出生证明

出生证明

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  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."

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2025 国产剧 大陆 大陆
胡冰卿,翟子路,贺鹏,丁笑滢,冯筱童,李嘉鑫,翟宇佳,张晓晨,孙雅丽,刘长德,李依晓,于波,李浩菲,姬他,沈泰,景如洋,温心,杨志雯,迟嘉,王大奇,张傲月,周陆啦,邵峰,书亚信,王策,刘园媛,林源,孙萌,林辰涵
  少女罗疏家道中落落入贱籍,因洞悉人心、善解人意,得花名 “锦囊” 。为改变命运,她毛遂自荐助力新任县令韩慕之破解一起大案,自此暂留县衙化身捕快协助查案,过程中结识了想游历江湖的少年公子齐梦麟。  
国语
2025 国产动漫 中国大陆 中国大陆
内详
传说中灵熙国的麒麟鼎能让人奇力倍增,众羊狼携皓月及力将军慕名而至。不料奇力没增成,喜羊羊却意外卷入风波生命垂危,为救喜羊羊,众守护者在灵熙国展开了大营救,到底有怎样的危机等着大家呢,喜羊羊又能否化险为
汉语普通话
2025 日本剧 日本 日本
横滨流星,渡边谦,染谷将太,宫泽冰鱼,片冈爱之助,高桥克实,中村苍,正名仆蔵,山路和弘,伊藤淳史,六平直政
讲述日本江户时代黄纸画及浮世绘等风格画作出版人茑屋重三郎的故事。
日语
2024 国产动漫 大陆 大陆
  大三学生叶不凡,为了给母亲筹集医药费碰瓷,不料遇到不按套路出牌的女司机,被撞之后的叶不凡无意中穿越到幻境,获得了古医门的传承,从此精通医术、修炼功法,获得无数美女青睐。
国语
2024 国产动漫 中国大陆 中国大陆
国语
2024 国产动漫 大陆 大陆
  七年前,凡人太子厉寒一家被七个仙人所杀,奄奄一息之际,他和妹妹厉瑶被传说中的无尽神域所救。七年后,厉寒归来,为了唤醒妹妹,他必须按神域要求不断提升修为守护苍生,与此同时他也誓要找到当年的凶手,报仇
国语
2025 日韩动漫 日本 日本
春濑夏美,大塚刚央,市之濑加那,内田雄马
  深受过往失败所苦的花式滑冰选手,遇见一心追求滑冰梦想的年轻女孩,他决定成为她的教练,与她携手朝世界级金牌前进。
日语
2025 国产剧 中国大陆 中国大陆
刘念,王浩歌,金浩鹏,吴茉彤,曲桐雨,李卓衡,彭波
国语
2022 动作片 中国大陆 中国大陆
刘林城,安唯绫,张佳航,韩建懿,吕宇,尤钲渲,肜耀忠,秦易瀚
一个逃兵为了换取自由,必须完成一个不可能完成的任务——送出密信,求援破防。扬沙城烽烟四起,大战一触即发。楼兰王派出四大术士去截获所有外传信件。沙尘暴袭来,送信人、截信人、赏金猎人、逃兵……形形色色的人
汉语普通话
2025 短剧 中国大陆 中国大陆
汉语普通话
2024 泰国剧 泰国 泰国
newchaiyapol,bifern,bifern,郑逸祥
昨日良妻是一部以有趣的时间旅行概念为背景的泰国连续剧。该剧讲述了一对夫妻Poom和Prapye的故事,他们必须面对在日常生活中维持爱情和关系的挑战。夫妻俩生育了两个孩子,不仅要应对工作,还有养育孩子的
泰语
2025 国产剧 大陆 大陆
张丰毅,杜子名,佟丽娅,叶祖新,钱泳辰,艾东,闫妮,富大龙,田雷,何冰,江珊,张萌,范帅琦,谭凯,罗一舟,陈天明,余男,练练,苏晓彤,蓝盈莹,高至霆,董勇,宋洋,丁冠森
  该剧是在中央政法委重点指导下, 以公安、 检察、法院、司法、国安五大政法单位中8组英雄人物为故事原型的政法题材剧。以单元剧的形式首次揭秘近年大案要案的背后故事。
国语
2025 国产剧 大陆 大陆
杨紫,李现,魏哲鸣,张雅钦,涂松岩,管乐,许龄月,沈梦辰,佟梦实
  该剧讲述了一名奇女子由牡丹培育而起,终达济民救世、帮扶天下的传奇励志故事。  商户之女何惟芳与雅冠长安的蒋长扬相识后,两人组成了匠人与投资人的组合。凭借培育稀世牡丹的高超技能和过人的经商头脑,何惟
国语
2025 国产剧 中国大陆 中国大陆
张丰毅,杜子名,佟丽娅,叶祖新,钱泳辰,艾东,闫妮,富大龙,田雷,何冰,江珊,张萌,范帅琦,谭凯,罗一舟,陈天明,余男,练练,苏晓彤,蓝盈莹,高至霆,董勇,宋洋,丁冠森
该剧是在中央政法委重点指导下,以公安、检察、法院、司法、国安五大政法单位中8组英雄人物为故事原型的政法题材剧。以单元剧的形式首次揭秘近年大案要案的背后故事。
汉语普通话
2025 国产剧 中国大陆 中国大陆
内详
腾讯视频联合工夫小戏打造的《米小圈上学记第三季》重磅回归,精彩再续。四年级的故事全面升级,欢乐、创造力、想象力拉满。陪伴小朋友快乐成长,为家长创造温馨亲子时光。
汉语普通话
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