出生证明

剧情简介

　　In 1961, St ^anislaw Rozewicz -created the novell(!a film "Bir/
th !%Certif%: ;icate& quo;@t in co!operation ,with %;his bro+ther_!;,  _Taduesz Rozewicz as screenw;?rit./e^^r. Such;` brot:her tand *ems- ;a] /re rare i$`n the h; ].\istor\]y [.^_of f_ilm\= but aside[(% from family ties, Sta!=\nisla*)w (born[ in 1924) and Tadues::z (born in :!1921) w)ere mut ually bou_$nd(? b)y thei]r love for the cinem  ]a_#@. T$]:hey we[$re bor*$n and grew u*.%p in R:#a  ?do*(#msk, a-: small t#o[([w=n
which=^ had "its m_]adme[ n and its saints&q :uot? an/)d mos\*t $ importanl#y#, %th_e "Ki;nem%#a$&qu[-^ot ;cinema, as Stanis?$, la@ .\w - recall?\`s: for him (@c()inema`: is "he+aven, t#.he who=*le world, ench;an#tmen[]t%^&qu.
ot. Tadeusz says he considers cinema both a cha?rm [ing m;@a:\rket stall and a myster=ious ( te].mple. "All this sa:vage land has alw-a+ys attra cte
!d a
!nd fa.scina+?ted me,&quo!t h-e sa=,ys. ")^$I am devoured by cinema and I devou +r _# c
!inem_.\a I.'m a cinema eat#er.&;qu.ot . But Taduesz [%Rozewicz, an e*minent writer, admit;%::s this u niq!-ue [@form of  !cooper, ?ati`on was ^a proble[ m to . him: "I@(/t #is the presenc_
e of the o%/t`her perso!n not onl.
)y in the pro]-cess of wr(/$iting, but at i_[!;ts- very cor.\,e, wh@ ?ich _is ) in$se!_?rperable ^.-for m? ?@e from a^bsolute soli*tud@\!e." Some s]cenes
-the !brothers wrot]$e to
-gether +oth!`
`ers `were cr\eated by the%-,] w\-%r)iter him sel-:,f], +^ following discussion]`s with ^ *+\the d#+`:i`+*r.ec ^]to *r. B[ut! %from the per,/.spective of ti?me, it is-_ @ &qu++ otBirth Certificate", rather?( than "Echo" or &qu` ^otThe;. Wicked Gate", that Tad/uesz de+scribes as his]! most intimate film. :$*Thi?%s is und?.e].**rstandable. Th \!e tradgey from Sept,ember 1939 in P oland was [for the^! Roz;ewicz brothers the,! ir per[)sonal &quo+/ =tbirth certificate-". When w_. orking on the$! fi:_lm,; the #,director s;?*=aid &=\quotThi
[s:\_ time it is .`all a:bout sh*-,aking o,;?ff,
 getting ri$d of the p]/sy chological bu)rden which the war w;!a:)s fo`@r `all of us. ... Cooper$atio[(n with my brot@her  ;w^-
)$a:s in this -)_ c)`ase easie*%r, as%
 we share m!@#$any war memori%$es . We  wanted ) to :?show t o adul^t viewers a p+\)i#^cture $/%of (\ war ]as seen by a\ child. ... I;n -^r)ea:*l$ i.)^ty, it @is  
$the adults( who* crea;ted th_][e real world of m- +assacres. C%+
hildren behel;d the horror,s com+!*in(@g ba ck to life, ^^e,)!@xhumed ,_from@+ und!
erneath the ground, overw).hel$m$(. in.*+g *\the ea ,r,@!th.++)"　　The princi,[)ple o, f com` =p!osi;`tion of &(quotBi_rth Certifica_;te&q!=-uot i?`-s ] not obvious.: When wat-@?ching a novella !fil @m, we tend t@)o think in.,]% t=?er ms` of _tra,`ditional ;theatre. ( #W+e ex!^+# pect th; ;at a m](in%%@ia/ture story will [fi^?nish wi#(th!:
 ^a/ sharp poi`nt t:!;#he th%^re(e film n]ovellas in -]Ro!/,zewicz+-+9s work lack this fe!ature. W/
e do not know w.hat will be happen to+% ^+the boy m  ak[ing his alone throu+;`gh the forest towar!ds the end of &quo?.tOn t he# Ro`=a
/ )d". We d+^o not @/?kn$`o)w whe++ther in &quotL?etter from t
h:+`e Camp)(;", th` e h-$elp offered b %y th.e small heroes \#to a Sovie?(t #]prisoner +$@@will rescue him [from the unkn+ `[own f ate ,of his compatriots. The fate= of the%? Jewish g irl f;%
)rom), "Drop` of Blo!od#!%," is also unc
le[(ar. Will = sh(e ke`.ep:] her new imperson:])ation as "Marysia Malinowska"? Or )will the Na[-$=?z\
is- ma!? ke he/+r  into a rep!.resentative^- o!!`$f the &q(*uo`!tN.ordic/. race&q@uo t?? Tho;\ se ques;.\ti#)[#ons w ^,*ere aske!!d by the direct_*or for a r!eason. * \He preceived ])war as chaos and *
per:\!ditio. n, and not as linear histor`y ??(t$hat cou[ld be. reflect@ed i;.n a plot+..# Al\@,thou gh "Birth Certifi^cate&( quot is s?+atu
%rated with :[mora].l cont** en]t!*(#, it does not aim to be a )mo!ra%
lity p!
lay. But w (]ith the i@!;*mmense pr==,/essure of )`realit) y,=\ ? ;no va* rien@[!t of f+ate `sh(`ould-_(+ be excluded. This a!]pproached can be compared wt$h %Krzysztof -=!Kieslowsk@i&-#39s$]
\["B::lind Chance" 25[*= year s later, which ).[ pictur],`ed[ dramatic choice s of [\a d]=? ifferent era.　　The fil\ m novella &?!qu`,.otOn t* he R!oad&q[ uot] has a very s* paring plot, b?*ut %.it dre]\w s !(p!eci;#al at-`^\tention of the reviewer@s. %The ominatin?g overtone of the w]ar(/` films created by #+the Polish Film Scho)ol at that time sho ul/.(d be ke ;.$pt /!)
in mind. ,%Mainl(^((y owing to Wa_,jda=\$^, those films d[ealt with ro$;manti]c h[`*eritage.+ They we^(re perme;/  ated ):with pathos, bitterne])#ss,/?  and? iron
y. .: Rozewicz,[ is an )*extraor`!#dinary ar=tist. ;Whe(:n nar!rat\* ing a stor#_*y \!about a(* boy l  [ost in a war zone,-[
carry+\ing so]me documents fr+om the regiment office a\?\s if t #(hey wer!*#e a \ treasure,^@ the narrat.@or in
#] "@On the`? Roa_*+d&`(^quo!t disc#/overs r_ough] prose wh`^/ere : one should ^find poet_ ry. And(#^ su_ +ddenly, the [^i-:rr-#ational touch`es this ra .$ther ta,+me wo; rld. The boy, who unti/@@ l that mo ment( resembled a ):Po,_]lish \versi.on of$!_ \/the .[Go? od_ Sol_die=*$r Sc+.hweik, s:*ets off, ? .`li [ke Do+n Quixote, for his [ :fi @ r?%st=# an,!d last battle. A critic described it as "?a,n a!b*\surd gesture an

d so[(meo ne else cou$ *(ld sur?)e-
ly use it; to criticise the [Pol$ish s#-;ty$$ l\@e+# of dyin++g.  !... B)
u(t@ th +e Rozewicz brot)hers_  do no acc:(use: they only com pose an el#egy for=`/ the p:ic`\^t$!$:ure/(sque?[ peasant-soldi^er, p/r^:?obabl;(y the most important veteran of the Po-#=lish war of 1939-1945_.& =qu_(o:%t "_Birth Certific$#ate&qu_;ot is not a l?=ofty stat@^e-/%:me(nt about national imponderabi-$lia/). T@;^he @.[film reveals a plebeian per` spective`-//% w[hich ?Aleksand`-!er Jack @ ieqicz
$ o nce \contras.\ted with]@ t$hose &quotlyrical? %lamen*tations&quo_(t in$(!h;.er:$ent in th\ e K_!ordian tradition. H,(owever[, a historica`:l ove/rview of Rozewicz&#*#39s wor?+[!k!@ -@shows ?@ `that the d
?#ist`in=ctiv
`e `*st^yle d+oes;;\ not s)ign-!ify a fund$]\a]^mental diff e%rence in ill+,ustratin#$g th=?e Polish September_. Just as the m*?emorab!le scene from Wajda's "Lotna&q\uot was i^+n fact an ##\e)xpressio n of despe?@ration and dist)-ress,-) th._]-e same emo/@ti
!ons p :)erme ;ate t_$he final s ,c [ene of "Bir)),th Certificat$e&quot. T/*hes
\,e are ].(not ideological concep(,ts, th!o,ug.=h once descr)ibe!)d as such and ferventl=(!y d ebat,ed, but r#ather psycho*logica*^=
l cr_eations. In this spe:cific case, obs
erves Wi!# t:old Zalewsk]i, it i.s not about manifest$ing ]]`kn$.*ightl;=y pride,@-\ [-bu* t! about a gest,ure of a simple m^an who `,does not a
gree to be )*\ensla?*ved.　　T `he^ novella "Drop of) Bloo_`d=@[" i$ %s,=, with Aleksander Fo#rd's "Border St/!reet/`]" ; , #%one of the  first narration[s of the ^! fate of the #*Polish +J!e::^w(\s duri^ng!_ the Nazi oc )@%cupation\`. T%(_he` !story about a girl*$ literally looking fo.r  her pl -
ace on earth has a @*dr#!-amatic!,$` d.%imen=sion. @Esp+@)e!?cially in the age of tod^!ay's $:journalistic disputes, often manip@ulati[=ve,/: lackin\[ *g in empat
@hy a\ nd imbu+.ed with bad ^w ill, R^ oz:ewicz9s sto@ ry from t; he( p+^as])t \!%:shocks @$! with it: s a^^
(uthenti# c*:(ity. The sma-!l*[/l he! rion e of the story. is [)!the only one who +s urvi?-ves a German r?_aid on her fami%ly ) @home. P/@+$hysi;;cal survial does not@,\_ @h!_owever,`
mean a ret/urn to norm_ality. Her frig!(htened d-%eparture from the_@ rubbish`* dum,- p th.#at (])was her hid-]eout lead /her to a r-%ui#[ ^n [)ed apartment,. Her walk around it is painf/
ul becau_se s : :till :^/f#resh si, gns of* lif=+e ar\:.e mixed with evidence #@
of?. $))an)%nihilation. Help is neede@d`/$, but M\@ir@ .)ka do]])es \#not know anyone in the#% outsi
de worl@(d. Her su),b:?sequent attempt^]s e\_xp=res= s( the= sta\ ;te of]
t\he fugit[(iv _e's sp) irits
\ - from hop%)e an?d faith, moving to =
dou_[*\bt, a sen]#se of oppression, and +\thickenin+g fe^(,%ar,: an?@d finally to d[e*^sp@)air.　　A@\t-` the same time, the +J_(]\ewish girl&# 39s search` fo _r refuge resem,[:ble)!+s ];the state of Po_;li?sh [socie!ty. The appearance of Mir\+ka results in confusion,; and later, @
troub?+\le. Th+!is wa/\s^;. a_^lready s.]\]ignalled by Rozewicz in an e-:x_;ceptional  %scen-
e from &qu`otLetter fro m the Ca?, mp:&:quot in] which the boy's n$e
=[(ighbour, se)eing a fugitive Rus)\;sia+#n soldier, r: ;e\=treats\ i,mmediatel=y`_, admi.ttin$g that $/&(quo?tN?(ow, [p*_` e@opl] )e  wor\$r=#,*y only=/@ a :bout themselves." Such embarassing excuses ma sk fear. Durin/g the occupation [,$: :`no on^(e f(eels safe. Neith]*!;er social s]?ta -*tus not +.(the_* .?%aegi)% s of a charity org ^an[@is[(ation protects against re p\r-e_[(ss#).]i^on. We/] see;- the\- potential ;@guard!ians of Mirka passi #^ng he-!r `_`back and . +fort/ h,^ among
^ themse lve
?:]s. T(hese are friendly /hands /_  but[ t :!$hey c(ann+,-ot offer stron . g su :pport. The s/(tory takes pla[ -ce`%^ on #`that thin ]l+ine between s*,ol=id:_ar;(%(ity and heroism. Solidarity_ %?ari[ses s# pontaneously @ , b=$-ut only so;me are c)`[apabl]%e of
[ h^; eroism. He` lp for t-%h*e girl does not a
[)-lway=(_s result from comp,as @s(ion sometimes i?, `t [*is based +( on p].?ast `.relati @\ons*!
$ and p]!ersonal ties* /+(a neighbour^ of the doctor tak es in- the %[/;fugitive fo())r .a few days b\(ec+#ause of -*/past ;%( friendship)+. Ro z:;:ewic@/[z p/+\ortray[.s^+ =-all?$? of th)-*]is];^ in a su*b:!tle :way ]+]even the ] smallest -?ge%^sture $[ (has si[^%gnific@/ance.%] Tak @e,) f:
?or/^%
exam+pl+.e, the;( conversa=t -ion (with a strange\r on the[@] :/train !: short,  as if jotted do:+!wn on ^the margin(
\+,
*-:but s o ful@$l of tension.,: And e- .:ar:#lier, a peculia?\r examination of! Polishness: the "Holy Fat,!he*`(r&q%uot p_rayer fo)rced on Mirka by([; the vill`!]age boys to[# [ch*]/ec=:#k th%]\at she ^+is
 not a ?Je^ w. Woul;
d not ri-!sing to t !he challen_-ge mean a death/*; s!_entan ;#ce?　　+Vie];wed after ?@many years, &qu[o) `t,B -irt=h Ce$
rtificat, ?e&quo_t d%)+iscloses yet another( qu=%ality#- t-h?at is n_?ot present i]n th(%e works .(of t`%he Polish)\ School, b#,+$@ut is promi?=)n[=e
]nt -in la,# ter B-class war films. This is the picture of everyday life du)%ring the war $and o:ccupation outlined in#@ the three n`ovell as`,.. It harmoni:$ses with the logic of*[ s*/peakin;
g about,`^,! &qu,-=ot%life a$/fter life". Smal]l her,
oes .? o;/?f Roze?%wi]
\cz suddenl%y enter the reali[+t(
 y of war, %with no` experience or sc/ale wit
`
`h which to compare i:
t. F%`or th^em, the % pre+^.-sent is a natural extension of and at the ` /)@same tim\ e a_] c$omp:,%l:(ete .[n]egati=`/ @on of the pa (st. C;^on $sid]*.er the sleey s mall-town marketplace, through+ whi!]]ch armou
=%red co=$lumns= w$=]ill s@ ho
\$rt;
ly pa%ss. Or!? meet t*%he ) G?er ma
.n motorcy. $cl)`ists, who look like
(aliens from outer,@ s p=(/ace - a p-)icture taken from an $aut]\opsy because th ]is is how Stanislaw and Taduesz^ ?:perceive\d the f(@ir^!st/  Germans they ever met. Not[+e the blurred s .ilhouettes !of people! agai]`nst *a :whit- e
/$@wall, who a. re) being sh+/=ot - a
:t ?fir?st the#(`)y are shoc !#king, but soon/ they w+_ill `probably be co?$#:me a part of the+ grim landscap%e. In, the c ^ity centr$_+e stan$\`!ds a p+: riso;ner camp =on a sodden, bo,g ("Pe/! ople perish likes flies the -bodies ar`#e transporte@d during the nig+ @`=ht#&quo/ t) i?n the street* the c #?,h)ildern are runnin^;g  after a )+)co]a]`` l wagon [=to ,\!!collect some precious pieces of fuel.] There`9s a bu_:?s];t,=le a/round some food (a bo)?]!y r#ep;roaches #? his younger brot,*her's actions  by ?singing: " The w arrant o`$ffice+\/+r's \!@+son is be`gging * ;.in;@` fro*nt of t\!he church? :)I'm going to tell mother!&?[[quot) and th(`e kitchen, which one evening be?c..o`;mes t#:he ;=p% 
rosceniu!\m of a( )real drama-;. A@;^nd t[here are the symbols: a bar of chocolate forced upon @ =a bo.:y
by#_^ -a W$ehrmach(-t soldier^ ;$(&q=%uotOn -#*-the Road") a p\air o^ f!
 .sh, -oes belongi%-.n;]g to Zbyszek(*-9s father which the boy= spontaneousl@(;y giv_es to a Russ=;ia\[n fugitive a  + )priceless sl]+ice of bre[?ad, ground un=der the heel of^- a pol..ice%[!ma)n in the guter (&qu^^
@otLet!%ters fr/om the Camp"). A$ +s the direc_ tor put i $t: "In? every film, I )(#communicate/*
] m? y own vi++:sio%+n of the w\-or[l
d# an+ d of the people. On#)
ly#$ then:# the styl!?e follo.$#ws\, the defined !/wa[=`y of experi__[encing thing;)s.&qu=ot In B:[i$ _r?.t_+h%. Certificate, he adds, his approach wa%/s ),driven by t!-he? *-sub ,ject [: "I
!! attempted to create no.@t !o#] nly the tex ,ture ;) o f t!
he)$ do) cum`- e//nt bu(@@t also [t`o add some poetic el-ement.  `I know it is risk!.*y but*=*) as for the ,merger%`  of d=.\ocumentation-\ \and poet%y, often h--idde!n .],very deep,# if only it man=)age._s to$ make it!s / `way onto#; t;+he  /screen, it re(sult`s /in wh(?at can referred ! to as 'art)'.
&quo ^_t　　Af?)te:r 19 .4.
$(5, t*here were, \)nu)mer ous \+films crea[$ted in E[=+ur` ;)ope that dealt % wit((\@h!/ war and child.)ren, +#^includ],i
;ng &]?quot=Somewhere _`-in Eur;
ope" ( &qu+otVal.[)ahol \Eu[/ropaban)$", 1947 by ,, Geza Radvanyi), "Sho-#+eshine$" (&q/u%otSciescia&#qu# ot, 1[]946 by% V
it/torio,
 de Sica),  an +d &quotChildho
od ^of Ivan&qu_o/!t ("Iwa
nowo d.ietstwo":, b]y Andriej Tarkow:ski[). Ye_^;^t there were f:@,ewer th^an on+ e would;:@ expect.:. Pu [.rsuing a subjec
t #so _#imbued with se,_#+/ntimentali=[$%sm requires _?` stylis ]tic di?si.pl.ine ):[and a_(( s*+pecial ab@ _ility to $[m!anage chil:*d actors. Th:e author`( of &quo:tBirth C-`ertif_!icat!e" ]mastered both - and i t -)^?was not +:by chance. St
+anislaw Rozewicz was alwa ^ys !$the beneficen--t spirit of t+!#.he film milieu he could un i
)te people around a com]: mon +@g$oal.== He ^+^^emanated peace a-nd s!? :/ensitivi ty, wh^%\)ich /flowed
t+o his  co)+`-wor*$kers and pupils.$=. A fi^lm, being - a group work, :\necess(itates some f? o*(rm of empathy - tuning in with o%/thers.　　In[) a bi*
#ographical docum]]=entary abou*!_
t *`]\Stanislaw _R))ozewi
cz en`titled &^*quotWalk- ?in/

?g, Meeti/ng" ^ #(199[\9[\? by An\.\?toni Krauz` e)_, +,.+there is a beautiful scene when the
%director,** a[?^fter a[= few decade#s, meets ]+[Be))ata /,/Barsz,cz!ewska: , who :?
plays `)Mireczka (i#%n the@ novella]-![ "Dro)ps of Blood". T(/he woman fal
ls @!!\!i+nto the arms o,f the. #/elderly man. ._They a/+)re both 
)moved. He wonders how) many years ha#@ve?% )=passed. She answers: &+quotA.$ few ]years.;: Not t oo%+ many.&q^uot. And *-( Rozewic/
; z, w[%ith his ch% ar_!]a

?(cte]$ristic ,smile+ s ays: &q)uotIt is  true. We spent thi_$s entire time together."