Aleksander Bardini .... Le chef d'orchestre/Conductor
Philippe Campos ....
Thierry de Carbonnières .... Le prof/Professor
Guillaume De Tonquedec .... Serge
Louis Ducreux .... Le professeur/Professor
Sandrine Dumas .... Catherine
Claude Duneton .... Le père de Véronique/Father of Véronique
Lorraine Evanoff .... Claude
Alain Frérot .... Le facteur/Postman
Gilles Gaston-Dreyfus .... Jean-Pierre
Anna Gornostaj .... Weronika (Polish voice) (voice)
Halina Gryglaszewska .... La Tante
Jerzy Gudejko .... Antek
Youssef Hamid ....
The train was moving slowly, the sunlight through the glass window gently filled in, golden yellow elegant tone, she leaned against the window, lonely and soft smile. Fingertips gently turn the smooth rounded glass ball, that piece of scenery outside the window the same slow skimming, trees, the sky, there is a kind of vertigo wrong feeling, is the witch's crystal ball? Let all the rules of things change, change, squeezed in a small space. Followed by a sudden feeling of a hidden bit of induction deep inside, time and space like it has been converted for several years.
A Polish girl, a French girl, general age, the same name: Veronica. They share the same heavenly voice, musical talent, and heart disease. The Polish Veronika loves to sing, and she has a beautiful voice that soars through the clear rain and sings until she tears up. Veronica of France also loved to sing. She said to her father, "I have a strange feeling that I'm not alone, that I'm not the only one in the world." The father said, "Of course not."
The puppeteer was there to perform. On the small stage, beautiful dancers danced on their toes. Pretty white colored saree, delicate and delicate dance steps, like flying in a light cloud. She leaps high and lands lightly. Suddenly the dancer hurt her foot and was locked in a dark box. When she re-emerged, she was transformed into a gorgeous butterfly. The French Veronica was y enamored of the performance. While the mysterious thread puppeteer seems to control the fate of both of them ......
An attempt at internalization
--On the Double Life of Veronique and Kieslowski
□ foxmachia
Difficult Beginnings
No Beginning, No End
Everything has a Spirit
Untouchable
Evanescent
Surprising
Whose Fate am I?
I've seen the trees I planted as a child
I've had young faces
I've felt a ray of sunlight cross my eyes
I've found the stems of leaves
I've burned the blood of mice
I've been wild or weak
I've cried or rejoiced
I've heard a distant
And now all this
I don't know how to find
Polish director Krzysztof Kieslowski's marvelous 1991 film the Double Life of Veronique creates a panoramic picture of the existence of people in a world that has begun to integrate. Kieslowski sets a detailed time and place, but the place, time, and people shape the film into an art film that may have a transcendent significance as a reflection on the human condition.
In the film, Kieslowski sets a detailed time and place, but the place and characters shape the movie into a possible reflection on the human condition beyond time and space.
In the first half of the movie, Weronika lives in a turbulent time in Poland, as socialist Poland begins to crumble, and when Weronika, Polish, and Veronique, French, meet by chance in a Polish square, this chaotic time becomes a time when the camera sees the faces and shouts of so many people who can never see, the people dashing about but not knowing where they are going, the crazy tanks, the loud singing, and the people who can't see anything. Crazy tanks, loud songs and a temporary whiteness without any filter. This is a Poland that seems to know no direction. People with enthusiasm but no ideals, people with motivation but no direction. They were chasing after capitalism and freedom and democracy, and in the midst of this cacophony, history finally and indisputably told us that Poland was headed for a collective spiritual collapse. Weronika is the only one who stays out of this frenzy. Perhaps the only feeling she has of this symbolic time is the trucked away statue of Lenin at sunset, and by avoiding the comical puppet-like statue of Lenin she symbolically escapes from this time. While everyone else is hiding from the rain, she continues to sing and enjoy it, thus breaking away from the mundane routine. At the same time the warm orange filter creates a peaceful halo around her that mirrors her tragic end, unlike the others. Weronika is the only one who still feels the world with her own heart, and the warm orange color represents a delicate mind, a keen awareness of her surroundings, peace and tranquility in this chaotic time and space, but what need was there for such a color in Poland at that time? It was either the red of enthusiasm, the white of indifference and resistance, or the black of moral collapse.
Weronika's eyes were full of anticipation when she sang, when she slept, when she talked to her father and aunt about her marvelous feelings and love, and everything else that was contrary to the nature of the heart - the marches, the demonstrations, the laws - filled Weronika with bewilderment, that is. Weronika's slightly frightened eyes.Weronika is a woman who lives in her own mind, so much so that the first time she has a heart attack, she runs desperately to sweep the dead leaves away, and it's heartbreakingly beautiful. Weronika is a woman living in her own mind, so much so that when she has her first heart attack, she runs desperately to sweep the dead leaves away. Weronika can not understand but also have no desire to love, and the era and the world also according to their own direction away from Weronika, Weronika a smile, meaning destruction.
If the green light represents the coming of death, and if the hunchbacked old lady represents the change of destiny, then Weronika is an ancient angel in the modern society, she sees the dying age and the coming of death, and the confrontation of indifference, and she sees the age passing by her, but she doesn't understand it, and she is bent on singing with all her heart and soul, and she is bent on helping the old lady in her dying age. , but as stated in the movie only when she dies and becomes a true angel, she watches the panicked people from the clouds.
This is a happy ending for Weronika. She belongs to her heart nature and so in this age she belongs to heaven and she can only be an angel.
In Paris at the same time, everything was quiet, beautiful, traditional, classic, and the standard of living was very high. But France Veronique's constant presence in the film in a car rather than on foot speaks metaphorically to the state of the environment in which France Veronique lives - spending time in an unchanging (driving) manner, in implicit adherence to certain norms, and skimming in front of speeding crowds.
If we compare this with the life of Weronika in Poland, we find that the car here becomes a symbol of a post-industrial society (we can say France or any post-industrial society), where the pursuit of an excellent quality of life (for example, the country's standard of development, and the standard of living of the people with the number of cars owned) comes at the price of giving up the freedom of walking, which is such a personalized act. at the expense of giving up the personalized act of walking freely. At the same time the implicit adherence to norms brought about by this acceptance turns the people actually walking on the road into neatly flying rows of glimpses, and the director's arrangement here is very obvious, as the people on the road looking out the window of Veronique's car are walking neatly, but only walking, incessantly, without being able to see where they are going. Weronika, on the other hand, is aimlessly filling the streets with steps.
Yet in a time and place where it seems that individuals act individually and disconnected from each other, Veronique's life is not entirely of her own making; unlike Weronika's, which is self-discovered, her life is guided.
For Weronika, singing is always at the center of her life in the film, and other factors that come into play in her life don't make a crucial difference to her; her death is her own chosen ending, her destiny. She talks passionately about sex with men while the other side of that pleasure is actually skated over by Kieslowski after one appearance. She feels not alone in life but even though she has seen another Veronique she still just talks. All the changes in her life came from herself and not from any other guide.
Weronika's life is as elusive as the fragments. This fragmented and scattered life is beautiful and cruel, because she ends in death as inaccessible.
However, in contrast to Weronika's short life, Kieslowski devotes nearly two-thirds of the film to Veronique's continuing life, which is also beautiful, but not in a fragmentary way, but in a coherent, dramatic, and well-orchestrated way (perhaps the most acceptable to the viewer). perhaps the most acceptable to the audience - an afterthought).
For Veronique, the boyfriend she meets at the beginning and at the end may be easy to forget, but his simple over-the-top sex with Veronique at the beginning belies Kieslowski's painstaking efforts; Veronique's last encounter with this boyfriend was at her high school graduation, and then there's no beginning of the generality of the two of them showing up for bed. With no more attentive attention than sex, this boyfriend leaves quickly and Veronique doesn't want to reveal more about her weird feelings for Weronika. It struck me vaguely that the otherwise pleasurable sex is given symbolic significance, as Veronique tries to find symbolic chance encounters in an increasingly regimented and set-up era. The theme of chance encounters, a fatalistic one, is only really understood by Weronika, while in Veronique it is misinterpreted and becomes the "shackles" of her life.
The fate of the unexpected, of surprise or sadness, becomes two things in Veronique's life, a constant and frivolous superficiality - the symbolic and dramatic effect of expectation, chance and "guessing".
Perhaps I can believe that at the end Veronique finds the true meaning of destiny, but is the boyfriend's melancholy a sign of his hesitation to be in the world?
When I exclude the boyfriend, a true bystander, I find that Veronique is guided in all her life by the other people in her life, that she can be torn between her plaintiff's girlfriend and the defendant's man, whom she does not know at all and is willing to testify falsely, and that she substitutes survival tactics for the content of her life, and that, in this sense, she is deliberately, or potentially, devoting her life to the laws of modern society. In this sense, she is deliberately or potentially committing her life to the real condition of not-being-me in accordance with the laws of modern society, and in so doing, she is making it her destiny to do so.
Veronique, sensing that she is not alone in her life, and perhaps sensing here what it means to be truly destined, makes the decision to give up her singing training altogether, but when confronted by the old man, "No one has the right to do that", "You are deserved to be a part of the world", and "You are deserved to be a part of the world", she is not alone. "You are deserved to be hauled straight towards the court", she begins to hesitantly collapse again.
The puppeteer is an earthly god who sets a trap to lure Veronique and mislead her into believing that it is an unknowable destiny to send her shoelaces - if the audience looks closely enough at the laces of Weronika's shoes in Poland, and if we get the impression that this is the connection between the two, then we are wrong. association, then we are wrong; he shines the reflection of the glass on her - if the audience thinks this is an expression of romance for her, then we are wrong; he makes a tape of her and uses it as a clue for her to find it - if the audience thinks this is an expression of intelligence and subtle expression, then we are wrong. There can be no God in this world, but only ourselves.
Veronique can't escape from the sea of people on the Rue de France, and she has no way of panicking. Yet in the stained-glass homes just a few meters from the puppeteer, she finds a refuge of temporary safety and peace of mind. She feels that the street and the hotel are her escape, and she chooses and fails. Peace of mind can never be found in a hotel, and the other side of safety is not a secular paradise.
Veronique begins to question this disciplined world when she senses that there is a spirit in the heavens and that she is not alone, and she begins to search for her own meaning, only to be led astray. The Puppeteer - I prefer to call him the Demon King - creates meaning on earth for Veronique to find, so to speak, and when Veronique finds the meaning he set out to find, she finally comes to the Puppeteer, but the Puppeteer shows her a picture of Weronika, and when the Puppeteer makes the two pale Veroniques strangling the back of their necks in their hands, and when the puppeteer writes a story of the double life of xxx, Veronique senses that the puppeteer with his light and beautiful touch is only a demon on earth in a covered-up world, because the puppeteer strangles the backs of the puppets' necks in his performances, and that her own life is nothing more than a reset search for meaning. The loss of self and the misinterpretation of predestination are expressed in a different kind of story by Kieslowski.
Kieslowski sets up a story within a set, a film in which Veronique is a set-up person, as beautiful as Weronika, but different. And all the viewers who watch this story are also the ones who are set up, and while we delight in the romance between the puppeteer and Veronique, we are also caught up in the waywardness, and that's our own problem, it's Kieslowski's set up, the puppeteer's set up, except that the puppeteer is not the one to untie Veronique, and Kieslowski gives us a life-in-continuity ending.
Kieslowski has created a wonderful story for us, a story that, if it succeeds, is a failure of Kieslowski's attempts, and the human loss of self that he is anxious about will never end, while the predestination that he wants to express will always remain an inaccessible fascination for Weronika. If the story fails us, then Kieslowski's attempts will be successful; his anxiety about the loss of the human self may not be endless, and his expression of destiny will be an attempt to internalize the viewer's observation, to reexamine the value of the times and the value of the self in relation to the viewer's own self. But the problem is that Kieslowski gives us a proposition that is intrinsically philosophically tense, while artistic perfection adds to our pessimism about the present world; Kieslowski's proposition is that in our constant attempts to internalize and discover the idea of the self, we can either choose the self or the world, which is becoming more and more superficial, and this tension is incommensurable. tension is incommensurable.
Old Key's departure, and his comments on making the movie after Red, give us a sense of the paradox of the person who emanates this philosophical reflection. Lao Ki completed his attempts at internalization, but as with Weronika's ending, passing away is the best and final solution to the problem, because the destiny of the world and the destiny of the individual can never be reconciled.
May Lao Ki rest in peace while the world still suffers.
Afterword: Old Gee may have been just a child catching a leaf in the wind, who couldn't and didn't want to tell us anything about meaning, because meaning is also incommensurable with predestination, and he caught that leaf and showed it to us. We interpret it only because we rush by.
Huang Xiaoqi: At that time, when Lao Ji said the film, he said he was not concerned about politics
Only concerned about people, delicate feelings, predestination, mysterious ......
But it seems to us that he lived in that time and that kind of environment
He couldn't escape it, subconsciously couldn't break free
I think of what Berdyaev said about the relations between Russia and Poland: "It is more difficult to understand each other, and more likely to clash with each other, if the peoples are close and close, than if they are distant and strange". Languages of the same origin make unpleasant noises, as if their own language were evil. ......
...... The Polish nation, which appears to be so inept at the construction of state institutions and is characterized by individualism and anarchy, is spiritually very strong and indestructible. and indestructible, and there is no other nation in the world that possesses such a strong national sentiment.