◎译 名 出生证明 / Birth Certificate
◎片 名 Swiadectwo urodzenia
◎年 代 1961
◎产 地 波兰
◎类 别 战争
◎语 言 波兰语
◎上映日期 1961-10-02
◎IMDb评分 7.5/10 from 275 users
◎IMDb链接 https://www.imdb.com/title/tt0055492
◎豆瓣评分 7.9/10 from 130 users
◎豆瓣链接 https://movie.douban.com/subject/4800931/
◎片 长 100分钟
◎导 演 斯坦尼斯拉夫·罗泽维格 Stanislaw Rózewicz
◎编 剧 斯坦尼斯拉夫·罗泽维格 Stanislaw Rózewicz / 塔德乌什·罗泽维奇 Tadeusz Rózewicz
◎主 演 马里乌什·德莫霍夫斯基 Mariusz Dmochowski
玛利亚·卡涅夫斯卡 Maria Kaniewska
Jadwiga Kuryluk
Józef Zbiróg
哈丽娜·格雷格拉谢夫斯卡 Halina Gryglaszewska
Maria Ciesielska
Bohdana Majda
芭芭拉·拉赫瓦尔斯卡 Barbara Rachwalska
Henryk Hryniewicz
Edward Mincer
Andrzej Banaszewski
帕维乌·罗泽维奇 Pawel Rózewicz
Janusz Klosinski
米奇斯瓦夫·斯托尔 Mieczyslaw Stoor
埃米尔·卡尔维茨 Emil Karewicz
Stanislaw Milski
Wanda Luczycka
Malgorzata Lesniewska
Zofia Malynicz
兹齐斯瓦夫·姆罗热夫斯基 Zdzislaw Mrozewski
Józef Nalberczak
塔德乌斯·施密特 Tadeusz Schmidt
Wojciech Siemion
Zygmunt Zintel
Beata Barszczewska
◎标 签 波兰 | 战争 | 儿童 | 1960s | 波兰电影 | 黑白 | 1961 | 斯坦尼斯拉夫·罗泽维格
◎简 介
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 grew 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; I'm 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 Rozewicz's 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 Kieslowski's "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 peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "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 Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "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 Ford's "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 today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's 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 fugitive's 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 girl's 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 boy's 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 B-class 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 small-town 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. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm 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 Zbyszek's 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 co-workers 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."
腾讯为您翻译：
1961年，斯坦尼斯瓦夫·罗泽维奇与他的兄弟塔杜埃兹·罗泽维奇合作创作了中篇小说电影《出生证明》，担任编剧。这样的兄弟情结在电影史上是罕见的，但除了家庭关系外，斯坦尼斯洛(1924年出生)和塔杜兹(1921年出生)都因为对电影的热爱而相互联系在一起。他们在拉多姆斯克出生和长大，这个小镇有“它的狂人和圣徒”，最重要的是“基内马”电影院，斯坦尼斯拉夫回忆道：对他来说，电影院就是“天堂，整个世界，令人着迷”。Tadeusz说，他认为电影院既是一个迷人的市场摊位，也是一座神秘的寺庙。“这片野蛮的土地一直吸引着我，让我着迷，”他说。“我被电影吞噬了，我吞噬了电影；我是个电影迷。”但是著名作家Taduesz Rozewicz承认，这种独特的合作形式对他来说是一个问题：“不仅是在写作过程中，而且在其核心，对我来说，从绝对的孤独中可以插入到其他人的存在中。”(Taduesz Rozewicz，著名作家Taduesz Rozewicz)承认，这种独特的合作形式对他来说是一个问题。一些场景是兄弟俩一起写的，另一些是编剧在与导演讨论后自己创作的。但从时间上看，塔杜兹形容自己最贴心的电影是《出生证明》，而不是《回声》或《邪恶之门》。这是可以理解的。1939年9月在波兰的这场交易是为了罗泽维奇兄弟的个人“出生证明”。在拍摄这部电影时，导演说：“这一次是为了摆脱战争给我们所有人带来的心理负担……在这种情况下，与弟弟的合作更容易，因为我们分享了很多战争记忆。我们想向成人观众展示一个孩子看到的战争画面。……实际上，是成年人创造了大屠杀的真实世界。孩子们看到了复活的恐怖，从地下挖掘出来，压倒了地球。”“出生证明”的组成原理并不明显。当我们看中篇小说电影时，我们往往会从传统戏剧的角度来思考。我们希望一个缩影故事会以尖锐的观点结束；罗泽维奇作品中的三部电影中篇小说都没有这一特点。我们不知道在“在路上”接近尾声时，那个独自穿过森林的男孩会发生什么事。我们不知道在《军营来的信》中，小英雄们对一名苏联囚犯的帮助是否会将他从同胞未知的命运中解救出来。“血滴”中犹太女孩的命运也不明朗。她会继续扮演“玛丽西亚·马利诺夫斯卡”这个新角色吗？或者纳粹会让她成为“北欧种族”的代表？导演问这些问题是有原因的。他预言战争是混乱和灭亡，而不是可以反映在情节中的线性历史。虽然《出生证》充斥着道德内容，但并不以道德剧为目的。但在现实的巨大压力下，命运的变种不应被排除在外。这种做法可以与克日什托夫·基斯洛夫斯基25年后的“盲目的机会”相提并论，后者描绘了一个不同时代的戏剧性选择。电影中篇小说“在路上”的情节非常保守，但它引起了评论家的特别关注。波兰电影学校当时创作的战争片的省略色彩应该铭记在心。主要是因为瓦伊达，那些电影涉及到浪漫的遗产。他们充满了悲哀、辛酸和讽刺。罗泽维奇是一位非凡的艺术家。当讲述一个在战区迷路的男孩的故事时，“在路上”中的叙述者从团办公室拿来一些文件，仿佛它们是一件宝藏，他发现了一些粗略的散文，在那里人们可以找到诗歌。突然之间，非理性触及了这个相当温顺的世界。在那之前，这个男孩就像波兰版的好士兵施韦克(Good Soldier Schweik)，他像唐吉诃德(Don Quixote)一样出发，开始他的第一场也是最后一场战斗。一位评论家将其描述为“一种荒谬的姿态，其他人肯定可以用它来批评波兰人的死亡方式……但罗泽维奇兄弟并没有指责：他们只是为这位风景如画的农民士兵谱写了一曲挽歌，他可能是1939-1945年波兰战争中最重要的退伍军人。”“出生证”并不是对国家责任的高调表述。这部电影揭示了一种平民化的视角，亚历克桑德·杰基奇曾将其与可兰经传统中固有的“抒情哀歌”形成鲜明对比。然而，对Rozewicz作品的历史回顾表明，这种独特的风格并不意味着在描绘波兰9月方面有根本的不同。正如Wajda的《Lotna》中令人难忘的一幕其实是一种绝望和苦恼的表达，同样的情绪也渗透到了《出生证明》的最后一幕。这些都不是意识形态的概念，虽然曾经被描述为意识形态概念，并引起了激烈的争论，但它们是心理上的创造。维托尔德·扎列夫斯基(Witold Zalewski)观察到，在这种特定的情况下，情况并不是这样
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