The soundtrack of the movie was created by Keith's old partner, Presner.
Kieslowski once said that he was a person who did not understand music, and it was Presner's sensitive musical touch that injected surprises into his films. Music, light and shadow combine with each other to burst out a special meaning. Kieslowski's film themes are often grand and sometimes incomprehensible, while Presner's music not only sheds light on us, but also makes up for what light and shadow can't express.
First of all, Les Marionnettes is unforgettable to me. The song means "puppet". For the first time, the tune played slowly in the puppet show that Veronica, France, watched. Even with a childlike rhetoric, it is still difficult to hide the sadness behind her. The girl in the play turns into a butterfly and has a sense of fate.
The one that left my mark was Van Den Budenmayer Concerto In E Minor (SBI 152) Version 1798. (Van Den Budenmayer is a fictional composer for the film by Presner.) This is the soul of the whole movie, and it appears many times (I've noticed it, at least 7 times). In the soundtrack of the movie, many songs are formed by using this as the mother song and making different changes. The performance of the orchestral instruments brings out the vocal part of the song, and the female duets are first performed to the chorus. During this period, the addition of the pipe organ is particularly important, so that the religious color of the song continues to rise. The high song of "Veronica" stretches endlessly, and the broad vocal range pushes the song to a climax and finally retracts.
The reason why there is no accurate lyrics is because at the suggestion of Presner, the "Song to Heaven" (the second song) in Dante's "Divine Comedy" was selected, and then it was all sung in ancient Italian and translated. The difficulty is self-evident.
"The Divine Comedy in Paradise" talks about paradise, full of joy and love, where human desires disappear. Dante finally saw God, his mind and will have been combined with God, and he was redeemed. Apparently, music is some kind of sustenance for the two Veronicas, a means of redemption (the Polish girl sings the Van Den Budenmayer Concerto, and the French girl rigorously teaches her students to play the Van Den Budenmayer Concerto to show that they both have this inner need).
In the end, Poland's Veronica chose to become a singer and embark on the road of art, but unexpectedly, she died suddenly of a heart attack when she officially sang the Van Den Budenmayer Concerto. Veronica from France is quite artistic, but she chooses to become a music teacher, which seems to be more "steady". She fell in love while watching a puppet show with her students, but in the process of falling in love, she was constantly used by her boyfriend and finally left in frustration. Music, for the two girls' road to redemption, is a vicious circle.
Both girls vaguely felt the existence of each other, which may be a kind of mystery of life. For example, it is like Schrödinger's cat experiment, the possibility is magnified and very mysterious. Destiny is dominated by a strange telepathy. In the light and shadow class, the golden filter, the most secret part of our heart is also surrounded by a familiar and strange sadness and warmth, which is the successful performance of Keith's humanistic care. Moved by the way of communication, moved by yourself.
In the end, Veronica of France cried when she saw the 2 puppets because her boyfriend said, "They are easy to break", the implication, just in case, has a backup meaning. How can it be spared? Even if they are almost the same. Her cry is intriguing.
Doubts:
1. Does the story of the puppet show have any profound meaning?
2. Who sent Veronica, Poland to Veronica, France?
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