出生证明

　　In1961,StanislawRozewiczcreatedthenovellafilm&quotBirthCertificate&quotincooperationwithhisbrother,TadueszRozewiczasscreenwriter.Suchbrothertandemsarerareinthehistoryoffilmbutasidefromfamilyties,Stanislaw(bornin1924)andTaduesz(bornin1921)weremutuallyboundbytheirloveforthecinema.TheywerebornandgrewupinRadomsk,asmalltownwhichhad&quotitsmadmenanditssaints&quotandmostimportanly,the&quotKinema&quotcinema,asStanislawrecalls:forhimcinemais&quotheaven,thewholeworld,enchantment&quot.Tadeuszsaysheconsiderscinemabothacharmingmarketstallandamysterioustemple.&quotAllthissavagelandhasalwaysattractedandfascinatedme,&quothesays.&quotIamdevouredbycinemaandIdevourcinemaI&#39macinemaeater.&quotButTadueszRozewicz,aneminentwriter,admitsthisuniqueformofcooperationwasaproblemtohim:&quotItisthepresenceoftheotherpersonnotonlyintheprocessofwriting,butatitsverycore,whichisinserperableformefromabsolutesolitude.&quotSomescenesthebrotherswrotetogetherotherswerecreatedbythewriterhimself,followingdiscussionswiththedirector.Butfromtheperspectiveoftime,itis&quotBirthCertificate&quot,ratherthan&quotEcho&quotor&quotTheWickedGate&quot,thatTadueszdescribesashismostintimatefilm.Thisisunderstandable.ThetradgeyfromSeptember1939inPolandwasfortheRozewiczbrotherstheirpersonal&quotbirthcertificate&quot.Whenworkingonthefilm,thedirectorsaid&quotThistimeitisallaboutshakingoff,gettingridofthepsychologicalburdenwhichthewarwasforallofus....Cooperationwithmybrotherwasinthiscaseeasier,aswesharemanywarmemories.Wewantedtoshowtoadultviewersapictureofwarasseenbyachild....Inreality,itistheadultswhocreatedtherealworldofmassacres.Childrenbeheldthehorrorscomingbacktolife,exhumedfromunderneaththeground,overwhelmingtheearth.&quot　　Theprincipleofcompositionof&quotBirthCertificate&quotisnotobvious.Whenwatchinganovellafilm,wetendtothinkintermsoftraditionaltheatre.WeexpectthataminiaturestorywillfinishwithasharppointthethreefilmnovellasinRozewicz&#39sworklackthisfeature.Wedonotknowwhatwillbehappentotheboymakinghisalonethroughtheforesttowardstheendof&quotOntheRoad&quot.Wedonotknowwhetherin&quotLetterfromtheCamp&quot,thehelpofferedbythesmallheroestoaSovietprisonerwillrescuehimfromtheunknownfateofhiscompatriots.ThefateoftheJewishgirlfrom&quotDropofBlood&quotisalsounclear.Willshekeephernewimpersonationas&quotMarysiaMalinowska&quot?OrwilltheNazismakeherintoarepresentativeofthe&quotNordicrace&quot?Thosequestionswereaskedbythedirectorforareason.Hepreceivedwaraschaosandperdition,andnotaslinearhistorythatcouldbereflectedinaplot.Although&quotBirthCertificate&quotissaturatedwithmoralcontent,itdoesnotaimtobeamoralityplay.Butwiththeimmensepressureofreality,novarientoffateshouldbeexcluded.ThisapproachedcanbecomparedwthKrzysztofKieslowski&#39s&quotBlindChance&quot25yearslater,whichpictureddramaticchoicesofadifferentera.　　Thefilmnovella&quotOntheRoad&quothasaverysparingplot,butitdrewspecialattentionofthereviewers.TheominatingovertoneofthewarfilmscreatedbythePolishFilmSchoolatthattimeshouldbekeptinmind.MainlyowingtoWajda,thosefilmsdealtwithromanticheritage.Theywerepermeatedwithpathos,bitterness,andirony.Rozewiczisanextraordinaryartist.Whennarratingastoryaboutaboylostinawarzone,carryingsomedocumentsfromtheregimentofficeasiftheywereatreasure,thenarratorin&quotOntheRoad&quotdiscoversroughprosewhereoneshouldfindpoetry.Andsuddenly,theirrationaltouchesthisrathertameworld.Theboy,whountilthatmomentresembledaPolishversionoftheGoodSoldierSchweik,setsoff,likeDonQuixote,forhisfirstandlastbattle.Acriticdescribeditas&quotanabsurdgestureandsomeoneelsecouldsurelyuseittocriticisethePolishstyleofdying....ButtheRozewiczbrothersdonoaccuse:theyonlycomposeanelegyforthepicturesquepeasant-soldier,probablythemostimportantveteranofthePolishwarof1939-1945.&quot&quotBirthCertificate&quotisnotaloftystatementaboutnationalimponderabilia.ThefilmrevealsaplebeianperspectivewhichAleksanderJackieqiczoncecontrastedwiththose&quotlyricallamentations&quotinherentintheKordiantradition.However,ahistoricaloverviewofRozewicz&#39sworkshowsthatthedistinctivestyledoesnotsignifyafundamentaldifferenceinillustratingthePolishSeptember.JustasthememorablescenefromWajda&#39s&quotLotna&quotwasinfactanexpressionofdesperationanddistress,thesameemotionspermeatethefinalsceneof&quotBirthCertificate&quot.Thesearenotideologicalconcepts,thoughoncedescribedassuchandferventlydebated,butratherpsychologicalcreations.Inthisspecificcase,observesWitoldZalewski,itisnotaboutmanifestingknightlypride,butaboutagestureofasimplemanwhodoesnotagreetobeenslaved.　　Thenovella&quotDropofBlood&quotis,withAleksanderFord&#39s&quotBorderStreet&quot,oneofthefirstnarrationsofthefateofthePolishJewsduringtheNazioccupation.Thestoryaboutagirlliterallylookingforherplaceonearthhasadramaticdimension.Especiallyintheageoftoday&#39sjournalisticdisputes,oftenmanipulative,lackinginempathyandimbuedwithbadwill,Rozewicz&#39sstoryfromthepastshockswithitsauthenticity.ThesmallherioneofthestoryistheonlyonewhosurvivesaGermanraidonherfamilyhome.Physicalsurvialdoesnot,however,meanareturntonormality.Herfrighteneddeparturefromtherubbishdumpthatwasherhideoutleadhertoaruinedapartment.Herwalkarounditispainfulbecausestillfreshsignsoflifearemixedwithevidenceofannihilation.Helpisneeded,butMirkadoesnotknowanyoneintheoutsideworld.Hersubsequentattemptsexpressthestateofthefugitive&#39sspirits-fromhopeandfaith,movingtodoubt,asenseofoppression,andthickeningfear,andfinallytodespair.　　Atthesametime,theJewishgirl&#39ssearchforrefugeresemblesthestateofPolishsociety.TheappearanceofMirkaresultsinconfusion,andlater,trouble.ThiswasalreadysignalledbyRozewiczinanexceptionalscenefrom&quotLetterfromtheCamp&quotinwhichtheboy&#39sneighbour,seeingafugitiveRussiansoldier,retreatsimmediately,admittingthat&quotNow,peopleworryonlyaboutthemselves.&quotSuchembarassingexcusesmaskfear.Duringtheoccupation,noonefeelssafe.Neithersocialstatusnottheaegisofacharityorganisationprotectsagainstrepression.WeseethepotentialguardiansofMirkapassingherbackandforthamongthemselves.Thesearefriendlyhandsbuttheycannotofferstrongsupport.Thestorytakesplaceonthatthinlinebetweensolidarityandheroism.Solidarityarisesspontaneously,butonlysomearecapableofheroism.Helpforthegirldoesnotalwaysresultfromcompassionsometimesitisbasedonpastrelationsandpersonalties(aneighbourofthedoctortakesinthefugitiveforafewdaysbecauseofpastfriendship).Rozewiczportraysallofthisinasubtlewayeventhesmallestgesturehassignificance.Take,forexample,theconversationwithastrangeronthetrain:short,asifjotteddownonthemargin,butsofulloftension.Andearlier,apeculiarexaminationofPolishness:the&quotHolyFather&quotprayerforcedonMirkabythevillageboystocheckthatsheisnotaJew.Wouldnotrisingtothechallengemeanadeathsentance?　　Viewedaftermanyyears,&quotBirthCertificate&quotdisclosesyetanotherqualitythatisnotpresentintheworksofthePolishSchool,butisprominentinlaterB-classwarfilms.Thisisthepictureofeverydaylifeduringthewarandoccupationoutlinedinthethreenovellas.Itharmoniseswiththelogicofspeakingabout&quotlifeafterlife&quot.SmallheroesofRozewiczsuddenlyentertherealityofwar,withnoexperienceorscalewithwhichtocompareit.Forthem,thepresentisanaturalextensionofandatthesametimeacompletenegationofthepast.Considerthesleeysmall-townmarketplace,throughwhicharmouredcolumnswillshortlypass.OrmeettheGermanmotorcyclists,wholooklikealiensfromouterspace-apicturetakenfromanautopsybecausethisishowStanislawandTadueszperceivedthefirstGermanstheyevermet.Notetheblurredsilhouettesofpeopleagainstawhitewallwhoarebeingshot-atfirsttheyareshocking,butsoontheywillprobablybecomeapartofthegrimlandscape.Inthecitycentrestandsaprisonercamponasoddenbog(&quotPeopleperishlikesfliesthebodiesaretransportedduringthenight&quot)inthestreetthechildernarerunningafteracoalwagontocollectsomepreciouspiecesoffuel.There&#39sabustlearoundsomefood(aboyreproacheshisyoungerbrother&#39sactionsbysinging:&quotThewarrantofficer&#39ssonisbegginginfrontofthechurch?I&#39mgoingtotellmother!&quot)andthekitchen,whichoneeveningbecomestheprosceniumofarealdrama.Andtherearethesymbols:abarofchocolateforceduponaboybyaWehrmachtsoldier(&quotOntheRoad&quot)apairofshoesbelongingtoZbyszek&#39sfatherwhichtheboyspontaneouslygivestoaRussianfugitiveapricelesssliceofbread,groundundertheheelofapolicemanintheguter(&quotLettersfromtheCamp&quot).Asthedirectorputit:&quotIneveryfilm,Icommunicatemyownvisionoftheworldandofthepeople.Onlythenthestylefollows,thedefinedwayofexperiencingthings.&quotInBirthCertificate,headds,hisapproachwasdrivenbythesubject:&quotIattemptedtocreatenotonlythetextureofthedocumentbutalsotoaddsomepoeticelement.Iknowitisriskybutasforthemergerofdocumentationandpoety,oftenhiddenverydeep,ifonlyitmanagestomakeitswayontothescreen,itresultsinwhatcanreferredtoas&#39art&#39.&quot　　After1945,therewerenumerousfilmscreatedinEuropethatdealtwithwarandchildren,including&quotSomewhereinEurope&quot(&quotValaholEuropaban&quot,1947byGezaRadvanyi),&quotShoeshine&quot(&quotSciescia&quot,1946byVittoriodeSica),and&quotChildhoodofIvan&quot(&quotIwanowodietstwo&quotbyAndriejTarkowski).Yettherewerefewerthanonewouldexpect.Pursuingasubjectsoimbuedwithsentimentalismrequiresstylisticdisiplineandaspecialabilitytomanagechildactors.Theauthorof&quotBirthCertificate&quotmasteredboth-anditwasnotbychance.StanislawRozewiczwasalwaysthebeneficentspiritofthefilmmilieuhecouldunitepeoplearoundacommongoal.Heemanatedpeaceandsensitivity,whichflowedtohisco-workersandpupils.Afilm,beingagroupwork,necessitatessomeformofempathy-tuninginwithothers.　　InabiographicaldocumentaryaboutStanislawRozewiczentitled&quotWalking,Meeting&quot(1999byAntoniKrauze),thereisabeautifulscenewhenthedirector,afterafewdecades,meetsBeataBarszczewska,whoplaysMireczkainthenovella&quotDropsofBlood&quot.Thewomanfallsintothearmsoftheelderlyman.Theyarebothmoved.Hewondershowmanyyearshavepassed.Sheanswers:&quotAfewyears.Nottoomany.&quotAndRozewicz,withhischaracteristicsmilesays:&quotItistrue.Wespentthisentiretimetogether.&quot