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."
踏实本分的电影，讲这个故事就讲这个故事，也没想着说别的，由此引出第一个问题，世界观做得很差。文武这个角色做浅了，千年的不败英雄难过情关，写得和三生三世里的神仙一样，尽管梁朝伟演得很好，但架不住本身的浅，例如实在没必要叫元华一声小子。最后的大战拍得好难看，那场戏很灾难，光、不讲究的美术场景、打斗设计和场面调度全都在互相扣分，互相拖垮的同时，打斗的人忽然说要团结起来，这很傻眼。奥卡菲娜的角色很动人，她躺平一无所长后来学会射箭，写得潦草，但奥卡菲娜的表演很接地气。
梁朝伟帅，陈法拉也好看。剧情是真弱，弱得没有什么好说的。
真挺好看的，看的途中几度激动到想流泪，有小时候第一次看优秀武侠剧和仙侠剧的震撼和向往，剧作动作都设计的很标准，演员的普通话不用质疑，设身处地一下你英语也说不成native的水平。主要是西方影业这一次认真的探索，从被妖魔化的傅满州，奇异化的花木兰，到逐渐成熟本土化的尚气，让我印象十分深刻，我们还在批评外界ruhua的时候，外界已经做出了飞速的进步。与此同时，梁朝伟先生饰演的角色，情义信勇，让人动容。
全程都在fangirl梁朝伟 太帅了啦！！Who cares about 儿子。Overall故事还不错，没有令人尴尬的地方
神兽大战的特效不错。并不觉得选角有问题，当然女主如果也能说中文就更好了。
真的很喜欢这位家人，和妹妹一起看后她很开心
越来越讨厌这样天定而不讲逻辑的剧情
擦不干，你当时的泪光。路太长，追不回原谅。
电影本身只有3.5但是亚男本人身在北美看这样的电影实在太爽了，被高潮冲昏了头脑必须整个5星给我把分数怼上去。电影开播前预告了一批别的电影，那些电影无一例外全都是白人主导，心里想的是白人真烦亚洲人真惨。以至于电影开始后我一路高潮到结束... being fucking represented feels so good!
没看过剧集版居然全部get到了，又烂又傻逼又尬笑又好看，所有歌都难听到抓狂，但是却又神奇地和这股气质相匹配，非常奇妙的观影体验，今天的我是baby妻夫木聪谢谢。
他给我的感觉就是很美国，我不知道别人在看动画作品的时候会有什么感觉，我个人是靠感觉分中美日，美国动画给我的感觉就是笑点错位或者没有笑点，我知道这可能是文化差异，但是正是这种奇怪的笑点总让我觉得神经质，也很有特点了
龙凤斗，父子斗，为了斗而斗。梁朝伟某个镜头像成龙。
从故事来看，大家都是老套剧情，《战狼2》好歹讲了个合逻辑的故事，也就是有些小瑕疵。《尚气》这故事什么逻辑？一帮人在干什么？为什么要这么干？目的是什么？从故事背景设定来看，《战狼2》也远比《尚气》真实吧？起码一个非洲人看了《战狼2》里的非洲，总体感觉和当代非洲有共同点，不会觉得完全不知道哪个时代那个地方能套得上吧？
偶然下载的，竟然觉得还挺好看！很像小时候看小神龙俱乐部里《下课后》那种美国动画片，有欢乐有悬疑有吐槽，最后是经典的美式大团圆结局，配着麦记新出的卡滋脆汉堡看完了，yummy～
梁朝伟扮演的父亲，是个活了上千年的大佬，武力超群、权势滔天。某日，大佬出门买个菜妻子被杀，父亲训练儿子去杀仇家，儿子功成下了杀手以后觉得父亲残忍至极，所以跑去美国当酒店门童了……撇去逻辑硬伤，就还挺好看的「摊手」。6.5。
除了杨紫琼外，女演员就不能选个正常点的吗？
人物画面很有特色，和海绵宝宝来个互动汉堡店🍔吧～啊哈哈
竟然很好看诶。好温馨。最后bob终于意识到linda有多supportive & posotive，妈妈真是家庭支柱。
很多年的下饭剧 终于出电影版了
看他们讲中文出戏，讲英文也出戏，我大概是陷入了一个怪圈，嫌弃生硬的中文和格格不入的英文。美国对东方的认知，还停留在功夫熊猫那一套。我之前看到传言说不能在内地上映的原因是梁朝伟演了傅满洲我真是信了他个鬼，那么问题来了，究竟是什么原因呢。最后一个彩蛋还是让我眼前一亮的。
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