剧情介绍
片名：出生证明
别名：出生证明免费在线播放
电影类别:战争片
连载状态：完结
发行年份：1961
首映地区：其它
导演：斯坦尼斯拉夫·罗泽维格
演员：Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基
更新时间：2023-11-28 03:36
常见问题:
1、《出生证明》讲述的是什么故事？
神马电影网网网友：
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."
2、《出生证明》这部剧中的台词，你怎么看？
秋霞电影网网友：最近《出生证明》上映了，没想到三国影院（http://www.sgh288.com）非常地慷慨，一来就放全集，观众们可以一口气从第一集看到大结局。这部剧中演员：Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基的高颜值是一大亮点之外，它里面的台词也非常的搞笑啊！台词沙雕中带着可爱。
3、被称为战争片的开先河之作的《出生证明》，是斯坦尼斯拉夫·罗泽维格最好的作品吗?
从斯坦尼斯拉夫·罗泽维格斩获战争片最佳导演 我就觉得这部《出生证明》是他最好的电影。虽然斯坦尼斯拉夫·罗泽维格后来还拍出来了评价特别好的电影，但是《出生证明》是他电影的代表作品。
4、《出生证明》为什么可以成为经典？
提起其它电影，人们就肯定会说出《出生证明》的名字。这部由斯坦尼斯拉夫·罗泽维格导演，Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基主演的《出生证明》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。为何会这么说，我想，就连Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基导演和Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基，都没想到这部战争片会得到这样好的反响。斯坦尼斯拉夫·罗泽维格先生曾说过，这是一群失意的人凑到了一起创作出来的一部作品。因为在《出生证明》开拍之前，Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基已经有4年无戏可拍，而Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基主演的电影，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在电影中投入的热情，是我们难以想象的，其实《出生证明》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典战争片，也成就了他们自己！
5、《出生证明》当初为何能够火遍全其它？
在早年的电影产业发展线路上，其它的众多电影作品在如今的娱乐圈和电影界之中依旧是十分经典的作品，特别是Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基精湛演技更是让我们对于这些战争片作品具有着怀念之情。在斯坦尼斯拉夫·罗泽维格的个人艺术事业发展线路上，《出生证明》这一部战争片也是他达到巅峰状态的作品之一，正是制作水平和演员上的选择才让这一部战争片作品在当年红遍其它。
6、战争片《出生证明》在其它电影中处于怎样的地位？
1961年电影《出生证明》开创了其它电影的先河!电影《出生证明》是其它电影中真正最好的战争片!在那璀璨夺目的战争片黄金时代，《出生证明》无疑就是一颗耀眼的明珠。《出生证明》的大火让Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基名声大噪。所以我觉得《出生证明》 就是其它电影的一部巅峰之作，只能被模仿，绝对没有可能被超越。
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