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- Herausgeber: Simone Malacrida
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Decades after its release, "The Double Life of Veronica" is wrongly considered an interlude film between Krzysztof Kieślowski's two most famous works. The artistic refinement, the delicate style, the magnificent interpretation of Irene Jacob and the exuberant music of Zbigniew Preisner make, on the contrary, this work completely unique and unrepeatable.
A little jewel that we will try to explore in this book, always keeping in mind the never fully revealed mystery that surrounds this film production.
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Veröffentlichungsjahr: 2023
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Table of Contents
The Double Life of Veronica by Krzysztof Kieślowski
“ The Double Life of Veronica by Krzysztof Kieślowski ”
INTRODUCTION
CHAPTER 1 - TECHNICAL SHEET OF THE FILM
CHAPTER 2 – THE IDEA AND THE STRUCTURE
CHAPTER 3 – THEMES AND MEANINGS
CHAPTER 4 – CORRESPONDENCES
CHAPTER 5 – FINDINGS AND SUBSEQUENT EVOLUTIONS
CONCLUSIONS
BIBLIOGRAPHY
SIMONE MALACRIDA
“ The Double Life of Veronica by Krzysztof Kieślowski ”
Simone Malacrida (1977)
Engineer and writer, he has dealt with research, finance, energy policies and industrial plants.
ANALYTICAL INDEX
––––––––
INTRODUCTION
CHAPTER 1 - TECHNICAL SHEET OF THE FILM
CHAPTER 2 – THE IDEA AND THE STRUCTURE
CHAPTER 3 – THEMES AND MEANINGS
CHAPTER 4 – CORRESPONDENCES
CHAPTER 5 – FINDINGS AND SUBSEQUENT EVOLUTIONS
CONCLUSIONS
BIBLIOGRAPHY
AUTHOR'S NOTE:
The opinions and reflections in this book represent the author's personal ideas and are the result of multiple viewings of the film "The Double Life of Veronica" (and other works by director Krzysztof Kieślowski).
All this has been integrated with what is present in the "Bibliography" section, drawing valid ideas from past interviews and analyses.
Decades after its release, "The Double Life of Veronica" is wrongly considered an interlude film between Krzysztof Kieślowski's two most famous works. The artistic refinement, the delicate style, the magnificent interpretation of Irene Jacob and the exuberant music of Zbigniew Preisner make, on the contrary, this work completely unique and unrepeatable.
A little jewel that we will try to explore in this book, always keeping in mind the never fully revealed mystery that surrounds this film production.
“ I'm not entirely sure what this story means. ”
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Statement by Krzysztof Kieślowski regarding the film “The Double Life of Veronica”.
INTRODUCTION
If you try to explore the life and works of Krzysztof Kieślowski, you will find various interviews, online or in paper, books that tell his evolution over the decades and reviews from film critics.
Given this set, the majority percentage (and far above half, I would say at least eighty percent) is dedicated to his "cycles" or films that make up a series: the "Decalogue" (made up, in fact, of ten medium-length films) and the Color Trilogy (consisting of three films).
This is quite normal, as these are the best known and most famous works, especially compared to what was produced before 1988 (i.e. before the Decalogue) and confined within the Polish artistic and expressive space.
Documentary productions, or even some films such as "Without End" or "Blind Destiny", were confined to the confines of the socialist system and barely distributed abroad, often even without dubbing.
In all of this, however, there is a lack.
And not of little importance, I would say fundamental.
There is little or nothing even from the film which is placed chronologically halfway between the "Decalogue" and the trilogy.
Such a film is “The Double Life of Veronica.”
Over time, a wrong idea, as widespread as it is inconsistent, has crystallized.
That is, this film is nothing but an interlude, a pause between much more complex efforts as it is part of cycles.
A kind of exception, to be treated as such.
Thus the space dedicated to this work has gradually decreased.
This book was born as an attempt, perhaps unrealistic, to restore the film in question to its central position.
In conceiving a trilogy of essays on Kieślowski's films, of which the first can only be linked to the Decalogue and the last to the color trilogy, the second, that is, this one, is internally dedicated to "The Double Life of Veronica."
This kind of reparation for a wrong suffered is, in reality, in line with what happened historically.
As soon as it was presented, the film met with unparalleled success for Kieślowski's works and inaugurated a trend and fashion.
This is how it was seen in the early 1990s and this is how we will present it in this book.
If the subsequent works (those of the trilogy) have "overshadowed" the film, it is not the task of this analysis, which has the intention of bringing the hands of the clock back to the two-year period 1990-1991, albeit with the eyes and today's experiences.
To tell the truth, if one were to look in retrospect in a completely free from opinion, the importance of "The Double Life of Veronica" immediately catches the eye.
Without the idea and creation of this film, there would have been no trilogy, neither because of the choice of actresses, nor because of the role of music, nor because of the availability of a European and no longer Polish production.
Therefore, the film is a fundamental building block, a piece without which it would have been impossible to continue further.
In reality, the importance of the issues addressed and the way in which they were exposed are evident regardless of future developments.
In other parts, the film makes sense internally, without necessarily having to seek links with the past or the future (links which, incidentally, exist and are of a significant nature).
At first glance, the work revolves around two large pivots.
Irene Jacob's interpretation and Zbigniew Preisner's music.
This is not enough.
Without superb cinematography and the profound meanings of the screenplay, the whole thing would have remained an exercise in style.
Instead, the story takes on intricate and mysterious facets, probing eternal and insoluble questions deep within.
Are we alone in the world?
What relationship exists between us and others?
What would our future be like if we were fully aware of our choices?
Is there a Destiny that moves us like puppets or are we free?
What are the mutual influences of feelings and how is a non-conflictual and truthful relationship established?
Is there anything beyond our senses, our intuition, our imagination and our ideas?
The director does not give definitive answers to all these questions.
There is no solution, much less The Solution.
There is no ending, no fixed point.
So how can we live and how can we bear the weight of existence?
Going beyond the first impression, scratching the surface and bringing the person back to the centre, "Veronica's double life" speaks to the soul of every human being.
In another form and under other circumstances, universal questions are projected onto the screen.
It's the man (or woman, in this case) at the center of everything.
It is the investigation into human nature that interests the director and this is implemented through the artistic tools of cinematography.
Images, lights, colors, sounds, words, dialogues, actions.
Unlike a book, in which words have to convey every possible idea or sensation, cinema has the prerogative of the sensorial activities and receptors of each of us.
Through transposition into various protagonists, it is possible to reflect a myriad of situations and thoughts.
This is Kieślowski's main game, who never escapes his role as an observer, as someone who stands beside him, but who actually wants to go further, to the inner abyss.
Everything is mixed with wisdom and refinement, at times delicate, as if to indicate the fragility of human existence, always hanging by a thread (and in Ancient Greece, the thread was the symbol of life itself, with the Erinyes attributed to cut it at the moment indicated by Fate).
In the rest of the book, the technical details and meaning, the previous and future history, the connections and references will be analysed, but we must not forget the compass of orientation and the background scenario.
In a single work, without the need to resort to cycles, but rather foreseeing a film that closes on itself, Kieślowski places all his ideas and this is why, as a single film, "The Double Life of Veronica" is to be considered as the most representative of the Polish director's art.
