It intensifies Weronika’s emotions, building up to a climax, and it is a leitmotif throughout the movie. In Hollywood movies, music is often just a tool to express either a character’s emotions or plot twists, while in Kieslowski’s movies, especially this one, it is the heart of the movie. The music is playful and joyful at times it portrays innocence, but soon deep and melancholic sounds appear that anticipate tragedy. It sounds like a distressful memory that is forgotten, but stays in the mind. The flute evokes a feeling of longing, and the piano a sense of loss and abandonment. This attribution is interesting because it gives the viewer an impression of antiquity and beauty. In this film, as in other films by Kieslowski, it is attributed to a fictional composer who lived 200 years ago, Van den Budenmayer. The music for the film was composed by Zbigniew Preisner. Her body is not just flesh it becomes art. Scenes in which she appears half naked are truly erotic, but never cross the line of becoming simply an object of desire. She is beautiful, a woman in her prime, but also someone who is capable of deep emotions she almost blends with a character as she becomes both Weronika and Veronique. That kind of performance could only be delivered by someone with great discipline and a sense of duty toward creating art. Her presence on the screen is gracious, but also shows that she possesses a strength of character. Her facial expressions, movements, and the way she talks are all perfectly executed in a fashion that is both captivating and mesmerizing. As Weronika and Véronique, she is gentle, sensitive, innocent, and childlike at times, but also feminine and erotic. She received the Best Actress award at the Cannes Film Festival Award for it, and it was more than deserved.
#Behind the frame the finest scenery ending explained movie
What makes this movie truly unique is Irène Jacob’s performance. The connection is broken, but it lives on. Weronika dies, but Veronique feels love toward her. This scene shows the imaginary character of their relationship, which is transformed into art.
The only time they are physically near is when Veronique takes a picture of Weronika while she is riding on a bus. Weronika is a vocal soloist, and Veronique teaches music, but they have never met each other. The movie is about two women who look exactly the same and lead similar lives. This film’s subject is precisely that: a connection that is beyond the barriers of space and time. It may have transcended the usual relationships between human beings, involving sincere care for that person’s well being and, it can almost be said, pure empathy. The inspiration for making this film could have been an experience of a psychic connection, perhaps with a woman. It could easily be claimed that the finest Kieslowski’s accomplishment is “Three Colors: Blue”, which is breathtaking and won him the Best Film award at Venice Film Festival, or “Three Colors: Red”, which received Oscar nominations in three categories, but here, the reasons will be presented why “The Double Life of Veronique” is not only his best film, but a perfect film. This particular melancholy and a sense of lost time can be traced in Kieslowski’s movies, and are important to understanding him as a director and as a human being.
The Poles suffered greatly, especially under the communist regime. Poland is a unique country, one that is beautiful but burdened with a feeling of tragedy that characterizes its place in history. Kieslowski’s connection with his native Poland is particularly important to understand this great director, starting from his career as a director of documentaries, until later in his career that ended with the “Three Colors” trilogy. While Bergman explores the human soul in tragic circumstances, Kieslowski explores the question of meaningful life its moral aspects (in “Dekalog”, for instance), and what it truly means to be human. He once said: “I try to make films which connect people.” It is similar to Bergman in a way, since he also stressed, throughout his movies, the importance of meaningful communication between people, but Kieslowski’s approach is quite different. You can try to analyse this connection, but it is a form of psychic connection that just happens. Krzysztof Kieslowski is one of those rare directors who can reach the viewer in an almost unexplainable way.
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