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In1961,StanislawRozewiczcreatedthenovellafilmBirthCertificateincooperationwithhisbrother,TadueszRozewiczasscreenwriter.Suchbrothertandemsarerareinthehistoryoffilmbutasidefromfamilyties,Stanislaw(bornin1924)andTaduesz(bornin1921)weremutuallyboundbytheirloveforthecinema.TheywerebornandgrewupinRadomsk,asmalltownwhichhaditsmadmenanditssaintsandmostimportanly,theKinemacinema,asStanislawrecalls:forhimcinemaisheaven,thewholeworld,enchantment.Tadeuszsaysheconsiderscinemabothacharmingmarketstallandamysterioustemple.Allthissavagelandhasalwaysattractedandfascinatedme,hesays.IamdevouredbycinemaandIdevourcinema;Imacinemaeater.ButTadueszRozewicz,aneminentwriter,admitsthisuniqueformofcooperationwasaproblemtohim:Itisthepresenceoftheotherpersonnotonlyintheprocessofwriting,butatitsverycore,whichisinserperableformefromabsolutesolitude.Somescenesthebrotherswrotetogether;otherswerecreatedbythewriterhimself,followingdiscussionswiththedirector.Butfromtheperspectiveoftime,itisBirthCertificate,ratherthanEchoorTheWickedGate,thatTadueszdescribesashismostintimatefilm.Thisisunderstandable.ThetradgeyfromSeptember1939inPolandwasfortheRozewiczbrotherstheirpersonalbirthcertificate.Whenworkingonthefilm,thedirectorsaidThistimeitisallaboutshakingoff,gettingridofthepsychologicalburdenwhichthewarwasforallofus....Cooperationwithmybrotherwasinthiscaseeasier,aswesharemanywarmemories.Wewantedtoshowtoadultviewersapictureofwarasseenbyachild....Inreality,itistheadultswhocreatedtherealworldofmassacres.Childrenbeheldthehorrorscomingbacktolife,exhumedfromunderneaththeground,overwhelmingtheearth.TheprincipleofcompositionofBirthCertificateisnotobvious.Whenwatchinganovellafilm,wetendtothinkintermsoftraditionaltheatre.Weexpectthataminiaturestorywillfinishwithasharppoint;thethreefilmnovellasinRozewiczsworklackthisfeature.WedonotknowwhatwillbehappentotheboymakinghisalonethroughtheforesttowardstheendofOntheRoad.WedonotknowwhetherinLetterfromtheCamp,thehelpofferedbythesmallheroestoaSovietprisonerwillrescuehimfromtheunknownfateofhiscompatriots.ThefateoftheJewishgirlfromDropofBloodisalsounclear.WillshekeephernewimpersonationasMarysiaMalinowska?OrwilltheNazismakeherintoarepresentativeoftheNordicrace?Thosequestionswereaskedbythedirectorforareason.Hepreceivedwaraschaosandperdition,andnotaslinearhistorythatcouldbereflectedinaplot.AlthoughBirthCertificateissaturatedwithmoralcontent,itdoesnotaimtobeamoralityplay.Butwiththeimmensepressureofreality,novarientoffateshouldbeexcluded.ThisapproachedcanbecomparedwthKrzysztofKieslowskisBlindChance25yearslater,whichpictureddramaticchoicesofadifferentera.ThefilmnovellaOntheRoadhasaverysparingplot,butitdrewspecialattentionofthereviewers.TheominatingovertoneofthewarfilmscreatedbythePolishFilmSchoolatthattimeshouldbekeptinmind.MainlyowingtoWajda,thosefilmsdealtwithromanticheritage.Theywerepermeatedwithpathos,bitterness,andirony.Rozewiczisanextraordinaryartist.Whennarratingastoryaboutaboylostinawarzone,carryingsomedocumentsfromtheregimentofficeasiftheywereatreasure,thenarratorinOntheRoaddiscoversroughprosewhereoneshouldfindpoetry.Andsuddenly,theirrationaltouchesthisrathertameworld.Theboy,whountilthatmomentresembledaPolishversionoftheGoodSoldierSchweik,setsoff,likeDonQuixote,forhisfirstandlastbattle.AcriticdescribeditasanabsurdgestureandsomeoneelsecouldsurelyuseittocriticisethePolishstyleofdying....ButtheRozewiczbrothersdonoaccuse:theyonlycomposeanelegyforthepicturesquepeasant-soldier,probablythemostimportantveteranofthePolishwarof1939-1945.BirthCertificateisnotaloftystatementaboutnationalimponderabilia.ThefilmrevealsaplebeianperspectivewhichAleksanderJackieqiczoncecontrastedwiththoselyricallamentationsinherentintheKordiantradition.However,ahistoricaloverviewofRozewiczsworkshowsthatthedistinctivestyledoesnotsignifyafundamentaldifferenceinillustratingthePolishSeptember.JustasthememorablescenefromWajdasLotnawasinfactanexpressionofdesperationanddistress,thesameemotionspermeatethefinalsceneofBirthCertificate.Thesearenotideologicalconcepts,thoughoncedescribedassuchandferventlydebated,butratherpsychologicalcreations.Inthisspecificcase,observesWitoldZalewski,itisnotaboutmanifestingknightlypride,butaboutagestureofasimplemanwhodoesnotagreetobeenslaved.ThenovellaDropofBloodis,withAleksanderFordsBorderStreet,oneofthefirstnarrationsofthefateofthePolishJewsduringtheNazioccupation.Thestoryaboutagirlliterallylookingforherplaceonearthhasadramaticdimension.Especiallyintheageoftodaysjournalisticdisputes,oftenmanipulative,lackinginempathyandimbuedwithbadwill,Rozewiczsstoryfromthepastshockswithitsauthenticity.ThesmallherioneofthestoryistheonlyonewhosurvivesaGermanraidonherfamilyhome.Physicalsurvialdoesnot,however,meanareturntonormality.Herfrighteneddeparturefromtherubbishdumpthatwasherhideoutleadhertoaruinedapartment.Herwalkarounditispainfulbecausestillfreshsignsoflifearemixedwithevidenceofannihilation.Helpisneeded,butMirkadoesnotknowanyoneintheoutsideworld.Hersubsequentattemptsexpressthestateofthefugitivesspirits-fromhopeandfaith,movingtodoubt,asenseofoppression,andthickeningfear,andfinallytodespair.Atthesametime,theJewishgirlssearchforrefugeresemblesthestateofPolishsociety.TheappearanceofMirkaresultsinconfusion,andlater,trouble.ThiswasalreadysignalledbyRozewiczinanexceptionalscenefromLetterfromtheCampinwhichtheboysneighbour,seeingafugitiveRussiansoldier,retreatsimmediately,admittingthatNow,peopleworryonlyaboutthemselves.Suchembarassingexcusesmaskfear.Duringtheoccupation,noonefeelssafe.Neithersocialstatusnottheaegisofacharityorganisationprotectsagainstrepression.WeseethepotentialguardiansofMirkapassingherbackandforthamongthemselves.Thesearefriendlyhandsbuttheycannotofferstrongsupport.Thestorytakesplaceonthatthinlinebetweensolidarityandheroism.Solidarityarisesspontaneously,butonlysomearecapableofheroism.Helpforthegirldoesnotalwaysresultfromcompassion;sometimesitisbasedonpastrelationsandpersonalties(aneighbourofthedoctortakesinthefugitiveforafewdaysbecauseofpastfriendship).Rozewiczportraysallofthisinasubtleway;eventhesmallestgesturehassignificance.Take,forexample,theconversationwithastrangeronthetrain:short,asifjotteddownonthemargin,butsofulloftension.Andearlier,apeculiarexaminationofPolishness:theHolyFatherprayerforcedonMirkabythevillageboystocheckthatsheisnotaJew.Wouldnotrisingtothechallengemeanadeathsentance?Viewedaftermanyyears,BirthCertificatedisclosesyetanotherqualitythatisnotpresentintheworksofthePolishSchool,butisprominentinlaterB-classwarfilms.Thisisthepictureofeverydaylifeduringthewarandoccupationoutlinedinthethreenovellas.Itharmoniseswiththelogicofspeakingaboutlifeafterlife.SmallheroesofRozewiczsuddenlyentertherealityofwar,withnoexperienceorscalewithwhichtocompareit.Forthem,thepresentisanaturalextensionofandatthesametimeacompletenegationofthepast.Considerthesleeysmall-townmarketplace,throughwhicharmouredcolumnswillshortlypass.OrmeettheGermanmotorcyclists,wholooklikealiensfromouterspace-apicturetakenfromanautopsybecausethisishowStanislawandTadueszperceivedthefirstGermanstheyevermet.Notetheblurredsilhouettesofpeopleagainstawhitewallwhoarebeingshot-atfirsttheyareshocking,butsoontheywillprobablybecomeapartofthegrimlandscape.Inthecitycentrestandsaprisonercamponasoddenbog(Peopleperishlikesflies;thebodiesaretransportedduringthenight);inthestreetthechildernarerunningafteracoalwagontocollectsomepreciouspiecesoffuel.Theresabustlearoundsomefood(aboyreproacheshisyoungerbrothersactionsbysinging:Thewarrantofficerssonisbegginginfrontofthechurch?Imgoingtotellmother!);andthekitchen,whichoneeveningbecomestheprosceniumofarealdrama.Andtherearethesymbols:abarofchocolateforceduponaboybyaWehrmachtsoldier(OntheRoad);apairofshoesbelongingtoZbyszeksfatherwhichtheboyspontaneouslygivestoaRussianfugitive;apricelesssliceofbread,groundundertheheelofapolicemanintheguter(LettersfromtheCamp).Asthedirectorputit:Ineveryfilm,Icommunicatemyownvisionoftheworldandofthepeople.Onlythenthestylefollows,thedefinedwayofexperiencingthings.InBirthCertificate,headds,hisapproachwasdrivenbythesubject:Iattemptedtocreatenotonlythetextureofthedocumentbutalsotoaddsomepoeticelement.Iknowitisriskybutasforthemergerofdocumentationandpoety,oftenhiddenverydeep,ifonlyitmanagestomakeitswayontothescreen,itresultsinwhatcanreferredtoasart.After1945,therewerenumerousfilmscreatedinEuropethatdealtwithwarandchildren,includingSomewhereinEurope(ValaholEuropaban,1947byGezaRadvanyi),Shoeshine(Sciescia,1946byVittoriodeSica),andChildhoodofIvan(IwanowodietstwobyAndriejTarkowski).Yettherewerefewerthanonewouldexpect.Pursuingasubjectsoimbuedwithsentimentalismrequiresstylisticdisiplineandaspecialabilitytomanagechildactors.TheauthorofBirthCertificatemasteredboth-anditwasnotbychance.StanislawRozewiczwasalwaysthebeneficentspiritofthefilmmilieu;hecouldunitepeoplearoundacommongoal.Heemanatedpeaceandsensitivity,whichflowedtohisco-workersandpupils.Afilm,beingagroupwork,necessitatessomeformofempathy-tuninginwithothers.InabiographicaldocumentaryaboutStanislawRozewiczentitledWalking,Meeting(1999byAntoniKrauze),thereisabeautifulscenewhenthedirector,afterafewdecades,meetsBeataBarszczewska,whoplaysMireczkainthenovellaDropsofBlood.Thewomanfallsintothearmsoftheelderlyman.Theyarebothmoved.Hewondershowmanyyearshavepassed.Sheanswers:Afewyears.Nottoomany.AndRozewicz,withhischaracteristicsmilesays:Itistrue.Wespentthisentiretimetogether.如果您喜歡茶杯狐 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