La Double Vie de Veronique...(2/3)

Exactly fifteen years ago, a film like this was released with a divine status to the film history from then onwards...After ages, I am glad to have it watched again in a proper theatre room. This has been an influential film to me, and last night when I watched it again in MK2, a strong sentiment of the spiritual ritual to film has overflown again from my mind. It is a feeling that I have missed for long time. I still remember the time when I was in high school which films like this had been fascinating my horizon. Renting video tapes from kps would be a leisure after school. At that moment, I realised that someone in this world could actually have made such kind of magnificent films. There are surely lots of elements in the film that I have forgotten or missed when I saw the film years ago. Perhaps the music of Preisner can be so significently touching and the music and soprano just magnified the weight of this film, and altogether with the sepia colour Kieslowski used in the film, the work was just as precious as a glittering crystal that can last long. Irene Jacob acted naturally in divo in the film. I would see the piece expresses much of the view of destiny of Keislowski. The structure of the film, as depicted in the title of the film, is a construction of dualism with two Veronique in two different world. I like the scene of the puppet show. Some editing work in the film, when reviewed again now, is yet to be perfect, but never would it severely distract the spirit and the arrangement of the film. The film is vulnerable in a sense that the fragile nature of life hinters one's expectation to more about in life. Existence would never be single and alone. Someone exists because there is another someone. I believe this is true. The master use of light by Keislowski was fully shown off in the film. I do not know if this is the best film I have ever seen, but I doubt if a similar one can be produced again in future.

A Review on Eleni Karaindrou...(20/9)

When visiting the website of eslitebooks, the bookstore is at the moment presenting the works of Eleni Karaindrou on its music section. It gives a brief introduction of the composer and his works...His music has a sense of broadness of vision and perception, and it is exactly the kind of music Theo Angelopoulos's film is looking for. The kind of harmony of sound and vision is like the master pair of Kieskowski and Zbigniew Preisner. The difference between Karaindrou and Preisner is their varied focus to life. The former composer looks at the scope of world in a magnifying magnitude, while the latter prefers a more micro and objective viewpoint. The different approach is just shown on the films of their partnering directors. We may argue that the influence would be the other way round, meaning that the vision and the story script lead to the development of film music. Nonetheless, there is no doubt how music in film can be such influential for its role to the total experience for the audience. In the modern world, a film cannot live without the music - this is uncontroversial.