扫一扫用手机观看
更新:HD/2024-03-18 07:04:39
导演:斯坦尼斯拉夫·罗泽维格
简介: In 1961, Stanislaw Rozewicz created th...详情
关键词:出生证明 Stanislaw Rozewicz created novella film &quot
In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation 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."
主演:岳鹏飞 邢昀
主演:陈道明,巩俐,张慧雯,郭涛,刘佩琦,祖峰,闫妮,辛柏青,张嘉益,陈小艺,丁嘉丽,李纯,张庭菲,付璐璐,高莹,王志强,张金元
主演:Cathalina Geraerts,Felix Heremans,Greet Verstraete,Serdi Faki Alici,Els Deceukelier
主演:柊瑠美,入野自由,夏木真理,菅原文太,中村彰男,玉井夕海,神木隆之介,内藤刚志,泽口靖子,我修院达也,大泉洋,小林郁夫,上条恒彦,小野武彦
主演:舞炯恩·加以法利得,赵逸岚,吴朋奉,陈竹升,郑人硕,胡德夫
主演:合文俊,刘大锁,宋木子
主演:李虹辰 卫延侃 雷凯
主演:尼尔·泰格·弗莉,托菲克·巴霍姆,索尼娅·布拉加,拉尔夫·伊内森,比尔·奈伊,米娅·麦戈文·扎伊尼,安东·亚历山大,安德烈·阿坎杰利,玛丽亚·卡巴雷诺,阿莱西亚·博纳奇,伊什塔尔·柯里-威尔逊,彼得·阿佩塞拉,西尔维娅·帕纳乔内,马里奥·欧普特,阿德里亚诺·阿拉贡,多纳泰拉·巴托丽
主演:克斯汀·邓斯特,瓦格纳·马拉,斯蒂芬·亨德森,卡莉·史派妮,水野索诺娅,尼克·奥弗曼,杰西·普莱蒙,杰佛逊·怀特,卡尔·格洛斯曼,阿历萨·芒索,胡安尼·费利兹,梅利莎·圣阿曼德,乔尼卡·T·吉布斯,尼尔森·李,Jared Shaw,杰夫·博斯利,James Yaegashi,Greg Hill,Justin James Boykin,Jess Matney,Evan Holtzman
主演:哈里特·斯莱特,阿丹·布拉德利,阿凡提卡·万达纳普,雅各布·巴特朗,欧文·弗热瑞,亨伯利·冈萨雷斯,拉森·汤普森,沃尔夫冈·诺沃格拉茨,Stasa Nikolic,詹姆斯·斯旺顿,Suncica Milanovic,Alan Wells,Joss Carter
主演:张可颐,刘心悠,卫诗雅,杨思琦,李铭顺,方力申,蒲巴甲,谷德昭,谢君豪,张继聪,邵音音,张启乐
主演:马修·布罗德里克,丹泽尔·华盛顿,加利·艾尔维斯,摩根·弗里曼,安德鲁·布劳尔,约翰·芬,JD·库鲁姆,艾伦·诺斯,鲍勃·冈顿,克利夫·德杨,杰伊·桑德斯,理查德·雷西尔,阿卜杜勒·萨拉姆·埃尔·拉扎克,彼得·迈克尔·戈茨,伊桑·菲利普斯,阿非莫·奥米拉,鲍勃·米诺,马克·马戈利斯,简·亚历山大,Rachel Lea Grundfast,凯文·R·赫舍贝格,凯文·贾尔 ,Jay Lance,比尔·努恩,雷蒙·雅克,Michael Wayne Thomas
主演:Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基
主演:Elzbieta Starostecka,莱赛克· 泰来钦斯基,雅德维佳·巴兰斯卡,Czeslaw Wollejko,Lucyna Brusikiewicz,Irena Malkiewicz,安娜·迪姆纳,Gabriela Kownacka,马里乌什·德莫霍夫斯基,彼得·弗龙切夫斯基,Zbigniew Józefowicz,Janusz Bylczynski,Barbara Drapinska,Aleksander Gassowski,Wieslawa Kwasniewska
主演:耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔
主演:塔德乌什·罗姆尼斯基,芭芭拉·布雷尔斯卡,扬·诺维茨基,达尼尔·奥勒布里斯基,马里乌什·德莫霍夫斯基,瓦迪斯瓦夫·汉恰,博古谢·比莱夫斯基,吕斯察德·容兹察夫斯基
主演:皮厄特勒·加里克奇,比涅尤·扎塔西奇斯,克里斯汀·保罗·波德拉斯基,马里乌什·德莫霍夫斯基,沃杰西奇·阿拉伯斯基,米克齐斯洛·巴纳西克
主演:马里乌什·德莫霍夫斯基,贝娅塔·蒂希基维茨,菲耶夫斯基·塔德乌什,Jadwiga,Gall,维斯拉夫·格拉斯,卡里娜·谢鲁斯克,Jan,Koecher,扬·克雷奇马尔,塔德乌什·孔德拉特,Halina,Kwiatkowska,安杰伊·瓦皮茨基,扬·马休斯基,Józef,Pieracki,Janina,Romanówna,Anna,Seniuk,Irena,Szramowska,Wladyslaw,Dewoyno,卢德维克·伯努瓦,克雷斯蒂娜.费尔德曼,Aleksander,Fogiel,Andrzej,H
主演:弗朗齐歇克·皮耶奇卡,马里乌什·德莫霍夫斯基,耶日·斯图尔,扬·斯科特尼茨基,斯坦尼斯瓦夫·伊加尔
主演:艾伦·巴隆,莫莉·麦卡锡,拉里·塔克,Peter Clune
主演:石慧,鲍方,高远,陈娟娟,石磊,方婷,姜明,陈静波
主演:路易斯·乔丹,伊冯·弗奴克丝,皮埃尔·蒙迪,伯纳德·德兰,佛朗哥·席尔瓦,克劳丁·科斯特,让-克劳德·米歇尔,Yves Rénier,玛丽·莫吉,让·马丁内利,亨利·吉索尔,Alain Ferral,罗尔达诺·卢皮,亨利·维尔伯特,让-雅克·德尔伯,保罗·阿米奥,亨利·阿里乌斯,安德烈·达利贝尔,雅克·迪南,乔治斯·拉内
主演:林黛,陈厚,麦基
主演:格利高里·派克,大卫·尼文,安东尼·奎恩,斯坦利·贝克,安东尼·奎尔,詹姆斯·达伦,艾琳·帕帕斯
主演:迈克尔·克雷格,琼·格林伍德
主演:邓楠,李纬,梁波罗,毕克,张翼,温锡莹
主演:雷平,丁一虹,张敏
主演:苏珊·斯塔丝伯格,罗纳德·刘易斯,安·托德,克里斯托弗·李,John,Serret,Leonard,Sachs,Anne,Blake,Fred,Johnson,Heinz,Bernard,Bernard,Browne,Rodney,Burke,Brian,Jackson,Richard,Klee,Madame,Lobegue,Frederick,Rawlings
主演:卢茜娜·温尼斯卡,安娜·齐皮勒夫斯卡,玛丽亚·赫瓦利布格,弗朗齐歇克·皮耶奇卡,Halina,Billing-Wohl,Mieczyslaw,Voit,Kazimierz,Fabisiak,Stanislaw,Jasiukiewicz,Zygmunt,Zintel,Jerzy,Kaczmarek,Jaroslaw,Kuszewski,Marian,Nosek,Jerzy,Walden,Marian,Nowak,Zygmunt,Malawski,Stanislaw,Szymczyk
主演:Sal,Ponti,Joyce,Taylor,John,Dall
主演:文森特·普莱斯,查尔斯·布朗森,亨利·赫尔,Mary,Webster
主演:张若昀,李沁,陈道明,吴刚,田雨,李小冉,俞飞鸿,袁泉,毛晓彤,郭麒麟,宋轶,辛芷蕾,宁理,刘端端,张昊唯,付辛博,高曙光,赵柯,于洋,李强,刘桦,佟梦实,郭子凡,金晨,王楚然,高露,王晓晨,隋俊波,归亚蕾,余皑磊,毕彦君,罗二羊,吴幸键,宣言,王庆祥,徐志胜,崔志刚,傅迦,姚安濂,秦焰,沈晓海,王同辉,冯兵,常铖,王建国,刘宇桥,冯恩鹤,赵振廷,董可飞,李俊贤,崔鹏,贾景晖,王天辰,代文雯,王成阳,张弛,左凌峰,刘同,张维伊,东靖川,杨彤,孙亦沐,于小鸣,魏炳桦,李珞桉
主演:陈松勇,陈淑芬,陈素珍,文英,林义雄,林照雄,谢万益
主演:杰齐贝尔·阿纳特,刚纳尔·布里杰,杰里·切瑟,Corbin Cochran,艾伦·柯普二世,Russell Dobson,克里斯多夫·福布斯,Kasch Frick,乔安妮·格林,佩奇·希佩,温迪·米克洛斯,Brad Owens,Eric E. Poe,Cheyenne Roberts,Darlene Stokes
主演:Stephen Guarino,Gerald McCullouch,James Martinez,Jason Stuart,Joe Conti,Brian Keane
主演:汤姆·肯尼,比尔·法格巴克,罗德格尔·邦帕斯,克兰西·布朗,卡罗琳·劳伦斯,玛丽·乔·卡特利特,迪·布拉雷·贝克尔,爱德华·阿斯纳,劳伦斯先生,赛丽娜·欧文
主演:亨利·卡维尔,艾莎·冈萨雷斯,阿兰·里奇森,亚历克斯·帕蒂弗,赫洛·费因斯-提芬,巴布斯·奥卢桑莫昆,亨利·扎格,蒂尔·施威格,亨利·戈尔丁,加利·艾尔维斯,弗莱迪·福克斯,Alessandro Babalola,Reggie McHale,拉塞尔·巴洛格,萨贾杜尔·艾哈迈德·里亚德,维克托·奥辛,塔尼萨·伊斯兰·马希,Mark Oosterveen,保罗·奥凯利,Mert Kilic
主演:史蒂夫·布西密,西格妮·韦弗,罗宾·怀特,伍迪·哈里森,本·福斯特
主演:拉姆·查兰·特哈,特曼娜·芭蒂亚,穆克什·里希,婆罗门·安达姆
主演:迈克尔·马德森,Stephen Cloud,埃里克·罗伯茨,罗伯特·米亚诺
主演:莱丝莉·比伯,马琳·爱尔兰,纳迪雅·达珍妮,迈克尔·斯塔尔-大卫,托马斯·萨多斯基
登录账号