Norman Holland on Krzysztof Kieslowski, Three Colors: Red; Trois couleurs: Rouge ().
Trois couleurs: Blanc (original title) .. The marriage breaks down and Dominique divorces Karol, forcing him into the life of a metro beggar Plot Keywords. Three Colors: White (Trois Couleurs: Blanc) Reviews We don't know much about the history of their relationship, but we do know that Dominque is divorcing Karol The plot for this movie is absolutely wonderful, well worth watching. The Three Colours: White is the second part of Kieślowski trilogy. The titular This is very ironic – human relationships are based on dominance, not equality . Still frame from Three Colors: White directed by Krzysztof Kieślowski. Blanc (Three Colours: White), France / Poland / Switzerland
In the last moments of the film, the harsh, punitive judge at its center Jean-Louis Trintignant hugs that puppy. He is the most ambiguous character of the trilogy. He admits his action is both illegal and immoral, and it incurs the wrath of his neighbors and a lawsuit.
In appreciating this film, much depends on how you read him. Several critics have compared this all-knowing judge to God, who is also a judge. Later, when he has given up his godlike listening powers, he changes a light bulb. When the dog Rita tries to get back to the judge, she looks in a church.
Granted, he kills people in the process or the newspaper and tv counts differ. But then the Old Testament God was pretty casual about killing people who got in the way of his projects.
For both, a law book accidentally fell open to the topic their examiners quizzed them on the next day. Both have fountain pens: Both were betrayed by blonde women they loved, and both were broken up by it. Both followed the woman and her new lover to England. It is as though the young judge is repeating the life of the old judge, and the old judge is now making it come out differently. The bitter old man says that he would have been better if he had met Valentine when he was young, and now he apparently causes a meeting between Valentine and the young judge as if to correct the earlier failure.
He controls lights and characters. Many of the signs will not get through to him, but we let them build up so that at least some do, so that he understands the principle.
For example, he hired the expensive Technocrane, new in Europe at the time. The device gives his "principle" of connection visual form.
Norman Holland on Krzysztof Kieślowski, Three Colors: White; Trois couleurs: Blanc ().
The judge also resembles Prospero in The Tempest, an old magician who can foretell the future for his characters, who can perhaps create a storm, who has rejected the world, who is redeemed by a young woman. Valentine is the saint of love--and so is this young woman. She plays an angel of mercy to this harsh, perhaps supernatural judge. And one can read this film in yet another way, as showing how mercy counters a hard, punishing judge.
But the film seems to show him listening wirelessly. To be sure, some have cordless phones, and the judge could be listening to the signal between base and handset. After all, his lawyer says there is light white at the end of the tunnel. He claims no more than that they love each other at the end.
That final mutual love seems a kind of rebirth or resurrection for Karol. For all three films in the trilogy, the regenerative power of love is a major theme. In Blue it was true. In its non-ironic form, death-and-rebirth enacts one of the great mythic themes. Death-and-resurrection occurs in many of the great god-stories, Adonis, Tammuz, Mithras, Osiris, Persephone, Dionysus, and, of course, Jesus.
Similarly, all the great epics have descents into an underworld, and at least figurative rebirths as a result, the Odyssey, the Aeneid, Beowulf, the Divine Comedy, Paradise Lost, Ulysses. And a host of lesser poems and stories have deaths and rebirths.
Review: Trois Couleurs: Blanc (Three Colors: White, 1994)
The two of them then slide on the Warsaw ice like a couple of ten-year-olds—reborn as happy children, for the moment. Karol elaborately fakes his own death in order to trap Dominique, and then love brings him to life, but with tears.
Then there are the figurative deaths-and-rebirths: Then Karol is reborn as a post-communist plutocrat, not only richer but smarter—and sexually potent.
Here it is surely ironic. Nothing in the film changes that.
It runs all through this film, varying from the heavenly to the basest: White is the color of purity, hence a "white" marriage is an unconsummated marriage. Two people help Karol in his resurrection. He is like a father to Karol, a father whom, in the best oedipal tradition, Karol rescues from suicide.
Then there is his brother Jurek Jerzy Stuhr who feeds him, nurses him, and tries to limit him to the hairdressing business. At the end, we see Jurek as a homebody, aproned and preparing bread and jam for Karol.
Three Colors: White (Trois Couleurs: Blanc)
At first, it defines Karol as hairdresser, then as the lowest of street musicians. Finally, back in Poland with Dominique in prison, he looks through the comb. Or his own imprisonment? Or is he simply trying to see things differently? As he leaves Paris, Karol buys a Watteauish plaster bust that apparently reminds him of Dominique.
His films are extremely personal. We saw an extremely unique take on liberty in "Blue", and this is just as clever in it's theme of equality. What's so fun to watch about these films as that you spend a lot of the film trying to figure out where these symbols come into play. Not only does the story go off in unpredictable ways, but the audience is left overwhelmed by the amount of detail and metaphor put into almost every single frame.
It's like puzzle solving - you can't put in one of these for mindless entertainment. There's just no way. Zbigniew Zamachowski's performance in "White" is a very strange one. He's a very talented comedic actor, but you just wouldn't think to place this type of performance with the subject matter. Some of his mannerisms were cartoonish - straight out of a silent Charlie Chaplin picture, but the tone of the movie is incredibly dark. I'm not sure why this worked for me, as I would think the over-the-top scenes would grate on me over time, but I really enjoyed the performance.
It's strange to see what is essentially a revenge movie featuring a comedic actor in scenes with pigeon poop, traveling in suitcases, etc. Julie Delpy's performance is also lovely. I haven't seen too much of her work, as I have only recently falling in love with her thanks to Richard Linklater's "Before Sunrise" and "Before Sunset" - but she is certainly an incredible asset to any film.