出生\证明

剧情简介

　　In 1961, Stani;s`:/l+aw Rozewic(z
$ creat=)ed -t/he n:ovella film &!qu*:otBir=,@t/;=,h Cer,tifica%
te&qu[(ot in co]*operation with:^*! hi%,s broth.`er, Tadue: sz Roze$! ;wicz as screenwrit ??*er. Suc)h  br;other [t?
an.d-_e)*) ms are rare in th@ e _\:history of film b,]ut aside fro*%m fa @mily t+
ies, Stan
islaw (_\born i=n 1924) and ^`Taduesz+ (born in$ 192_1 ) wer
e mutually bound by thei+)r l_,#ove f`]or the c !inema. They
.!_ were!,; born and g - rew up in Ra` domsk, a small tow/ n which had "its madme;n an_d its saints" and@( m%]@ost`+
i*%mportan\(ly, the &qu,)o=%+tKine(=(ma&. =qu$,[ot cinema, as Stanislaw r]e _!=[ca(l*[ls%:: f)`o*`r` him (cinem*_a^ is= "h?^ea[[ven, the whole  _wo!_rld, en%chantment&q^(u(/?ot:.@/#. T^.\$adeusz [,says he` considers cin!@ema/ + both a== char!$mi$=ng market!) stall and;_ a mysteri`\ous temp\%le. &[?\quotAll
]?this savage land has a /lw@=ays attrac
/ted .and fascinate*( d me,&q`/@uot he says. &$_quotI am d^-evoure^d ,_by c?i^`+nema ?and*
@_ .=I devour )+[cin@)ema I'm a cine.ma ea] te@*.=r.\^&quo?,t Bu(=t Taduesz Rozewic^@z ,,^$# an%\. ##eminen+^;t write*+r, admits this u)niq,$ue form of cooperatio+;\:n wa?^s\\ a problem t;o [him: "It is the pre)% !sen-ce of th:+?;e oth
er ^\=$person n[ot onl;y in^ t
he proce\ss$ ..@o$ f writi[,ng, b%ut at its ve=^r*$y core, which is inserperable for: me from ab/so@ lute s+[-olitude." Som?e +scenes ,$the brothers wrot`%e tog ether others were /=cre.]ated$ b%y  the wr%]it: ^?er hi]!mself, :following discussions with the di+rect or. But )from the +!(perspe` /ctive of time, it is "Birth Certi*%!=ficate&#quot,(? rather t%#@,han &q +uotEcho" or &q$[u\otThe - ;;Wicke\,d Gate&q-uot, `-that Taduesz describes as his m`(/ost intimate film))[
. [\`;This is unde;rstandable. :#The tradg,*ey from
S#,_e
)ptember 19!$39 in Poland ` was for the Roz-ewicz brot ?hers their per#)sona)l/ &quotb-;irth
, certificat;e#,[&quo@,
t.
:] When. worki@n g o(=^n !+-#@the film, the director said "This time( * it is all _ about sha +king off, gett@ing rid of the p,\`/syc%h#_$-ological burden which).+ the war :[,w(^as for all$ of us.] ... Cooperation with my brother was in this case /;
`e_::asier, as  .we shar*e many /
war[ ) m.$emories. (#We /^^wanted t//o sho ?w to@ ; adul ?t v-#/iewer_-s a_ pic)ture of war a s s(^een by a chil$!d. ...# In rea-lit ](-y, it is the adults who created-)% the=@ rea])l w/^orld +of mass?:acres. Chil)`dren beheld , t;=(he horrors +coming back to [_?l+/ife,`@ exhume$d +_ from un:d*[erneat%@%. h ?\;the groun *$d, overw_h elmin],/g the earth;."　　@:Th.\_e princ%(iple o\_f c=,$ompos@?ition of &qu.`otBirth Certifica.@te" is not _)obvious. Wh%^en w()a[tching a novel^ =:la fi(:lm,#)= we tend` =
%# to[-. think in ?te
rms of traditi#.^onal theatre. W;e expect th\)at a
 min;-i)*ature story #[[-w=i- =ll finis; h with a sharp poi(nt the thr+]ee: film nove$llas in =!Rozewicz&[ [,#=
%39s wor$k lack :th`is feature. We do not ;know what_) will b`-e hap_+;pe/,n ?):to the boy ma king his alo.ne through the fores #t towards the= end of
&qu/$otOn t):h_e +_Road&q\@_uot. We do not know whe(t\]%he; r in,
[ "Lett+\:er from the Ca*\mp", \the #help$@ ; offered by ?(the small @heroes to :$a Soviet prisoner] will ? rescue him .] from the unknown fate of his compatrio*%_ts+. The fate o? f the J+ewish+( girl from &q]]uotD?)`r op o-f B\ [lood] ,&`\quot is==\ also unclear. W!?i#ll she keep?  her% ) *new i%-\mperson]a- tion as "((@?Mar*,$-ysi#a _Malinowska"? Or will th-e Nazi`]s make h+er into a$? r
epr?
,esentative %of@] the ,"Nord !ic #%race"? Those questions were%$ /asked by the direc\tor for a r;!% ,eas\)on`]]. He prec_eived. war as chao\^s and perdition, and not as line$
-ar history [@,that c-/ould be reflec)ted in.:. a plot. Although &quotBirt*`!=h Cer+[tificate&?.!quot @is ` ? satu%rated w .ith moral\ c% `ontent, it does not ai-*]/m to be a moralit?_%`y pla)[[y. But with the im$mense press\ure o^=?f reality, no vari;ent of fa+t/_e should be exclud@)ed. T*@his appro%:ac)hed ca n# b.]e compared$ wth- Krzyszto\f *%Kieslow. ski,_9s "Blind Ch#\a,nce&q^?uot 25 years later, wh$ich pictured dramat$;i\:c choices? of a  *different era. 　　The film$ novella "On the Road&quot has a very s paring /plot, but it !-`drew spec^ia$ l atte!ntio`n of t%he revi?)]e=*w$/er `;;.s. The ominati*ng o vertone \of the war fil_ms created by the Polis,!``h  Film S@[chool at that time shoul+ ?\d:,[ be kept in mind. Mainly o
,?] wing to Wajda, those films :!dea/*lt w @it(,h rom%antic herita(ge.^? They were pe, rmeated with)# pathos, bitterness, and/=; irony. Rozewicz ) is an ext@raordina$ry-) a+rti[$st. Wh`en narrating a *?!st# ory abo\u-t a boy lost in(- a] war zone, carry?ing some )^doc($uments from t``he reg :ime
nt office as  i f the#)#y were a t$_reasure., the narra\tor i/ n &quo ;-)]tOn the Road&quot di?scovers :r.@$ou,$!gh pr.#os
-)!e \] wh``
ere one sh$=ould find poetry. And s@uddenly, )the ir=+rat $ional touches  this ]rat [
he^\r tame world. The boy, who unt^\[i./?l that ;\+moment resembled a :Polish ve`$rsion of the Go;od +?Soldier Schwe=+ik, se?ts off, like Don (Qu/`$ixo=t-^e, for h%:
is+ first a/ .\nd last`+ battle. [[A ;^##^cr*#\itic described it as "an absur
;]d)/] gesture an++]d someo_() ne else could sur+ ely use it to criticise the Po?l:i)`+sh sty_le o$]f d@yin-g. ... But the _Roz`ewicz brothers d^o :)+no =[a!ccuse:*$ they only co
mpose an elegy f$ or the picturesq^)^ue peasant(`-soldier, probably the ./most i !mportan+ t vet eran \ of the Pol%)i* sh w=ar of 193-9- 1945." & $?quotBi
!r;\t*h Certific*at: e" is not a lofty  s- ^)tatement .abo+[ ut national= i /mpond^/erab@ilia. The film rev/`eals a plebeian ^perspect)i =_ve wh^.$i:ch Aleksander[ ;# @Jackieq
icz once:;= contrasted with th,
ose "lyri?*cal lam\ent]a )]tions+:" in$_ herent in th (e] Kord ,.?ian tr!@adition. Ho(wever, a  h!)istor^,
ic.]al o_
vervi\-ew\@ of Rozewi-=cz&#*39s wo$r
k )shows that(] th*!e dist.\inctiv/;)e #style d( oes not sig[nif^y ^ a- fundamental diff*=-!`ere:nce in i?ll ;?ustr
=].ating the Poli= +sh%@.[ S)/e %ptember. J[^ust`=
[as the m*@[_e@mora\^ble sc[\ene from Wa
[j%##da&__#39s "?L.`%o\tna" % was`% in fact ?an e=-]xpression of  des`peration ^=@and distr%;ess, the sam,]e emotion[
^s permeate the fina_*-=l scene of &quo:-tBirth Cer(tifi!cate&quot. These -= a @;!re not ide:%ological concep.+(/ts, though once describ=ed]
as su^ch and _`ferventl ##y debated, but r )at#)he #r psy/ch, \ol+ogic$al creat+io; ns. I$#n this specific case, observes\-* Witold Zalewsk*i, (`+i(#t is not about manifesting knightly p; ride, but about -a gesture of a simple man? who does not agree to )be enslaved.
[　　The nov-]_ella .-* &-)quo;?+![t-Drop \ of` _ Blo#@od&? (quot 
is,]:: wi; th Ale*:ksander F]or@(+d's "Border Str?= eet", one of the first na\r#)rations of the \;-fate of the P olish Jews dur]ing the N$azi oc(`cupa!//+tion. The st: )ory about# a g$-`irl =
litera=lly looking @\ =^*for her pl ace on earth h^as a $=
(dramatic dimen ]sion. E#`specially in the? age of toda\ \y&*#39^s jou`
rnalistic disput/%;es, /
often manipu\)lative,_@ l)(a=`ck## in_]g in empathy and`  imbued\. with bad will, Rozewicz&#`*39s story [fro
m the p% @#ast shock s with its ?authenticity. The s=mall heri^$one of_\ t;he sto,
r
$y is.)! t he only$ one who s#urvives 
=a Ge !rma$+/n /`ra?]id ;`] on her f^.ami ly home.): Phy^^s :ical sur;vial do*es not, ho =+)wever, mean a return t`o* norma]#[li\;ty. *H,#.er frightened de_/parture from the;- rubbish( dump t-hat was her hid[eout(_ lead her to- a ruined a ?partment. @] Her wa\\`lk around it is painfu^!-l _becau!$=se st::=ill +fresh signs [( of life ar+#;e mixed wi)%@?th (evidenc/e *# of annihilation. Help i=`s needed,/$ $-but Mir?ka does ,[n!\/ot`
k;:now #anyone -i.[ n the outs+.ide world. Her ^subs_- e:$!
quent atte)?)mp?)ts, expre;%#ss t)he state[ o`+-f t \_he fugitiv%e&#`[39s spi.rits - $]+from hop^ ^e and faith, mo=ving to doubt,]= a se/nse(! of oppression, and t:]!hickeni-?ng fear, and:` finally _,to d\@.esp air.　　At the same,`  t:ime, the ,Jewish #gir%=l=.'s sear?ch for refuge+] resembles -the ,)st``-ate +^?$of Polis;]h- society. The appea,ran#,ce o-\f_ Mir_ka re- *sult;,\s in confusio `*n, and later, trouble. T$?his wa$!s !?%a .lready signalled by Rozewicz= i*^n an exc e#ption`al s^( +cene from+@? &,quotLe[;tter from (^ the ) Camp& @quot __i#n which the boy's ne-_ighbo$
ur, seeing a fugitive Russian s?:oldier,-. retreats:^: immedi %a#  tely,= ; admi$,=t,/#ting ;that

*) "N ` ow?
, people worry_? only ab[-:out] themse]lves.& ^]quot Such embara)- ssing /?ex!^-cuses mask f_!ear. During the# occupation-\, no%_  one f@ee
ls# sa![f;#_e[). Nei?,
ther so/cial +_ status not the= _ a[egis of a charity orga.\ni;]:sation protects against re#)pression. _@We see +#the po-+t?]ential guardia:ns of Mirka* passing her back an;)d[ (= forth#, (\among thems?elves=:. The*[_se are friendly : hands but they c-])annot offer % s ((tron@!g sup
p = o\$%+rt. Th +e sto ;ry t;*a\;kes p lace on that thin line ,
betwe=en so ]\li/darity an!d herois\m. )/So#%,lidarity (*;a/ rises ]!/ spont;
\aneous,ly, but o.
:
nly some a?re c\*apable of heroism. Help for the gir
l d?.+oes =not always resu-^$lt from compassion so,me
ti_:?mes i/t %[is b\,*ased on -+past relation\;s and _personal tie,=s ( [a neighbo.
ur.* of the do .ctor take*_s in_ th_-,e fugitive for a few _.days becau@\se of past +!_frie-_ndship). Ro*zewi^c_.^^z portrays all $!of this^ i;/ n a su#bt ;le *w/ay even the`( smallest gestu.re ;_
has significance. Take, for examp;-le/!, the conversatio#n w^ it-h a % `str?an;/ger on +the train: sh ort, as if jotted down o ,``n t :he margin, bu%^t; so (/full ^of %tension. An 
d ea^_,
]rlier, ^_a peculiar *=ex$\amination ._/-of Po-= li)[shness: t$he "H;?oly Father" *pr$[ayer force d on` Mirka by the vil^ `lag@e b$+*oys$: to check(/` that s` !he is not a J:?.ew. W$ *ould not =!:risin]g to ,]the challenge m!!%ean a de)-ath sentance?/`　　V
ie?;wed
/] after many years, "Birt
h Certifica-.te" _`,discloses y].\et )] another
`:- q = uality ( that\ i;@s not presen_.t i
n^(*! the ^^w(orks of the Polis!,/h Sch!(o\;%ol, but is pr\ominent i)#!^n :*later? B-c=?lass war f ^ilms. This is the pictur !e of everyda-\y life durin)g the wa(r #;^and occupation o @`utli n.%]ed in%+( th`e three*$.@+ novella_(s.
It harmonises with the logic of #s!p# $ea::king ab;=out "life@ )@after lif(e". Small heroes ,!/of Ro(?zewicz \%suddenly
enter (the realit$y of war, with no experience or ^;sc:#@ale wit. )h which to/ compare@ *=it. For /=them,- t\he present is a  natural +exte%^n_[+si ,on of and a/^t the!_ same time a comp.=lete nega+tion of the past. Consider/_ `@th e s*-^lee#+y small-t]own marke=tplace, thro:ugh which a[rmoured col)!(_um,ns will$- s ^hort/ly pass. Or meet_% the Germ?an mo? torcyclists, who lo+\$ok l-i:);ke #alie];ns fr!om outer %`
space]=@ - a pictur!]e taken f_r?; om an a#utopsy because th-^].is is how Sta  nislaw and Tadue[@sz pe)rc*ei,=ved the firs\![t Germa;\n=`;s they
 ever me`t/#!. No\@
_te ]=the,=` blur.r,?ed sil;:$h `ouettes of[ people against a?, -*@w\hi^te wall who ar+e .b#eing sho@-$t - at first \ !they //*!are shocking;?, but soon they wi$ ll probably^$ be]-com?e a part of the gr%?/(i] ^m .`)l+andsc)^ape. In t; he city c!entre% ?stands a pr[;isoner ca_mp on a sodden bog (&#quotPeople perish%, l;ikes flies t]h;=e bo`dies are+ t$rans@/ported= d=%ur(\ing the nigh)+t&q]uot ;?) in th=+e street th!^e @? =childern are@ ? )ru-#n[ning after a %-coal wag -/on to collect some pr *eci\ ou`! s %)pi\e `c+ es of.@ fuel^. There&#`#.3*\9s a @`bu@stle*: around some(#@ fo?!od  (a boy )reproaches $:+his younge .^@r brother's]
ac[%ti-?@ons!
/
)?by sin$$_ging+: "The war!rant officer'$=s, son is be_./ggin
g
in front- of the church ? [I&#,
$39m go,ing to tell [+ mother!?/&)quot)\] and the kitc@he n, which one evening becom
^es[ the proscenium of a rea#^;l d
r`
ama.-? And th;-)ere ar
e the symbo`ls: a @* ;bar of choc:-o^\late f)?%orce[; ]d= upon a boy+^@ by a Wehrmach^t sold(?ie\r ("On
\the Road&quo,!t) a pa[_.[ir of [/shoes bel, \o:ngin]g? t@\,o:, Zb!ysz]ek's$ =father#, which the b-!oy sponta(neously @`^gives to a Russi_?,an fugiti?ve a pric*!eless slice. o`_f bread, ground u)=nder :the heel of a/. poli@ $ceman in the] gute^r  ("Lett,ers from the Camp&\quot). As th]e]:? direct ,or put %//it:$+!: &
q!,+uotIn :_every film,  $I,$ commun:icate my own v/i sion of the` wo ?rld and of t% he peo$- ple.- Only then  the[ $\($s= t//y-!le follows, the def[` ined way %;of ]\exper(+@iencing t. hings*.&quo_!)t In Birth\

 Certific?(ate,) he adds, h-i @:s ,_:approach was d@ =riven %by the subject: &/quotI!* ,(attem=[* pted =to create not on^#`ly the t exture). of the docume?;nt ):but also to $add some poe@(t(ic e)lement. I know it is
(. %ri/?sky ]$but as for the merger![ of documentat@,)@ion and
]%! poe- ty, of%ten hidden . very/ deep,; if only it man,_ages to ma%ke its way ont_o th_$e sc(^ree; n, it =+r@`esults ` in w[
h#at can re_=/ferred to a_s 'art[_9."　　After 1945,@ there  (wer?%e numer^-ous fi^=lms creat e*[-d in Euro-$[pe that dealt with# war @:`and` children, - inc $l+uding &qu
:otSomewh^ere ) )in Europ^@e:&quo]\t (,"Valahol Eur(opaban".%%, 19*47 by Geza Radvanyi), &q=uotSh 
oeshine&qu,)ot (&]-qu$+ :otS$. (c!^iescia", 1946 by Vit torio de Sica), = an(,(d _@"Child\//.hood of Ivan" ("?_Iwanowo [dietstwo&. =-quo% t by?* And (riej Ta)rkowski)(].. Yet there[,` (.were few)er` tha %=)n./= \o/;ne would =@expect. Pur(` suing a *_/subjec
#t so imbued]/# w]ith: ]# sent#,-imentalism requires stylistic disipline a,nd a special a=bility to man.?,#ag_e  child actors. ?]The), a uth*/@=or $?%/of &@+ q`+uotBirth Certificate" mastered bo:!t-\h - /and+-_ it was n+ot by chance. St\anislaw Rozewicz was alw]%ays the $].ben;
eficent -_spirit of the film ]m$ilieu *he could unite people around a common goa  l. H?e emanated^] peac_e a?nd _\s#;e@^ nsi_.^tivity, which flow:ed to$ his :.?co--work)`er #s and pup_=ils*_@. A\% f?^(=ilm, being a ?(grou!p w ork, @)!nec[-?$essitates some *-+form ]:`of empathy #*- t-
+uning %^in with ot;^%hers.　　In ?a biograp#,#h/ ical $do#--cumentary abo)\ ut *Stanislaw R@?ozewicz en)`titled &,[quotWalking][, Meeting" (@$19#99 by ,=?@Antoni Krau^ze), there- is a ?[\be]\-a^utif  ul scene when t
he director, af;t[er a #)(few %]:=decades, m++eets Beata Barszc.zewska, who pl\(ays Mire?czk =/*a in th=e n!(+ovella "
# \Drops of Bloo!d&?q%uot. The woman fall%.s in^
t,^o ]\the arms o
f the elderly man. The \y a r*-e both,% moved. He wonders h /ow m\any years have passe-d. S-)h\ e answe. rs: #&\ quotA (few ye a +$r=s.[ @:*]*Not too many.&?;
quot And Rozewic.:%z, with h/is ch:ara `c
;terist?i)c\? ! sm,?ile say
s!:: "I ^t is true. ,:*We spent this ent-
ire time toge#!the=r#_%.&quot