In Kielovsky's work, "Veronica's Double Life" seems to never be able to keep up with his posthumous work - the interpretation of freedom, equality and fraternity based on the French flag "Blue. White. Red" trilogy, perhaps because of the grand theme of the trilogy. It is precisely because of its grandeur and my love for Irina Jacobs that I prefer the delicate and small "Veronica's Double Life".
The film inherits the themes that Keith has always explored, fate and chance, chance and inevitability. Under the vast starry sky, the mother was telling her Veronica about the universe and leaves. In this starry sky with infinite possibilities, did the almighty creator really create two identical leaves in a corner of the world— - Waiting for each other, living separately.
The picture in the yellow filter is like the holy light from the glass of the church, showing the meeting of the two Veronicas. At this time, "Song of Towards Heaven" sounded, and an almost divine destiny began.
Veronica, they have the same name, the same face, the same voice and the same fragile heart. They bloom one branch but the world is different - Poland, France (this is also the two "hometowns" of Kielovsky's film career).
Poland's Veronica likes to sing. She can sing until it rains and burst into tears. She can run on a road full of stagnant water. She can dodge a truck with a statue of a leader. She can make out with her boyfriend in the alley. The ring scratches the eye socket to decompress, and will put the face against the glass to cool down... A person who entertains himself in his own world. When she woke up from a nap one day, she asked her father, she felt that she was not alone in this world, and her father's answer was: of course not.
Due to her talent in singing, she was admitted to a local opera troupe by exception. When she happily crossed the square, the parade crowd knocked her down, and the sheet music in her hand was scattered all over the place. Just as she looked up, she found not far away. another self. She stood blankly, no one could tell what she thought, but what kind of happiness was this, because at this staggered moment, she was not alone.
But this kind of happiness is also a moment. At the concert, her fragile heart could not bear the unreachable high pitch. She sang with her life, and the high pitch stopped abruptly, and her soul floated away from the top of the audience.
At this time, Veronica in France was having sex, and suddenly, she felt an unprecedented sadness and was at a loss. With a faint call, she began to look for it.
The cold stage, the dancer's butterfly, and the lines on the puppet show God's invisible control of her destiny.
She thought that getting love would relieve her loss, but it turned out to be kitsch in the end. After a dialogue with the puppet artist, the photos that were occasionally interlaced and frozen in time and the puppets scattered on the side confided silently: God created a beauty, because Fearing that this beauty would be destroyed, another beauty was created. Doomed to her loneliness from now on.
The adult world is often: know each other's life and death, and then live separately.
This time, Kielovsky used poignant pity to pay attention to the inner loneliness of modern people - the concept of city has become unreal under the row upon row of buildings, while the lives of those who walk in it appear pale and bleak. In the rush, I forgot to talk, forgot to console, and forgot to share, and my understanding of root nature became more and more vague and ambiguous.
In such a state of mind, loneliness comes into being. Fortunately, Kielovsky and his films remind us of those inner existences that may be forgotten, such as a certain life state, a certain inner need, certain people and certain things. He can't give us the answer, but he can give us that state of mind.
His films have always had a deep-seated theme; his eyes are on morality, on desire; obsessed with: If this were not the case, what would be the fate of life? the proposition; the glimpsed fragments of life are his brushstrokes; slowly extending, and finally expanding into a song of life.
Avoid the hustle and bustle of the crowd, quietly review, unknowingly has penetrated your heart, giving you longing. Just like the ending of the movie, it is not like the happy ending of "Blue. White. Red", but Veronica's ordinary return. And this kind of ordinary, but it has reached the realm and created greatness.
In 1996, 56-year-old Kielovsky died of a heart attack in France. The master who has been telling fate all his life has never escaped the arrangement of fate. What I remember is his cigarette that never leaves his hands, his keen Gaze and The Double Life of Veronica.
Begin to doubt whether there is a feeling of mutual connection, shadows that complement each other, voices that echo each other, and double lives that are closely related.
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