"I have a hunch growing all that really matters to us is ourselves. Even when we discovered the Moreover, we continue to believe in ourselves. This is one of the themes of "Red" - the fraternity.[...]The question is: Even when we give to others, is not because we want to have a better opinion of ourselves?is something you know you never answer. Philosophers have not found in 2,000 years and no one will. "
Krzysztof Kieslowski, in" Kieslowski on Kieslowski, ed.Faber and Faber, 1993.
canon. Three Colors: Red (Trois Couleurs: Rouge, 1994) , is the last of the films that make up the impressive Three Colors trilogy Krzystztof of Kieslowski, and also the last film of his life, which expired in 1996. Before the premiere, and even longer in some interviews at the time of production of the trilogy, Kieslowski had stated his intention to retire as an active filmmaker. Interestingly, and unlike many other candidates for the pantheon reserved for larger, Kieslowski seemed disinterested at all the success, indeed, the growing turmoil unleashed his latest work around it had sunk into a deep depression, and exhausted complete.
Those who met while filming, equipment and players, claimed that Kieslowski seemed to believe firmly in their forces, despite working almost without interruption and neglect their health. Kieslowski seemed to live only for cinema, for his trilogy, to his last work, perhaps, the latest masterpiece of European cinema in the twentieth century.
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| Krzysztof Kieslowski on one of the promotional events of 'Three Colours: Red |
Only by this, we realize the immensity of this work destined to give pause to millions de personas sobre los vitales temas que fluyen en ella, cuyo halo comercial parece ser un simple medio de comunicación de mensajes mucho más valiosos; mensajes altruistas, de conexiones vitales y contenidos casi proféticos.
Sin embargo, a pesar del enorme valor de su entrega, tras finalizar la trilogía Kieslowski continuaba reflexionando sobre la validez de sus actos, en una peligrosa espiral existencialista sin respuestas concretas, y entre sentimientos contradictorios sobre sí mismo y la condición humana. Como dato, añadir que al poco de anunciar su retirada sin remisión, continuó trabajando en los conocidos guiones de una nueva trilogía; esta vez, mucho más trascendental si cabe, y nada more and nothing less than based on "The Divine Comedy of Dante with the project to develop three scripts, " Heaven, "" Purgatory "and " Hell. " Clearly, Kieslowski was already a completely intended for a never-ending search for answers, trusting or suspicious, but absolutely delivered.
In Three Colors , Freedom, Equality and Fraternity are the ideas of the three other films and yet continually judged on their use and practical value of the company. And is that Kieslowski was above all a being pragmatic, who distrusted of good intentions on any of these ideas, a priori revolutionary, who intoxicated the Western world in an airtight container for recycling need new real values. Kieslowski seemed to rely entirely on this premise, and work in the Three Colours trilogy does not suggest otherwise, since no complex, these ideas are put on again and again challenged in a desperate attempt to collective reflection, search for answers to the contradictory nature of these securities in connection with society. However, Kieslowski's speech seems to glimpse a growing resignation and despair to find the answers to the origin of these ideas from the established system of Western values \u200b\u200band, perhaps, why in the entire trilogy and part of his previous films, recycling air flow moral and spiritual, of new possibilities about the origin of all values, including connections with openings transcendental or metaphysical antipositivist; at will call.
The fact is that behind the mask of a trilogy simple emotional colors and prints, and its main themes about the revolutionary ideals of the French flag, hide much more far-reaching ideas, with much more complicated genealogies, like love or destination.
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| Krzysztof Kieslowski Irène Jacob, Jean-Louis Trintignant in the filming of "Three Colours: Red |
Thus, Kieslowski seems to despise a few simple ideals of the revolution with the might of other elements and supernatural forces, authentic existential and other circumstantial. While his characters are torn between human values \u200b\u200band are motivated selfish from ailing ideas in Western society, his actions define what is true from inexplicable connections, perhaps mystical, or perhaps even unknown.
Kieslowski shows like no one before in the film, unconscious actions and ignored the responsibility of characters frequently illuminated phenomena or transcendental forces, as incomprehensible as clear.
Like Blue with the idea of \u200b\u200bfreedom, and White with the idea of \u200b\u200bEquality, in Red, Kieslowski returns to the basic question the idea of \u200b\u200bfraternity in Western Europe, although in this case seems to cover much more than Europe. Kieslowski seems to make clear that it disputes the existence or true nature of liberty, equality and fraternity, but the idealism of the men and the West in its use. Blue
If it showed the contradictory nature of Liberty about the human condition, high and naturally selfish in White rejoiced at the lack of equality in its idealistic and hypocritical use theoretical to practical use. In Red, Kieslowski shows once again his skeptical vision for the Fraternity in its use, based on the selfish and contradictory human behavior.
is in Red where Kieslowski finally released many questions, something that motivates much more so testamentary nature, "many more than in the previous films in the trilogy, possibly the final connecting links and attempts to answer to all points raised in Blue White and , and even in his earlier films. Red
again raises questions about the quality of pure idealized values \u200b\u200bwill by the Western mind, including Love means the highest level of purity. However, Kieslowski, always skeptical of both free romance from Western society, suggests the fraternity as a substitute for the raw value in the West because, as an ideal seems futile and inaccurate.
Kieslowski, seems to show kindness only related to love, a symbol of purity, and by default, the fraternity linked more a sense of empathy that of pure Love, more related to the self-something already hinted at Blue and White , with doubts about the purity of Liberty and Equality. In turn, Love is directly connected to external forces, unpredictable connections and predestination, while the Brotherhood is directly dependent on the individual and collective responsibility.
empathy and fraternity, in the absence of love and faith as existential substitutes in the absence of pure values.
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| Irène Jacob plays the young student and model | Valentine Dussault
The history of Red is in Geneva, Switzerland, from meeting Dussault Valentine (Irène Jacob), a young student working as a model, with Joseph Kern (Jean-Louis Trintignant). Kern is a retired judge who lives isolated from the world around him, and who monitors skeptical and resigned. Valentine accidentally runs over the dog of Kern, which will provide the final link of a meeting that will mean the beginning of a relationship of mutual solidarity and division between the young and the judge.
Along the main characters, Kieslowski places for the first time in the trilogy, a parallel account from the story of a young aspiring judge, Auguste Brunner (Jean-Pierre Lorite), who "accidentally" step revive the situations experienced by retired Joseph Kern. This character, vitally important, clearly represents more of the constants in the Polish director, as the choice or second chances, apart from the space-time connection of all types of nature in his films.
In this case, apparently more interested Kieslowski ever closer to the viewer directly, without too much rhetoric. This is the reason why in Red everything is much more apparent and less "liminal" as repeatedly has coined this term to the Polish cinema. In this way, and to include the parallel story to the story shown in pictures, but space and time have connotations retrospectives about the life of the judge completes Kieslowski screenplay of his career, with a master narrative and characters profiled in detail .
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| Jean-Louis Trintignant plays masterfully by retired judge Joseph Kern |
If in the previous films in the trilogy physical or mystical connections were logical But apparently, in Red it is much more evident, more palpable, more sensitive and these connections become the main engine of storytelling and the fate of the characters of Red , and even of all the protagonists of the trilogy. In
Red, Kieslowski shows better than ever faced several elements so characteristic of his films, on the ground rational and the irrational, physics and mysticism. On the rational narrative, is seen as thickens the relationship between Valentine and Joseph, while there are signs of irrational sense of the other story, from demonstrated parallelism between Auguste and Joseph Kern.
Kieslowski had spoken several times of his obsession with chance encounters, by chance, and predestination. In an interview at a cafe, he said this:
"I like chance encounters, life is full of them. At this point, in this coffee, we sit next to strangers. Everybody get up, go away, and follow its path. And so, never will meet again. And if they do not realize that is not the first time. "And is that really all crosses, all wiring Red metaphysical and the trilogy, is the true space hero, in the that Kieslowski was moving like a fish in water. For This, perhaps, his relentless obsession to complete the trilogy not change soon, in just 2 years, making sure that elements in the scene containing the largest possible number of parallels.
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| The young Auguste (Jean-Pierre Lorite) relives the experiences of Joseph Kern life while constantly crosses that of Valentine in a direct allusion to the destination and ; second chances. |
Red In the opening sequence is a declaration of principles, through telephone wire, of the means of an attraction that flows into the sea or underground path. Kieslowski shows images directly on the parallels between the lives of the protagonists and the fate of their relationship, in the same direction. From the beginning, we see the young judge and Valentine crossing in several sequences and even planes, without any direct connection. Kieslowski seems to increase the feeling in the viewer of the crossing, the final link between Valentine and Auguste, who like the same train paths seem destined to prevent this from happening, and yet its direction indicated otherwise.
on the fraternity at Red situations and dialogues are much more reflective than previous films with the ideas of liberty and equality. By Joseph Kern, exceptionally played by Jean-Louis Trintignant, "the filmmaker shows his indifference to the possibility of a response from a sound system and a state based on established moral values. Kern monitors and spies on its neighbors, with the simple excuse aparentede really know, because he is resigned to that truth will emerge from the individuals themselves. In the presentation of Kern, the reasons for the apathy of the old moral judge, seem contradictory. However, throughout the story, and especially by the extraordinary direct analogy with the other story Auguste parallel on, we realize that the reasons are much more personal than evidenced. Kern, Valentine discovers another possibility, that he had not sensed in many years. In turn, meant for Valentine Kern Vocational meet with rebellion, struggle and solidarity action. Kern
is illuminated by Valentine, representing all the values \u200b\u200bthat he considers lost in society. It means hope. In turn, Valentine received a clean idealism by Kern, who finally won their confidence. Both are now complementary beings. This is the main idea based on the idea of \u200b\u200bfraternity, which, for Kieslowski, is based on a basis for further action or solidarity, less altruistic than the idealized connotations standardized concept of fraternity.
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| The staging of "Three Colours: Red" contains many mystical connotations directly related to love and destiny. In the famous poster image in reference to a "Deja Vu" of the final scene. Simply brilliant. |
However, Kieslowski everything can turn sound contradictory meanings from the irrational. In this case, as always, love and destiny are forces disconnected all logic engine. The love he has for his brother Valentine, wake up in Kern feelings forgotten. In turn, Kern Valentine awakens feelings gradually turn from the initial compassion to respect and solidarity.
Towards the end of the film, Valentine has learned of the rebellion of Kern, to make decisions and be true to itself, without having to wait an extraordinary boost in aid to others is an example of brotherhood less idealistic Kieslowski attempts to reflect that throughout the film, because for him there is always a feeling dormant potential determined by external factors. For his part, Kern has Valentine remained lit even literally in a poetic sequence with Valentine sitting on the floor, symbolizing for Kern around those values \u200b\u200bdormant for many years and the possibility of reunion.
After the red, it is clear that there are political overtones in the sense of fraternity, and yet, and as in White to Equality, Kieslowski masterfully manages to dodge any mere party affiliation. If White base appeared to criticize the hypocrisy of the Equality and balancing simple concept in Red Brotherhood is made evident when used as a factor union bound, showing that only non-manipulable items can arouse a feeling pure fraternal.
Aesthetically, Red recovered the power of Blue without ever reaching the psychological effect of this in the use of color. However, Red we can see from the staging of this color, the judge's initial coolness presumably contradictory, or no need to add more elements in the dialogue to show the tensions between Kern and Valentine. Games color, like the famous scene of Valentine posing with a red cloth background as "Deja Vu" of final scene, mystical connotations directly related to love and destiny. Simply brilliant. Again the music is composed by Zbigniew Preisner, another exceptional score that reminds you of The Double Life of Veronica . Red
contains several masterful camera work and special care in close-ups of objects-usually-cups or glasses, some of them laden with symbolism, as is common in Polish filmmaker simple metaphors reflect what is happening .
Trailer of "Three Colours: Red (Trois Couleurs: Rouge)"
With Red , Krzysztof Kieslowski was definitely the unanimous recognition of critics and audiences. Nominated for three Oscars in 1995 for Best Direction, Best Cinematography and Best Original Screenplay, finally could not qualify for the Best Foreign Language Film, as a matter of coproduction. He was also nominated for the Palme d'Or at the Cannes Festival and swept the Cesar Awards in France that year, among many other international awards.
will never be enough recognition to the director of securities and pure emotions, Krzysztof Kieslowski.
Javier Ballesteros
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