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."
大海星有什么错！人家只是想翱翔在太空，被抓回来做实验折磨了三十多年！
趣味和怪胎也不失为超级英雄类型片的一个方向~
哈哈哈哈哈哈好怪哦，再看一眼，越看越怪，再多看几眼，卧槽小丑女好飒，鲨鲨好可爱，鼠女好美，大海星好克。其实最掉SAN的是电波老哥眼中全是他老妈的奇妙景色。这个比前一部自杀小队电影剧本高明太多了吧。完全体现出这支小队的邪恶感了（小丑女-混乱邪恶，Bloodsport、Ratcatcher、Peacemaker-守序邪恶，中立邪恶-鲨鱼王、点波人），同时又通过真正掌控一切的控制局人的立场来反衬出这些超级反派可爱的地方。开篇登陆战、营救Flag、哈莉奎茵与独裁君王爱情故事三重反转层层叠进让人对本不抱期待的剧本刮目相看。后期鼠群大战克苏鲁星星怪别开生面，恶心与爽快并存。哈莉奎茵单骑标枪杀穿走廊以花代血的桥段可以算一个今年的暴力美学名场面吧。要是这系列能保持这个水准，会开始期待下一部。
#重标#(不知为何标记悄悄被删除了？？）
血浆横飞脑浆炸裂，还有一堆超级反套路的情节，死的死伤的伤，这次的自杀小队总算是切题了。色彩斑斓的暴力与动画。哈莉奎茵的那场越狱戏绝对是是本片最最最亮点。
鬼扯无厘头，各种爆浆。三星半，自黑一下挺好玩。
卧槽James Gunn居然能用超级英雄电影表现政治愿景...而且两个半小时的剧情逻辑进退有序...虽然剧情衔接点极为暴力，但作为反英雄主题的暴力美学爽片，也比较贴合主题内容。电影最牛逼的设定还是红蓝配色的海星，熟悉欧美史的朋友应该能理解少掉的星条旗里的白色代表的是什么，而雨中X特遣队几乎以白色背景又寓意着什么！再借从独裁者的嘴中代表海星讲出“我曾经很幸福。自由漂浮，仰望星空”。有CUT片的味道了！这才他妈不是什么X特遣队，这是美国独立宣言！这电影强烈的表达了导演的爱国意愿！这就是为什么大部分人看起来有些地方会感觉尬的原因！！
萌贱介于死侍毒液之间…开头炮灰TDK最好笑…不解为何比第一集高分那么多…胖海星和鲨鱼nom nom最萌…美帝自黑…
全球票房：1亿6865万
分级：R
从头笑到尾，我也不知道怎么就这么对我的笑点，除了外星怪物海星除外🆘又诡异又恶心，虽然它很无辜，但是看到宇航员把它绑着合影时我真头皮发麻，再想象一下那个触感，以及它产出密密麻麻的海星，多么让人想吐的脑洞啊……
精于算计的笑料和情感转折，一股迪士尼味儿。哈莉的装疯卖傻实在是有点过了，这个角色已经被过度消耗、纸片人一般失去魅力了。这部出现的大卫·阿耶第一部里的人物除了哈莉以外都被写死了，意味着什么就不用多说了。随着《扎克·施耐德版正义联盟》最终问世，以及后续《闪电侠》的善后，DCEU第一阶段的规划可能要逐渐翻篇了。
带感，有趣，各种反套路，时不时来点新鲜刺激，最后扎那么一下非常好看
一枪崩死未婚夫，干完就崩，不愧是你，小丑女。
像是把一集rm扩充成了长片，欢脱又想象力勃发。不过感觉小丑女并不属于这个解构系统，因为我们都知道她不会死。
xoxo
图一乐也还行吧。喜欢里面一部分意象，比如派大星的小星是用抱脸虫的方式盘脸，所有人都只是派大星的尸体传话筒，这可就是人类命运共同体呀，实现了同一个世界同一个梦想。电影的问题就在于想借这种A级制作传达特罗马精神，就像资本家把切格瓦拉的头像印在t恤上售卖一样可笑，这一切都只有特罗马的b级片外形，但真正的那种无拘无束的特罗马精神是不可能在这种制作的电影里出现的。
血腥——糟糕的父女关系 哈莉——变态的恋爱关系
I was happy,floating,staring at the stars.也许比不上《银翼杀手》那般壮阔，但依旧浪漫。如果DC每一部都是这样的水准，超过漫威仅仅是时间问题。披着商业片的表皮，藏着热血温暖和浪漫，这绝不是热评所说的屎尿屁，而是把每个角色丰富的属性都表达出来了，而哈莉奎因的加入，是这部片子锦上添花的一抹红色。
-Peacemaker, what a joke.
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