Raindrops fell like a melody and fell on a singer's face, and her companions avoided the eaves under the sudden heavy rain. She was the only one who praised God with her transparent voice like raindrops and sent the sound of this world into the sky. Her name is Veronica.
At night, the rain turns into passionate rain. Veronica and Andy enjoyed the entertainment and looked at their portrait on the wall. The eyes on the portrait did not seem to have been cast by him at some point in the past, but were more like a stranger who looked familiar, watching. self at the moment.
On the train to Krakow, Veronica took out a crystal marble with a few pentagram sequins scattered inside. The red brick minaret outside the window also appeared on the wall of the bedroom where she woke up last night. In the crystal ball, an upside-down world is reflected, accompanied by floating stars. She will remember again that maybe, on the other side of the world, there is also a reflection of herself, just like how she felt last night.
In the rehearsal room, Veronica couldn't help but sing along when she heard a strong male voice singing the familiar melody. But unexpectedly by the appreciation of the band conductor. Until she left the rehearsal room and walked into the damp and dilapidated corridor outside the door, she was still rejoicing at the encounter just now. She took out the crystal and popped it out, and threw it heavily to the ground. The pinball bounced high, bringing down a piece of dust covered with golden sunlight. The girl raised her head and indulged in the golden dust rain, as if she had returned to the afternoon singing in the rain.
On the square in Krakow, the crowd of people pursuing democracy and the army enforcing martial law were rushing about, Veronica was leaning over to pick up the music score that had been knocked to the ground. When she got up, her eyes were fixed on a bus in front of her: a French girl with the same appearance as herself, wearing the same red gloves, was fresh and curious about the movement in the square, and when she boarded the bus At that time, I kept holding my camera to take pictures of everything on this square. The moment before the bus left, the camera was shooting at Veronica, and then the girl disappeared, leaving Veronica in a daze.
After that passionate rainy night, Andy never forgot Veronica, and Veronica suddenly understood how she felt about him after finding out that he was following her for a long time. On this day, for the sake of music, Veronica did not go to Room 287 of the hotel where he was staying.
The low wall by the road was covered with withered yellow leaves, and suddenly, a young and delicate hand shoved them roughly to the ground. The one who fell along with the dead leaves was the owner of that hand, Veronica. She put one hand on her chest, closed her eyes tightly, and gasped heavily. Her expression of pain was also in the rehearsal room, and with the last high pitch, she passed over her young face.
Please go back to your own familiar land
Don't follow my adventures into the vast ocean
lest you lose me and get lost I
want to cross the ocean that no one crosses
But I have the goddess Minerva blowing
me I have the Apollo pilot The
nine muses are the bear The stars guide
me and I fall, and everything around me suddenly glows with a strange green light, I pass the crowd of the concert hall from above, the crowd flocks to me, "She's dead..." The climax
of French music ends abruptly
. Veronica also just had a physical orgasm. At this moment, she was inexplicably flooded with a layer of loneliness. And this loneliness also prompted her to make a decision, she decided to tell her teacher regretfully that she gave up.
With the music, the box slowly opened, and a girl in white ballet shoes came out and started dancing. Suddenly, after a jump, she broke her right leg, the music stopped, and the girl ended her life. The white-haired old man wrapped the girl's corpse in white cloth. The girl's corpse under the white cloth gradually rose up and turned into a more mature woman with butterfly wings. The white shroud became her cocoon. Out of a cocoon, she flew into the sky.
The relationship between puppeteer Alexander and Veronica begins with a look. After the puppet show, their eyes were intertwined on a mirror. That day, Alexander performed the story of a girl who sacrificed for art and then passed away.
A shoelace. Yes, there was only an inexplicable shoelace in the envelope, and she seemed to think that the trash can was the best place to go. I can only suggest to her that the shoelace has a unique meaning. ...she seems to understand! and many more! Did she see me...?
In another letter, there is a tape. Inside there was the bustle of the station, the familiar melody... like a rope for a message, waiting for her to climb. Veronica sees it as a clue of love, chasing the past. Sure enough, the other end of the rope was Alexander. But he, it seems that it is not her who is waiting, but his next story, the next work...
Veronica checked into room 287 of a hotel in Paris. She was accompanied by Alexander. Veronica told him about her double life experience, but Alexander found Veronica in Krakow Square in a photo. But she knew that it was not herself, but the "she" she had always felt. Helplessness, loneliness, pain... Veronica flooded in at this moment.
Alexander hopes to use his body to comfort the collapsed Veronica, and they reunite in room 287. Scattered on the bed are their marbles, photos, sheet music, and lipstick. At this moment, Alexander can no longer comfort Veronica who has lost another "self".
"Double Lives"
November 23, 1966 was
the most important day of their lives. They were born at the same time at three in the morning
in different cities on two continents. They
both had black hair and brown-green eyes . One of them burned her hand on the stove for a few days
when she had learned to walk, and the other reached for the stove but pulled it back in time . However, there was no way she knew she was going to get burned. Alexander made Veronica's puppet, an identical pair. And compose the story of "Double Life". Veronica's life finally appeared in Alexander's story, and it was a story that made her helpless, heartbroken and lonely... She left him and looked at him for the last time through a dark mirror , just like the first time they met each other. Veronica returned to her father's house, rubbing a mature and rough tree trunk in the yard. "I want to cross the ocean that no one has crossed, but I have the goddess Minerva to blow, and I have Apollo to guide..."
Twenty years ago, in France, Veronica was holding a delicate leaf and listening to her mother tell about life.
Twenty years ago, in Poland, Veronica looked at the upside-down night sky through the transparent stars.
About Filters In
Veronica's Double Life, there are two basic and impressive filters: golden yellow and green. The golden filter focuses on a few scenes of Veronica in Poland. Relying on the golden filter, the enthusiasm and positive side of Bo Wei's life are better and more intuitively expressed. Judging from the setting of the characters in the film, Powei tends to be on the warm side: sunshine, music, rain, and love are all enjoyed by her to the greatest extent. Even though she ended with death, her whole life, including death, showed a warm golden color.
The first appearance of the green filter was when Povie woke up on the first night and told her father that she felt that there was another "copy" of herself. In that scene, Povie appeared in the green lens at the same time as her own mirror image in the glass, telling her transcendental feeling. Under the green filter, this scene itself began to look a bit transcendent. In fact, the green filter does have a role in adding mystery to the film. During the class discussion, some students who only watched the clip at the time even felt that the movie had a ghost movie feel. I think this is understandable, because the director Keith did use some ethereal and supernatural elements in order to express his soul in the film. Later in the film, in many scenes involving souls and two lives overlapping, the use of green filters is the most frequent.
The Contrast of Double Lives The stories of Bovey and
Favy are linked in the timeline. The narrative of Falvey's story focuses primarily on the aftermath of Bovi's death. But the actual life experience of them is a parallel relationship that can be compared.
Povie opens with a song in the rain that sets the tone for her sacrificing art but enjoying it. Favy's first contact with music began with giving up. For everything that happened in the future, Favy's story can be seen as the inevitable result of Bovey's story being refined into conventional worldly experience to guide Favy's life. In fact, under the influence of this secular concept, Favy's life did not gain much except for the prolongation of his life: Povi gained a sincere and dripping pleasure in art and body, but Favy did not All seem depressed and barren. Favi's love progressed under the help of Bo Wei, but it still could not escape the fate of tragic: Favi's emotions and experiences were used to become a story written by his lover.
On the whole, in order to express the overlap of the two lives, Keith did not over-exaggerate the coincidence of the two lives. Instead, use some small life details, such as: eyelid pressure rings, crystal marbles, lip balm, etc. In this way, the relationship between two lives no longer falls into the category of traditional fate, but is a metaphysical parallel of souls. In the film, there is no doubt that the existence of the soul is affirmed: the shot of Bovi's death, which guides Favi to retrieve the supernatural light of shoelaces. They are all means of expressing the soul of Keith. In my opinion, the soul here does not involve a religious or scientific standpoint, but an artistic means for the director to express the possibility of dual life. Used to tell people that life could be if there was a mirror image of oneself...
Imagery and metaphorical
ropes are a recurring imagery in the film. The first appearance is when Povie and Andy are in bed, with Povie wrapping her injured finger around the rope. The finger wrapping is a symbol of Povie's trauma in the film, and it is even more obvious in the following scene: Povie auditioned at the orchestra conductor's home, and when she tried to hit a difficult high pitch, regardless of the discomfort of her heart, Her fingers were also wrapped tightly around the string of the music holder. In the first contact between Povey's soul and Favy, the rope became the carrier of the soul, conveying the message that Povey wanted to bring to Favy: Favy was also suffering from heart symptoms at that time. The straightness of the rope corresponds to the life and death on the electrocardiogram, which made Favy strengthen her belief in life.
The dismantled Lenin statue looks like an old man at a demonstration of vulnerable women. Both are rich in the director's political metaphors. The former should express Kishi's affirmative attitude towards the reform of Poland's political and economic system in the 1990s, while the latter shows that Poland, a weak motherland just after the turmoil, has also been provoked and demonstrated by traditional European powers. But this should not be the theme of the film, it's just some personal factors that Keith inserted. And almost all directors have this preference.
Interestingly, in his book, Kielovsky has a very "stern" clarification on metaphors:
I don't shoot metaphors, people just read them as metaphors, and that's fine. I always want to pique people's interest in something, it doesn't matter whether the bedroom incorporates them into the story or inspires them to analyze the story. What matters is that I forced them into something or moved them in some way.
Movies have a hard time capturing what's inside people because it's not flexible enough and therefore ambiguous enough. At the same time, because it is too clear, it appears too blurry. That is, while I was filming a scene with a bottle of milk, someone would suddenly come to a conclusion that I never thought of. For me, a bottle of milk is a bottle of milk, spilled is spilled milk, nothing else. It does not mean that the world has been divided, nor does this milk represent the milk of a mother whose mother cannot drink because her mother has long passed away. To me it doesn't have those meanings, a spilled milk is a spilled milk. That's the movie. Sadly, there is no other meaning.
I kept explaining to young colleagues I taught that when a cigar lighter is lit in a movie, it means that the lighter is lit, nothing else, never anything else. If once in 10,000 times it means something else, it means someone has done a miracle. Wells (Orson Wells) has created such a miracle. In the past few years, only one director in the world has created this miracle, and he is Tarkovsky. Bergman performed this miracle several times, Fellini performed this miracle several times. Several people have done it.
- "Kieslowski on Kieslowski"
I understand it as a kind of protection of Kee's work. A good movie can't be without a metaphor, let alone the work of a master like Kielovsky. But what Keith does not want to see is a misunderstanding of his work. and add this interpretation to his head. He still hopes to "arouse people's interest to analyze", everyone can have their own interpretation, any good work of art is completed by the author and the reader, not a one-way transmission process . What Keith shows here is his love for his own works and a dashing "no explanation" attitude. In fact, it gives the audience more freedom.
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