出生证明
影片信息
- 状态：HD
- 主演：Andrzej Banaszewski/Beata Barszczewska/马里乌什·德莫霍夫斯基/
- 导演：斯坦尼斯拉夫·罗泽维格/
- 年份：1961
- 地区：其它
- 类型：战争/战争片/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2025-12-04 20:48
- 简介： 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."
- 239
关注公众号观影不迷路
扫一扫用手机访问
8.0
网友评分
42次评分扫一扫用手机访问
剧情简介
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."
为你推荐
换一换- HD8.0安东·庞布施尼/尤里·库琴科/米洛斯·比柯维奇/米莱纳拉·德罗维奇/拉芙珊娜·库珂娃/阿勒克山达·斯雷科维奇/乔基科·米提克/德米特里·弗里德/米奥德拉格·拉多尼奇/埃米尔·库斯图里卡/谢尔盖·马林/尼基塔·科洛格利维/罗曼·库特辛/亚历山大·拉多伊契奇/埃菲姆·彼得鲁宁/安瓦尔·哈里路拉耶夫/瓦西利萨·涅姆科娃/
- HD5.0 帕维尔·普里卢茨内/蒂莫菲·特里布纳采夫/阿列克谢·菲利蒙诺夫/德米特里·雷先科夫/叶夫根尼·塞尔津/奥列格·楚古诺夫/尼基塔·科洛格利维/帕维尔·切纳廖夫/亚历山大·里科夫/Maksim Khanzhov/菲力·莱福斯丁/Patrick Joswig/
- HD5.0 克里斯蒂娜·阿斯姆斯/Jalil Asretov/谢尔盖·博里索夫/阿雷克西·查多夫/Ilya Dombrovskiy/Andrey Fomin/Ola Keyru/Wilfred Keyru/维塔利·基什琴科/尼基塔·科洛格利维/Stanislav Kolomoets/Petr Korolev/Alexander Krasovsky/Julia Kubina/Eugenia Lezgintseva/维克托·苏霍卢科夫/
- HD6.0 亚历山大·奥斯特犹科夫/维罗妮卡·普拉什凯维奇/蒂莫菲·特里布纳采夫/叶夫根尼·/安德罗波夫/阿扎马特·尼格马诺夫/Anatoli Gushchin/Galina Kukhalskaya/Maxim Animateka/Nadezhda Antzipovich/Svyatoslav Astramovich/Artem Davidovich/Aleksandr Efremov/Sergey Efremov/Anatoliy Golub/Mikhail Klimenko/Vitaliy Kotovitskiy/
- HD2.0汤姆·塞立克/蒂莫西·博顿斯/詹姆斯·瑞马尔/
- HD9.0张新华/宋军/丁梦雨/
- HD10.0 布鲁诺·冈茨/亚历山德拉·玛丽亚·拉娜/科琳娜·哈弗奇/乌尔里希·马特斯/茱莉安·柯勒/海诺·费尔希/克里斯蒂安·贝克尔/马蒂亚斯·哈比希/托马斯·克莱舒曼/米歇尔·门德尔/安德烈·赫尼克/乌尔里希·诺登/比吉特·米尼希迈尔/罗夫·凯尼斯/尤斯图斯·冯·多赫纳尼/迪特尔·曼/克里斯蒂安·雷德尔/戈兹·奥托/托马斯·林平泽尔/托马斯·蒂梅/杰拉德·亚历山大·海德/Bettina Redlich/海因里希·施密德/安娜·塔巴赫/迪特里希·霍林德布穆尔/乌尔里克·克鲁比格尔/卡尔·克兰茨科夫斯基/Jürgen/
- HD7.0 伊诺·阿霍/约翰内斯·霍洛佩宁/尤西·瓦塔宁/阿库·哈里米/Hannes Suominen/Arttu Kapulainen/萨穆利·瓦拉莫/乔纳斯·萨特莫/Juho Milonoff/安德烈·阿伦/Paula Vesala/戴安娜·波扎尔斯卡娅/马尔凯塔·蒂卡宁/马蒂·里斯蒂宁/麦克斯·奥瓦斯卡/Kimi Vilkkula/Severi Saarinen/亚尔科·拉赫蒂/埃诺·海斯卡宁/Akseli Kouki/Eemeli Louhimies/Elias Gould/Annika Stenvall/O/
- HD4.0韩适/赵申秋/刘怀正/
- HD6.0保罗·格罗斯/罗西弗·萨瑟兰/克拉克·约翰森/艾伦·霍科/克里斯汀·霍恩/大卫·里士满-佩克/詹妮弗·皮达维克/
- HD6.0 斯坦利·贝克/杰克·霍金斯/厄拉·亚科布松/詹姆斯·布斯/迈克尔·凯恩/杰尔·格林/艾弗·伊曼纽尔/保罗·达纳曼/格林·爱德华兹/尼尔·麦卡锡/大卫·克南/加里·邦德/彼得·吉尔/Tom Gerrard/帕特里克·马基/
- HD7.0叶童/徐忻辰/林泉/
- 更新至1集8.0马丁·辛/马龙·白兰度/罗伯特·杜瓦尔/弗雷德里克·福瑞斯特/山姆·伯顿斯/劳伦斯·菲什伯恩/阿尔伯特·海尔/哈里森·福特/丹尼斯·霍珀/G•D•斯普拉德林/斯科特·格伦/詹姆斯·基恩/克里·罗塞尔/辛西娅·伍德/考林·加普/琳达·卡朋特/杰克·唐蒂博/格伦·沃肯/达米安·利克/赫布·赖斯/马克·科波拉/比尔·格雷厄姆/杰瑞·罗斯/迪克·怀特/克里斯蒂安·马康/奥萝尔·克莱芒/弗兰克·维拉德/罗曼·科波拉/吉安-卡洛·科波拉/弗朗西斯·福特·科波拉/李·厄米/乔·艾斯特维兹/拉瑞·弗兰科/吉姆·盖恩斯/埃/
- HD5.0李乃文/三浦研一/张永健/侯伊建/厚帝/
- HD7.0马提亚斯·施维赫夫/马克西姆·梅米特/汉诺·科夫勒/蒂尔·施威格/理查德·克莱科/约瑟夫·费因斯/琳娜·海蒂/伊韦塔·伊里茨科瓦/
最新资讯
更多- 仅2集便登顶收视，王劲松令观众成功入坑，谍战剧新天花板！电影12月04日
- 追剧聊IP：《即刻上场》主角在线开启知识产权教学！娱乐12月04日
- 本以为是烂剧，结果越看越精彩，任素汐罗晋新剧看上瘾了电影12月04日
- 央视预定！36集谍战大剧来了！张若昀联手陈道明，国产谍战有救了电影12月04日
- 《家业》《长安二十四计》……谁会是年末剧集黑马？电影12月04日
出生证明观看小贴士
无需安装任何插件，即可快速播放出生证明。
DVD:普通清晰BD:高清无水印HD:高清1080P:2K超清TS:抢先非清晰
如果出生证明视频加载失败，可刷新或切换线路
请收藏本站唯一网址 [ www.kekew.cn ] 以免丢失!
可可影院_HD高清电影免费在线看_明星娱乐资讯大全： 提供《出生证明》免费在线高清流畅播放，还提供影片详情、相关资讯、相关搜索、同类影片推荐、影片评等内容。若没有资源，可留言反馈。
《出生证明》的常见问题
1.请问哪个平台可以在线免费观看战争《出生证明》？
优酷视频网友：免vip在线观看地址 https://www.kekew.cn/f/1449.html
2.《出生证明》是什么时候上映/什么时候开播的？
腾讯视频网友：1961年，详细日期可以去百度百科查一查。
3.《出生证明》主要演员有哪些？
爱奇艺网友：主演 Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基
4.战争《出生证明》有多少集？
电影吧网友：现在是HD
5.手机版免费在线点播《出生证明》有哪些网站？
手机电影网友：星辰影院｜腾讯视频｜芒果TV｜爱奇艺｜优酷视频｜西瓜影视｜百度视频
6.《出生证明》评价怎么样？
百度最佳答案：《出生证明》评价很好，演员阵容强大，并且演员的演技一直在线，全程无尿点。你也可以登录百度问答获得更多评价。