(France/Poland 1993 104m) DVD1/2
Aka. Trois Couleurs: Bleu
270641196
p Marin Karmitz d Krzysztof Kieslowski w Krzysztof Piesiewicz, Krzysztof Kieslowski ph Slawomir Idziak ed Jacques Witta m Zbigniew Preisner art Claude Lenoir
Juliette Binoche (Julie), Benoît Régent (Olivier), Florence Pernel (Sandrine), Charlotte Véry (Lucille), Hélène Vincent (journalist), Claude Duneton (Doctor), Hugues Quester (Patrice), Emmanuelle Riva (Mère), Philippe Volter, Julie Delpy, Zbigniew Zamachowski,
What sort of a tagline is that, I hear you ask? In the movie it’s merely an account number, but it’s one of those rare almost frighteningly prophetic numbers in cinema. You see, 270641 is Kieslowski’s birthday, leaving just the last three numbers 196; Kieslowski died, prematurely of heart failure at 54, in 1996. A coincidence, for sure, but a rather disconcerting one. And talking of disconcerting, this is a very disconcerting film, probably the most cerebral of the trilogy. It’s also possibly disconcerting in another non-existent meaning; someone who goes out of their way to stop a concerto being heard might be said to be disconcerting. Such is the attitude of Juliette Binoche here. This is a film about grief and the ways we cope with it. People have been known to cope with grief in bizarre, selfish and even cruel ways (think of Samantha Morton’s Morvern Callar, for example; body in the bath anyone?). But Binoche, Kieslowski and Piesewicz make her pain almost unbearable. When she is asked by her maid at her old country house why she is crying, the maid replies “because you’re not.” She’s crying not just because she’s upset, but because the most affected person is so upset she can’t even show it.
Julie is married seemingly happily to her composer husband, when they, along with her five year old daughter, are involved in a car crash. Only she survives and the nation is in mourning because the composer was working on a piece to be entitled ‘Concerto for the Unification of Europe’. Julie decides to break off completely with her former life, even destroying the original manuscript, though a copy had previously been made by an acquaintance who suspected she would do just that. Eventually she realises that her marriage was a sham as her husband actually loved someone else, at which she blows her cover as the person actually responsible for the majority of her husband’s work, and releases it to a grateful world, at the same time finally letting go of her grief.
Kieslowski’s trilogy about the French Tricolor was supposed to be simply about the mantra “liberté, égalité, fraternite”, yet is so much more besides. The colour blue also represents the soul of the film, from the discarded foil wrapping in the doomed car to the grey-blue skies to the blue glass mobile she keeps as her only memento. As she says to her mother, “I don’t want any belongings, any memories, any friends.” They are all traps that can trap you. Julie fears her own past, and tries to escape it. She tries to cut off ties with Olivier by sleeping with him, but then he misses her all the more. She may have lost her family, but he has lost her, and he sets out to find her. Kieslowski introduces his usual trick of a continuing character (remember that guy on the bike in Dekalog?), this time an old woman trying to place a bottle in a bottle bank, and he follows this with one of the most gorgeous shots of the female face in the history of cinema, as the sun catches Binoche in a golden glow recalling the golden tint to La Double Vie de Véronique.
Yet this is not just Kieslowski’s show, Binoche gives a truly magnificent performance, projecting the sort of soulful face not seen the silent days. The photography of Idziak is likewise incredibly expressive (though Kieslowski deliberately used different D.P.s for each film). But the real magic touch has to be Preisner’s incredibly powerful music, a symphony in itself, searching out the darkest recesses of the soul and filling it with a refreshing blue almost spiritual light (as befits the use of St Paul’s infamous passage from Corinthians Ch13). Though the film is about the liberation of Julie, it could just as easily be the liberation of the audience and cinema itself.
Somehow, the term masterpiece seems insufficient. Even as high as #10 this is simply unacceptable, however before you respond with fire, I will aceept it, as I am certain I know exactly how this listing will pan out. On a grand holiday like Thanksgiving, it’s appropriate that the post be given to one of the greatest of films, and your review here is a stunner.
I will again link to Ed Howard’s piece at Only The Cinema from several months ago, which provides more great film criticism to go with Allan’s superb work:
http://seul-le-cinema.blogspot.com/2009/04/films-i-love-27-three-colors-blue.html
Absolutely, read Ed’s piece everyone. Take mine as the FOREWARD to his.
And of course, Preisner’s score, which is integral to the film in more ways than one, is one of the greatest ever composed for a film.
I agree with Allan’s praise of this film (and I now have quessed the order of the rest of his ten), I will also agree with Schmulee that even the No. 10 position seems too low. This film has stayed with me and haunted me since 1993. My favorite film of the decade (yes, I have it at No. 1), its so much more than just a mere look at grief, but a tale of emotional revenge. Kieslowski proves himself, in a short period of time, one of the supreme masters of cinema and everything in this film is perfect. The slow unfolding of the plot that leads you from one clue to another in Julie’s torment with herself and life. The lush but never intrusive cinematography. And, as Sam rightfully pointed out, one of the most amazing music scores to ever thread the big screen. The combo of music during Julie’s quiet moments of reflection, only to appear whole when she becomes whole again make for one of the most visually stunning montages in film history. There will never be enough praise for this film or this director.
That Kieslowski was able to produce this trilogy and DECALOG within a ten year span is simply amazing. His death, very premature, bummed me and Schmulee out when we had heard the news. As for Binoche, her performance is intricate, heart-felt, angry and probing. She is an intelligent actress embuing an intelligent character and learning about her craft while informing the character with real responsive truths. In interview with Kieslowski friend and biographer Annette Insdorf, Binoche (who had just won the Oscar for THE ENGLISH PATIENT), said she knew she’d take the part just to work with Kieslowski and that the role was easily the best ever offered her. She also went on to say that working with Kieslowski was not only a joy, but the greatest learning experience in her life culminating in what she called her personal best performance. I, personally, would have to agree with Ms. Binoche. It’s a role of a life-time and a performance of effortless skill.
I’ll also agree with Schmulee that it is now easy to see how Allan’s count down will pan out. I’m considering taking wagers on this. I’ll also say, if it does pan out the way I think it will, ten we’re in for some real treats over the next few days. HAPPY THANKSGIVING TO ALL. And, Thank You Allan for this review and including this great film within the ten greatest of the decade. It truly deserved the position. Actually, IT HAD to be in the top ten. There, I said it.
Yep Dennis, I think we both knew (and know) how this will pan out.
Ah at last, a movie that I’ve seen.. . Wonderful review Alan of the most affecting film of the trilogy.
My favorite film of the decade was Kieslowski’s RED (the last in his trilogy), but BLUE is also an impeccable choice, and the review does it justice. Binoche’s performance is indeed a wonder, partly because she achieves her effects so quietly. What we’re seeing is the devastating heartbreak of a person so strong she can wrench her life bodily out of its track and force it down in a new one–as though her will were a tornado, powerful as the fate which destroyed her husband and child. And she does all this dressed in her elegantly spare dark clothes, her face (for the most part)controlled and reserved. For this reason the moments when her unendurable grief breaks through have an almost insane intensity. In that moment when she discover’s her daughter’s lolli[pop in her purse and forces herself to chew it down, we understand that she’s eating her own heart. And although she’s trying to purge herself of emotion, trying to give no quarter to suffering, to impose coldness on herself, there’s moment after moment when we see her natural warmth break through. She’s a friend to the young woman who’s stigmatized; she can’t destroy the family of mice in her apartment; she faithfully visits her mother, who can’t recognize her. She treats her husband’s mistress with astonishing generosity. But this might almost be Julie’s gift of gratitude, because her discovery of the affair finally frees her.
What an immaculate performance. What a powerhouse.
Indeed Margaret! And yet another powerhouse comment by you. I liked RED better than BLUE for a number of years, but while I still consider both masterpieces, I’ve reversed myself now. What you say there about Julie though is beautifully posed, and I completely agree. Presiner’s score is another element that elevates this film to the highest level.
Margaret I have lost superlatives in describing your contributions at this site.
A movie I need to see again (and I’ve not seen the other two components of the trilogy). Thought you would like to know, however, that as I am visiting my parents for Thanksgiving, I left this review up when I was away from the computer and my mother came across it. Reading it, she was very impressed and said it made her want to see the movie.
So that’s a thumbs up from the folks, Allan!
I would hope that Allan would be supremely flattered by this. I know I would. But his silence is only coincidental, I know this does catch his fancy. Joel, I am surprised you haven’t seen the other two.
Weird, I just watched ‘Blue’ and ‘Red’ the past two days with the thought that we would see them soon in the countdown (though I don’t think we will see it I also plan on watching ‘White’ again now too), and here one is.
Great review and I just want to say how much I agree with all the others around here; this is a special film. This most recent viewing I came away with an intense desire to find that blue pool and go for a needed swim. It looked so cold, so reaffirming, so perfect. I marvel every time I show these films to others who don’t particularly like art films… they always go over incredibly well. That may be their most striking fact to me; Kieslowski was able to make a beautifully artistic, emotional, cerebral film so damn watchable and entertaining.
I always think about Juliette Binoche’s Julie after watching this. How perfect I think she is (and I’m not speaking of the performance, I’m talking more about the character).
I suppose the only flaw with this film (and the other two in the trilogy) is that they are forever linked together, so inevitably when one is named one must always feel the need to say “I like this one better”, “or that one”, ect. I will restrain from such unnecessary activity.
Wonderful impassioned review Allan, very genuine.
Yes indeed Jamie–a “cerebral, artistic and emotional” film for sure, and Binoche is hypnotizing. That pool is alluring, i quite concur.
Fabulous comment by one of the best commenters on the net, if I may say so.
This is a fine piece on Blue. In some ways this along with Veronique is the director’s most impressive work in terms of its visual grammar and its sound cues and so forth. But these films are also colder pleasures and lack the ‘warmth’ of Red. This would seem to be fitting for Blue given its color symbolism and its themes except that there is just a hint of obscurantism here (as there might also be to Veronique). When Kieslowski does not lean on ‘mystic’ tropes he is often in danger of coming off as either ‘new age’ or else the ‘abstraction’ obscures. I would take the Decalog over anything else Kieslowski did and yet the achievements of Blue are very authentic and no one should not have seen this. I will finally agree completely that the Preisner score here can scarcely be overrated.
Indeed Kaleem. I always did feel that RED was ‘warmer’ but re-viewings have upped my esteem of BLUE for positions I already spoke of on other threads. I agree that VERONIQUE ranks with his best work and there’s no question of where DECALOG stands. Fantastic comment as usual, and much, much appreciated.
Is there anyone better than Kieslowski for this decade? Between BLUE, VERONIQUE, and (assuming it’s as good as it has been attributed, for I’ve not had the chance to watch it yet) RED, he he simply at the peak of his form for having only been working, sadly, for half of the decade. Having watched BLUE just recently, Allan hits all the right notes in his review, singling out that magnificent score, and the rest of the commenters bring out so many of the moments in the film that all draw such emotion (the pool, the lollipop, etc.).
For me, the indelible technique that is stuck in my head whenever I think of the film is the look on Binoche’s face coupled with Kiselowski’s use of a black screen and Preisner’s music. A myriad of emotions are transmitted via that few seconds and it’s one of the most emotional moments I’ve seen on-screen.
Assuming RED and VERONIQUE are ahead of this, I’m curious to hear the rationale from Allan on why (not that I’m debating it or anything).
er, “been working” should be “worked” — obviously he had been working a lot earlier than the 90′s…
Interestingly, Kieslowski regarded White as his favourite of the Three Colours Trilogy. He said that it was the kind of love story that he liked, together with a happy ending. Some of this must be based on what Dominique says to Karol in sign language in the film’s closing frames. Regarding Kieslowski’s films I have placed some of Kieslowski’s Filming Locations he used for The Double Life Of Veronique, Three Colours Blue, White & Red on my website: The Theatre Of Third Kind as well as other snippets, for example, the meaning of the hotel room number 287 in The Double Life Of Veronique. All of Kieslowski’s later films, from The Decalogue onwards, warrant in my opinion repeated viewings.
I remain, &c.
Alexander Dyle
I never realized he felt that way Alexander, and thanks for enriching this discussion immeasurably, particularly as I just scanned over at your place and see you are a Kieslowski scholar who has written quite a bit on the master director. I’ll be sure to put you on our blogroll tonight, and i’ll check some of your recents posts out. Thanks again!
Praise indeed! Many thanks. Please feel absolutely free to leave any comments on my posts at The Theatre Of The Third Kind. They would be very much appreciated & encourage readers to consider new angles of thought on Kieslowski’s legacy of films.
I remain, &c.
Alexander Dyle
I love Three Colours Blue, it’s by far my favourite one. The music is fantastic, really impressive. I’ve had the joy of playing it with my orchestra and it’s great fun.
I was adding pins to Pinterest and chose to link from your WP blog. Thanks for the writeup/review, one of my favorite movies too.