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."
▫️3的人物塑造已经连糊弄都不屑于了，仍然靠全员大眼瞪小眼和尬笑来推进剧情，也许这剧本确实已经被电影公司改的面目全非，前面默默然的线索被生硬切断，强行加入不知所谓的麒麟来逗你玩（呵…选举那完全是来搞笑的！比我们楼下居委会还随便呢！
有笑有泪，结局我不太满意，这部电影的题材挺好的，就是拍的流水线。
值得贡献一张imax，好久没有看完电影后影院里洋溢着这样的气氛了！！6.7分。你们缺德不缺德
《神奇动物: 邓布利多之谜》是绝对可以让cp粉丝们狂欢的作品，官方糖比预想中的猛太多！整体优于前作《格林德沃之罪》，罗琳与大卫.耶茨有了一定的转变，神奇动物比重很大且重要，回归了“神奇动物”这一主题，配上炸裂的特效场景与宏大的战斗画面，让你感觉这四年真的没白等！
一部大制作，因为这样或者那样的原因不卖腐，是不行的。一部中年gay子离婚实录，新王当立，斯卡曼德骨科美帝义不容辞——我觉得哥哥的戏份都是卡特纳凭本事赚的❤拉手了耶他们拉手了❤好幸福啊看到他们拉手
阿三在民生题材这块拿捏得死死的，上次的代考，司法腐败，越敏感越敢拍，包括这次选择的代孕。大致思路其实很好猜，无非就是代孕父母不肯还孩子，亲生父母不肯要，结果两个结果都有，在美国父母放弃孩子后一度担心拉胯，幸好最后圆了回来，尽管有些牵强，但是看着印度妈妈带着金发白小孩，美国父母领养印度女孩，只能佩服阿三想象力的丰富，不过老实说女主的表演绝对OK，控制身材相当有说服力，值得推荐！！
国际魔法联合会为什么不选中国人当主席呢，因为它可能需要一位书记
这种题材印度真是怎么拍怎么正，其实觉得完全可以引进的，只要想的话。
预告片真真就是所见即所得！节奏很奇怪，故事简直不能更闹着玩，情节推进更是一塌糊涂，彻底朝着卖弄奇技淫巧的方向去了……不断洗脑自己一定是憋大招做铺垫，毕竟只要有后续就一定会看，坚决拥护罗罗！
你可以嘲讽唾弃这样的印度这样的人这样的事，但不能吐槽他们敢拍出来这样的事。放在某地呢，别说是抄燃气表，会被抄家的。
大卫叶茨赶紧收手吧🤒全片最佳是纽特救他哥那段。要不下一部还是好好讲可爱的纽特和神奇动物？
预告片真真就是所见即所得！节奏很奇怪，故事简直不能更闹着玩，情节推进更是一塌糊涂，彻底朝着卖弄奇技淫巧的方向去了……不断洗脑自己一定是憋大招做铺垫，毕竟只要有后续就一定会看，坚决拥护罗罗！
不是麦叔和裘花plus最萌骨科，谁TM要半夜看俩小时离婚实录！！！下集给我真的打起来，不是情骂俏那种，谢谢。要BE也请来得壮烈一点！讲真最唏嘘反而是鹅仔，明明2018年宣传期跟着看过来还是很nice的一个人，怎么就变成这个鬼样子落得现在这下场？现实与剧情对照真的是唉，又没一个好苗子。
这电影还真是个谜，演了一个半小时都不知道两边到底想干嘛。粉丝也太惨了，就几分钟那么点糖得熬这么久，磕得还没头没尾的。
印度电影：小题材能出彩，大问题托得住，又输了！
印度果然善于敢于拍摄现实题材，把本来属于悲剧的代孕题材电影以喜剧形式展现出来。相对于富裕、表面有教养实质无担当的美国爽子夫妇，主角虽有小狡猾的缺点，但在大节上，更显得有担当，不惧生活的麻烦，幽默乐观和善良。限于喜剧题材（或者主创人员无法两全其美），影片强行以美国爽子收养印度孤女结尾，但观众心里面白，这在现实中几乎不可能发生，也冲淡了影片警示现实的意义。
垃圾垃圾垃圾，你们花钱买别人子宫的人真的好屌哦，孩子说要就要说不要就不要，拍这种题材还洗白代孕夫妇的就是垃圾，尤其是洗白这种代孕不满意还随意让别人引流拍屁股走人的更是垃圾，这种随意买卖别人人生的人也根本就不可能做好父母教出好孩子，垃圾垃圾垃圾，洗白共情代孕的片子不管打出什么鸡汤标题也是垃圾。
咋说呢，看似一个意外而又圆满的结局多少让人感觉不太真实，人都是自私的，再怎么样也会想要自己的没有缺陷的亲生孩子，无论什么代价。我相信这会是真实存在的故事，无论哪一方都不会太好过，这就是现实…
代孕养了四年，再打官司有用吗？本身代孕也不合法啊
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