There are two women, the Polish Weronika and the French Veronique (both played by Irene Jacob). They have never met, never spoken, and do not know that the other exists. They share the same losses and the same health. Weronika is a singer, and Veronique is taking singing lessons. But their lives and souls are bound together, and their personalities are yin-yang opposites, one practical and one a stargazer.

What is more, each has the strange feeling that she is, somehow, not alone in the world. One night, Weronika dies onstage while singing. Suddenly in France, Veronique is stricken with a strange feeling, and stops taking her lessons. Weronika has died, but she still lives. Soon she begins to explore, searching for the truth about her double life, and a strange puppeteer who somehow is a link between both girls.

"Double Life of Veronique" is one of those rare films that just begs to be analyzed. Is it about being puppets in some enormous scheme of things? About fate? Sacrifice? Love? One woman's soul in two bodies? Political symbolism? Or is it simply about some mysterious dimension of the spiritual? The symbols and metaphors can be unwound any which way, and in the end they all work. Even the ending is ambiguous -- is it happy, or sad?

Krzysztof Kieslowski's direction is impeccable. His use of light and shadow, and the atmospheric music, make "Double Life" practically a work of art. He dots "Double Life" with plenty of little hints about the inner states of the characters. The stars and leaves, for example, hint at the personalities of Weronika and Veronique -- one a dreamer, one down-to-earth. Kieslowski also used a minimalist approach to dialogue, often using pauses and silence that speak louder than the ordinary words.

At times this film seems like a love letter on film to Irene Jacob. Not only is she followed constantly by the camera, but her character is difficult but rewarding. Jacob shines without really seeming to, with the emotion and wonder of a small child in an adult body. Philippe Volter's aura of mystery adds to his excellent acting in his too-brief scenes. Unfortunately, few of the other characters are given much dimension -- the whole focus is on Weronika and Veronique.

This bewitching tale of love, loss, and interconnected souls winds a spell around this film. Interpret it as you will. Kieslowski's "Double Life of Veronique" is exquisite.


Beautiful, but somewhat unaffecting   July 25, 2000
 60 out of 71 found this review helpful

Much of this is an adoration of French actress Irene Jacob byDirector Krzysztof Kieslowski; in a sense it is a homage to her, oneof the most beautiful actresses of our time and one of the most talented. If you've never seen her, this is an excellent place to begin. She has an earnest, open quality about her that is innocent and sophisticated at the same time so that everything a man might want in a young woman is realized in her. Part of her power comes from Kieslowski himself who has taught her how she should act to captivate. He has made her like a little girl fully grown, yet uncorrupted, natural, generous, kind, without pretension, unaffected. She is a dream, and she plays the dream so well.

The movie itself is very pretty, but somewhat unaffecting with only the slightest touch of blue (when the puppeteer appears by the curtain, the curtain is blue, and we know he is the one, since she is always red). The music by Zbignew Preisner is beautiful and lifts our spirits, highlighted by the soprano voice of Elzbieta Towarnicka. But the main point is Irene Jacob, whom the camera seldom leaves. We see her from every angle, in various stages of dress and undress, and she is beautiful from head to toe. And we see her as she is filled with the joy of herself and her talent, with the wonder of discovery and the wonder of life, with desire, and with love.

Obviously this is not a movie for the action/adventure crowd. Everything is subtle and refined with only a gross touch or two (and no gore, thank you) to remind us of the world out there. Veronique accepts the little crudities of life with a generous spirit, the flasher, the two a.m. call, her prospective lover blowing his nose in front of her... She loves her father and old people. She is a teacher of children. She climaxes easily and fully. To some no doubt she is a little too good to be true. And she is, and that is Kieslowski's point: she is a dream. And such a beautiful dream.

An actress playing the character twice in a slightly different way has occurred in at least two other films in the nineties: there was Patricia Arquette in David Lynch's Lost Highway (1997) and Gwyneth Paltrow in Sliding Doors (1998). It's an appealing venture for an actress of course and when the actress is as talented as these three are, for the audience as well.

Note that as Weronika/Veronique is in two worlds, Poland and France, so too has always been Kieslowski himself in his real life. It is interesting how he fuses himself with his star. This film is his way of making love to her.

Kieslowski died in 1996 not long after finishing his celebrated trilogy, Trois Couleurs: Bleu (1993); Rouge (1994) and Bialy (White) (1994). We could use another like him. END


Surreal and too beautiful. Don't miss it.   October 22, 2001
 29 out of 34 found this review helpful

Surreal and too beautiful.

To say this is 'one of the most beautiful movies and Kieslowski is a genius' is stating the obvious. It is a dream and ... who else to dream about, other than the beautiful Irene Jacob!

Irene herself is a dream in this movie as she portrays two gifted look-alike musicians, sharing the names Veronique (in France) and Weronika (in Poland). They share the same ill-health, destiny and sadness. And they share an unknown effect on each other's life, despite being worlds apart. The inexplicable depression that Veronique feels when Weronika dies while performing on a stage, makes you ponder 'whether in my life I too wasn't depressed for some or other inexplicable reasons?' 'Is there another I somewhere concerned about me?' 'Is that why I was sad during that time?' 'Is someone else sharing my sorrows being somewhere in this world?' 'Will I meet him/her sometime? Somewhere?' Yes, unanswerable questions, inexplicable feelings and surrealistic thoughts. That sums up this movie.

There is an excellent sub-plot too, a puppet and its master. It is very symbolic and highly metaphorical. I still don't think I understood it properly. The music is haunting. Like the violin in "Un Couer en Hiver", Veronique's vocal music stikes chord with you. It is enchanting and sad at the same time. Close your eyes and you are drowned in dreams!

Irene Jacob is dreamy and natural, aimless, sympathetic, gorgeous, child-like innocent and sexy at the same time. She definitely deserves all the awards for her stunning double role.

'La double vie de Veronique' comes out with flying colours when compared with Kieslowski's much acclaimed colour trilogy (White, Blue and Red). Watch this movie seriously, you will enjoy it. Thank you Kieslowski!


BEAUTIFUL AND HAUNTING   June 10, 2001
 27 out of 30 found this review helpful

Irene Jacob stars in the dual role of Veronika, a Polish singer with a heart condition, and Veronique, a French puppeteer, who has some inexplicable connection this Polish version of herself. It is an interesting exploration of Veronique's life after Veronika dies, and of how Veronique feels a profound sense of loss at the death of her twin. This film was directed by Polish director Krzysztof Kieslowski just before he made his Bleu, Blanc, Rouge trilogy. While this film is a bit oblique and hard to follow at times, it is worthwhile for its dark and fascinating subject matter and the sensual treatment of the scenery and characters. Also notable is the gorgeous soundtrack by frequent Kieslowski collaborator Zbigniew Preisner.


The Divided Self   October 19, 2002
 26 out of 30 found this review helpful

I imagine this film is subtly autobiographical because the director is Polish and yet his films are all made in French. So the two Veroniques could quite possibly be the twin creative personas or muses of Kieslowski himself. The one Veronique is Polish and dies singing, the other lives on in France but with a sense of having missed the one important connection in her life. So the film feels like an allegory of lives or destinies unfulfilled and the most obvious destiny that was cut short was Poland's but this film does not make speeches, it whispers.
As an artist living and creating in exile Kieslowski must himself have felt divided into two parts. Modern life feeling impersonal is a classic theme of the twentieth century yet the way Kieslowski tells it it does not feel at all cliched, rather he breathes new life and new understanding into what it means to live in the modern world. His allegory presents a very high vision of humanity which makes us all feel responsible and connected to each other in some way. But the appeal of the film is that it says everything in such an intimate way. Veronique is a film which becomes richer with each viewing. Kieslowski's films tap into a very new kind of place that has no language barriers. His films return to a purity that is almost silent. A universality is present in his art that is quite breathtaking.