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."
I love you in every universe.
虽然看出了恐怖片的赶脚，但逻辑太强让人信服哈哈哈哈哈
导演风格凌驾于漫威这个IP之上的一部,终于想起电影首先是电影,然后才是人设追星
这部的优点就是文戏少，要么在追逐要么在打架，堆砌的奇观特效和变着花样的战斗设计很出彩，这样逻辑问题就少了很多，平行宇宙概念玩得一般，更像是游戏里完成任务似的穿越，剧情一条线，还是老一套漫威模式。有点承接what if的感觉，但是what if我就觉得很烂，没有亮点。
奇异博士变二郎神真的吓到我了，猩红女巫真无敌强。
3.5: 恐怖但在影院只能微微离椅两厘米/奇异博士比了hook‘em🤘🏻/是母亲节联动吗？/I love you in every universe
惊悚元素比較多，整體看不差，卻也不會印象深刻，偶而演技和情節會像青少年奇幻電影的形式令人覺得不像現代marvel （可能主題是巫術和魔法，很難正常詮釋）
那些不愿放下的人最后都成了漫威宇宙的反派了吧
旺达学那么久技能还是到处丢能量球攻击，就这么敷衍我们绯红女巫吗？
依旧是败于剧本的一部MCU 故事衔接在旺达幻视之后 可旺达整个人物心路历程衔接非常不流畅 就感觉刚治好的病又犯了 两个MCU最有故事性有心理创伤的角色 居然放在这么套路且没有深度的剧本 部分镜头特效动作调度不错 导演看得出恐怖片经验丰富 但MCU还是没能放开 恐怖氛围刚烘托好就草草结束 什么时候漫威才能放手玩一把 别把电影搞的即不疯狂也不多元
真正的《妈的多重宇宙》+没了影院氛围的加持，我的漫威开始变得平平淡淡
7.3分吧，也许是我期待太高了，看完有些失望。本该是MCU下一阶段的奠基之作，结果成了混乱的多元宇宙闹剧，干脆直接拍成个恐怖片得了。论剧情不如复联4紧凑，论致敬还不如三蛛同框。老X教授辛苦了，又死了一次。幸好卷福和旺达没让我失望。
宿舍显示屏外放和舍友一块看，也有点电影院的感觉
脑洞巨大，吸收了不少what if的情节和设定，好评。本片简直是中华文化输出的例子啊，圣殿设计，打斗场景，哪个看上去不是八九十年代武侠片的影子？就因为一个街边报箱要封杀这部漫威大片？电影审查的人大概没看懂？虽然惊恐场面多，但骨子里这是个浪漫片，主题是爱。Wanda的母爱泛滥到多元宇宙都承载不了，为了孩子可以不顾一切。而Dr Strange 虽然在结尾说出了多元宇宙最强情话：“I love you in every universe” ，却没有在任何一个宇宙里和Christine有happy ending，有点遗憾。
…镜头调度让人太失望了🥺
有点扯的鬼片，沙田4D，感觉心脏已经到胃了。为了找孩子、为了找前任，让多个宇宙陪你们玩，可真有你的
😂同样是multiverse，处理的就比同期的everything everywhere at once浅，也更加套路一些
学妹选的片子，冲着多元宇宙（和BC—感觉又帅出新高度）看的，超级英雄电影越来越不是我的菜，看着魔法和近身搏斗、冷兵器、热兵器一起出现总觉得很搞笑；但这部恐怖元素恰到好处，比起《蜘蛛侠：英雄无归》更好看一点儿，Dr. Strange附身的尸体造型瞬间回想起National Theatre录制的BC演的Frankenstein。完全不知道漫威宇宙里的前因后果，刚开始看得很蒙圈。多元宇宙似乎结局总会回到珍惜当下。
2.5，多元宇宙的开启算是漫威影业的里程碑吧，但这并不是漫威最正确的一步，他们并没有完全处理好多元宇宙的异同和博弈的能力，以至于现在每部新作看起来都无趣至极，只能通过其他宇宙人物的集体降智而理顺剧情，最后就是丢了西瓜，捡了芝麻。奇异博士第一部还是爽的，第二部只能说平平无奇，全靠些惊悚恐怖的元素提升观感，Doctor Strange彻底沦为工具人，人设方面没有任何进展，Wanda在剧集里要复活丈夫，在电影里要寻找孩子，最后的情绪转变也不够充分，还要卖波劳力，美强惨本惨无疑了。
6.9分#又名不断穿越平行宇宙时空从旺达手中拯救America😂看出了漫威改变的决心，但这个故事依然没啥新意，动作视效依旧精良
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