出生-,证明

　　In 1(%96*$1,; ] St?-[an%isla](w
%# Rozewicz created the?
+ %/novella film &qu]!otBirt,h+ Certificate&qu,ot in +:cooperation with !#%!his brot?her)(, Ta?duesz Roze: =`wicz .;$ as:` ,scree.(;n`!writer+ .=! Such brother t])andems are ;#= rare in the history o.
,f f#? ilm but a)side f.r \om fa\mil,y$ ties, Stanislaw (born in 1924) -and Taduesz (born in=` 192-!=?1) ::w.^ ere *=mu^tua@lly bou:nd by \their;
]+love=/^ f^or] the cinema. The^[! (y were born$% and grew up)
@( in R^(%adom]!%sk, a s mall tow:n which had "its ma$=!dmen a@nd its __s aints" and mo@*_)s-t  importan/`ly:@!:, the &+@quotKinema&quo ^;t[ # ci@,+.`nema, as= :.:.Stanisla.%w=$\ rec[alls: for hi,m c#[inema /is+ &q/uoth#+-eaven, t`#.he \wh_@ole ^world, enchantment!". Tadeus+!z say`^
s he consider /s cinema both a charmi# %ng marke-
-\t s:tall- and @,a myst-]erious temp^
le. "All this sav?_]$age l\and has a%]lway*\s attract/ed and.% f^ as@c inated me,&qu!-ot he says. $@"I am devour +ed # b-]@!y cinema an?/d I devour cinema I'm a cinema eate:r." But Ta%duesz Rozewicz, an e)@`minent writer! -, a), d@+mi%ts th is u;/,nique !=form of -coope r(ation was ! a p\*roblem t
= o h%%im: &quo\tIt is the pre`))sence of th.]e other pers-on n*ot)- o_?nly in(: the p%#rocess of writing, but\ at its ,)+v*,#ery core ^%, which is i_^n! serperable,^` for me from absolute solit:ude." Some sc#+/!e^nes the brothers wrote toge??ther others were )create`d by the w@)riter himsel f, following discussi,= on$^^!s with the directo!r. )Bu(^#t=!( * from the]$+ ?
[perspec.t%^$ive of time, i) t is &#= quo
tBirt +h Ce\) ]rtificate&quot, `^rather.\ than &q?@uot ,!Echo&q+\\uot o#
r &@+quotT)`;he Wic[ked Gate"(, that Tadue;(sz @- descr*ibes as his m#\ost intima#^te film.@. ` \This is u%nderstandable. The [t[radge/ y f[rom_
:! @:@September 1939 in Poland was for the R[ozewicz brot$.-hers their#
personal &(quotb^_irth certi ficate&q,]!uot. When wor\?king =-+o=n the f il,/m,?. the :@([d%irect%or sai#%d &[)_%quotThis time .?it%(` is all abou
t s^(ha# @king off,_* getting rid of@+  the: p
sycholo-
g[ical burden which t$@he 
/war ;;w a:s for all o--=f us. ... Coop
erati!on w$``ith+* m)y+\ bro_ther wa_/s in this c./ase e%asi$er, as ``)_w+#e share  m/$_$any^[# war memories. We want\__ed to sh=.ow to adult v=_iew,]ers a p.ict-ure @*:o? (f war as s:+een by a ch
ild. @... In real.#ity, it is t. h^
e $adul@?

ts who created the !!re (al w.o\=rld of massacr/es. Ch*i[ldren beheld the horrors com\\^ing # back .to life, e,]`xhumed ? fro/m:) u
n`-derneath% the/; ground, ov.(erw(-helmin.^g^/ the earth.&,!quot　　The:`! princ./iple o

f[^` co!mposi(tio/?+n of &#;@:quo/`=tBirth Certificate" is not o\ #@bvious.
* When watching a novella film,_] we tend .*to think !_in term,s of [traditional ([(theatre. We expec ?+t that :^a miniat(%%ure story w\//?ill finish _/wi th a shar
p poi%%nt the 
\three f`il $?m nove lla$ s in Rozewicz]_\'s work l,%ack thi#$s feature. W#,%]e do not know wh)%at will b((e happ$en to the bo+y mak;ing /his alo?_-ne through the forest towards the end of /"On t
he R* ,oad&*quot+?_. We do\- not !know whether in "L*+etter #^from the Ca/? mp`%& ]quot, the help\ o#ffered by the small her%oes to a Sovi@%e`t prisoner[* w;i=ll^+ rescue hi; =m!;! from the@ u@ n@known fate o*]
f_^
h;is=. compat[riots. The f
ate of the
J@ew
i!^s^h girl from$, &(?([quo_!tDrop o f Blood&q uo+-t is also uncle[ar. Will she k.-ee)(p her new impers/^ona@!`tio!$ /n as &qu,:otMarysia Mal@\\inowska.\"? $:O/=$r will #\/th,[
e N=#azis ma;)ke her into a represen[%#tative of the " =:Nordic ra)
ce)*&q$u[ot?)$ Thos%e question/=s@ ]were a!s ^ked ,by t(he direc%tor f)or a reason. He preceived war as chao+\s and perd@(ition, and not as linear history that ] co`#uld be !re?fle*]+)cted in a p+:=lot. * \Al(;t/:h$\+o!%ug+.h &quo+^t#\!Birth @@+]Ce`
;?rtific!ate%?&quo:t is`! saturated with %moral content, it does not;/ ai`m t) o be= a mor//` ality play-:;. But with the immense p)^r$^)e\/ss]_ur+(e of r ,^@eality
, @\no varient o+f fa#
te sho,uld be excluded. Th[is a,pproache\d can be#@ c;ompare`d
wt h ?Krzysztof `Kieslowski's "Bl#`i/(nd Cha
n(ce" =25 years later, * whic-)h pi/@$ct^u
(=red drama@^tic` cho,ic\es o!;f % ;a different e`ra.　$;:-　/)The film-. novella. &q]:uo$`tO+n the Ro=!ad& +quot h^$a]s a v^-,ery sparing plot, but it+ ]- drew spe)cial at#tention of:?. the rev,iewers. Th_e omin%a(ting overtone =:of ?th?e war)` films created by the Polish  Film Schoo=[l a^
t th: at tim -e should be kept in mind. M^ainl^+y $ owing : to Wajda, t-hos=^e films dealt w*ith rom# antic h`]eri[_tage. They- we,re perme\ated with pathos, bitterness, and irony. Roze
$[wicz is an extrao+,rdin ary[_ artist. When n$(=arrati,(,]n@,g! a story a*(=bout a boy lost in a ]^.wa@*r`+ ?zone,$$ c(^)arrying some= documents fr;;om (the =regiment of\ ;fi](ce as!] if they `were a treasure, the ;
narrator \ in &q#uotOn-;: t^:he
 Road" discov/ers rough prose where one;$/ sh^ould find poetry. A\! nd suddenly, t\\he ir, -r##at;%ional touches this rather tam #e wor[%*)ld. The ):\b%-#oy, wh):o (until@ ]\that moment resemble?d a Po` (li %sh v. (ers/i*(on =of the G!,[ood \Soldier Schwei \k, s%ets of)f, like Don+? `)%Quix#.ote, f!o]r his first and l[ as`/,\t] batt?]le,,. A critic$[ des=cribe;^:(d/
.!* it as &;quotan;] absurd g ?,?esture and so;_meon
;e else could, surely use ,,it t^o`( )
criticise the Polish style 
of dying /. ... But t-h;e Roze\wic/`-z brothers do no\( acc))use: they o!:) nly compos)`\?e an elegy f,! or.@ the \pictur*=.esque ;p:/e[ asant-so*`@ldier, probably the mo[^st\%^ i/-mpo)rt\!ant veteran of the Polish wa(/r :-o^``f 1939-1945.&``quot &$quotBirt?:: \h Certi[=ficate"$ is not a@,= / l\o*fty _%s`tat)[eme#$!nt about nationa.l imponderabilia. The film;) rev?eals *a\= plebeian persp- ective which Aleksander Jack/_,ieqicz once cont ra `*sted wi%,th thos$^#-e "ly^`+rical- \lamentations@" inher*
:en*[t in [,the Kordian tr(]-adition. Howe
ver,% a/? hi[[storical over=#vie%w ]!o^*,f ]Rozewicz&$:(#39s w+o[[rk /s#\$?hows that the dis t-inctive sty/le does not sig )=nify ^a fu]/.ndamen)tal d-ifference in illustrating the Po li^=sh September. Just a)](s the memorable scene from Wajda'-^s "Lotna. &.q:/uot! was in ?fact an expre^(_.ssion of despera tion and distress, the same e\mo[ ?tion=s= `@perme;:at
-e the final scene of &qu
-o .@tBi]].r_th-= C?erti+ ficate&qu[.ot. These are not i`@deologi,c@$ al con*\_cep;;[ts, though -$ once ^descr%])`ibe^?d as suc@
._h and fer vently deb :at@$ed,]_] but rath%er psyc !hol$ogical creat/ions. In*  :this-+ specific case, observes ^* Witold Zalewski, it is n].ot  about ma
,nife\sting knightly pr?ide,;+^ but
[ about a g #e..@=stu%^re of a ^]simple man who does not 
%agree t,% o ./be ,#(e^ nsla]#ved.　　The no;,vella]? "Drop of Bl-ood" is,:= wi;th Aleksande*)r Ford
's !/\&qu:%o(tB^)[order Street", one_# #of the first narrat(; :ion%$-s of t%h@?)]e `!fat(=,e of the! Polish Jews!? durin,g`,_ th/%e
Nazi \#?=oc)c=upation. T( he story\- about a- girl li ^te^\r@`ally looking fo
  r h#er pl^@ @ace on earth ha@ *[`s a; dram!
ati ^c dimension=_. Esp? ecially in the age ]of today's journal( i stic disputes, o?ften mani@:]pulative, lacking in e-`mpathy and = imbued w\ ith bad(`\ will,
 Roze*)wicz's^*. sto ry :)from ;+the past shocks w+%it #h. it :s ; authenti(city. The sma!ll_^ he)=rione of the s.`/t ^@^or
=y is the);; only one who s,?u_,
rvives a 
[German raid= on he=r family
; home . Physical su =\rvi`al does not, however, mean a ).r
\,etur,n to normality. He+%(r frightened depart `_ure *=fro%^m the r),^ubb\*ish du`mp t!`\hat was %+her hideout lead her .^to$- _\a ruine-:^d ap-artment. Her walk aro^-und it is pai nful bec#ause still fre:,sh*#  signs of ^
*life are mixed with evide(nce of anni$.hila ?t)/ion.#,.* Help is needed`@, b=.ut Mi:$rka-/ does not kn#@ow an^$yone in the outside world. #H+\er` s]:ubsequent attempt#[.,s exp)\`#ress;._ the state o,#f the fugitive&*;:/#39s / spir:its - from h$`ope a nd @,faith,= mo#+vi%, n
g \to doubt, a s

ense o*=f oppression, an!-%=d thicke@[-ning fe?$a$`)r, and finally ^to d \espair.　　At the same ti%)me, the Jewish girl's search f=,=or %re^fuge 
.r?esembles the )/state ?of. Polish society. The appear ance\. of@ Mirka r*esults in confus[%ion, and la:^ter, trou[ble. This was already signalle)[d by Rozewi+cz in an exc%,=eptiona(l scene #:f;\ro]m &qu[-otLetter f*.rom th\ e Camp.]&@%quot in which the *boy's neighbour, s (eeing a  fugitive Russian-\ soldier, re@#t\r.e;#ats)! imme`$dia+-tely, ;;a#/`dmitti ng@ th*at  &q(u;otNow, p_:eople ]
worry :] only about thems##?el@]ves.% &quo--t Such embarassing excuses mask fear. During the occupation, no o/;\(ne feels sa`*fe. Nei,ther s#+ocial [s!;tatus not th !e a:( )e.*)g]i:s of
 ):=a charity organis,_ ation(] +protects $]against repre
-^_ssion. We;=^ ]%s@!.e@,]\e th=@ e .@^+pot` .ential ,guardians o .%f Mirka passing her ba
ck and /::fo +=rth among=,( themselves.. \ These -/.!are f[#_riendly hands=^ but they cann!o
t offer st@]r`ong%? suppor]t. The story takes p =lace on that t*hi!(/n line between $?^%s]\olidari;_.ty .an:!d herois_+ m. Solidar/#
;i,ty `ar!!i\+\ses spo?)@ntaneous_ly, b:%..u_t only some ar[e capabl^e of hero/ism. Hel.p for  the^ : +girl- does not always resul  t from #comp`] assion some@times it\$ is based, - on past relations *and`$* person%# .al`, tie?*s (-
a+ neig_ ;hbour of the doct^@or tak=,[es in the f)^ugitiv e ((_[for? a few: _$days b.ecause of past friendship). Rozew.icz portrays a l (l of this ]i=[^ n a % subtle way e _ve)n the smallest@*`,: .,gesture has sig/
nifica]nce. Tak#e]^, for ex$ /ample, the conv ]$,ersation with a stran*;ge-r on th !!e tra*i]_n: s;ho rt, as if_* jotted down on [^_the margin!;, but so fu;(^ll ]of*- tension. And earl
ier, a pecu]:?liar ex; ami`,nation of Polishness: [
t=he &qu),@otH(
\oly Father" pray /
]e%r, forced on M __#irka by th e%] ;vill age`+ boys to check ]tha^t she is not!@ a Jew. Would not rising to the challenge _mean %a death sentance?　　Viewed_@` after : many ye ars, &quotBirth :;Cer@?tificate&q%#uot disclos*/es yet .\a\$nother qualit.?y \]that is not p$resent in t%_h-:e $(wo-rk_^s o__f t+:%he P olish!= School, but is promi n/ent  %in

later B-cl^as?,_s -%:w;ar* f$)%il@ms. Th#]#is is the p/icture of `ever#yday life during *#th+$[e war and =[.oc`cupation:+ o!!+utlined i _n the t,-\hree  n\$ov@:ellas. It harmonises wi.th the logic #o]!f (`speaking+# about @-"lif^-e afte`r :!life &quo-t. Small hero[,es?`:_ of Rozew`(icz! ^)/suddenl`(y enter th\*e r
eality of war,.$ ^+[wi ?th n o@ e+[$\x_ p^?@erience or scale with w`hi+,_c/;h to %!-#compare it. For them, the present is a na?tural e$ $xten
/s ion of;: and at the sam#[#%e time a complete n)e *;ga?`tio n[/(/ (.o/f the past. Con)sider th^!`e sleey,`.) s=(mall-town marketp?la^ce, thro[ugh whic]h armour(+ed : columns wil @/*l shortly pass. Or`\ meet( the German motorcy( ^/.c$@ lis-]ts, who look )like aliens_ % f-ro#@m outer s?+(#pac[=e ?- a pict*$@ure t  -aken f\**rom a ,n autopsy because this is h$ow Stani%(slaw[/@) and Taduesz pe)`#_rceived the *`^ first G_
?e[rmans they ever me@%t. ,*Note the /!blurred silhouettes of people.\` against [[a white wall w
ho a=`re b+eing shot/
- at first=,= t@hey are shocking, b[?+ut soon they will prob+?ably# beco[; me ,a part of the grim l]andsca+\pe. In ]:[the city;_+ centre# stan+ds a prisoner _camp on \]a, sodden bog `("Peo$(ple perish l+%/ikes flies th)[e bodies are[ @*tra+\`ns-)port/]@[_ed d uring the night") in the!* stre@^e#=t  the childern are ?running,. a\+fter a coa*_l wa_@gon ? t+o coll)]ec@,@t some pr _ecious] -:-pie:;%ces of fue@%l. Th@ere$?'s a bus
tl,=\e around some -; food (a boy reproach = es his youn*;ger b\r- oth]:er!'s !-actions by singing: " 
The warrant.% officer's son is begging i-*n front of the church-? +$I&_#39m going` [
to tell mother!&quo#.=t)  and the kitchen, which on#e[ e`v!%!ening:  be]co ?mes the proscenium :of a rea+ l drama. And ther\e are the symbo ?#ls: [a bar of chocolate forced upon a b;)oy *;by a Wehrmac
=ht soldi^
#er (&?\qu.otOn the Road.^^ &quo(t) a pair of shoes b!elonging /to Zbyszek)*^'s f*^at\her which the` boy spontaneou
,sly gives to ,]a Russian fu!gitive=) $[-^a =pr:.i+c ],+eless /slice of bread, ^ground und=e$,r the heel of]; )*;a p#oliceman in th,/
e g ut%er (&-_ quotLetters from - t(*he !@C#amp&q\uot). As the di
!re*++ctor# put it: #
&qu_$ :otIn eve .\ry fil*.m, I co/##:mmuni%`ca^( te[ my \-own [vi#sion of the world an#?_*d o(f the pe%`ople. Only$ th+\!en )the \[style
follows, :)the def;_/;ined way =,of ex/perienci ng ;things.&qu)o (t In ?Birth Certificat]?e, he,* a-,*] dd].
s, hi%/s approach was d[*ri*ven by the subjec@#)t:_ ( "I attempted t:)$`o  crea$\\te ^_not (only the t`[ex^ ture of the document but+ als-o to add+ some poetic element. I know it is r!:isky b%.ut a_s for t#!`!he = merge@)$r; of documenta\tion and po`ety, often hidden very deep, (!if only it manages t:[o make its way onto the s? ^creen, it res#ults in wh=
@at
;$_can [r)eferred t=
o @/a]s '?art' ."　!)　)(Aft;,\er 1945,\[ there were n@:umer,ous fi`-lms created in E^*;u!
`=ro/pe *t:)hat( de!*@a .lt w\ith wa] +r and c/hildren]:, includ*%ing "Somewh/er
e in Europe`=&qu
+o=:t ("Vala+h o#[l Europaba*-.n", 1947 *$;@`by[ Gez,a R(advanyi), "S@h%oe]shi%`ne&\_
,quot*  ("Sciesci\.a&quo@`t, 1946 by V\] ittorio de Sic?,a@), .and "Ch (,+ildho)
o,`@d ] of*  (*Ivan
" (?. "Iwanowo diets?t_wo&quo)+t by Andriej@ %[-`Tarko=[wski).` Yet th/`?%e;]#re were fewer +than one wo=uld expe# ?ct. Pur, suing (\a]* s-)?ubject so. imbu  _ed with sen*timentali#`#sm requir!]es?\` stylistic disipline and a.  special ab:@;#il*/- i(:ty to manag@[*e ;child actors. [
The aut]hor  =of:;_ "` Birth Certificate?&__]quot mastered both ?;- an=:d it ]?was not _ b?y/%@* )`c=@^han:^ce. Stan%\:.islaw Roz;=ewicz was always the beneficent spirit of the film mi)^li\?_^eu he coul\%@d unite[ pe=opl^? e around` a common## goal. He@ emanated peace and [;*sensi)#+tiv-%ity@,, which_ ;)f;low;:ed to h/%i *.s co -worker.)s and pupils. A film, b]eing a? $=,group  wo#rk, n,ecessi^#,t@(:ates some for`m ): of emp$athy - \t\u)$ni,.?%:ng (
@i:\#n with= othe@rs.　　?/In a _? biographica^_ l .. docum _+entar ]]y about Stanis#law Rozewicz entitl
`ed$[ )&_q uot !?Walking, M.=eeting\]" /(1+999 by :,`Antoni K;@rauze), th/e:re is a[; beautiful scen_:e when th,?e director, af=ter a few de $cade s, m-eets ^Beata B@[arszc _: *z]ewska^+
, who pla ys Mir!,eczka in the nov[)*e_(lla " @.Drops of$ Blood"\?. T]he woman fall `s into the ar@*
]m ,s of*]`@ th
+_e elderly man. They /+ar)^)\e, both moved. He wo/*= nders how $ m*an)y years h.ave p@#a [;ssed. She answers: &quotA f^ew ye
 %ars.); Not too .many." \!=)\And Ro%^;ze^.wicz, with his\
;, characteristi`
c smile*: says: &)(quotIt %#(=is true. We spent this entire%( t_*ime toge%+ther.-&qu+ot