Film Review:
An Attempt at Internalization
- On the Double Life of Veronique and Kieslowski
□ foxmachia Difficulty
Beginnings
No Beginning No End Animated Untouchable Elusive SurpriseWho Am I? I've seen the trees I had young faces I've felt a gleam of sunlight through my eyes I've found the stems of leaves I've burned the blood of rats I've been arrogant or cowardly I've cried Or joy I have heard distant singing and now I don't know how to find it. Polish director Krzysztof Kieslowski's fantastic 1991 film the Double Life of Veronique creates a panoramic view of people in a world that has begun to come together . In the picture of survival, he did not routinely shoot such philosophical content as rigid or even narrative, as other directors, nor did he process . Kieslowski sets the time and place in detail, but the place, time and characters shape the film into a tale of the human state of existence that may have transcendence in time and space.
Thinking art video.
In the first half of the film, Weronika lives in a turbulent time in Poland, where
socialist Poland begins to crumble,
and this chaotic time is on camera when Weronika of Poland and Veronique of France meet by chance in a square in Poland. Became the faces and shouts that many people can never see , the people who run and don't know the direction, the crazy tanks, the high singing and the temporary whiteness
without any filter .
This is a Poland that doesn't seem to know its way. People only have enthusiasm but no
ideals , and people only have motivation but no direction. They are looking for the capitalism and freedom and democracy they want, and
in this noisy background, history finally tells us that Poland is heading for a collective
spiritual collapse. In these frenzied times, Weronika alone stands out.
Perhaps only the Lenin image that was trucked away in the sunset was the only feeling she had of this symbolic time , and she was escaping the era
symbolically by avoiding the comical puppet-like image of Lenin .
When everyone else was hiding from the rain, she continued to sing and enjoy the rain, thus
breaking away from the laws of mundane affairs. At the same time, the serene halo around her created by the warm orange-yellow filter
is also a reflection of her tragic ending unlike others. Only Weronika is still
feeling the world with her personal heart. This warm orange color represents a meticulous mind, a keen
understanding of the surrounding, peace and tranquility in this chaotic time and space, but Poland at that time Why do we need such colors
? It is either red for positivity and enthusiasm, or white for indifference and resistance, or black for moral rout.
While singing, in my sleep, talking to my father and my aunt about my wondrous feelings
When we were in love, Weronika's eyes were full of anticipation, and everything else that was contrary to the nature
of the heart - marches, demonstrations, and laws made Weronika full of confusion, and those were Weronika
's slightly frightened eyes. Weronika is a woman who lives in her own heart, so that when she suffered a heart attack
for the first time, she ran desperately to sweep away the dead leaves, which was so beautiful that it hurts. The exhibitionist, who seems to
be walking around in the film, represents this deformed and changing world. Weronika has no surprise, no anger
, and did not resort to the sanctions of the authority. She only thinks and doubts.
Weronika showed an ugly side in front of her and walked away quietly. Weronika couldn't understand but she
had no intention of falling in love, and this era and the world also moved away from Weronika in its own direction.
Weronika smiled, meaning destruction.
If the green light represents the coming of death, if the hunchbacked old lady represents the change of fate,
then Weronika is an ancient angel in modern society, she sees the age of twilight and
the coming of death, sees the confrontation of indifference, she She saw the times pass by her, but she didn't understand
, she sang with all her heart, she wanted to help the dying old lady, but as described in the film, only when
she died and became a real angel, she could Watching panicked people above the clouds.
This is the happy ending for Weronika. She belongs to her own nature, so in this era, she
belongs to the kingdom of 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 the French Veronique constantly appears in the film as a car instead of on foot, metaphorically speaking
It reflects the state of living in Veronique, France - in the same (driving) way, in the
implicit observance of a certain norm, passing in front of the speeding crowd.
If we compare the life of Weronika in Poland with this, we find that the car here has become a
symbol of a kind of post-industrial society (we can say French or any post-industrial society), people
's pursuit of a good quality of life (such as national The development standard of the people, the level of people's living standard is
one of the car ownership) at the price of giving up the personal act of free walking. At the same time, the implicit adherence to norms brought about by this
acceptance has turned the people who actually walk on the road into rows of neatly
flying shadows. The director's arrangement here is very obvious. From the Veronique car window, the road The
person walking neatly, but just walking, keep walking, can't see the direction. And Weronika strode aimlessly on the
street .
However, in this space and time where everyone seems to be acting independently of each other, Veronique's life
is not entirely created by herself, her life is not self-discovered like Weronika, her life is
guided.
For Weronika, singing has always been the center of her life in the film, and
other factors that appeared in her life did not have a crucial impact on her. Her death was the ending she chose, her
destiny. She talks passionately about sex with men and the other side of that joy is actually
swept away by Kieslowski after one appearance. She felt that she was not alone in her life but even though
she had seen another Veronique she was just speaking. All life changes come from
her own and no other guide.
Weronika's life is as elusive as fragments. This life scattered like fragments is
beautiful and cruel, because she ends in death unapproachable.
However, in contrast to Weronika's short life, Kieslowski arranged for nearly two-thirds of the
time to tell about Veronique's still-going life. Veronique's life is also beautiful, but
this beauty is not fragmented, but coherent, dramatic,
orchestrated (perhaps the most acceptable to the audience - this later) beautiful.
For Veronique, the boyfriend she met at the beginning and end may be easy to forget,
but his simple cutscene sex with Veronique at the beginning hides Kieslowski's painstaking efforts.
The last time Veronique and this boyfriend met was after graduating from high school, and then the two of
them attention. Except for sex, without other careful attention, the boyfriend quickly left
, and Veronique did not want to reveal her more. Weird feeling about Weronika. This made me vaguely
feel the pleasure sex that originally belonged to me was endowed with a symbolic meaning, and Veronique
was trying to find symbolic encounters in an age that was increasingly disciplined and set. By chance encounter, this fateful
theme is only truly understood by Weronika, but misunderstood by Veronique and
becomes the "shackles" of her life.
An unexpected, surprising or sad fate has
become , constantly frivolous and superficial—symbolic and dramatic anticipation, chance and
"guessing."
Maybe I can believe that in the end Veronique found the true meaning of fate, but does that boyfriend
's melancholy show his hesitation towards the world?
When I exclude this boyfriend, a true bystander, I see that Veronique's entire
life is guided by other people in her life, and she can wander between her accuser girlfriend and
the accused man she doesn't know at all And willing to give false testimony, she replaced the content of life with the strategy of survival.
In this sense, she deliberately or potentially put her life
into the real non-self situation according to the laws of modern society, and used the law of modern society. This is destiny.
Veronique felt that she was not alone in her life. Maybe she felt the
real , so she made a decision to give up singing training completely, but in the face of the old man "No
one has the right to do that" "You are deserved to be hauled
straight towards the court", she resumed the hesitant rout.
The puppet artist is a god in the world. He set up a trap to induce Veronique step by step, and
made her misunderstand that it was an unknowable fate. He gave her a shoe to bring her - if the audience looks carefully, this
is the shoe of Weronika in Poland belt, if we have the association that this is between two people, then
we are wrong; he illuminates her with the reflection of the glass - if the audience thinks it is a romantic expression of her,
then we are wrong; he gives her The tape was taped as a clue for her to look for—if the audience
thought it was an expression of intelligence and subtlety, then we were wrong. There can be no God in this world, but
only ourselves.
In the vast crowd of French Street, Veronique can't escape, she has no way to panic
. However, in the stained glass dwelling just a few meters away from the puppet artist, she found temporary
safety and a peaceful refuge. She felt that the streets and hotels were places where she could escape, and she chose
and failed. Peace of mind can never be found in hotels, and the safe shore is not a worldly
paradise.
Veronique began to doubt this disciplined
world when she felt that God has a spirit and she was not alone. She began to search for her own meaning, but she was led astray. Puppet artist
- I am more willing to call him the devil, he created meaning in the world and let Veronique find it, so
when Veronique found the meaning he set, he finally came to the puppet artist, but the
puppet artist showed her Weronika's photo, when the puppet artist made two pale Veroniques to
hold their necks in their hands to perform, when the puppet artist wrote a
story of the double life of xxx, Veronique felt it, the technique was light and beautiful The puppet artist of her is just
a masked demon king in the world, because the puppet artist grabbed the back of the puppet's neck while performing
, and her own life is nothing but a process of meaning-seeking that has been reset. The loss of self
and the misunderstanding of fate are expressed by Kieslowski in a different story.
Kieslowski sets up a story within a set, where Veronique is a set
person who is as beautiful as Weronika, but different. And all the viewers who watch this story are also
set people, when we rejoice in the romance of the puppeteer and Veronique, we
We have also fallen into the wrong way, and this is our own problem. It is Kieslowski's trap, the puppet artist
's trap, but the puppet artist did not solve Veronique's trap, and Kieslowski gave us
a life in the continuation of the end.
Kieslowski has created a wonderful story for us. If this story is successful,
then Kieslowski's attempt is a failure, and the loss of self that he is anxious about will never
end. The fate he wants to express is Always an unattainable charm of Weronika.
If this story makes us feel like a failure, then Kieslowski's attempt has succeeded.
The loss of the self that he is anxious about may not be without end, and the fate he expresses will also become
an attempt to internalize the observation of the audience. An
attempt to . But the problem is that the proposition Kieslowski gave us is inherently tense in philosophy,
and perfection in art adds to our pessimism about the world. Kieslowski's thesis is that as
we try to internalize and discover our self-idea, we either choose the self
or the world, because the world is becoming more and more superficial, and this tension is incommensurable.
Lao Ji left, and his comments on the film after the filming of "Red" made us feel the self-contradiction of the originator of
this philosophical thought. Lao Ji has completed his internalization attempts again and again,
but just like Weronika's ending, passing away is the best and final way to solve the problem, because
the fate of the world and the fate of the individual can never be negotiated.
May Lao Ji rest forever, while the world is still suffering.
Postscript: Lao Ji may just be a child who grabs a leaf in the wind. He can't and doesn't want to tell
us anything about meaning, because meaning and fate are incommensurable. He grabbed the leaf and
showed it to us. . We read only because we hurried past.
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