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."
110分钟，派拉蒙的片，塔图姆就和葛韦格芭比里的肯类似吧？好久不见的皮特，继阅后即焚之后又打了一滴大大的酱油并且被爆头。
此刻我需要无脑快乐的电影来赶走焦虑与抑郁，这部电影真是完美实现了我的愿望，如果再把煽情也删掉就更好了。轻松、幽默还有好看的屁股，话说用浴血黑帮的配乐真是燃炸了。
裹脚布又臭又长，全程碎嘴又难笑。一点都不悬疑，也毫无奇幻剧情。跟我国抢救性挖掘历史文物电影一脉相传，什么传说神迹都是虚晃一枪。
姗姐在重复她的傻大妞人设，钱宁在重复他的性感舞男人设，蛋妞已经老到可以在好莱坞爆米花片里演英式反派了，下饭片儿一枚，怎样让钱宁露臀可能算唯一编剧花了心思的地方。我喜欢双人舞那段，钱宁演戏很一般，但他任何时候跳起舞来我都还是爱看的，他身体的律动感确实很自然舒服。皮特的出现毫无惊喜，还不如中途听到了浴血黑帮主题曲来得开心。
居然觉得比《神秘海域》还要好看些，至少笑点很有趣，钱宁傻白甜的肉脚形象相当不错，皮特出来打了个酱油，我居然对着那张沧桑的络腮胡看了半天认不出来！另外，这不是艾伦期待的丛林寻宝片，而是洛蕾塔笔下的爱情冒险小说。
看的很开心，有冒险，有浪漫，有风景，有钱老板的屁屁，养眼养眼。
爱情动作喜剧电影嘛，别要求那么多。亮片Jumpsuit的弹性也太好了。
好家伙，布拉德·皮特这酱油打的令我哑口无言、猝不及防，出口的老子《道德经》让我不道德的笑了。全片就是些无脑小幽默的堆砌产物，就很轻松。
离线完成时，并不知道只有英文字幕，找到一个中文，但又翻译很生硬，电影看了一大半实在忍不住，终于找到一个能看得下去的字幕。说实话，由于糟糕的字幕，让我觉得前面的剧情也很糟糕，好不容易，猜到剧情一定会去到丛林，然后只有在河流被水蛭爬上身的危险？水蛭还能随手一拿就拿走？非常儿戏。女主的脸，一直介于有点好看和不好看之间。感觉还是离远了，才会觉得女主不错吧。然后，丛林所在的地方，村庄那些人都会说英语？这么巧？电影最后，拉菲如果不把撬棍放在石棺里面。你们就无法打开石棺？这是不是太扯了？
冒险，喜剧，爱情，没有一点做的好的，我老伴儿都觉得无聊🥱有点浪费卡司
简单的故事剧情，就靠几名主演魅力取胜。。Brad Pitt的客串确实有点惊喜，一把年纪还要追跑跳踢打也不容易，Sandra Bullock就很惜肉，Channing Tatum也只小露肌肉屁屁……
👍👍👍👍哎呀喂不愧是周星驰的接班人学王晶王家卫的风格真棒啊？？？？？？？？？😂😂😂😂😂
Pitt皮特戏份太少了 我完全想看他的角色和桑德拉继续谈恋爱了
冒险，喜剧，爱情，没有一点做的好的，我老伴儿都觉得无聊🥱有点浪费卡司
我觉得丹尼尔真的还蛮适合演那种偏执变态但又干不成大坏事的反派形象的。
老套且乏味，笑点也不行，浪费时间的片，皮特最后为啥没死？？？？
这不行啊。演技都还行，故事太俗套，喜剧效果也不好。大胡子波特能感觉出来时想好好演戏，可是感觉太用力了。故事逻辑很多都不通，打斗，枪炮，喜剧，爱情，探险...表现都不好。整体很一般...
在動作和冒險方面沒有花太多心思，前半部分真是好笑。
蛋妞绑架那段，绝对玩梗了，和《惊天魔盗团 》里一毛一样。皮特客串的挺亮，老子《道德经》背的挺溜。无脑哈哈哈了好几处，这就行了，看着玩呗。
制作水平没问题，剧情马马虎虎。个人觉得，既然是探险寻宝风格，就要有踏踏实实的惊险刺激感。而这个影片却嬉皮笑脸，像开玩笑一样的，让观众真的就没有什么带入感。并且还有英语旁白来说明，这样更反感（这样子都表达不明白，还得需要旁白来说明！很尴尬）皮特客串短暂而惨烈…但观感却不怎么好。
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