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."
真的不能不打出一星，这是什么？仅仅因为是正能量？太差了，剧情太零碎，没重点。看得我如坐针毡。好久没看过这么令人无语的电影了。
以《撞車》的叙事形式，用不同的点撑起武汉抗疫期间的一个面。贾玲的吸睛指数最高，周冬雨以最少的戏份撑起最大的看点，吴彦姝以83岁高龄和73岁许绍雄谈了一场黄昏恋。虽说主旋律满满，但他们的事迹值得纪念。6.6
为了我和女朋友的几滴眼泪，勉强打3星吧。可能是想过于突出新冠，导致背景配乐和故事情节典型的用力过猛，其实平平淡淡才是真，恰如我最喜欢的一个故事一声谢老和厨师沛爷，更让我感动。
只想给个4分，全当是陪我妈和闺女消遣时间。
黄渤贾玲其实也没有太多的对手戏，可能想拍群像戏但是又没有拍出来，这类题材其实不建议这么快为了赶热度而拍。
看哭了，人间自有真情在呀，还有就是贾玲传递出的减肥不重要，身体健康快乐才重要啊
普通人的守望相助看看中国医生就够了，问下导演不尴尬吗？？！
看了开始几十分钟，哭了好几次，身为武汉人可太难了！这该死的疫情都2年多了，啥时候是个头啊！( •̩̩̩̩＿•̩̩̩̩ )我们的苦难日子啥时候是个头啊！！！！
如果后面没有那两个角色的陡然变故，这个电影可能只值1分，节奏太差了
在长春疫情爆发的时候在家看，体会一下两年前第一次面对疫情的时候武汉人民的艰难，还是很有触动的。
贾玲值得一个好结局啊啊啊啊啊啊啊，普普通通平平淡淡却深入人心，喜欢
好难看啊……难看到我现在正在看电影…然而我宁愿玩手机避免这尴尬😅
在那个冬天，我们一起共度难关，现在才可以拥抱身边的人。
影院搞活动去的，本来纠结看爱神还是这个，因为影院当时还没爱神，就先看这个了。看前的担心还是成真了，过于煽情，故事零散，两颗星给老太太那一对，恰到好处。不建议观看，看着想睡觉。
黄渤贾玲其实也没有太多的对手戏，可能想拍群像戏但是又没有拍出来，这类题材其实不建议这么快为了赶热度而拍。
凑合吧 我已经不相信里面的爱情了 老头老太太喜欢对方什么了？颜值？
没去电影院，爱奇艺看的，不知道好不好，反正是从头哭到尾，哭的抽抽，分了好多天才看完。
想讲的太多了，节奏蛮乱的，就凑合吧，能看但不怎么好看的程度
感动是真的，故意煽情也是真的，稍微有点假也是真的，哭死了也是真的
不错，四个故事相互交织，冲击点是这边还说着带豆皮，一转身就拿到了祭拜的照片，收不到叶老师的回信，已经感觉到了他是没了，疫情啊，让本来没时间的人变得更少时间。
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