导演：
上映：
未知
更新：
2023-08-03 10:24:19，最后更新于
1年前
备注：
HD
评价：
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."
收起
广告位05
相关影片
1954
战争片
大陆
HD
1959
战争片
大陆
HD
2024
战争片
其它
曼努埃尔·加西亚-鲁尔福 泰诺克·乌尔塔 伊尔丝·萨拉斯 Mayra Batalla Dolores Heredi 乔瓦娜·扎卡里亚斯 诺伊·埃尔南德斯 罗伯特·索萨 赫克托·科特思法基斯 Yoshira Escárrega
传奇摄影师罗德里戈·普列托（《花月杀手》）的电影处女作在一个看似废弃的墨西哥小镇展开，在这个小镇上，过去和现在迷人地共存，这是一个关于欲望、腐败和继承的迷人故事。
HD
2023
战争片
英国
HD
1968
战争片
其它
HD
2024
战争片
大陆
TC
2024
战争片
韩国
HD
2024
战争片
大陆
HD
1956
战争片
大陆
HD
1956
战争片
大陆
HD
1965
战争片
大陆
HD
1993
战争片
大陆
HD
1959
战争片
大陆
HD
2023
战争片
其它
Alex Calangiu Catalin Herlo 罗努特·卡拉斯 尤利安·波斯泰尔尼库 亚历山德鲁·帕帕多波尔 Leonid Doni 安迪·瓦斯卢亚努 托玛·库津 Mirela Oprisor 斯蒂芬·扬库 科斯特尔·卡斯卡韦尔 Voicu Dumitras 伊恩·格罗叙 Nicu Mihoc Alin Florea Razvan Vicoveanu Áron Dimény 尼科丁·恩古里亚努 Laurentiu Bãnescu 博格丹·法尔卡什
In the chaotic days of the '89 Revolution, the city of Sibiu becomes the scene of a violent as
HD
2024
战争片
大陆
HD
正在热播
更多
2023
国产动漫
大陆
独家推荐
已完结
2023
大陆综艺
大陆
独家推荐
更新至第1期
2022
国产动漫
大陆
热播
更新至第40集
2023
国产动漫
大陆
热播
更新至第02集
2024
剧情片
大陆
独家推荐
HD
2023
科幻片
美国
热播
克里斯·帕拉特 佐伊·索尔达娜 戴夫·巴蒂斯塔 凯伦·吉兰 庞·克莱门捷夫 布莱德利·库珀 范·迪塞尔 楚克武迪·武吉 威尔·保尔特 肖恩·古恩 玛丽亚·巴卡洛娃 伊丽莎白·德比茨基 琳达·卡德里尼 阿西姆·乔杜里 米凯拉·霍沃 迈克尔·鲁克 丹妮拉·曼希沃 詹尼佛·霍兰德 詹姆斯·古恩 内森·菲利安 诺亚·巴斯金 莫莉·C·奎恩 史蒂芬·布莱克哈特 特伦斯·罗斯摩尔 皮特·戴维森 赛斯·格林 莎拉·阿拉米 贾斯敏·穆尼奥斯 乔瓦尼·克鲁兹 尼科·桑托斯 米利亚姆·肖尔 朱迪·格雷尔 雷纳尔多·法伯勒 西
影片承接前作，银河护卫队成员们已经在虚无之地上安顿了下来。然而，由于火箭浣熊（布莱德利·库珀 Bradley Cooper 配音）的动荡往事的侵扰，他们的生活很快被打破。“星爵”彼得·奎尔（克里斯
HD
2023
香港剧
香港
热播
佘诗曼 马国明 李施嬅 高海宁 王敏奕 何依婷 陈山聪 谭俊彦 陈敏之 吴业坤 邓智坚 许俊豪 袁镇业 龚慈恩 邝洁楹 高钧贤 林正峰 杨证桦 彭怀安 张诗欣 林伟 路芙 王嘉慧 郭浩皇 姚宏远 陈桢怡 车婉婉 莫家淦 杨明 何广沛 张颕康 林景程 何沛珈 陈若思 黎燕珊 崔建邦 李国麟 黄庭锋 关曜儁 罗毓仪 刘颂鹏 胡美贻 刘家聪 罗雪妍 孔德贤 蔡国威 郑启泰 卢峻峯 刘天龙 杨家宝 李嘉晋 陈俊坚 李伟霆 陈建文 霍健邦 邵展鹏 缪家庆 郭千瑜 倪嘉雯 黄浩霆 容羨媛 邓永健
收视最高的六点半新闻报道是主播的必争之地。在新闻电视部，资深主播文慧心（佘诗曼饰）和梁景仁（马国明饰）分成两派、平分秋色，前者一番兴风作浪，终攀上管理层之位。黄金时段女主播的空缺，引发连场风暴！早
更新至第05集
2024
短片剧
大陆
热播
更新至第04集
2024
国产剧
大陆
独家推荐
更新至第06集
2023
大陆综艺
大陆
独家推荐
更新至第1期
2023
剧情片
大陆
独家推荐
HD
2024
剧情片
大陆
独家推荐
HD
2023
剧情片
大陆
独家推荐
HD
