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出生证明

战争片其它1961

主演:Andrzej BanaszewskiBeata Barszczewska马里乌什·德莫霍夫斯基

导演:斯坦尼斯拉夫·罗泽维格

播放地址

剧照

出生证明 剧照 NO.1 出生证明 剧照 NO.2 出生证明 剧照 NO.3 出生证明 剧照 NO.4 出生证明 剧照 NO.5 出生证明 剧照 NO.6 出生证明 剧照 NO.13 出生证明 剧照 NO.14 出生证明 剧照 NO.15 出生证明 剧照 NO.16 出生证明 剧照 NO.17 出生证明 剧照 NO.18 出生证明 剧照 NO.19 出生证明 剧照 NO.20
更新时间:2023-09-16 10:49

详细剧情

  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."

长篇影评

1 ) 一般

「戰火下的兒童」最佳示範片之一,三種「意識到殘酷現實」的啟蒙,也可以視為某種意義上的「出生證明」。最後一則的小女孩太可愛了,連納粹都想收編~
================================
这个明显就是胡扯。最后那个犹太人小女孩被纳粹党卫军军医误认为是雅利安人,所以才想把她转入德国的孤儿院。

短评

幽灵般的波兰犹太孩童,他们的身份时隐时现,苦难将贯穿一生。事实证明长得好真的能当饭吃。

6分钟前
  • 多次元咸鱼
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再见,孩子们

10分钟前
  • lhansss
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以孩子的视角的战争题材影片最易打动观众,也很容易出彩,本片也不列外。通过三段发生在二战波兰战场的故事,三个波兰孩子的眼睛,让我们看到战争中人们除了恐惧、绝望仍保有战斗精神和国家意识。

13分钟前
  • 金司机
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三段无关联的小故事,中规中矩

18分钟前
  • 王小北
  • 还行

战火中的童年;冷峻的基调,天真的神采,破败的残垣断壁,被迫面对现实的残酷与决绝。当孩子也对生存失去了希望,那这个世界真的不会好了。

19分钟前
  • 伊菲吉妮娅
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17年观影

21分钟前
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峻黑阴郁的硝烟废土与断垣残壁,冷与痛仿佛钻入骨髓。孩子视角的战争,格外让人动容,这些明亮眼睛里飘进的阴翳,是人类滋生的病毒。第一段未正面言及的结尾,留白更显残酷;第二段铁丝网后面的人群消失了;第三段无辜的眼神写满惶惑和不解,未来有可能存在吗。

24分钟前
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100.58

28分钟前
  • 豆友66
  • 还行

影片的蓝本是罗泽维采兄弟的中篇小说集,在观看中篇小说改编的电影时,观众期待以尖锐观点结束的微型故事,无独有偶本影的三个篇章似乎都缺乏这一特点,无形中给予了整个影片强烈的不确定性,给人一种动荡不安的感受;我们不知道独自穿越森林的男孩会遇到什么,也不知道小英雄们对一名苏联战俘的帮助是否能将他从未知的命运中解救,更不知道犹太女孩将何去何从…无形中导演为我们设置了这些问题,他将战争视为混乱与毁灭的集合而非可以反映在情节上的线性历史,影片虽然充斥着道德内容但并不以道德剧来标榜,需要被明确的是:在现实的重压之下,没有任何一种命运的变体能置身事外,同样的表达方式出现在基耶洛夫斯基25年后的作品《机遇之歌》中,后者戏剧化的描绘了另一个时代的一次选择。

30分钟前
  • 韩的西姆拉
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61年拍出这样的不容易~

34分钟前
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三星半,最后那个镜头真的恐怖。。。。

37分钟前
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几个故事都很精彩。

39分钟前
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最喜欢第三个故事,现实+讽刺

43分钟前
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几个小主演找得都挺绝的

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看了第三个故事,一个孩子说她不想活了

46分钟前
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以小孩的视点来观看战争的残酷

49分钟前
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以儿童视角为主的战争电影总是令人更加怜悯,孩子的天真无知与战争的残酷无情形成强烈的对比。三个小演员的演技都很打动人。

51分钟前
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「戰火下的兒童」最佳示範片之一,三種「意識到殘酷現實」的啟蒙,也可以視為某種意義上的「出生證明」。最後一則的小女孩太可愛了,連納粹都想收編~

56分钟前
  • HurryShit
  • 还行

8/10 三個短篇‧二戰‧波蘭‧孩子 / 男孩與士兵‧男孩‧猶太女孩 / 第一個短篇結尾的奔跑鏡頭真是絕了。

1小时前
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孩子的角度也成熟了……

1小时前
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