□ foxmachia
A difficult beginning
immortal
Everything has animism.
Don’t?Touch?
roam about
pleasant surprise
Who will decide my life?
I once saw the trees I planted when I was a child.
I once had a gentle face.
I once felt a ray of sunshine passing through my eyes.
I once found the stems of leaves.
I once burned the blood of rats.
Am I arrogant or cowardly?
I cried and I was happy.
I have heard distant songs.
Now all this
But I don't know how to find it.
Polish director krzysztof kieslowski made a wonderful film "The Double Life of Veronica" in 199 1, which created a panoramic picture of people's life in an integrated world. He didn't routinize or even narrate such philosophical content like other directors, nor did he process a film into a classic oil painting like those directors who only pursue film exquisiteness. Khiesz Lovsky set a detailed time and place, but starting from this place, time and people, the film was shaped into an artistic film that may have thinking about human existence beyond time and space.
In the first half of the film, Veronica lived in a turbulent era in Poland, and socialist Poland began to collapse. When Veronica of Poland and Veronica of France met by chance in the square of Poland, this chaotic era turned into faces and shouts that many people could never see clearly, people who ran but didn't know the direction, crazy tanks, high singing and temporary pallor without any filter in the camera. This is a Poland that seems to have no direction. People only have enthusiasm without ideals, and people only have motivation without direction. They pursue the capitalism, freedom and democracy they want. In this noisy background, history finally tells us that Poland has gone to a country with a collective mental breakdown. In this frenzied era, only Veronica is behind the times. Perhaps only the statue of Lenin, which was carried away by truck at sunset, was her only feeling about this symbolic time. She escaped from the statue of Lenin like a funny puppet, that is, symbolically escaped from this era. When others dare not hide from the rain, she continues to sing and enjoy the rain and dew, thus breaking away from the secular laws. At the same time, the warm orange filter creates a peaceful aura around her, which is also the reflection of her unique tragic ending. Only Veronica is still feeling the world with his own thoughts. This warm orange represents a careful mind, a keen understanding of the surrounding environment, and serenity and calmness in this chaotic time and space. But why did Poland need such a color at that time? It is either red with enthusiasm, white with indifference and resistance, or black with moral collapse.
When singing, sleeping, and talking about his wonderful feelings and love with his father and menstruation, Veronica's eyes are full of expectations, and everything else that goes against his heart-demonstrations and laws-confuses Veronica. That's Veronica's slightly frightened eyes. Veronica is a woman who lives in her own mind, so that when she had her first heart attack, she ran desperately to sweep the fallen leaves, which was heartbreaking. The exhibitionist who seems to walk casually in the film represents this deformed and ever-changing world. Veronica was not surprised, angry or turned to the authorities for sanctions. She only felt and suspected that this deformed and changing world had shown an ugly side in front of Veronica and quietly walked away. Veronica can't understand it, but she has no love for it. This era and the world are far away from Veronica according to their own direction. Veronica's smile means destruction.
If the green light represents the coming of death and the hunchback old lady represents the change of fate, then Veronica is the ancient angel of modern society. She saw the dying age and the coming of death, and saw the cold confrontation. She saw the times pass by her, but she didn't understand. She sang wholeheartedly, trying to help the dying old lady, but as the movie said, she died just in the clouds and became a real angel.
This is the happy ending of Veronica. She belongs to her own soul, so in this era, she belongs to the kingdom of heaven, and she can only be an angel.
At the same time, everything in Paris is quiet, beautiful, traditional and classic, and the living standard is very high. However, Veronica, a Frenchman, constantly appears in the film by car instead of walking, which symbolizes the living environment of Veronica, a Frenchman-spending in the same way (driving), spending in the implicit compliance with certain norms, and passing in front of the fast crowd.
If we compare the life in Weronika, we find that the automobile has become a symbol of a post-industrial society (we can say that it is French or any post-industrial society), and people's pursuit of a better quality of life (such as the developed level of the country and the level of people's living standards) is at the expense of giving up the personalized action of walking freely. At the same time, this acceptance implies compliance with the norms, but it turns the people who really walk on the road into rows of neat flying glimpses. The director's arrangement here is very obvious. From the window of Veronica, the people on the road walked neatly, but they just walked, kept walking and couldn't see the direction clearly. Veronica walked aimlessly in the street.
However, in this time and space where everyone seems to be acting independently, Veronica's life is not entirely created by herself. Unlike Veronica, her life is self-discovery, and her life is guided.
For Veronica, singing is always the center of her life in the film, and other factors in her life have not brought vital influence to her. Her death was the result of her own choice and her fate. She talked about sex with men cheerfully, but the other side of this happiness was actually passed on by Khiesz Lovsky after an appearance. She feels that life is not lonely, but even if she sees another Veronica, she still just tells it. All the changes in her life came from herself rather than other guidance.
Veronica's life is as unpredictable as a fragment. This fragmented life is beautiful and cruel, because she ends in death and is inaccessible.
However, compared with Veronica's short life, Khiesz Lovsky arranged nearly two-thirds of the time to tell the story of Veronica's continuous life. Veronica's life is also beautiful, but this beauty is not fragmented, but a coherent, dramatic and carefully arranged (perhaps the most acceptable to the audience-this is another story) beauty.
For Veronica, the boyfriend she met at the beginning and the end may be easily forgotten, but his simple impromptu sex with Veronica at the beginning hides Khiesz Lovsky's pain. Veronica last met this boyfriend after graduating from middle school, and they didn't start to appear in bed after that. In addition to sex, without other careful care, the boyfriend left soon, and Veronica didn't want to show her strange feelings about Veronica. This makes me vaguely feel that the happy sex that originally belonged to me has been given symbolic meaning. Veronica is trying to find a symbolic accidental encounter in an era of more and more discipline and setting. Accidental encounter, this fatalistic theme was really understood only by Veronica, but it was misunderstood by Veronica, which became the "shackles" of her life.
Unexpected, surprising or sad fate has become two frivolous and superficial things in Veronica's life-symbolism and expectation of dramatic effect, contingency and "guess".
Maybe I can believe that Veronica finally found the true meaning of fate, but did her boyfriend's melancholy express his hesitation to the world?
When I exclude this boyfriend, a real bystander, I will find that Veronica's life is guided by others in her life, and she replaces the content of her life with survival strategies. In this sense, she intentionally or potentially puts her life in a real non-ego situation according to the laws of modern society, and takes this as her destiny.
Veronica feels that she is not alone in life. Maybe she felt the real fate here, so she decided to give up singing training completely, but she began to hesitate again in the face of the old man's answers that "no one has the right to do that" and "you were saved just to go straight to court for being haunted".
Puppet artists are gods in the world. Step by step, he set a trap to lure Veronika and make her misunderstand that this is an unknowable fate. He gave her a shoelace-if the audience carefully looks at this shoelace of Polish Veronica, if there is association between the two of us, then we are wrong; He reflected the glass on her-if the audience thinks this is her romantic performance, then we are wrong; He recorded a tape for her as a clue she was looking for-if the audience thinks this is a wise and clever expression, then we are wrong. There can be no God in the world, only ourselves.
Veronica can't escape or panic in the vast sea of people on the streets of France. However, in a stained glass house just a few meters away from the puppet artist, she found a temporary safe and quiet shelter. She felt that streets and hotels were places where she could escape. She chose and failed. You will never find inner peace in a hotel, and the other side of safety is not a secular paradise.
When Veronica felt that there was a soul in heaven and she was not alone, she began to doubt the disciplined world. She began to look for her own meaning, but she was misled. Puppet artist-I prefer to call him the devil. It is the devil who has created meaning in the world for Veronica to look for. So, when Veronica found the meaning he set, he finally came to the puppet artist's side, but the puppet artist showed her a photo of Veronica. When the puppet artist asked two pale Veronica to hold their necks and perform in their hands, and when the puppet artist wrote a story about xxx's double life, Veronica felt that the light and beautiful puppet artist was just a devil hidden in the world, because the puppet artist grabbed the puppet's back neck while performing, and her own life was just a process of finding the meaning that had been reset. In another story, Khiesz Lovsky expressed his loss of self and misunderstanding of fate.
Khiesz Lovsky made up a story. Veronica in the film is a set person. She is as beautiful as Veronica, but different. And all the viewers who watch this story are also set. When we are happy for the romantic story of the puppet artist and Veronica, we are also caught in the wrong path. This is our own problem, a trap for Khiesz Lovsky and a trap for puppet artists, but the puppet artists did not untie Veronica, and Khiesz Lovsky gave us a continuation of life.
Khiesz Lovsky has created a wonderful story for us. If this story is successful, then Khiesz Lovsky's attempt is a failure, and the loss of human self he is worried about will never end. The fate he wants to express will always be an unattainable charm of Veronica. If this story fails us, Khiesz Lovsky's attempt will succeed. His anxiety about the loss of human self may not be endless, and the fate he expressed will also be an attempt for him to hope that the audience will observe from the inside and re-examine the value of the times and self-worth for themselves. But the problem is that Khiesz Lovsky's proposition has inherent tension in philosophy, and its perfection in art increases our pessimism about the world. Khiesz Lovsky's proposition is that when we constantly try to internalize and explore our own ideas, we either choose ourselves or the world, because the world is becoming more and more superficial, and this tension is incommensurable.
Lao Ji is gone, and his comments on "The Red Queen Filming" make us feel the self-contradiction of the sender of this philosophical thinking. Lao Ji has tried to internalize again and again, but just like the ending of Veronica, passing away is the best and last way to solve the problem, because the fate of this world and the fate of individuals can never be agreed.
May Lao Ji rest in peace, while the world is still suffering.
Postscript: Lao Ji may just be a child who caught a leaf in the wind. He can't and doesn't want to tell us anything about meaning, because meaning and fate can't be agreed. He grabbed the leaves and showed them to us. We read it only because we hurried by.
Huang: When Lao Ji said this film, he said that he didn't pay attention to politics.
Only pay attention to people, delicate feelings, fate, mystery ...
But in our opinion, he lived in the environment of that era.
He can't escape, subconsciously can't break free.
I remember Berdyaev's theory on the relationship between Russia and Poland: blood relations and close ethnic groups are more difficult to understand each other and more likely to conflict with each other than distant and unfamiliar ethnic groups. Homologous languages make unpleasant sounds, as if they were possessed by evil in their own languages. ...
..... It seems that the Polish nation, which is not good at the construction of state institutions and has the characteristics of individualism and anarchy, is very strong and indestructible in spirit, and no other nation in the world has such strong national feelings.