□ds a prisoner□camp on a sod□en□bog □"P□op□e peris□ likes fl□es; the bodies a□e trans□o□□ed□□uring the night&qu□t;); in t□e stre□t t□e childern□□□e runni□g after a coal □□gon □o c□llect □□me precious pieces □□□f□□l□□Th□re&□□9□s a bu□tle around some food (a□b□y repro□ches□his□younger brother's □ct□ons by s□ng□ng: "The□warrant officer&□39;s son □s □□□□□n□ in front of the chur□□? □'m going to tell mother!"); an□ t□□ kitc□en, which□one evening becom□s the□prosce□i□□□of□a real □rama. An□ there are the sym□ols□ a ba□ o□ choc□late□force□ upon □□boy by a Wehrma□ht soldier□(□quo□;□n th□□Road□quo□;); a□pair of shoes belon□in□ t□ □bys□ek□#□9;□ fat□er which □he bo□ sponta□eously gives to a R□ssi□n fugitive□ a pr□ce□□ss □lice of □read, groun□ under the h□□l of a policeman in□the gu□er□("□etters from □□e C□mp&q□o□;). □s the d□re□tor□put it:□"In every film, I □ommu□i□ate my own visi□n of the world and of the□pe□p□e□ Only t□en the st□le fo□lo□s, th□ defi□ed way of experi□ncing t□ings." In Birth Certificate□ he add□,□his ap□r□ach was □riv□n b□ □he subject: □quot;I □ttemp□ed □□ crea□e n□t only the texture of the docu□ent□but also to ad□ some poetic□elem□□t. I know□it is ri□ky but as for□□he merger of documentation and p□ety, often hid□en □er□ deep, if only it ma□age□□to m□ke i□s way□onto□the s□reen, i□ r□sult□ in w□at can referred□t□ a□ &□39;art'.□quot; After 1945, t□ere □ere □umerou□ films□created i□ □□rope tha□ d□alt □ith war□an□□ch□□d□□□, includ□ng□"□ome□here i□ Euro□e&quo□; □□quot;Va□ahol Europaban", 1947 by Geza Rad□a□□i□,□□quot□Shoeshine" ("□ciescia&q□o□;, 19□6 b□ V□ttor□o d□ Sica), an□□"□Ch□ld□ood of Ivan□□uot; ("Iwanowo diets□wo&qu□t□ by Andr□ej Tarkows□i).□Yet□the□e were□fewer □h□n o□□ would e□pect. Pur□uing a s□□ject so imbued with sentimentalism require□ stylist□c disiplin□ □nd a special ab□lity to□manage child act□□s. The □ut□o□ of "Birt□ Certificate□quo□□ □astered □oth □ and it was not b□ chan□e. Stanislaw Rozewicz wa□ □lwa□s th□□b□n□fi□ent □pirit of th□ □ilm milieu; he c□uld unite people □ro□□d □ □ommon g□al. He e□□nate□□peace□and sen□□ti□□t□□ w□ich □lowed to h□s co-worke□s an□□pupi□s□ A□film□ bein□ a g□oup work□ □ec□s□ita□es some□fo□m of em□ath□ - □uning in with other□. In a bio□raphical d□cumentar□□about□S□□n□slaw□Rozewicz□ent□□led□"□alking, Meeting□quo□□ (□999 by□A□□oni Krauze), t□ere□is a beautiful s□□n□ whe□ t□e□dire□□□r, after a few□decades□ mee□s Beat□ B□rszczewska, □ho plays Mi□eczka in th□ n□vella &q□o□□D□□ps of B□ood&□uot;. The woman falls □nto□the arms□□f □he elderly man. The□□are b□th□m□ved. He wonder□ how□□any□years□h□ve passed. She answe□s□ &qu□t;A □e□ ye□□s. No□ too□□a□y." And Rozewicz, wi□h his □ha□acteristic smile says□□"It is true. □□ spent th□s entire time to□□ther."□(🛥)先□贝尔纳黛是一位强大□女巫，拥有□□的力量和知识。在小□中，她曾...
“你怕了吗□”□晴晴问。 200□年前后，受自然因素□(🕙)人类活动影响□察汗淖尔湿地功能下降，□沙(🏴)危害多发□生物多样性受损。2017年以来，湖泊的湖底全□裸露出□，只在夏季(💒□雨水频繁(💹)□□可以形成小范□□面。如□赶上大旱年□，距离北京直线距□240公里(😷)的□汗淖尔一“翻脸”，滚滚(🙏)沙尘□遮□蔽(🔎□日(💬□过京□。
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天工造物:169.675.56.217闻言，刚回到林洛身边站着等候差遣吩咐的三长老林正山当即沉声道：“正山，谨遵家主令！”
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