"In a way, love is contradictory with regard to freedom. If we love, we cease to be free, we become dependent on the person you love "(...)" Freedom is impossible. We aspire to freedom, but do not get it. " Krzysztof Kieslowski
the magazine Positif. "
I mpactante from all points of view, Three Colors: Blue (Trois Couleurs: Bleu, 1993) meant the international presentation of a masterpiece in European films, the trilogy Three Colors a unique filmmaker, Krzysztof Kieslowski.
Two years after the delicate The Double Life of Veronique (La Double Vie de Véronique, 1991), Kieslowski gave the world the first of three films in the trilogy. A sublime piece, capable of exceeding the limits of what is known about the expression of emotion in movies, only available to very few filmmakers.
Julie, star of "Three Colours: Blue, one of the best performances of Juliette Binoche.
What is the main reason Blue ? It can be very easy to apply the simple response to the idea commercial part of their exhibition, the idea of \u200b\u200bfreedom in the revolutionary ideals of the French flag. However, this idea is constant throughout the Polish moviemaker, and simply looks a mere starting point in the complicated maze of emotions and concepts that emerge from a film as dense as Blue . Who approach the film looking for an archaic idea of \u200b\u200bFreedom, will not find answers for the multitude of implicit and explicit connections to that idea with the whole web of emotions displayed Blue is craving indecipherable. Perhaps that was the intention of Kieslowski himself, who is not metaphorical intentions seemed to admit in his films, but rather allegorical or attached to the "free" overture from the depths of the meaning of every detail to the viewer engaged and attentive, a viewer in which Kieslowski hoped their attention guided by the pure emotions and feelings universal. It is likely that the secret of Kieslowski's film is based precisely on such universal connections difficult to express, far from simple physical concepts. His films, including a universe far more open to the limits of physics, time and space, since it involves elements that are temporally and spatially repeated continuously without apparent Cartesian reason, and yet are elements familiar to the viewer intensely .
speak, therefore, a filmmaker capable of portraying the inexplicable screen, the deepest of human emotions and relationships of cause and effect from the particular to the universal.
The striking staging of "Blue", with absolutely saturated with the color sequences in its use more evocative of mood and psychology of their protagonist.
For Three Colors trilogy, Kieslowski get it through the first first film, the persistence of vision, with its liminal use of repetitions, and a measured sense of detail on characters and elements time. And of course in the use of color, and various theories of Gestalt perception on color.
In the case of Blue, a description of their emotional perception would be:
"Blue: It is the coolest colors, poor lighting, therefore, emphasizes the dynamism of the warm colors and, therefore, is often chosen as a background for contrast with the prevailing colorful details. Gives impression of sweetness, being frequently associated with wonderful ideas, inaccessible. The blue symbolizes loyalty, honesty, faithfulness and the ideal, the dream. "However, if the saturated blue is relaxed significantly by white and green:
" Light blue symbolizes faith, living, virtue. It's deep, feminine and relaxed. Is preferred by adults. Awakens memories of childhood. Is related to the interior, with the spiritual life. Is calm, but not in the way of green. The depth of heaven. "Krzysztof Kieslowski
link gets the emotions evoked from the liminal use of blue screen with the lingering emotions in our experience, individual memory and collective action. Progressively throughout the film, both sensory relations interact in the viewer from the story offered as a retail partner.
end of the story only the union of two sensitive paths is obvious: the expected tears of Julie (Juliette Binoche) and her hint of a smile melt into clear blue with light greenish tint and a beautiful reflection the leaves of trees through the glass, in an emotional final foreground that seems to evoke other masters of the transcendental as Carl Theodor Dreyer, Andrei Tarkovsky.
One of the most beautiful drawings "Blue" in the final sequence of the film, with many of the common elements in the composition Kieslowski like looking through windows, reflections or special use foreground color.
Blue therefore, is one of the finest examples of the exceptional use of color in film, reflecting the pain, grief, indifference, coldness, loyalty, idealism and sleep until his poetic transition to virtue, vitality, faith and spiritual depth of the story.
Metaphysics aside, Three Colors: Blue consists of a number of ideas and constantly repeated elements in the films of Kieslowski, in its most polished. Universal elements as fate, chance, causality, love, death, justice and accountability, this time, particularly connected with the main reasons for the trilogy, the revolutionary ideals of Freedom, Equality and Fraternity, and contemporary relationship in modern Western society, with the French as a simple booster base. In my view, the reflection of these ideals throughout the trilogy is very controversial staging, with moments of apparent pessimism and misanthropy clear, openly encouraging mixed with other fraternal and business continuity.
In Three Colours, Kieslowski constantly question the current value and continuity of the French revolutionary ideals: Liberty, Equality and Fraternity. For Blue the idea of \u200b\u200bfreedom is openly overshadowed the fragile line between responsible or not acts of Western culture in particular cause-effect relationship between the company and actions arising from an emotional state from individual to collective, from things like love to the responsibility social.
Blue tells the story of Julie's grief after losing his daughter Anna for five years and her husband Patrice, an acclaimed composer, in a fatal car accident which she survived. A Courzy Patrice, had assigned the composition of a new European anthem, the "Concerto for the Unification of Europe", intended for release, in one of the celebrations of the Maastricht Treaty of 1992 with the exclusive interpretation 12 symphony orchestras in each of the 12 components of the European Union. The unfinished work is transformed into a symbol throughout the film actors. The sense of incomplete work symbolically tunes to the Julie's emotional absence in their indifference to the outside world, the individual duel Julie is universalized through the unfinished composition. Ironically, Julie's personal powerlessness in revolt seems indifferent attitude towards their unique potential for completing the unfinished work of her husband in one of the main axes of the link with the universal of the whole film.
The personal grief of Julie, the real engine symbolic "Blue" with the controversial portrait of the idea of \u200b\u200bindividual and collective freedom.
The complex picture of the idea of \u200b\u200bliberty in Blue has, therefore, several readings from different angles. One is the idea emerged from the opening quotation of this text, Kieslowski itself around the idea of \u200b\u200blove and desire for freedom and their symbiotic nature contradictory to the very idea of \u200b\u200bfreedom. The individual chooses to love despite the loss of their own freedom in favor of dependence, the loss of the beloved, from the individual to the collective-reflected in the non-completion of the composition to the loss of its creator-is reason contradictory enough for this reflection on the idea of \u200b\u200bFreedom in Blue Kieslowski. Reason, allegorically portrayed in the story of Julie and her dilemma between pain, death and indifference against hope, life and responsibility to finish what started.
Thus, narrative and symbolic parallels from this individual-collective axis are evident. After the accident, Julie will try, for example, to end his life and the original sheet music for her husband tries to keep the idea of \u200b\u200bfidelity of her husband and the idea of \u200b\u200bartistic inspiration, masterfully symbolic figure of street music - try to maintain their ideal of the family and its disintegration, partially reflected by the appearance of her husband's mistress, and very allegorically to the scene of the mice in the apartment. All these actions impulses and ideals will be thwarted by internal or external elements to Julie. Sometimes the random and sometimes causation or destiny.
Julie is intended to complete the work of her husband, works which were encouraging, refreshing, vital and universal that it must continue from the emotional inspiration of a person indifferent. Is the Idea of \u200b\u200bFreedom unstructured personal to the collective. The Idea of \u200b\u200bFreedom, even more intimate and personal is therefore completely misleading.
's masterful use of blue in the objects related to Julie and her family, the pain of loss and denial.
Others, however, the constant element of Kieslowski's career, redemption, faith and spiritual or transcendental awareness, gradually increasing their role in the story to end in the final sequence. The character that seems prophetic spiritual connotations or offer in the way Julie, is that of Olivier (Benoit Regent), whose love for Julie and her passion for music and the unfinished work of his vanished friend, are the redeeming elements of the Julie indifference. On the other hand, the element of the crucifix which includes the boy after the accident, contains more ambiguous symbols on one hand seems to mean the loss of faith by Julie and the meeting of the young with it. However, after observing the same crucifix Patrice's mistress, faith looks able to Julie, and after the final scene to the forefront of Julie in front of the window and the brief appearance of the boy with the crucifix, seem to open the doors to this possibility. Olivier
also represents the choice of continuity, the choice for the blue light. While also symbolizes the idea of \u200b\u200bcollective freedom, through the idea of \u200b\u200b "free choice" of society to opt for the continuation of the work to be pursued consistently, despite his loyalty to Julie as a lover and his loyalty to their creative talents. Olivier did not hesitate when trying to disenchant Julie on the ideas that keep it locked in her virtual world, to zoom out of their grief as soon as possible. On the other hand, one of the best supporting characters portrayed in the film is the young prostitute and her relationship with Julie. The girl stands for Julie the possibility of free choice and the loss of values \u200b\u200bhypocrites. Olivier
After some compromising photos show on television about the life of Patrice adultery, and after accepting it Julie's relationship with his lover, we see the failure of many of its ideals. His ideal of love, family and finally the individual and collective freedom, accessing the love of Olivier and the completion of the work rescued by him, his family home by donating to the future child born after her husband and her lover, and therefore, the popular choice of continuity and hope.
The relationship between Blue and the rest of the trilogy contains several nods to other films that were already in preproduction. And in the case of the sequence in the courtroom, in full production, as the tiny cameo of the two protagonists of White in the film, is another of the samples on the detailed production of the trilogy and the concern Kieslowski by crosses between all actors interdireccionales of the trilogy, reflecting the parallelism and cause-effect relationships in all their stories.
The striking staging obviously steeped in Blue, Kieslowski was finely detailed, with a very specific use in treatment in elements of nature or physical reasons. From the bedroom of the family home, cabin Patrice inspiration, even the candy girls and the ubiquitous glass lamp, all in dark blue color, which symbolizes the main tone before Julie's family life and the struggle for the separation of objects and places connected. Especially striking is the sequence of the pool where a powerful Dark Blue permeates the whole image, with the reflection Julie psychologically to their own emotions in the pool, the composition of her husband playing in the background, and the final immersion in water of Julie in a fetal position, struggling with the immensity of emotion and grief, one of the most successful scenes the films by Polish director. And especially symbolic, many of the detailed close-ups slightly extended, as in the famous scene of the lump of sugar or coffee soaking up the scene where Julie slips s fist on a stone wall, indifference and pain. With these symbolic details, Kieslowski manages to capture the screen difficult to express emotions literature.
A close up of a sugar cube impregnated coffee for a few seconds to fall and spill the cup. Julie's indifference to his surroundings symbolically detailed in one of the subtle close-ups of "Blue."
worth mentioning the extraordinary soundtrack composed by Zbigniew Preisner, in another of the examples of masterful use of music in the staging of the films of Kieslowski with Preisner. One of the most memorable moments of the soundtrack for Blue omnipresent protagonist is when Julie recalls the score written by close-ups of their hands following the notes, or the restructuring of the music with Olivier. But it is undoubtedly the final sequence, which binds all the players from the final composition of Julie, the most impressive.
Trailer of "Three Colours: Blue (Trois Couleurs: Bleu, 1993)"
Three Colors: Blue is the work of a genius. A committed filmmaker, able to view material assimilated by the ideals of modern society, through the unique experience of its look inside the human soul.
Javier Ballesteros
0 comments:
Post a Comment