出生证明

　　1961波兰战争片《出生证明》由斯坦尼斯拉夫·罗泽维格导演，Andrzej Banaszewski主演，影片讲述的是：
In 1961 Stanislaw Rozewicz created the novella film Birth Certificate in cooperation with his brother Taduesz Rozewicz as screenwriter Such brother tandems are rare in the history of film but aside from family ties Stanislaw born in 1924 and Taduesz born in 1921 were mutually bound by their love for the cinema They were born and gre...[显示全部]w up in Radomsk a small town which had its madmen and its saints and most importanly the Kinema cinema as Stanislaw recalls for him cinema is heaven the whole world enchantment Tadeusz says he considers cinema both a charming market stall and a mysterious temple All this savage land has always attracted and fascinated me he says I am devoured by cinema and I devour cinema Im a cinema eater But Taduesz Rozewicz an eminent writer admits this unique form of cooperation was a problem to him It is the presence of the other person not only in the process of writing but at its very core which is inserperable for me from absolute solitude Some scenes the brothers wrote together others were created by the writer himself following discussions with the director But from the perspective of time it is Birth Certificate rather than Echo or The Wicked Gate that Taduesz describes as his most intimate film This is understandable The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal birth certificate When working on the film the director said This time it is all about shaking off getting rid of the psychological burden which the war was for all of us Cooperation with my brother was in this case easier as we share many war memories We wanted to show to adult viewers a picture of war as seen by a child In reality it is the adults who created the real world of massacres Children beheld the horrors coming back to life exhumed from underneath the ground overwhelming the earth
The principle of composition of Birth Certificate is not obvious When watching a novella film we tend to think in terms of traditional theatre We expect that a miniature story will finish with a sharp point the three film novellas in Rozewiczs work lack this feature We do not know what will be happen to the boy making his alone through the forest towards the end of On the Road We do not know whether in Letter from the Camp the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots The fate of the Jewish girl from Drop of Blood is also unclear Will she keep her new impersonation as Marysia Malinowska Or will the Nazis make her into a representative of the Nordic race Those questions were asked by the director for a reason He preceived war as chaos and perdition and not as linear history that could be reflected in a plot Although Birth Certificate is saturated with moral content it does not aim to be a morality play But with the immense pressure of reality no varient of fate should be excluded This approached can be compared wth Krzysztof Kieslowskis Blind Chance 25 years later which pictured dramatic choices of a different era
The film novella On the Road has a very sparing plot but it drew special attention of the reviewers The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind Mainly owing to Wajda those films dealt with romantic heritage They were permeated with pathos bitterness and irony Rozewicz is an extraordinary artist When narrating a story about a boy lost in a war zone carrying some documents from the regiment office as if they were a treasure the narrator in On the Road discovers rough prose where one should find poetry And suddenly the irrational touches this rather tame world The boy who until that moment resembled a Polish version of the Good Soldier Schweik sets off like Don Quixote for his first and last battle A critic described it as an absurd gesture and someone else could surely use it to criticise the Polish style of dying But the Rozewicz brothers do no accuse they only compose an elegy for the picturesque peasantsoldier probably the most important veteran of the Polish war of 19391945 Birth Certificate is not a lofty statement about national imponderabilia The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those lyrical lamentations inherent in the Kordian tradition However a historical overview of Rozewiczs work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September Just as the memorable scene from Wajdas Lotna was in fact an expression of desperation and distress the same emotions permeate the final scene of Birth Certificate These are not ideological concepts though once described as such and fervently debated but rather psychological creations In this specific case observes Witold Zalewski it is not about manifesting knightly pride but about a gesture of a simple man who does not agree to be enslaved
The novella Drop of Blood is with Aleksander Fords Border Street one of the first narrations of the fate of the Polish Jews during the Nazi occupation The story about a girl literally looking for her place on earth has a dramatic dimension Especially in the age of todays journalistic disputes often manipulative lacking in empathy and imbued with bad will Rozewiczs story from the past shocks with its authenticity The small herione of the story is the only one who survives a German raid on her family home Physical survial does not however mean a return to normality Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation Help is needed but Mirka does not know anyone in the outside world Her subsequent attempts express the state of the fugitives spirits from hope and faith moving to doubt a sense of oppression and thickening fear and finally to despair
At the same time the Jewish girls search for refuge resembles the state of Polish society The appearance of Mirka results in confusion and later trouble This was already signalled by Rozewicz in an exceptional scene from Letter from the Camp in which the boys neighbour seeing a fugitive Russian soldier retreats immediately admitting that Now people worry only about themselves Such embarassing excuses mask fear During the occupation no one feels safe Neither social status not the aegis of a charity organisation protects against repression We see the potential guardians of Mirka passing her back and forth among themselves These are friendly hands but they cannot offer strong support The story takes place on that thin line between solidarity and heroism Solidarity arises spontaneously but only some are capable of heroism Help for the girl does not always result from compassion sometimes it is based on past relations and personal ties a neighbour of the doctor takes in the fugitive for a few days because of past friendship Rozewicz portrays all of this in a subtle way even the smallest gesture has significance Take for example the conversation with a stranger on the train short as if jotted down on the margin but so full of tension And earlier a peculiar examination of Polishness the Holy Father prayer forced on Mirka by the village boys to check that she is not a Jew Would not rising to the challenge mean a death sentance
Viewed after many years Birth Certificate discloses yet another quality that is not present in the works of the Polish School but is prominent in later Bclass war films This is the picture of everyday life during the war and occupation outlined in the three novellas It harmonises with the logic of speaking about life after life Small heroes of Rozewicz suddenly enter the reality of war with no experience or scale with which to compare it For them the present is a natural extension of and at the same time a complete negation of the past Consider the sleey smalltown marketplace through which armoured columns will shortly pass Or meet the German motorcyclists who look like aliens from outer space a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met Note the blurred silhouettes of people against a white wall who are being shot at first they are shocking but soon they will probably become a part of the grim landscape In the city centre stands a prisoner camp on a sodden bog People perish likes flies the bodies are transported during the night in the street the childern are running after a coal wagon to collect some precious pieces of fuel Theres a bustle around some food a boy reproaches his younger brothers actions by singing The warrant officers son is begging in front of the church Im going to tell mother and the kitchen which one evening becomes the proscenium of a real drama And there are the symbols a bar of chocolate forced upon a boy by a Wehrmacht soldier On the Road a pair of shoes belonging to Zbyszeks father which the boy spontaneously gives to a Russian fugitive a priceless slice of bread ground under the heel of a policeman in the guter Letters from the Camp As the director put it In every film I communicate my own vision of the world and of the people Only then the style follows the defined way of experiencing things In Birth Certificate he adds his approach was driven by the subject I attempted to create not only the texture of the document but also to add some poetic element I know it is risky but as for the merger of documentation and poety often hidden very deep if only it manages to make its way onto the screen it results in what can referred to as art
After 1945 there were numerous films created in Europe that dealt with war and children including Somewhere in Europe Valahol Europaban 1947 by Geza Radvanyi Shoeshine Sciescia 1946 by Vittorio de Sica and Childhood of Ivan Iwanowo dietstwo by Andriej Tarkowski Yet there were fewer than one would expect Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors The author of Birth Certificate mastered both and it was not by chance Stanislaw Rozewicz was always the beneficent spirit of the film milieu he could unite people around a common goal He emanated peace and sensitivity which flowed to his coworkers and pupils A film being a group work necessitates some form of empathy tuning in with others
In a biographical documentary about Stanislaw Rozewicz entitled Walking Meeting 1999 by Antoni Krauze there is a beautiful scene when the director after a few decades meets Beata Barszczewska who plays Mireczka in the novella Drops of Blood The woman falls into the arms of the elderly man They are both moved He wonders how many years have passed She answers A few years Not too many And Rozewicz with his characteristic smile says It is true We spent this entire time together

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