《出生證明》是由知名导演斯坦尼斯拉夫·羅澤維格 执导的一部戰爭片，Andrzej Banaszewski Beata 等倾情出演，该片讲述了：　　In 1 961,   Sta nislaw Rozewicz created the novella film "Birth Certificate"; in  cooperation  with hi s brother, Tadue sz Rozewic z as scree nwriter. Such brothe r tandems are rare in the history  of film bu t aside f rom family ties,  Stanis law (born in 1 924) and T aduesz (born in 1921) were mu tually bound by their love for the ci nema. They were born and grew  up in Ra domsk, a s mall town which had &qu ot;its madmen and its saints" ; and mos t importanly, t he "Kinema" cinema,  as Stanislaw  recalls: for him cin ema is "heaven, the whole world, enchantment&qu ot;. Tadeusz  says he co nsid ers cinema both a ch arming market st  all and a my sterious temple. "All  this savage  land has  always attracted and fascinated  me," he says. "I am devoured by cinema and I devour cin ema; I'm a cinema eat er." ; But Ta duesz R ozewicz, an eminent writer, admits this unique form of co  operation w  as a problem to him: "It is th e presence of the other person not only in the process of writing, but  at its v ery cor e, which i s inserperable for me from  absolute solitude." Some scenes the brothers wrote t  ogether; oth  ers were cre ated by th e writer himself, f ollowing discussions  with the director. But  from the p ersp ective  of time, it is "Birth Cer tific ate", ra  ther than & quot; Echo" o r &quo t;The W icked Gate&quo t;, that Taduesz describes as his most in timate film. This is un derstan dable  . The tradgey fro m September  1939 in Poland was for  the Rozewicz brothers  their personal ";birt h certificate&q  uot;. When  working on  the film,  the d  irector said "This time it is all about shakin g off, getting r id of the  psychological burden which the war was  for all of us. ... Cooperation with my  brother  was in this case easier,  as we s hare many war memori es. We wanted to sh ow t o adult vie  wers a picture of  war as seen by a  child. ... In reali ty, it i s the adu lts who created the real world of massacres. Children  beheld the horror s coming back to life, exhumed  from unde  rneath the ground, overwhe lming t he earth ."　　The principle of composition of "Birth Certif  icate&q uot; is not ob  viou s. When wat ching a novella film,  we te   nd to think in term s of tr aditional theatre. W e expect that a minia   ture  story will f inish w ith a sh arp point; the three film  novella s in Ro zewicz's work lack this f eature  . We do not know what will be   happen t o the boy making  his alone through the forest towa rds the end  of &quo t;On t he Road". We do not know whether in  "Letter from the  Camp ", th e help of fered b y the small heroes   to a S oviet prisoner wil l rescu e him from the unknown fate of his compa triots. The fate of  the Jew  ish girl  from "Drop of  Blood"  is also un clear. Will she keep her new  impersonati on as &quo t;Marysia Malinowska&quo  t;? Or will the Nazis ma ke her into a repr esentative of the  "N  ordic race ";? Those quest ions  were asked by the direc tor for a reason. He preceived  war as chao s and perdition, and not as li near his tory that could be reflected in  a plot. Althou gh "Birth Certificate " is sa turated wit h moral content, it doe s not aim to be a m orality play . But with the imm ense pressu re of  reality,  no varient of fate should be e xcluded. This approached can be compared wth Krzysztof Ki eslowski 9;s ";Blind  Chance" 25 ye ars later, which pictured dramatic choic es of a different era  .　　The film novell a "On the Road& quot; has a very sparing plo t, but it drew spe cial  attention of the reviewers. The ominating o vertone  of the w ar films created by the Polish Film School a t that time s hould be kept in mind. Mainly owing to Wajda, those films dea lt with romantic heritage. They w ere permeated with pathos,  bitterness, a nd irony. Roz ewicz i s an extraordinary artist. When narrating a story about a boy lost in a w ar zone, carrying some docume nts  from the regiment office as if   they were a tre asure, the narrato r in &qu ot;O n th e Road "   discovers rough prose where one  should find poetry. And suddenly  , the irrational touc  hes this rather tam e world . The   boy, who u  ntil that moment resembled a Polis h version of t he Good Soldier Schweik,  sets off, like Don  Quixo te, for his first  and last battle. A  critic described it as " an absurd gesture and someone else c ould surely use it to criticise t he Polish style of dying . ... But the Ro zewicz b rothers do no accu se: they only compose an e legy for the  picturesque  peas  ant-soldier, probabl y the most important v eteran  of the P olish war of 1939-1945. " & quot;Birth Certificate" i s not a loft y statement about national imponder abilia. The  film reveals  a p  lebeian per spective which Al  eksander Jackieqicz o nce contra sted with th  ose &quo  t;lyrical l amentations" inhe rent   in  the Kordian traditio n. However, a h istorical  overview of Roze wicz' s work shows tha  t the  distinctive style do es not si gnify a fun damental differe nce in illus trating the Polish September. J ust as the memorable  scene from Wajd a's " Lotna& quot; was in fact an expres sion of desperat  ion and distress, t he same emotions permeate the final  scene of &q uot;Bi rth   Certificate". These  are not ideolo gical  concepts, though  once desc ribed  as s uch an d fe rvently d  ebated, but rather  psychologi cal cr  eations. In th is specific  case , observes Witold Zalewski, it is not abou t ma nifesting kn ightly pride, but  about a gesture  of a simple man wh o does not agree to  be enslaved.　　The novella "Drop of  Blood&qu ot; is, with Aleksander F ord&  #39;s "Border  Street", one of the first narrations of t he f ate of the Polish Jews durin g the Na zi occupatio n. The story about a girl literally looki ng for her place on eart h has a d ramatic dimension. Especia lly in the age of today 9;s  journali stic dispute s, often manipulative, la cking  in empathy a nd imbued with  bad will,  Rozewicz  's story from the past shocks w ith its authenti city. The small herione of the story is  the  only one who survives a G erman ra id on her fami ly home. Physical survi al does not, ho wever, me an a return to n ormality. Her frightened departure from th e rubbis h dump that was  her hideout lead her to a ruined apart ment. H er walk around it is painful becaus e still fr esh signs of life a re mixed with evidence of annihilation. Help   is need ed, b ut Mirka does not  know any one in the outside w orld. H er sub sequent attempts expres s the state of th e fug itive's spirits -  from hope a nd faith, moving to doubt, a sense of oppression , and thickening fear, an d finally to  des pair.　　At the same ti me, the Jewish gi rl' ;s search for   refug  e resembles the state  of Polish society.  The a ppearance of M  irka results in confus ion, and  later, trouble.  This  was already sig nalled by Rozewicz in an exc eptional  scene fro m "Letter from the C amp& quot; in which t he boy's neighbour, seeing a fugitive Russian soldier, retreat s immediately, admitting t hat "Now,  people worry only abo  ut them selve  s." Su ch embara ssing ex cuses mask fe ar. Du  ring the occupation, n o one feels safe. Neither social status not the a egis of a c harity organisation  protects against repr ession. We see the potential guardians of Mirka passing  her back and for th among  them selves. These are friend  ly hands but th ey cannot offer strong supp ort. The story take s place on that   thin line between s olidari ty and he roism. Solida rity ari ses spont aneou sly,  but on ly some are capable of heroism. Help  for th e girl does  not  alway  s result from compassion; sometimes it is based on past relat ions and personal ties (a  neighbour of  the doctor   takes in the fugiti ve for a  few days because of past friendship). Rozewic z portrays a  ll of this in a  subtle w ay; even  the  smallest gesture has sign ificance. Take, for  example, the convers ation with a  stranger on the tra in: short, a s if jot ted down  on the margin, but so fu ll of tension.  And earlier , a pecul iar exa mination  of Polishness: the  "Holy Father"  ; prayer forced on Mirka by the v illage boys to check that sh  e is no t a Jew. Would not rising to th  e challenge mean a death sent ance?　　Vie wed after m any years, " Birth C ertificate " dis closes yet another qua lity that is not prese  nt in th e works of the Polish Scho ol, but  is prominent in later B-class war films . Thi s is the picture of ever  yday life duri ng the war and occupation outlined in the th ree novellas. It harmonises with the logic o f speaking about  "life after life";. Small heroes o f Roze wicz suddenly enter the reality of war, with no experience or scale with which to  compa  re it. For  them, the present is a natural exte nsion of and  at the same  time a  complete negation of the past. Cons ider the sleey small-town marketpl ace,  through which armoured columns will shortly pass. Or meet the Ger man motorcyc lists, w ho look like aliens from outer space -  a picture ta  ken from an autopsy because this is how Stanislaw and Taduesz p erceived the  first German s they ever met. Note the b lurred silho uettes of peop  le again st a white wall who are being shot - at first the y are shock ing, but soon they will probably b ecome a part of t  he grim landscap e. In the c  ity centre  stands a pris  oner c  amp on a sodden bog (&q uot;Pe  ople peri sh likes flies; the b odies are t ranspo  rted during  the night"); in th  e street the childern are ru nning after a coal wagon to collect some precious pieces  of fuel.  There' ;s a bus tle around some  food (a boy rep roaches his younger b rother's   act ions by singing: & quot;The warrant officer's so n is begging in front o f the  church ? I&# 39;m going t o tell mother!";); and the kit chen, whic h one evening becomes   the prosce nium of a real drama . And there ar e the sym  bols: a bar of chocolate force d upon a  boy b y a Wehrma  cht soldier ("On the R oad" ;); a p air of sho es belonging t o Zbyszek9;s father which th  e boy spontaneously gives to a Russian  fugitive  ; a  priceless s  lice of b read, g round &nb sp;unde r the hee l of a po liceman in the g uter (& quot;Letters from  the Camp"). As the director put it: "In every film, I communi  cate  my own vision o f the world and of the peop le. Only the  n the style follows, the  defined way of experiencin g things." I  n Birth Certificate,  he adds,  his approach was driven by the subjec  t: "I  attempted to create not only the texture of the document but also to a dd som e poetic element. I know it is risky but as  for the merger of  documentation and poety, often hidden very dee p, if on ly it manage s to make its way onto the screen, it re  sults in w hat can refe rred  to as ' art' ."　　Afte r 1945, ther e were  numerous films created in  Europe that dealt with war and children, inclu ding &quo t;Somewhe  re in Europ e" (& quot ;Valah ol Euro paban" , 1947 by  Geza R advanyi), &q  uot;Shoeshi ne" ("Sciescia" ;, 1 946 by Vittorio de Sica), and "Child hood of Ivan"; ("Iwanowo di etstw o" b y Andriej Tarkowski). Ye t there w ere few er than one would ex   pect . Pursuin g a subje ct so im bued with sentimentalism requires stylistic disipline and a speci al ability to manage  child a ctors.  The author of &qu ot;Birth Certificate" maste red both -  and  it was not by chance. Stanislaw Rozewicz was alwa  ys the beneficent spirit of   the fil m mili eu; he could unite peopl e around a common goal. He emanated peace and  sensitivity, whi ch flowed to his co-workers and pupils. A film, being a group wo rk, necessit ates some f orm  of empathy - tuni ng in with o thers.　　In a biographical documentary abou  t Stanislaw Rozew icz entitled ";Walking, Meeting" (1999 by A ntoni Krau ze),  there is a beautiful sc ene w hen t he director , after a  few decades, m  eets Bea ta Barszczewska, who  plays Mireczka in the   novella "Drops of Blood& quot;. The  woman falls i nto the  arms   of the elderly man. They are b oth moved. He wonders how many  yea rs have passed. She ans wers: &q  uot;A   few years. Not t oo many.& quot; And R ozewicz, with his charac terist ic smile says: "It   is tru e. We spent this enti re time together  ." 　　此时，球中  的陆灵蹊在 小小的水镜中， 清楚地看到了外面的一切， 她小心地戳了戳蓝 玉板上的另一个好像半圆的符文 ，腰间一股柔力袭来，把她挤到一边，一张好像全由小网织成的东西，从两端连结到到一 起，看着……似乎是可以躺的。