“Art balances between two chasms: frivolity and propaganda.” On the crest of the ridge along which a great artist walks forward, every step is an adventure, the greatest risk. In this risk, however, and only in this, lies the freedom of art. " Albert Camus I'm not in vain to quote Camus here about freedom, because the film is primarily about that. And double coffee is about self-sacrifice. A little bit of the philosopher Plato, including the general concept of illusion. With a tinge of turning the existential key towards the Personality, as a sign of the analytics of this film. A great game by Juliette Binoche (despite my dislike for her). On the tone of subtle psychological work with a reversal in emotionally deep scenes. The musical component of Zbigniew Pricener is also important here. Very accurate. It's a piece of work. A very important film. Under the right cap of blue, as a sad component. Highest score. I recommend it. 👩🦱
Blue can symbolize a lot of things, but in this film it is appropriate to highlight melancholy and modesty. I am inclined to believe that the colors of this trilogy symbolize not the colors of the French flag, but more universal meanings.
The first part of the trilogy tells the story of a woman named Julie. One day, she gets into a terrible car accident that kills her husband and daughter. She is still alive and has to live on. A mood picture of a modest and melancholy heroine, played by the delightful Juliette Binoche. This is one of her best roles in her career. I am struck by the kindness of her character. For example, she is the only one who stands up for a woman of easy behavior, and later they become friends. Julie is even kind to her late husband's former mistress. The only thing that can get her out of her depression is her husband's music, which she didn't write. This is the movie, as well as the whole trilogy, where the most important remains behind the scenes. For me, this is a true tricolor love.
Accident has been a frequent theme of Keslevsky’s films throughout his career, becoming one of the most important elements in the director’s attempts to understand the mysteries of life. Zanussi said that he discovered the existence of this mystery, but left it unsolved. The artist asks questions, but does not promise to answer them and should not do so in a good way. In his conversations with Danuta Stock, the director often talks about the early death of his father from tuberculosis, and his mother in a car accident, and that he did not have time to say something important to them during his lifetime. Biography is present in “Three Colors: Blue” and is inseparable from the character and actions of Julie herself, and her nervous state, which some unique person could call a diagnosis of schizofrenia duplex, causes apathy, she simply does not care about anything in life, she does not expect not only anything good from life, but also bad. The area where she settled Ryu Muftar has a postcard view, and according to the director’s idea it was supposed to resemble a kind of bazaar so that she could get lost in the crowd.
The music of Prysner, the most important companion of all the experiences and breaks of Julie, sounds fragments, as if looking to the very end for the ideal form of the lost notes of her husband, and at the very end it takes the shape of a flute-spiritual melody harmonious and making you cry. However, it remains a big question whether Julie completed it in memory of her husband. Implementing the idea of Pesevich, the director considers three slogans that the West has implemented, according to the director: freedom, equality and fraternity, implemented precisely as an instrument of ideology, but not in harmony with one individual. And in Blue, the director gives Julie that very freedom after the tragedy, when she is left without family obligations with good security, which allows her to help one lady and change housing, but will she be happy with these benefits?
Keslevsky often said that from generation to generation people need to transmit a bright sense of hope, but he doubted and said that this is not enough, deliberately drawing parallels with newborn rats and a child who is about to be born, becoming a hostage of life. We look at Julie's mother, who basically understands everything, closing her eyes, but her old age, hours pass by the TV and it is depressing: how many such lost souls in the world. Love for dead people and compassion are traps in a person’s memory. The passage of time for Julie seems to be an agony to exacerbate this feeling on the screen, the director uses four times blackout to show how painful these seconds are for her: in response to her husband’s comrade, a journalist, in a scene in the pool and in response to a stripper’s question.
The music of European unification never sounded, and in a good way Keslevsky never believed in such utopias, creating dramas about the life of an individual, so closely related to the case. For the third time, watching the film did not make such an indelible impression on me as before, but I must pay tribute to the director in his subtle understanding of human life and psychology. With the revision of “Blue” came a strange metamorphosis, which happened to the director in Holland, when he revisited Bergman’s “Evening of Jesters” and found it alien to himself, and Fellini’s “The Road” – an ageless classic. With the hope of a second outcome, I sit down to review Red.
Sadness, longing, despondency are companions of any fate, leading people from the mother’s womb to the box with the cross. But sometimes life is too ugly to treat you like a yard dog. One fateful event, and you are a model for Bergman, von Trier and other vehicles of sorrow. And you overdose on sadness. So much so that you can't physically give it up. The heroine Juliette Binoche could not swallow pills, one overdose can not block the second. Accepting the weight is the only thing that remains for an unhappy woman who lost not only her husband and daughter in an accident, but also dreams, plans, great hopes and small achievements. Memories burn in the flames of deliverance, old photos where you are on the sea or in the arms of loved ones, it is better not to see. They're gone, nothing else. There is one indifferent France, fixated on the imminent unification of Europe, the bustling cramped neighborhoods of Paris and a devastated estate where nothing should be reminded of the past. And even a place under the sun should be changed to a dusty shelter, as long as pain is stronger than material goods.
Sometimes you want to take a break in life, sometimes a pause in life is necessary. Sitting on the sidelines of being, achieving catharsis under the anesthesia of complete detachment and trying to live again - suddenly it will work. The problem is that you cannot take such a pause. A man is not a rat that still gives birth if the cat kills the offspring. How can you be at the mercy of sadness? Julie Vignon resolutely breaks with the experience of abandoning her own identity, she becomes a man for nothing. "Where do you work?" - "Nowhere." “I mean, what do you do?” - Nothing. Now she doesn't care about the feelings of others, about politeness. A cold "no" - for all occasions; a mannequin with a cute appearance, but carved of stone is an image from Easter Island, he coldly gives to an old friend Olivier to say in the morning: "I am a completely ordinary woman: I sweat, cough, I have caries ..." You will not miss me.” Julie puts on a jacket – almost the first casual male image since Catherine Deneuve and Louis Buñuel – and walks among strangers, justifying the goal in itself – to exist mortally, to wait for a natural death. To smile at someone once close. Find the only interlocutor in the person of the mother with Alzheimer in the medical record. Psychoanalytically, through laughter, reject memory when that kid from the road reminds you of a joke. And in the evening - to retire at the pillow under the cover of night and convulsively hold back tears, refuse to accept a tragic defeat.
No, it's not a way to treat the ghosts of days gone by like a bitch. That's too naive. Everything in one way or another returns boomerang, makes you look into the eyes of reality, does not let you break the memory with the sheets of the calendar. Everywhere there are those who highlight the outlines of a real character. Lucille stays in an apartment building because of Julie and thanks her for her indifference, for kindness from the opposite - kindness, what her late husband singled out in her. Not only an uninvited friend, but the street calls back when a man with a flute plays a melody that seemed lost in Gogol’s fit of madness. And Olivier himself, delicately convinced that Julie is all right, and not disturbing for a while in the future. And a rat with newborn mice, and a pool with an avalanche of children - the signs of the usual society can not be cut out, like an appendix. You can’t cut a simple man down, let alone talk about the national treasure.
The West is awaiting the moment when the idiom of “Free Europe” acquires legislative status. But ordinary society does not care about the future transformation, it seeks ecstasy in strip clubs. France, which gave the world the slogan “Liberte, Egalite, Fraternite”, gives the freedom and Julie – take, please. But the woman in her own way interprets the first color on the flag of the Republic. The surroundings are covered in blue, there is no corner where you can hide from the blue. A blue room in a family country estate that has become empty, blue lamp decorations, a blue piece of foil, a blue pool in which you can not drown, but which takes with your head. The world is licking with freedom, and you don't know where to go from it. Leave freedom to dreamers, to all the rest – we ask for mercy in a loop of eternal suffering, a vow of sadness and patience, where ice cream with coffee is the limit of joy, and loneliness under the neighbor’s blanket on the stairwell is no worse than a warm bed behind closed doors. A free Europe is not the same as happy people: with Schengen visas and a broken Berlin Wall, would you say that you have found real emotional spirituality?
In the world culture there is another definition of blue, not for nothing reflected in music. Blue as a synonym for the word "sad", it was present in the names of masterpieces of legendary musicians - Miles Davis, Bill Evans, Joni Mitchell. The Pole Kieslevsky certainly has the right to exist. Great music does not die, it becomes public. Julie created a new anthem in the name of the friendship of countries, and now his score will not be destroyed by the pitchforks of the garbage truck. Let it not resemble the original source, let, after Olivier’s editing, the soundtrack approach the militant motives of Shostakovich, but the work will acquire immortality and personify the principles of freedom. “So free you too!” exclaims Olivier, who sincerely fell in love with the cold Julie and wished her past feelings, not a fastening clenched throat and turning away from children. A man does not want for her imaginary bliss, like a mother who confuses the names of Julie and her sister. And Krzysztof Keslevsky convinces by random photographs of her husband Patrice in the company of an outsider that the surviving widow is morally not obliged to keep marital fidelity - an absolutely unnecessary, unnecessary decision of the director, and so showed the need to live on. To live, to laugh, to love – at least the same cunning Olivier, who also probably has caries.
Yes, sometimes life throws a brick at you and you fall like a hospital glass. However, ostentatious indifference will not save from grief. Human destiny is not only the book of Andre Malraux, it is also the fate to multiply sorrow. The blue color in the soul is painful, but it must be endured and again come back with new strength, parting with the burden of the past, whether it is property or a suicide joke about laxatives. And to live by hooking on the notes like a lifeline in a tractive swamp pool. If Olivier’s attempt to return a young Julie from a pale shell to the body of a living person is successful, then there really is a point. She doesn’t have to sing something from Joni Mitchell like,
We don't need no piece of paper
From the city hall
Keeping us tied and true.
My old man
Keeping away my blues.
My beloved protects me from longing. You don't have to make music. It is enough to make her cry.
“How can I believe and get to the very top if I don’t have love?”
Through the prism of a child's face, unprotected, another second and it will sink underground. A beautiful fog that always fascinates me and scares me, like here.
Beautiful Juliette, I remember her from early Carax, a beautiful French face, capable of accurately conveying both tenderness and inhuman cold, which can always be justified.
She has very lively nostrils.
A half-empty castle, reminiscent of Pierre's stepfather house in Field X. Blue room, blue chandelier, blue tears.
Do I always care about the interior or the exterior? What more? More of a general entourage. Paintings on the walls, vials, drawings, glasses, dust, cold from stone.
Painful (if not sick) determination and detachment of the widow resembles the main character of the first part of Kira Muratova’s film Asthenic Syndrome, released 4 years earlier (losing her husband, destroying her job, inviting an unexpected man, having sex with him for one night). Only if Muratova everything is filmed straight and tougher, without pathetics, then Krzysztof Keslevsky still throws a romantic shawl at their meeting (the heroine Muratova, from the realization of the night with an infidel, falls into hysteria and with tears drives him away, the heroine of Keslevsky does not lose self-control in the morning conversation with him, she holds fast and finds enough cold to give him coffee and calmly show him on the door). After that, both women continue to behave opposite to each other: Muratovskaya Natalia wakes up and restores order in the house and in herself, Julie in the blood erases knuckles against a stone wall.
Again, a blue chandelier that emits nothing but glare (will we see its light?).
Those highlights that appear throughout the film are in her eyes. Sometimes, staring at one point or closing their eyes from overstrain, they slowly move thin stripes and circles, they pulsate in black and white, like a drop of oil in cold water; they themselves move slowly, but if you start to follow them with your eyes, spinning closed eyeballs, they will seem to mint from the inner walls of the retina and “jump” from place to place. Also at Julie, she, sitting on the stairs from another shock, closed her eyes and after a couple of seconds on the screen there were glares, opening her eyes they also disappear in a second, having been a little “in the open eye”.
Closing her eyes once again, she fell asleep and woke up in a new life, without anger and resentment, with freedom and acceptance of a new reality, new people, a new life.
The film was supposed to end in blue glare, but the focus shifted to the right and again, to prayer, to confession, to the agony of love.
The perpetuated presence, as a tribute, of all secondary heroes: the last who heard the creator husband, who found the chain (a symbol of the presence and life of the deceased); the mother, sick, probably, with a thinning of memory, but did not lose a bright and kind heart for all; the vicious friend-prostitute, sincere as a drop of morning dew; the mistress of her husband, who bore the fruit of love and passion under her heart, whom she, after all, will forgive and give the boy-son a truly stepfather home.
She gave in to everyone, she gave in to the power of music and art, she gave in to the living people, but the highlights still returned to her at the end.
The tricolor trilogy (Blue, White, Red) of the Polish director Krzysztof Kieslowski is an almanac of the history of France, in a different view with the help of film language. Blue, white and red are the colors of the flag of France, the history of each film is based on one of the mottos of the French Republic: “liberty, equality, fraternity”. Accordingly, “Blue” dramatically represents the personification of the freedom of the main character performed by Juliette Binoche.
Freedom from the past – this is how you can announce the final verdict of this tape. The picture introduces a terrible accident and the loss of loved ones to give an incentive to feel again like a person of the only survivor Juliet. Muffled tones around, saturation with blue, the general gloomy atmosphere - the film reflects the reality of what is happening and unexpectedly leads the narrative for the viewer. Slowly and gradually around the tragedy reveals the importance of the late husband, his legacy as a composer and value for the whole country. Through the eyes of his wife, the viewer faces how the public acts with idols and forced workers of the state.
The secrets that were hidden during the life of the husband are gradually revealed. To the music of her own composition (or the composition of her husband), the heroine tries to come to terms with the loss, learn the secrets of her husband and understand what everyone really needed from him. The Pole surprisingly shows the main drama as something ordinary, blowing life and routine of the past life, nostalgia for the past time. There is no heartbreaking longing, no evidence of loss, only knowledge of the world and ignorance of what to do and how to live further.
Krzysztof Kieslowski conveys the character of a harmless heroine through fears, through kindness, through excuses for not very pleasant events. Accidental meetings, moments of joy and a good attitude to everyone around you demonstrate Juliet’s wonderful and sweet behavior. It is impossible to determine exactly how she reacts to the injustice surrounding her, when even the hurtful truth of the past gives her strength to caress and kindness.
The film clearly shoots a spirit of independence and independence. The heroine, despite the tragedy, feels liberation from the glory of her husband, and as for her opinion, the woman gains strength and tries to live on. Longing for home manifests itself in different ways: from mice in the closet to unfinished compositions. The mask of goodness hides sadness and loss, and the final of the tape allows you to assess what work is worth finishing unfinished business. Sadly, in the future with our heads held high, we follow with the heroine.
I like it. In addition to the story of the main character, there are other people, different, unique, tragic. Blue thread throughout the film, in emotion, action, setting. Very sensual, deep. Fascinating.
Realizing that the entire trilogy was named after the French tricolor, I immediately began to search for the meaning of each. Wikipedia has provided links to the flag’s indifferent history, behind which lies a lot of interesting but empty information that gives no answers. Therefore, it will be more productive to describe your own sensations of color.
Blue is the color of loss and sadness, a deeply personal tragedy that makes a person who they are. It is around such "tragedies" that my "I" is built - not only mine, but in general any personality that can be born. A person is always a tragedy, a personal history of loss and loss.
Julie, the heroine of Binoche, loses her husband - a famous, even brilliant, composer - and her daughter in a car accident. The journalist’s provocative question, “Who wrote all the music?” (paraphrased), suddenly explodes with the suggestion of a family friend “it will be my music and yours.”
In the blue marsh of her own sadness, the main character is vital to find her voice: neither her mother, due to Alzheimer’s disease, nor her new friend, due to her youth, can and cannot help her. The heroine Binoche will still seem good and generous to everyone around, treating people around, albeit somewhat detached, but sweet and friendly, modestly silently nearby. But now Julie’s life belongs to her: no longer consisting of memories that replace reality, she tries to move forward.
For me, blue is all the downfalls, tragedies and deprivations that France has endured, not only its own, but the whole world. What she was able to not only feel and understand, but to comfort and give shelter, a quiet place to be alone.
One of the most pressing problems of our time - emigration, refugee - found its solution in the blue of the film and the French tricolor: where and whoever you were, what would not survive - your sadness will always be part of the common tragedy. You can become Sartre's Nothingness, dissolved in your own sadness and pity, or you can try to find yourself, create yourself out of yourself, rising above your own loss.
The heroine Binoche becomes almost superhuman, but she transcends only through one head - her own. With eyes full of sadness and lips incapable of sincerity, Julie discovers France in blue.
Before us is a heartbreaking story from a stunning trilogy from the Polish director Krzysztof Kieslowski. He was a true genius and a wonderful director who made many of the films I love. That's exactly what this is. The film turned out to be excellent, shot with deep thinking, atmospheric, so subtle and with feeling. All the mood and pain of the heroine is felt by every cell of the body.
We see Julie, who miraculously survived a car accident. Her husband (the great composer of modern times) and little daughter died on the spot. A woman's entire life collapsed in one second. She was left with her grief alone with herself. Hearing the great music of her husband, she seems to cut the main character with a knife. Julie is trying to cope with grief and survive the tragedy of her life, and in order to do this, she must open a new page in her life, no matter how painful it is.
Watching this film plunges into the abyss of pain and loneliness with blue shadows. Blue dominates everything, and this is the original idea of the director, which will also be in his next two films. For me, this movie is a masterpiece, it has so many emotions, experiences, sensations. This is the kind of music that gives you goosebumps. The performance of the actors is delightful, clean, so it was nice to watch. The direction is gorgeous, and the camera work deserves special attention.
With the main character, the director was not mistaken, and Juliette Binoche suited the role perfectly. This French actress is very talented and has her own exceptionalism. She played her Julie with her soul: so subtly, so dramatic, you can see everything without words in her only look. Her character had to survive the tragedy and then feel a certain freedom from it. But how do you do that when the pain of loss is so fiercely hot?
"Three Colors: Blue" is a deep, musical drama from Krzysztof Kieslowski in 1993. This film, as a certain power pierces the viewer, and its history and perception of the film is impossible to forget. To all fans of the genre of drama, I recommend this movie to watch. The strongest thing!
To my great regret, my acquaintance with Keslevsky began with a short film about death & #39. To my great joy, my acquaintance with Keslevsky continued.
I can only say about this film: 'Bravo!' I want to explain why, without going into blue. I don't think that's the point.
Immediately make a reservation that this picture is not for fans of a good hundred brisk dialogues for half an hour of screen time. And not for those who are extremely important sharp plot twists. Here everything happens smoothly, thoughtfully and silently. And for this, a special thanks to both the director of the film and Juliette Binoche. When I read the description, I expected to see puddles of tears, and drowned in these puddles reflection of the main character. Fortunately, it did. This film is not about tragedy, but about options for the development of life after it. Of course, you can try to fight your memory by changing the places of residence, surnames, faces of people around you. But the bottom line is that everyone who has left us will return again and again. The music coming from the street, the inappropriate question of a mother, an unfamiliar pregnant woman. And fighting these fragments of a completely new environment will drain you even more. Everything breathes a past that you need to learn to live with. And it is the hope that eventually it will be possible to do it, runs through the whole film.
Special attention deserves musical accompaniment, and precisely in conjunction with the film. Really perfect.
Our loved one is dying, But we die more... And life as a bitter medicine must be taken before death.
It is no secret that the last great trilogy of Keslevsky refers primarily to the symbol of the “Great French Revolution” – the so-called “Marianne”. What is he? This is a profile of a woman against a background of three colors (in order) blue-white-red. Her resolute gaze is in the direction of red, which may indicate a transformation. Of course, each of the colors is self-sufficient and unambiguous - freedom, equality, brotherhood. But together they form a single act of resolute self-becoming different – from detachment (blue) to active, decisive inclusion (red) through the stage of equilibrium, identity (white).
I think so. Then it becomes clear that "Three Colors: Blue" depicts only the first stage (but let us repeat: absolutely self-sufficient), namely the phase of deep existential longing and detachment and the subsequent "inclusion" into reality.
Or rather, rediscovering it. The life of the main character Julie collapses in a few seconds. A happy wife and a caring mother, after the death of relatives, in an instant turns into a lonely, withdrawn or (the most correct definition) completely “outsider” person. She falls into anguish so deep that she cannot even cry. Her emotional alienation is total, she seems to leave some symbolic field of life, which serves as a reliable guarantee for all of us that “everything is normal.” There is no coordinate system for it anymore. It's taken out of context. Her “vomit” from the world is no less than some Antoine Rocantin (the scene with mice)
But whatever method of mental defense she uses, the past returns. In the film, this is expressed very beautifully - loud dissonant sounds are heard (from the works of her deceased husband, a great composer), and the screen is either partially or completely darkened, as if breaking the chain of the usual sensorimotor perception, so unnecessary, unimportant compared to the past. What is it? Perhaps the spirit of her husband protesting against attempts at oblivion?
But there is every reason to forget him. Julie’s infinitely beloved husband was a traitor during his lifetime. Moreover, his former mistress is expecting a child. And, what is most terrible for the heroine – he not only slept with her, but was really in love. Thus, Julie twice experiences the death of her husband – the first physical, the second figurative, ideal.
Of course, it is only after this last point of spiritual annihilation is established that it is transformed. It is important to note the significant role played in this act by the best friend of her deceased spouse (also a composer), endlessly in love with her. He literally adjusts everything so as to pull Julie out of the blue abyss of detachment, bringing to light not only his past secrets, but also an unfinished work to unite the countries of Europe (this political background is undoubtedly also important). But Julie does not let you do this, and she sets to work, solving the last mystery of her husband - his love, sincere, true and pure. Let the other woman, too... She is now able to cry.
Stylistically, the film (made naturally in blue – from the lollipop of the deceased daughter to the pool in which the heroine “hides”) is very beautiful. But the most beautiful in it, of course, J. Binoche. She is beautiful in all angles and outfits, resembling a magnificent, “detached”, but no less stunning figure of blue ice. Among other features, it is noticeable that K. brilliantly erases morality, exposing some inner, hidden truth and truth in our actions. He literally walks around the edge as he shows Julie having sex with her late husband's best friend. And it happens twice. The first is emotionally, mechanically (note, the scene is not even shown). The second is engaging, open (a close-up demonstration). But in both cases, this is not “change,” paradoxically. For at first it means nothing to her, a purely symbolic friction of two bodies. The second is the act of love, acceptance and return to the soul of love, life. And isn't that what her husband would want most?
Julie experienced a terrible tragedy - the death of her husband and daughter in a car accident. Initially, she wants to take her own life, but cannot bring herself to swallow a lethal dose of sleeping pills. After being discharged from the hospital, Julie decides to sell the family estate and moves to Paris. Once in the capital, Julie tries to break with the past.
“Liberte, Egalité, Fraternite” is the national motto of the French Republic. Each of the colors of the French flag symbolizes one of the words of this motto: blue for freedom; white for equality; red for brotherhood. These slogans are political in nature, but Krzysztof Kieslowski made a film about personal freedom.
Julie tries to isolate herself from society and achieve personal freedom in this way. This path turns out to be wrong, because the “ghosts of the past” constantly haunt her. The only true way to gain personal freedom is to look back into the eyes of your past and let it pass through you.
Juliette Binoche can be described in one word: naturalness. The actress naturally portrayed the introverted Julie, who is deeply experiencing a terrible personal tragedy. Julie looks like an ordinary woman crushed by tragedy, and this allows the viewer to feel this character even more.
Three Colors: Blue is a visually beautiful and sad film that leaves some hope. This film is recommended for viewing by all cinema lovers, it will not leave you indifferent.
8 out of 10
The human body is incredibly malleable, naive, educating and, at the same time, greedy for colorful passions and emotional shocks. And the temptation to keep in mind the memories of the departed, but loved, exciting - always great. Few of us are able to give up our cozy and kind world: from weekend trips outside the city with the whole family, from visiting theaters and exhibitions with those who like us, love and appreciate art, from unloved / favorite work, from our hometown with all its familiar alleys and shops with a studied range of goods. And all because we are used to feeling, reacting, loving and being loved, filling our personal territory with people and events that please us. Renunciation of the usual happens very rarely and, as a rule, not by our will. Even the worst events in our lives can’t force us to leave our homes. Leaving the conditions of our lives invariably diverse and pleasantly exhilarating, clinging to the hedonistic direction of our lives, we may be showing weakness. Again and again we return in memories to happy events, to beloved characters, to deep self-reflection. Man is ridiculously weak in his dependence on his own ego, on the succession of satisfaction of his desires, on the need for self-realization. Those who abandon everything we call ascetics, squeamishly assign to them the status of religious/scientific fanatics, and see them living in poverty, absolute alienation, hunger, cold, etc. But the true ascetics, I think, are not those who spend their lives working/praying/serving the truth/serving the idea. After all, it is much more difficult for human nature to give up any activity, memories, reflections, one’s future, development, habitual self. "Where do you work?" "Nowhere." "What do you do?" "Nothing." And when we look at those who are “not engaged,” we label them as hopeless lazy. And if we had enough enthusiasm and curiosity to repeat the path of the “fanatic ascetics” and the path of the “lazy ascetics,” who knows in which case we would rather cry out in pain?
10 out of 10
Three colors, three stories, three films that became the last works of Krzysztof Kieslowski. The first picture is characterized by blue color, which many may be associated with sadness, longing, melancholy. These epithets accurately determine the mood of the entire film, which tells us about a woman who lost her husband and child in a car accident.
Blue. He's everywhere. You can feel it with your skin, like the water in the pool in which you dive. You can taste blue like a lollipop. And if you want to touch your hand, like a chandelier, which you tried to touch all your childhood, but then did not reach it.
I want to write about the character Juliette Binoche. The heroine is endowed with those qualities that always attract us in a person: love for people, mercy, compassion. At a certain stage it seems that all the trials that fell on Julie’s shoulders and made her even stronger, allowed the best qualities to unfold to the end.
Throughout the film, music written by modern composer Zbigniew Pricener is heard, it penetrates the soul of the viewer, the music makes us cry. According to the plot, the author of this composition is the deceased husband of the main character, whom he wrote for a joyful event. But the more often this music sounds, the more you feel the tragedy in its notes and it seems that this is a requiem that a man wrote by himself.
The music, the blue color, the stories of the characters are filled with pain, but they do not lead the viewer into despair, but on the contrary, allow you to go through these sufferings together with the main character and lead to the idea that no matter how terrible, unjust there is in our world, there is a life that always conquers death.
(This picture was viewed by me, you can say "forced".) Since the film is included in the list for mandatory viewing by applicants to VGIK
After reading only the description, I was attacked by a terrible boredom. First of all, it's a plot. What could be worse when there is nothing in the movie? I knew immediately that for an hour and a half I would have to watch the suffering and suffering of a poor woman. But even if it were! So no, friends! And the barrage of wild roar wasn't noticed either. Just... Nothing.
What is a movie?A movie is an action. Why do we take this off if we don't see the action? You will say, “Spiritual chewing.” Well, that's where you went wrong. The book was written at the time.
Forgive me, connoisseurs of high art. I never understood, and never will understand, this kind of picture.
It was about an hour after I saw this movie. Guess what, I don’t remember much anymore. And it's all about emotion. Which wasn't there.
I never liked dramas, because after them I still had a whole week after watching some sediment in the soul, very unpleasant and heartbreaking.
I can’t even call this a drama. I didn’t get any emotions from watching. With an obvious plot, there should be a quality acting game, which was clearly not observed here.
Perhaps it was the leitmotif that came back to us throughout the film. That lonely, yearning melody...
For analysis, I chose Krzysztow Kislowski’s film “Three Colors: Blue”, one of the trilogy of the Polish director, which also consists of the films “Three Colors: White” and “Three Colors: Red”. The genre of the film, without a doubt, the drama and the brilliant director in his picture took into account all the most important laws of this genre. The acute conflict of the main character of the film Julie Vignon with herself and with the outside world occurs after she loses her husband, a famous composer and daughter in a car accident, in which she by fate manages to survive. As a result of this event, Julie’s life changes dramatically. After an unsuccessful attempt to commit suicide in the hospital to which she was taken after the accident, she sees no other way for herself than to start her life anew, get rid of everything that could remind her of her former, happy life and of tragically lost people.
The author chooses blue to determine the nature of the film, its main theme, “notes”. It is the color of oblivion, the loss of reality, as well as a symbol of faith and hope. It would hardly be appropriate to make it a symbol of a comedy or adventure film.
The main theme of the picture is Julie’s escape from the past and what happened to her, from her own memories and herself. She changes her place of residence, runs away from friends and acquaintances, from those who can not restrain their emotions at the sight of her. Cold, calm, detached. It seems that she is focused only on her thoughts and nothing around her can interest her anymore. Perhaps this is an extreme degree of pain and despair, when a person in this situation does not seek support from others or seeks to forget with the help of alcohol. The heavy, viscous, pressing atmosphere is complemented by the music of Zbigniew Pricener, tragic and majestic. It emphasizes the acuteness of the moments, conveys the pain experienced by the main character, who is herself a composer. The music in this film is one of the main characters. And as Julie is reborn, her return to life with emotions, the music, frozen after the death of her husband, is revived. She sits down for the end of the concert dedicated to the “United Europe”. The director does not answer who really wrote the music for this concert, Julie, or her late husband, here Kislevsky leaves the viewer the opportunity to solve this mystery.
The dramatic conflict, without which it would be impossible to work in this genre, at first seems tragic, irreversible, insurmountable, but then the main character finds an outlet in a newfound loved one named Olivier, who worked as an assistant to her husband. Here, the director uses a mattress on which they approach as an island, a symbol of a new life without all-consuming loneliness. The picture is full of symbols, metaphors. For example, a lamp with many blue and white crystal beads serves as a symbol of her past, lost life.
Like all of Kislevsky’s works with Krzysztov Pesevich, Three Colors: Blue shows a person’s conflict with himself. What is in this trilogy, that in the series “Decalogue” the viewer after watching thinks about his own life. He tries on the situations he sees, decides whether they are close to him or not. These films are a window into the human soul, an alien one, but in which there are so many fears, pains and thoughts hidden from everyone. Music, details, close-ups, symbols and metaphors - all these tools the director masterfully uses in his films, in order to better convey to the viewer the atmosphere and inner world of his characters.
10 out of 10
30-year-old Julie is the only one who survives a terrible car accident in which her husband-composer and young daughter die. Left alone, Julie tries to start living again, for which she moves from a country house to Paris, where no one knows her. Now she leads a closed lifestyle: completely gone into herself, commits a kind of spiritual suicide. But the music of the deceased husband, in which, to Julie's surprise, she was given a much more significant role than she thought, is stronger than pain and loneliness. It is music that heals her and brings her back to life.
The film opens a trilogy of three paintings under the title "Three Colors", based on the number and color of the stripes of the French flag as a symbol of freedom, equality and fraternity. Although such a deciphering and looks deliberately allegorical, and especially in relation to this, the first part. "Tricolor", and equally "The Double Life of Veronica" (1991) can be regarded as new parts of the "Decalogue" (1988), staged by Keslevsky in his native Poland. The heroes of these last films of the director invariably experienced catharsis, to which his cinema aspired, far from the momentary trends of fashion and encouraging to find love as the highest destiny of man.
Moving to France, the last great metaphysician of cinema made not a socio-political film, but a parable about how a traumatized soul comes to unity with the world. The story of the return to life and liberation from the power of destructive feelings, in fact, is a biblical work with existential conflict. The heroine overcomes depression not only with the help of music, but also the simplest everyday worries. Julie composes a symphony concert for the deceased husband in the glory of a united Europe, falls in love with his colleague, settles in her house the pregnant mistress of her husband, with whom he secretly met.
The plot truisms of the picture more than compensate for both visual plastic and sound accompaniment, giving the narrative poetic imagery and mysteriously allegorical meaning. All this would hardly be possible without the constant co-authors of the director – cameraman Slavomir Idzyak and composer Zbigniew Pricener, whose music not only cements the screen story, but also withstands the load imposed on it by the plot. And if the order for such a symphony actually existed, the pathetic score written by Pricener for the picture would quite correspond to the spirit and significance of such an event.
Krzysztof Kieslevsky offers the viewer a philosophical drama about the loss of a loved one, treason, apathy for life and the like. An hour and a half lasts like three, and even in such a small timekeeping, the writers managed to insert a dozen unnecessary and unreasonable moments. Close-ups and musical accompaniment put pressure on the brain, and really strong scenes of the film can be counted on the fingers of one hand.
Of course, the film is not bad and meaningless. But, raising burning themes, the first part of the trilogy about the colors of the French flag absolutely did not cause emotions. The ending, which was supposed to be a pleasant conclusion to a smart film - to fit the whole picture, boring and explaining nothing. "Three Colors" can be successfully demonstrated to philosophers who are pleasant and interesting to watch. Unfortunately, I have a cool attitude to philosophy, and probably that is why I did not get impressions and did not think about life.
This film is an indivisible phrase, a look, a color, a snapshot of the best feelings of the human soul. This is a very feminist film, testifying to the incredible efforts and trials of the female will, this is a film where the heroine dissolves in reality, and reality with all its losses and fears is in the soul of the heroine.
The sustained tone of the narrative is inherent in the whole work of Keslevsky, and in this respect the film “Three Colors: Blue” is no exception. The internal metronome that shapes the development of both the entire story and each of its individual stories, the clearly marked distance between the visible and the seeing, the ultimate clarity, the purity of the scenes are features of a unique directorial manner, the closest to which, perhaps, is the “look into the keyhole”. Andrey Zvyagintsev.
The main emotion of the film is suffering. This is naked suffering, undeserved, crippling. Its background is the solemn idea of uniting Europe, which the deceased husband of the heroine wanted to glorify with his music. But in order for the union to be beneficial, people must be ready for it, must unite their best feelings and qualities, and become useful in themselves. Julie goes to this, breaking herself and delving into the concerns of other people, little acquainted with her, helps them. This is relatively easy until she comes across the shocking news about her husband. Having suffered this blow, the heroine again begins to be interested in music - a concert on which the deceased worked, and never finished it. Having survived the darkness and not surrendering to the mercy of despair, the heroine, albeit with longing, looks into the eyes of the present, making for herself the possible - again possible and warm - warm again.
And the sounds of that concert in the finale are joined by several pictures, conveying together with the atmosphere of disorder, disconnection of human destinies and their supreme beauty, mystery, independence. To these destinies Julie, seeking salvation from death in life itself, was involved. And I like to believe that she realizes that being involved with them is happiness.
A peculiar symbiosis of the French school of drama, combined with Polish enthusiasm, brought to light the trilogy, where the connecting link is the symbolism of shades of blue, the color of the sky and the sea surface, the color of reflection and improvement. Even from the title of the film already gets deep and cool.
The tragic story of a young woman who suddenly lost her family and meaning of life is always perceived as something personal, because one way or another we try on everything we see on the screen, so it is not necessary to argue that there is a global thought in the film that has not been sounded before. It is a look from within, taken out of the life of an ordinary person, and brought to absolutism. The spectral range, taken as a basis, emphasizes all emotional fluctuations, then moving from blue to almost black, then diluting it to a gentle blue azure. Such a glissando performed by the magnificent Juliette Binoche, thanks to which the interest in the picture is much more than it could be, but this judgment is based solely on personal convictions.
The storyline unfolds immediately after a car accident, then describes the circle, and returns to its original position, which again can be regarded as a symbol of healing, acceptance. In general, the attempt to express the incomprehensibility of the essence by means of images is so obvious that some moments have remained inconsistent with the general action. Individual approach is great, but in some places it was pretentious. Take at least these heavy codes, which sounded every time in the conventionally designated finale, but in fact perform the role of stress, which the first-grade teacher so diligently emphasizes when writing a dictation. The viewer should be trusted, not try to isolate each thought in a special way in an effort to convey it.
The theme of love also causes a contradictory impression, on the one hand, the generous actions of the main character, and on the other hand, disappointment over her deceased husband. The director man-made blurs the line between the sublime and the earthly, turning a brilliant composer and a decent family man into an ordinary polygamous male representative. This nuance, of course, adds sharpness and emotions, because everyone will sympathize with such a discovery after the untimely death of the adored spouse, but this same circumstance turned our steadfast Julie into a blessed martyr, ready to sacrifice her interests.
One way or another, this turn of events does not find a response in the soul, but it leaves a sense of ambivalence of everything that happens, which gives homeric space for reflection at events such as the Venice Film Festival.
Freedom comes from unity. The desire to be alone, to plunge into the pool of our thoughts sometimes so often arises in our minds. And sometimes it seems that only in this we will find our true salvation. We try to cut all ties, merge with the crowd, erase our name. But your own mind won't rest. Stupidity, pressing like a load of emptiness will slow down the movement of time, and hence life. It is even worse when this retreat is not the result of fatigue from the outside world, but an irreparable outcome of events that left you completely alone. There is no way back and no one to go back to because there is no home, no family, just you and thousands of other people. In this situation is Julie, who lost her husband and daughter in a car accident, a connection with the past, with her mother, who is in a nursing home and does not recognize her.
The music of Zbigniew Pricener, the blue color and the emotional state of the main character are the three reference points in this film. Dull pain, emotional scream, external indifference Julie fill the viewer who is on the other side of the screen. Blue is the color of oblivion, an all-consuming longing adjacent to indifference and devastation. And music, music, resurrection.
Music saved Julie, namely the spirit of unity and compassion contained in her notes. Inaction against a stranger who knocked on her door in the hope of escaping from bullies, refusal to sign the petition of the tenants to evict Lucille, destruction of the score - all this was dictated by the desire to create complete isolation around him. But the fact that Julie didn't open the door to a stranger or sign her name is not a result of her condition. Another topic has already been touched upon here, the very theme of brotherhood, unity and participation in each other’s lives, which is one of the key issues along with the theme of freedom. Not only did Julie not open the door to the one who asked for help, but also the other residents of the house. Their torpor of a different nature. Yet Julie is by nature a generous and cooperative person. It is she who gives shelter and future to her husband’s mistress and their child, and only she, after long hesitations, still runs out to the stairwell to help a stranger.
Gradually, step by step, the main character exhausts his pain. Life brings us back, which is repeatedly confirmed throughout all three films (episodes where the old woman and the old man persistently try to put a bottle in the garbage can), life will still resurrect in our minds the suffering from which we so zealously run, will make us feel everything to the end (children in the pool, a mouse brood in the house of the main character, a blue glass chandelier reminiscent of our daughter and past). Julie responds to the help of Lucille, as well as Olivier. The relationship between the last and the main character is not true love. Julie does not love, but realizing that she is loved, responds to the feelings of another person.
Who is the true author of the Unification of Europe and other works – Julie or her husband – remains a mystery. The term authorship should be omitted here. Most likely, the genius of Julie as a composer was somewhat pushed aside by the figure of her husband, but the key here is not competition, namely unification. And this music, containing in itself the light sadness and triumph of being, is a guiding star for those thousands of people and Julie, for Lucille, for Olivier, for Antoine, for the flutist. We cannot be free of feelings and memories, no matter how much we want to be. Freedom here is mutual help, understanding, spiritual unity, healing from one’s own sufferings.
I wanted to see what they taught in all the film schools. The blue color in the picture, but there is a certain static, as if the picture is already ready and we seem to have to see it as a whole, perceive it as a whole, however, this somehow does not happen and the author is forced to lead the viewer’s eyes through the canvas, periodically returning to the blue color. This is a beautiful, subtle and elusive technique, but it is not the only one. There is also added music, a picture against the background of music, music against the background of the canvas, a film against the background of the viewer or maybe the viewer self-identifies against the background of the film.
It's an amazing movie. First of all, its blue depth, I will not say that the abyss, icy depth. The film is a symphony, the film is a revelation, the film is a hope. Many people ask, is there life after death? The stupid question is how many deaths, and life does not become less, and there is life not after, but instead. But is there love after death? Yes, K. Keslevsky answers, if she is in music. Oh, beautiful Julie, it's a shame that the story begins with your tragedy, but you died there with your family, in a place, with your family. But even your body, you cannot kill yourself, you cannot. When are you born again from the deep blue? Is it not when you meet your love in the form of music, when you decide to finish the symphony, to go in spite of the fact that there are no legs or wings, only an incredible desire. I don’t remember how the movie ends, maybe because it doesn’t end, we just find ourselves watching White.
Strong Julie. Beautiful cinema thanks, of course, to the incomparable K. Keslevsky.
The main character has no past - the closest people died. And she doesn’t know how to live, she has no future. But as soon as she accidentally discovered that the past was not the way she imagined it, the future immediately acquires the features of reality. But those are all the facts of the plot. All the beauty lies in the back of the screen, behind the transfusion of blue glass. They gently wavered first in the blue room, where great music was created for people, a melody of feelings for each other, then, tragically, in the room where the main character is connected with the past only by the fact that she constantly hears this music, this melody. She alone, despite all the efforts of her will, cannot be erased from her memory. Moreover, behind the oscillation of the blue glass, a whole world opens up to us - the world of brilliant people, probably merged into this union on the basis of the great, complementing each other with the composition of common scores.
Her husband died, but the music is not written, she does not let her go. If you can say goodbye forever to something that you can touch, smell, listen to, but you can’t — if it is created in you and requires completion. A powerful moment when she emerges from the pool, from the blue, and an orchestra plays in it, forcing her to finish, reminding her of her entire past irretrievable life. Maybe by finishing this music, she can put a point on herself. Be it life or death. But to swallow the pills, without finishing, she could not.
It's amazing how you could show Julie's feelings so deeply that you want to feel something that's shaky, strong, blue, all-consuming. Just for a moment, but still. Living, creating, living more than just a family, more than just swimming, shopping and other routines. The conversation with the maid is telling: “Why are you crying?” "Because you're not crying." Rubbing your fist against a stone wall. Absorbing a piece of refinade in the hand of coffee.
She can't go back to the normal world. What does it mean to live without music, maybe even remarry? She finds meaning next to a person who is unloved, but creates, with whom she can continue the path of writing and, perhaps, even mutual understanding.
The film left a trail, as it happens after a good sleep. You walk all day in pleasant prostration and stop for a moment and wonder why I have such a pleasant sensation. And you remember, it is the feelings, the dream, which is exposed in words, does not reveal all the power. So the film, thought out to the smallest detail, which does not strain the frequency, namely complement the play of Julie, left the feeling that I still have to find myself – a pleasant, purposeful and promising work.
What could be worse than losing your loved ones? There is no answer to this question, it is not accepted to discuss. How do we move on? It is impossible to bear the burden of loss, but it is necessary to exist in this forcibly altered reality.
The tragic story of Julie, herself miraculously survived the disaster, she loses her husband - a recognized composer, and a young daughter - her only child. Faced with extreme grief, the heroine makes an unsuccessful attempt to commit suicide. Realizing that leaving life is cowardice, she decides to get rid of memories of the past. Trying by all means to depersonalize the space, so clearly reminiscent of the once happy family, Julie tries to free herself from everything that can remind of what happened. She can not escape from the situation; to close herself from everything in the world: from the usual situation, from thoughts about past happiness. After changing the environment, it is impossible to kill the past in yourself, but it is also impossible not to try to do this. Inconsolable - she loves, she lives... only now these words are in the past tense. What is the freedom that man needs now? Is it necessary when the past is so inexorable?
Caught in a slowly killing loneliness, Julie does not lose a person in herself, does not spill her unbearable pain on anyone, does not seek fault, does not blame herself, does not ask: “For what?”, she tries to live and find herself in such an unusual alien chilling cold reality. She just needs to replace the tormenting memories with a soothing void. Juliette Binoche as Julie managed to show the tragedy of a woman caught between life and death, who from her former happiness remained mental mutilation and unfinished musical works of her husband - their sound cannot be erased from memory. Patrice’s music lives, reminds of itself in different ways, overtakes, overflows, suggests the way of deliverance and requires a complete completion. His music is immortal and this gift has its successors, and love born in creativity is able to awaken a previously lost taste for full-fledged being.
The brilliant Krzysztof Keslevsky in his work showed the incomprehensible depth of grief, using the most “honest” instruments: musical accompaniment and color palette. Blue color in Keslevsky has a certain author’s versatility. This is a viscous cobalt blue of lost love, and midnight blue devouring loneliness, and overwhelming detachment without specifying a shade. A fascinating, hypnotic palette. At the same time, it is liberation, purification, rebirth – the azure dawn of new life and at the same time the air is transparent and blue, like Yesenin’s. The color of sincerity and melancholy, reflection and sadness. The musical component does not even try to compete with color, fully complementing the apperception side. The rebirth of music symbolizes not only the return to a life that suffered tragedy, Julie, but also the birth of a new love that waited for many years. Patrice’s works for her are synchronized with grief and happiness at different levels of perception, and drowning out the pain, continues to carry his soul into this world through musical creations.
"Three Colors: Blue" is devastating, leaving us alone with empathy, engaging us in an exceptionally sadly nostalgic atmosphere. The director fully demonstrates that the music is more accurate and deeper than most conversations, and tragedy is ruthless and verbose, and her main speech is a monologue of lost love.
A car with a prominent French composer, his wife and his daughter, outwardly resembling something between Lada and Tavria, rolls off the road and crashes into a tree. Obviously because it resembles something between Lada and Tavria. For a greater effect, a children's inflatable multi-colored ball falls out of the crumpled car - such a seemingly insignificant detail, noticing which increases the drama of the event. These details, by the way, make up the whole movie. Julie’s wife, the only survivor of the accident, makes her way from the tombstone she managed to avoid to the kitchen stove, which in our strange language is a symbol of life and inner peace.
The film, with a tragedy at the beginning, in which the set in epicity is comparable to the climax, is interesting at least because in its first minutes it produces a shock effect, and all subsequent timekeeping maintains this state. In addition, in "Three Colors: Blue", the mood is inflamed by the music as the basis of the whole film, and minor elements like the aforementioned ball. On the second, the whole film is tied up. They could be called symbols of something greater, for example: despair, emptiness of the soul or other global-abstract, but there is no special need. They are more like a catalyst – they accelerate the reaction of both the viewer, forcing her to experience certain emotions, and Julie herself, encouraging her to take certain actions. With such an element, there are several bright scenes. In one of them, Julie, deciding to destroy notes with her husband’s unreleased work, throws them into a garbage truck. The music playing at this point begins to tow and stretch as the teeth of the garbage truck cut the paper. Or when Julie, deliberately avoiding children, swims alone in the pool and experiences an emotion of mild terror, after a crowd of children suddenly appears and begins to pour into the water with screams. The description of these scenes will not make a special impression on the reader, but will make you pay attention at the moment when the reader decides to become a spectator.
The film itself in its structure resembles carefully tailored fragments, similar in sound, but not in meaning, as homonyms, with the exception that all these fragments together turn into a special kind of symphony of sound, a symphony of action, a symphony of meaning. Julie in these fragments, as if taking steps, moving from one emotional state to another. The heroine at the beginning of the film, mutilated, crippled, in a hospital gown, who decided to kill herself, but was afraid to do it, is not like the heroine in the finale with tears and a smile in her eyes. For her, who has lost an important part of her life, it is imperative to voluntarily deprive herself of the past and start all over again. At the same time, her basic inner quality (read kindness and mercy) can not cover even the tragedy that happened to her, and meeting her husband’s mistress in the plot, she does not curse her, but extends her hand. Such a sincere virtue that even Nietzschean Zarathustra would be delighted with. This is the main concept of the film: kindness and innocence in its pure form can cover the pain. And the melodramatic nature of this message, no matter how drooling it is, will not override any contrary argument.
The name "Three Colors: Blue" and the color saturation of the name of individual frames, carries more than one-third of the flag of France, the country that funded the trilogy shot by Krzysztof Kieslewski. In combination with the music and purpose of the main character, blue is a symbol of peace and tranquility to which Julien came in the finale.
I will be briefer than ever, even though this is very unusual for me. Without further ado, I will say that this is a brilliant film. One of the best I've ever seen. The brilliant director Krzysztof Keslevsky shot just a masterpiece and opened for us a magnificent Juliette Binoche. I’m not going to list all the advantages of this movie, you just have to see it. This film, like all films in the trilogy, has something special that cannot be explained. After watching, a flurry of emotions. True European cinema, with French charm, which gives it the amazing play of Juliette Binoche.
Another amazing feature of this film, like the other two in the trilogy, is the wonderful musical accompaniment. Bravo, composer. I have never heard such music before. .
It is very difficult to compare films from a brilliant trilogy, each in its own way is amazingly good, from each you get different emotions. I still can’t figure out which one I like best. And yet, probably blue...
This picture is an amateur, but as a result for me:
10 out of 10
The greatest director who has made masterpieces...
Only you cannot escape from yourself, and because no matter how much you destroy the score of your former life, it will still reappear. And there will be some trifle that will prevent you from running away from yourself before. And even the most radical ways can not help here. Keslevsky made a film about the illusoryness of human existence and the smallness of its possibilities. But humbly accept this fact or fight to the end, everyone decides for himself. 9 out of 10 Original
Only you cannot escape from yourself, and because no matter how much you destroy the score of your former life, it will still reappear. And there will be some trifle that will prevent you from running away from yourself before. And even the most radical ways can not help here. Keslevsky made a film about the illusoryness of human existence and the smallness of its possibilities. But humbly accept this fact or fight to the end, everyone decides for himself. 9 out of 10 Original