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."
一路砍砍砍，关在高塔的公主开启逃生模式，撂倒各路壮汉，镣铐头盔长剑用的得心应手，妥妥爽片，看小公主如何切割。
结果看了发现感官比我想象的好。首先动作设计比我预料的出色太多，打戏很连贯，没有太多切换镜头，而且给公主的动作设计基本上是靠身形灵活打败敌人而不是靠蛮力，所以可信度高了很多。
迪士尼公主片的设定+cult动作片设计。小朋友家长得看清楚了，别被假象蒙蔽
如其叫非凡公主，不如光环公主更恰当，故事老套，公主无双拯救王国，打斗中规中矩，不难看也不出彩，就是除了公主和女配助手之外，其他国王王后等全是工具人无存在感，爆米花角度来说还行吧，至少我没有快进睇完！
65分吧，打打闹闹的商业片，韩孝周真是太漂亮了，用鼻孔看人都那么美哈哈哈，光洙负责搞笑的部分不出彩啊。
Joey King做女打还是力量感不足，这部的动作指导和剪辑堪称一流，跟天马行空团队可以交流一下。
真的是毫无剧情和内涵，但是动作打斗设计的挺好，就像云看了一部act游戏通关视频，每个关卡设计的还挺有趣。公主真的好耐打啊
砍怪还是OK的，但如果能再R级一些就更好了
开局就开始反杀，甚至有施瓦辛格当年《独闯龙潭》的感觉。城堡的景观很真实，室内的空间很有压迫感。场景如同一款卷轴式过关动作游戏，通关后，受封为骑士，并成为继承人。像这样宣传女性的力量，其实还不错。§缺憾的地方很多。剧情设计，要是充分利用城堡的内部构造和敌方的计划，本可以更加合理。让好人至少挂掉一个，也会比较好，毕竟不是迪斯尼电影。公主的外挂开得过猛，剑刺水淹都没事，堪比漫威的黑寡妇。招式表演痕迹重，动作设计不够凌厉，打击效果比较虚，演员的身手也不特别好。§公主像斯拉夫裔，剑术教练像华裔，却没有一个露脸的嘿嘿，编导做人还是有底线的。[LIBVIO]
一部证明女性力量的电影，女主的力量就美，很喜欢这样不契合男性凝视的公主。最后瑕疵，付出了巨大努力的女人终于被父权“看到”才得到自己应有的东西，可谓讽刺至极。觉得暴力男可怜的，祝您早日穿越异世界，再见傲天。
片名应该翻译成《小强公主》，这绝对是个“打不死的小强”，坏人死于多嘴。那么多壮男都打不过两个女人，简直弱爆了，而且公主带着伤都能下水、跳墙、滑坡，丝毫不减战力，真是女权主义的典范。那个越南妹则是妥妥的中国范，挺给这部电影添彩，从颜值上来说，她也比公主强出许多。
动作片《非凡公主》说真的，这真的是一部无脑动作爽片…剧情简单的根本不需要过脑子！看着超能打的公主一路的砍杀…真的是…挺爽的！当然还少不了公主的师傅…琳的精彩表现！不过，各种中世纪的冷兵器对决和盔甲…还有建在海边的城堡…也是为此片增色不少啊！总之，这部影片，看着动作戏爽就完事了，完全不需要过脑…还是挺不错的哦！
皇室夺权，叛变，简单粗暴从头打到尾，就是各种摆造型有点尬，爬楼的胖子倒是添趣不少。
65分吧，打打闹闹的商业片，韩孝周真是太漂亮了，用鼻孔看人都那么美哈哈哈，光洙负责搞笑的部分不出彩啊。
观感不错，大概就是古装女版john wick，但相比john wick来说动作戏还是比较差，女主太丑了，那个越南裔还不错，一个好看的亚裔正面角色太罕见了，总体本片还不错
一开始不理解女主为啥有点壮壮的？不符合欧美对公主的传统印象啊！3分钟以后懂了，30分钟以后……剧情是不存在剧情的！直接说单刷城堡副本就可以了！
居然跟第一部一点关系都没有 整部又吵又长 笑点没第一部多 看的不是很细心 一般般吧 女主船上那个小白脸还以为有什么特殊身份 颜值跟周遭的人格格不入还以为是个什么卧底或是王子贵族之类 结果就是个酱油...
这种爽片要什么剧情，要什么合理，从头到尾干就完了。就是出血量差点事不够血腥。另外这片最大的两个咖就是两个反派，结果电影人物介绍居然都没有…
D+出品爽剧类网大，刚开始看觉得有点无聊，看到最后居然燃起来了😂 有几处安排得很刻意，放现实中公主可能早就挂了hhhh 但是好几处反转还是蛮巧妙的
一个穿裙子的小公主，在城堡里一直杀叛军一直逃？ 公主你剑往前送不就能杀了朱利叶斯（叛军头）吗？ 垃圾玩意，全程拖着进度条，明明公主被剑压着跪下，然后就夺剑砍头了。
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