《模范棒棒堂2007年量身高》

In 1961, Stan□s□aw Rozewicz□creat□d□the nove□la film &□uot;Birt□ Certificate" i□ coo□eration w□□h hi□ □roth□r, Taduesz Rozewicz □s□sc□ee□writer□ □uch brother t□nd□ms are rare in the □istory of fi□□ but aside□from fa□ily tie□□ St□nislaw□(born □n□1924) and Taduesz (born in □921) □er□ mutually bo□nd by t□ei□ □ov□ for □he□cinema. □hey we□e born and grew up □n Ra□oms□, a small town which□h□d "it□ madmen and □ts□□aints□quot; and □ost importan□y, the &quo□;□inema&□uot;□c□□e□a,□as □tanis□a□ r□□alls: for him c□□e□□ is &qu□t;heaven, the w□ol□ worl□, en□hantment□quot;. Tadeu□z □ays he co□side□s ci□ema bo□h□a charmi□g market st□ll and a myste□ious t□□ple.□&quo□;All □his sava□e land ha□□al□ays □ttra□t□d and fas□inated me□&quo□; he □□ys. &□uot□□ am□□evoured□by ci□ema and □ dev□u□ ci□em□; I&□39;m □ c□nema eater." Bu□ Taduesz R□zew□cz,□□n e□i□e□t writer□□admits th□s□□niqu□ form of □ooperation □□□ a□□r□blem □o □im:□"□I□ is the presence of the ot□e□ pers□□ not on□y□in the process of writing□ b□t at its very core,□which□is□ins□rperable f□□ me fro□ absolute solit□de."□□Som□ scene□ th□ bro□□er□ □rote together; o□hers w□re creat□d by t□e□write□ himself, following discussio□s □it□ the direct□□. But fro□ □he□perspe□tiv□ □f t□me, □t is "Birth Cert□ficate", rather than "Echo&quo□□ or "The Wicke□□Gate&quo□;□ □hat Taduesz de□cr□be□ as hi□ most in□imate□film. This is unders□□□da□□e. The tr□dg□y from Septemb□r 1939 in Poland w□s fo□ t□e □ozewicz br□thers their personal &qu□□;□irt□ c□rtificate&□uot;. Whe□ working on □he f□lm,□th□ director said□"□his tim□ it i□ □ll abou□ shakin□ o□f, getting rid of □□e □sycholog□□al bur□e□ w□ich t□e □ar was for all of□us□□... Cooperat□on□with □□ brothe□ was □n this case easier,□as□we □har□ many war □emo□ies. We w□n□□d □o s□ow to adult viewers a pic□u□□ of war as seen by a ch□ld. ... In reali□□, it i□ the ad□lts who □reat□d th□ □e□l□wor□d□of □assac□es. C□ild□en beheld the horror□ coming back to life, ex□ume□ from underneath□the grou□d, □verwhelming□the earth.&q□ot□　　The □rinciple □f compos□ti□n of□□□uot;Bi□th Certifi□□te&q□ot; is no□□obvious□ □hen watchin□ a novella film, we ten□ to think in terms of tradit□on□l theatre□ We expect that □ □i□ia□ur□ st□r□ will finis□ with a sharp poin□; the th□ee film nov□l□□s in Rozew□cz&□39;s w□□k□lack this □eature. We do not kno□ w□at will be happen □o □□e boy making h□s alone through the f□□e□t towards the e□d of "On t□e□Road□quot;.□We do not know whe□□er in□"Lett□r from the Camp&□uot;,□the help □ffere□ by the small heroes to □ Soviet□prisoner will rescue□him □rom t□e □nknow□ □ate□of his compatri□□s□□The fate of the Jew□sh□girl from "Drop of□Blood&qu□t; i□ also unc□ea□□□Wi□l she keep her new impersonation a□ "Mar□sia□Malinowska□qu□t;?□Or will the Nazis□ma□e her into □□repr□s□ntat□ve of the "Nordic race"□□T□ose questions wer□ asked□b□ the□d□recto□ for a reason.□He□prec□ived war as c□aos and□perd□□ion, and □ot as l□nea□ history that□co□ld be r□f□ecte□ in a □lot. Although &quo□□Birt□ Certificate&□uot; is s□□□rated with moral content, it does n□□ a□m to□b□ a mo□alit□ play. But w□th th□ immen□e pressur□ of reality, no □arient of□fat□ sho□ld be ex□□uded. This app□oached ca□ □e compar□d wth Krzys□tof □ieslow□ki&□39□s "B□□nd C□ance&qu□t;□25 y□ars later, which p□cture□□dramatic choices of a diffe□ent □ra.　　The film novella□"On the Road□quot; has a very spari□g □lot, but it □rew □pecial at□ention of t□□ □□view□□□. The□ominating over□one of the war□□ilms c□e□ted by the Polish □ilm Schoo□ at□that□time sh□uld□□e kept in mind. Mainl□ owing to Wajda, thos□ fi□□s dea□t □ith ro□ant□c herit□ge. Th□y we□e per□eat□d with□pathos, bit□erness, a□□ irony. Rozew□cz is an e□traordinary ar□ist.□W□en narr□□ing a □tory about□a□boy □ost in□a war zone, c□rrying some documents□from the□r□giment office a□□if they were a treas□re, the n□rrator in "□n the□Roa□&q□ot; di□covers □ough prose □here□one shou□d□f□□□ poet□y□ And suddenly, the□irrational □ouch□□□□h□s rath□□ t□□e w□rld. The b□y, who □nt□l that momen□□resembled□a Pol□sh□version of t□□ Good Soldie□ Schweik, sets □ff, like Don Quixote, for h□s first an□ last □attle. A c□itic descri□ed it as □qu□□;an absurd□gesture and someo□□□e□se could s□rely□use it □o cr□ticise □he Pol□sh style of dying. ..□ But the Rozewicz b□oth□□s □□ no a□c□se: t□ey only compo□□ an □legy for the picturesque□peasant-soldier,□probabl□ the most import□□t vet□r□n o□ t□e Po□i□h □a□ of 193□-1945." &q□ot;□irt□ Certif□ca□e□□uot□□is□not□a□lofty□statement a□out national imponderabilia. The fil□ reveal□ a ple□eia□ perspect□ve which Aleksand□r□□ackieqicz□o□c□ cont□asted with those "□yric□l l□menta□□o□□" inherent i□ the Kordi□n □r□□iti□n. Howev□r, a h□storical ov□rvi□w□of Rozewicz's work□sho□s that the distinctive□style □oes not si□nify a fundam□□t□l□differenc□ in ill□□t□ating the □□lish Septemb□□. Just as the mem□ra□le sce□□ fr□m □□j□□□#3□;s "□otna&quo□; was□□□□fact□an expression of despe□□□ion□an□ □istress,□the sa□e□em□tions pe□meate t□e□□inal scene of "Birt□ Cert□fica□e□quot□. T□e□e□are not ideological concepts, t□o□gh□once □escribed□a□ s□ch and □erve□tly debated,□b□t rather psychological creation□. In this□speci□ic ca□e□ □bser□e□ Witold Z□lewski, it □□ not about manife□ting knightly □ride, but abo□t a gesture□of□a si□pl□ man□wh□□does n□t agre□ to b□ ensla□ed□　□The novel□□□&□uot;Dro□ of Blood" □□□ with Al□ksande□ Ford□;s□&□uot□□order □tr□et"□, one o□ □he first□na□rati□ns □f the fate of the P□li□h Jews du□in□ the□Nazi occupa□i□n.□The story about□a gir□ literally loo□i□g for□he□ pl□ce o□ earth □a□ a dramatic dimension. E□pe□i□l□y i□ t□e age of t□□ay'□s j□urnal□□□ic □i□putes, often manipu□ati□e, □acking in empathy and □mbued with□bad will,□Rozewicz&□39;□ story□from□th□ past shoc□□ with□its a□th□ntici□y. The□small □erione of the story is the onl□ one□who s□□□ives□a German raid on □er famil□ home. P□ys□cal s□rvial□d□e□ not□ howe□e□,□me□n □ return to□n□rma□ity□□Her frigh□en□d dep□rtu□□ □□om t□e rubbish □ump tha□ □a□ her□h□deout lead her to a □uined a□artmen□.□He□ wa□k around it□is □ainful beca□□e □t□ll fr□sh signs □f l□□e are m□xed □□th evidence of anni□ilation. Help is nee□ed, but□Mi□ka does n□t kn□w □n□on□□in□the outs□d□ world.□□□r su□sequent at□em□ts exp□ess the sta□□ of the□□ugi□iv□□□39;s spirits□- from □ope □nd f□ith□ mov□ng t□ doubt, a sen□e o□ o□pressio□, and thi□□ening□fear,□an□ finall□ to d□□pair□　　□t the □am□ time, the Jewi□h girl'□s search□for refuge rese□bl□s the stat□□of P□li□h society. The appearance □f Mirka res□lts in confusion, and l□□er, t□o□ble. □h□s wa□ a□ready signalled □y Rozewicz in an□e□ceptiona□□sc□□e □ro□□"□L□tt□r□□ro□□the Cam□" in w□ich the□boy's ne□□hb□ur, se□ing a fugitive R□ssia□ soldier, r□□re□t□□imme□ia□ely, ad□itting that "Now, people wo□ry □nly about th□mselv□s□" S□ch emba□assing excuses□m□sk fear. □uring□the □ccupa□ion, □□ one□feels safe. Neithe□ social status□not□the aegis of □ chari□y organisat□o□ protects □ga□nst rep□essio□. W□ □ee t□e □otential□guard□an□□□f Mirka pass□ng h□r □ac□ □□d forth among th□mselves□ These are friendl□ □an□s bu□ □hey□cann□t□off□r□stro□g support□□The story takes place on that thin□li□□ between solidarity□and□he□ois□. S□lid□□□t□□aris□s s□ontaneous□□, □ut o□ly some□are capab□e o□ heroism. Help for the girl□does not □lways□r□□ult from compass□on; sometimes it is □□sed □n p□st □□lations an□ personal ties (a neig□bo□r of the do□to□□□□kes □n □□e fugiti□e □or a f□□ days beca□se□of□□ast f□iends□i□). R□zewicz por□rays□all of □h□s in □ □u□t□e way□□even □□e sm□lles□ gesture has sign□□icance. Ta□e, for example□□th□ co□v□rsation □ith a□st□anger on the train□ shor□, as if j□tted d□wn on□□he margin, but□so full of t□nsion. A□□ ea□li□r□□a pecu□□□r □x□mination of Po□is□nes□: the &qu□t;Holy Fa□□□r"□ praye□ forced□on Mirka by the vi□lage boys□to che□k that she □□□not a□Jew. Would□not risi□g to□the challe□g□ me□n a d□at□ sentance?　　Viewed afte□ ma□y □ear□, &q□ot;Bir□h Ce□tif□cate"□dis□loses yet another□quality □hat is no□□prese□t in the□wor□s of the Polish Scho□l□ b□t □s prominent in lat□r B-□la□□ war films. Th□s□is the pi□t□re of e□eryda□ □i□e during the war□and occupat□on □u□□□ned in th□□thre□ n□ve□la□. It harmonises□with the □og□c of□spea□ing □bo□t &□uot;life after□lif□&□uot;□ S□all he□oes of Roz□w□cz suddenly enter □he□re□lit□ o□ □ar, with no □xpe□□ence o□ scale with which to c□mpare it. Fo□ □hem□ t□e □resent is a natur□l ex□ens□o□ of and at□the sam□ time□□ complete neg□tion of the □ast□□C□nsider the sleey sm□ll-□o□n m□rketplace, thro□gh which a□m□ured columns□will s□□r□ly □ass. Or m□et □he G□□□an motorcyclis□s, wh□ □o□k □□ke a□iens □rom ou□er □pace - a picture ta□en from an au□opsy bec□u□e□this□□s how□□ta□isla□ and T□du□sz per□ei□ed□the f□□st Germans□they□□ve□ met. □ote th□ blurred silhou□t□es □f p□ople□against a white wall who are being sho□ - at□fir□t the□ □r□ shocking, but soon they wil□ probably become a part o□ the □rim landscape. In□□he □ity □e□tr□ st□n□□□a priso□e□ camp on □ □od□en bog ("□eop□e □eri□h likes flies;□the bodi□s are tran□por□ed du□ing the night□quot;); i□ the □treet the childern a□□ runnin□ after□a c□al w□go□ to c□□lect some p□□ci□us pieces □f fuel. T□□□□'s a□bustle□ar□und some food (a □oy□reproa□hes his y□un□er brot□er's acti□ns by singing: "The w□rra□t o□ficer'□s son is begging i□ f□□nt of the□church? □□;m goi□g t□ tell □other!&q□ot;□; and the kitchen,□whic□ □□e evenin□ bec□me□ □he proscenium o□□a □eal dra□a. A□d there are the symbols: □ bar □f choc□late f□rced upo□ a boy□by □□W□hrmacht soldier ("On□the Road"); a pair of shoes bel□nging to Zbys□e□'s father wh□c□ the boy spontan□ously gives to a Ru□s□an□fugitive; a p□i□□less□□l□ce of b□ead, ground□&n□s□;under □he heel of a pol□□□□an in the guter (&□uot;Lett□rs f□om the Camp&□uo□;).□□s the dire□tor □ut it: &qu□t;□n e□ery film□ □ communicate my o□n visio□ o□ □he□world and of the people. Only then t□e style follows□□the □efined w□y of □xp□r□enc□□□ th□ngs.&quo□; In Bir□h Certificate, □e ad□s, his approa□□□w□s□driven□□y the subject□ &q□ot;I a□tempte□ to□create □□t o□ly the text□re of the d□c□ment□but al□o to add som□ poetic element. I know i□ is ri□ky b□t as for the merg□r of□□o□umentation and p□□ty, often hidde□ ver□ deep, □f o□□y it □a□ages t□ make □ts way o□to□the□screen, it res□□ts i□ w□at c□n referred□to a□ &□□□;ar□'□.&q□ot;　　□fter □945□ t□ere □ere□num□r□□s f□□ms c□□ate□ □n □u□o□e□that dealt with war and children□ in□luding "□So□ewher□ in Europe&quo□; ("V□lah□l Eu□opaban&qu□t;□ 1□47 □y□Geza Ra□van□i),□&qu□t;Shoes□□ne" (&q□ot;Sciescia&□uot;, 1946 b□□Vi□torio de□Sica), □nd □quot;□h□ldhoo□□of□□van"□ ("□□wanowo di□tstwo&qu□t;□□y Andrie□ □a□kowski). Ye□ t□ere □ere fewe□ tha□ on□ □ould□expect. □urs□ing□a subject□□□ imbu□d□wi□h se□tim□ntalism requ□□es□stylist□c disipline and a s□□c□al ability to manage child□actors□□The □uthor of "B□rth □□□t□fi□a□e" m□stere□ □oth□- an□ it□was not by ch□□ce.□Stan□□l□w R□zewicz was alw□□s the benefic□nt □p□rit of□□he □i□m □□lieu;□□e □ould unit□ people□ar□und a common goal.□He emana□ed pea□□ and sensitiv□ty, wh□□h□flowed to h□s co-workers an□□pu□ils. A □i□m, □ei□□ a group □ork, necessitates s□me f□rm□□f empathy - tuning in with oth□r□.　　In □ bi□graphic□□ docu□e□tary □bout Stanislaw Rozew□cz enti□l□d &q□ot;□alkin□, M□eting" □1□□9 by Anton□ Krauze), there i□ a□beautiful s□ene when t□e direc□or, □fter a fe□ decades, meets Beata Barszczewska□ □ho□pla□s M□□eczka in the □ovel□a "Drops □f Blood□quot;. The wo□□n□□alls in□o th□ arms of the elderly□m□n. They □re both moved.□He wonders how□many years have pa□sed. She□□nswe□□: "A fe□ years. Not □oo many." And Roz□w□c□, with his charact□ristic s□ile says: "□It is true.□□e spent□□□is ent□re t□□□ together.□quot;当他们遥□的□着冷星一脸(🎷)□静立(□)足山□中央(🍚□，似早就在(🐼)等□□们□🍍□一般时□□们不□□暗心惊，不约□同□放缓□急奔的脚步。　　在□康老水利人口口□传中□“华东□渡”及其事迹成为所有人的□同财富，而这一(🏵)□辉(🛍)岁(□)月的坐标，□是1987□的春天。彼□，一□事关7□2万亩农田灌溉的□🕑)重大水利工程在□康落□生根，于那个艰□卓绝的年代，□展了(□)一□与水□争利”□□🚞)伟大□□。　□王永表□，中国品牌女性5□□□榜□已连续发布两年，旨在助力□国自□品牌□设，选树□有□牌□响力的优秀女性，鼓□引□□场女□自立自强。(□)

□下□□些□艺□□□结小说□推荐：□.《蹭□个综(🤓)艺男□》作者：胖□爱吃炖豆角□这□□□讲述□□□网红想(🐝)要通过蹭□星来红起□，但最终发现只(🔠□有□自己的(🗣)努力才(□)能成功的故事。2.《综艺之谐□传奇□作者：金印□...

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