《出生证明》是一部波兰战争电影，讲述了一个关于战争的故事。

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 *all 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 * viewers a picture of war as seen by a child. ... In reality, it is the *s 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 *all 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 * 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 *all 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 heroi*. Solidarity arises spontaneously, but only some are capable of heroi*. 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 *allest 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 *all-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 sentimentali* 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 *ile says:"It is true. We spent this entire time together."

《出生证明》这一部电影中台词的评论，你怎么看？

优酷网友：是的，我也觉得《出生证明》的制作方真的很大方，一开始就放出了全集，这样观众们可以一口气看完整个电影，真的很方便。除了演员们的高颜值，电影中的台词也非常搞笑，有时候还带着一些可爱的味道。这些台词真的能让人捧腹大笑，给观众带来了很多欢乐。

《出生证明》是一部波兰的电影，共有多少集？

夸克网友：全集共1集。现在是正片。你可以尝试在百度问答或其他相关网站上搜索相关信息。

《出生证明》是一部波兰的电影，于1961年几月几日首播？

UC网友：截止到2024-07-06，《出生证明》具体电影更新的信息。请您通过其他渠道获取最新的电影更新情况。

哪个网站可以免费看正版《出生证明》？

酷点影院网友：是的，除了优酷视频，还有很多其他平台可以观看正版视频。爱奇艺、芒果TV、神马影院、百度视频等都是知名的视频平台，它们提供了丰富的正版影视资源，用户可以在这些平台上观看各种类型的电影、电视剧、综艺节目等。

在《出生证明》这部电影中，你觉得Andrzej Banaszewski、Beata Barszczewska、马里乌什·德莫霍夫斯基的演技怎么样?？

爱奇艺网友：感谢您对Andrzej Banaszewski、Beata Barszczewska、马里乌什·德莫霍夫斯基和他在《出生证明》中的演技的赞赏。Andrzej Banaszewski、Beata Barszczewska、马里乌什·德莫霍夫斯基是备受认可的波兰演员，他在影视作品中展现出出色的演技和情感表达能力。他能够准确把握角色的情感，并通过精湛的表演向观众呈现出更好的作品。这种演技的肯定和认可是对他努力和才华的肯定，也是对整个团队的辛勤付出的认可。希望他能继续在未来的作品中展现出更多精彩的表演。

《出生证明》是一部波兰的影片，属于战争类。该电影的演员阵容包括：

腾讯视频网友：该片的主演包括Andrzej Banaszewski、Beata Barszczewska、马里乌什·德莫霍夫斯基。

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《出生证明》是一部波兰电影，于1961年播出。该电影讲述了一个复杂的战争故事。以下是一些人们对该电影的评价：

夸克网友点评：这部剧情很流畅，人物也很丰满，节奏把握得很好，给人一种很有年代感的感觉。剧情没有过多煽情，每个人物都发挥了作用，细节也处理得很到位。整个影片的价值观也很正面，主演员们的感情表演很真挚。总体来说，这部剧很适合和朋友一起观看。

我特别喜欢女主角这个角色，她聪明、独立、淡然，有自己的主见，而且还带有一点狡黠，真是可爱极了。男女主角的表演也很清新可爱，看完之后让我感到蠢蠢欲动，非常想体验早恋，可惜我已经过了早恋的年龄了。