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."
非常不错的一部外传，很好表现了0079反战的意味
高三抢篮板断了手指，从此之后再没有碰过篮球，属于少年的荣耀与梦想， 让我热泪盈眶。
故事还算流畅，节奏也比较轻快，当然从一个成人视角来看，剧本的抄袭痕迹还是比较严重的，无论是拍摄手法和剪辑特写，都与灌篮高手高度相仿，同时对这几个动画人物的角色刻画也几乎完全照搬了灌篮高手的原班人马：喜洋洋-流川枫、沸羊羊-赤木、懒洋洋-三井寿、美羊羊-宫城良田、灰太狼-樱木花道、村长-安西教练……当然喜洋洋系列尽管早已令人审美疲倦，但其成功之处在于其通过故事讲道理的水平还是比较取巧的，即便是关于梦想这个亘古不变的大道理，在小朋友眼中，那一只只可爱活泼的小羊就是正义的化身，梦想的代言者，所谓授业者，投其所好，攻其不备，染其所念，动其所思！
看见有说不喜欢拟人画风的，但原来那Q版画风怎么打球，那小短手都抬不起来，还投篮呢。
我们认识五千多集了
有的人表面上是沸羊羊，实际上还是开心超人，小心超人，校长
总结：爱打球的去看一定会值回票价，跟我同场的小朋友们全部沸腾了，太棒了。
这部是筐出胜利的续作，就算我没看完动画也丝毫不妨碍观影体验，主线背景叙事完整就是故事老套路了。运动部分燃炸了，不懂篮球也能看得我热血沸腾。
战争片里着力渲染田园牧歌的美好是为了把它打碎衬托战争的残酷的，不是真的让你做成世界名著剧场。可以视作昭和动画保持原味高清化的尝试，80年代夸张的卡通化表现手法放今天看太尬了，79还是不要重置比较体面。这个还没长成白色恶魔、被杜安摁着打的阿姆罗还是挺新鲜的，一度担心他不小心长成“你们又要发动战争吗？”的黄大和。最后这个只要我放下武器就能迎来和平的结局实在是太贴日本历史了——因为没有坚持一亿玉碎及时投降所以日本迎来了两次崛起赢麻了。但是这个结果是历史的意外，换其他时期其他国家这个结局都是不成立的。
然后我特别特别喜欢小灰灰，他一喊灰太郎"爸爸"给他加油，我就心里暖暖的。好想有一只小灰灰！
“你根本不知道我想要的是什么！”
狼与羊携手共进、并肩作战，抛弃了“狼追养”的自然法则，对于粉丝而言多少会感到遗憾，毕竟对立关系才是《喜羊羊与灰太狼》的灵魂所在。“我们认识多久了？5000多集了吧。”看到这老泪纵横。 “灰喜兄弟”完美诠释了什么叫“陪伴才是最长情的告白‘’虽然仍旧怀念最初的画风，但是不管怎么说，为情怀买单，值了。
1.这不比男足燃 2.小灰灰真的好可爱好可爱啊呜呜 3.还是更喜欢以前的画风 4.呜呜呜呜呜好喜欢团队作战 5.世界上有两种振奋人心的事情，科技和竞技 6.我决定了，喜羊羊不要和美羊羊在一起了，和我在一起吧我被帅死了。以后我就是喜羊羊梦女🤤🤤🤤
在这部动画片里面，你可以看到詹韦连线，艾弗森极限拉杆，欧文总决赛单挑库里，詹姆斯总决盖帽伊戈达拉，还有应该能算的大卫李0.1秒空接绝杀，对于篮球迷来说，这是今年最佳的春节档电影
还记得十二年前第一次在电影院看《虎虎生威》时候，我才上小学，虽然已记不清了什么，但它带给我的感动至今也难以忘怀。十二年过去了，如今我已快大学毕业，喜羊羊大电影也停摆数年，儿时想要看完十二生肖愿望的落空也难免有些遗憾，时至今日能看到喜羊羊重回大荧幕，心中难免也五味杂陈。许多人说喜羊羊变了，确实，画风低幼，剧情简单，但作为一部面向儿童的动画作品，它已经做的很好了。在童话世界中加上现实的元素，还是能让那些陪孩子看电影的家长有些许感触的。说回电影本身，如果你是从小看到大的话，那本片形象的改变确实还是有些难以接受的，毕竟那么经典的形象变成如今这样，还是让人有些唏嘘。影片前半部分还是有点散，剧情套路，但最后的篮球赛还是看的人热血沸腾，明知道结果会是怎样，但还是会让人热血沸腾。最纯粹的东西往往最打动人心。
果然还是做了修改啊，太温柔了（赶紧全部重制一遍吧！）
当狼群奉行素食主义，天敌也能共唱连理。五千多集的追逐，碰拳泯之，童年启蒙终有归宿。
with 11
反复看了三遍，然后又把TV的原15集拉出来对比看了一遍，我觉得我可以将安彦良和的多安之岛乃至高达与富野的作品进行一点比较了：安彦更多是想展现在战争环境下各色人等是如何选择自己的道路和生存方式，他愿意进行补充叙述，甚至略显累赘都能接受。也因为他追求的这种时代大背景下的细致描写，众多的信息被分散在无数琐碎的话语中，其结果就是让观众很难轻易抓到主旨脉络，多方影响下我们面对的是一个嘈杂纷扰的战场，无效信息的'背景噪音"很强烈。而富野追求的是抽象出来的一个个特定环境下人际关系的处理图景，角色不需要很多，只要能用对话或暗示等方式将高度提炼的文本展现出来，那就算传达了导演的意图了。所以原作TV里多安本人必须要把他杀害孩子父母的缘由大声说出来，而这部电影却不敢公开提及——这两种创作思路的差别细细琢磨还真意味深长
当狼群奉行素食主义，天敌也能共唱连理。五千多集的追逐，碰拳泯之，童年启蒙终有归宿。
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