All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Three Colors: Blue
A woman struggles to find a way to live her life after the death of her husband and child.
First part of the Three Colors "trilogy".
Direction, score, acting. Krzysztof Kieślowski, Zbigniew Preisner, Juliette Binoche. Kieślowski commands the story in a way that is as unique as it is demanding. The pace is slow without dragging while the plot doesn't have a clear layout, allowing the story to progress naturally and giving the main character Julie the time needed to feel both fully-fledged and real. The visual style is rich and the color blue is used predominantly to evoke Julie's emotional struggle. Preisner's music must be one of the most beautiful I've ever heard. It is crucial not only because of the role it plays in the story as Julie is the wife of a successful composer (and she…
This is my first experience with Krzysztof Kieślowski’s famed Three Colors trilogy. I really loved The Double Life of Veronique…so I figured it was finally time to sink my teeth into this much lauded trilogy. Much like Veronique…I find myself perplexed after watching Blue…but in a good way. Kieślowski seems to have this very unique quality to his films that’s hard to describe in words. They are dream-like and puzzling…they feel familiar yet challenging at the same time. Blue is the perfect example of the type of film that I don’t really ‘enjoy’ while watching, yet days after I’m done with it I can’t get it out of my head.
I think the standout thing about Blue…is Juliette Binoche’s performance…
There is so much that can be read into so many of the films of Krzysztof Kieślowski that, to the outsider or uninitiated, they must seem overly complex and quite possibly completely impenetrable.
Of course, the reality is that is not the case at all. Kieślowski's real genius, for me, was his ability to infuse his films with so many different allegories and visions that he invited the viewer to watch his films in so very many different ways. That is why, when you read reviews of so many of his films, they so often differ in what they have taken away from that viewing.
There is one constant with them, though, and that is that they are really rather…
I have not yet seen the rest of the Three Colors trilogy, so anything I write here is outside of that context.
I am afraid that freedom is a myth. Certainly, we are never free of the consequences of our actions, of our pasts. I wish it were otherwise, but I suspect there is no clean break from the past. Even if we move physically away, the emotional content of the past will linger. Kieslowski illustrates this in a more literal fashion, as Julie attempts to sever all her previous emotional connections--selling the house, trashing the compositions, breaking a heart, escaping into the maze of Paris--but somehow is tracked down by figures from before her grief and loss. The lingering…
I had this film wrong. I last watched it around four to five years ago, and I did enjoy it, but I had it down as a film about grief. It isn't, or not as directly as that. Krzysztof Kieślowski's movie is far more enigmatic than that.
I think I would have to watch this many times to begin to scratch the symbolic surface of this movie. My girlfriend, very astutely as this is the only one of the three Coleur films, she has seen, realised that each film is an exploration of the concepts of Liberté, égalité, fraternité and blue is of freedom.
Juliette Binoche plays Julie de Courcy, the wife of a renowned composer. When she survives a…
No wonder the trilogy has been talked about over the 20 odd years. This first part was incredibly powerful and was quite moving at times.
A plot that moves along slowly but things begin to explain throughout which kept me compelled to the screen.
Juliette was perfect to play in this role with her sweet innocent look but grievement building inside. It was difficult to understand her character why she wanted to throw away all the memories of her past but this is where the film works so well because later on all is revealed. The film shows no matter how much she try's to forget the past something back comes about.
Plenty of colour BLUE which is understandable with…
I may have seen this film before back in the 1990's ( I definitely saw Red and White) but none of it seemed familiar. It had many of the things that give french films a bad name - not much plot, tedium and emotional angst, to name three. On the up side the music was great, Juliette Binoche has a nice face and she wasn't a complete bitch ALL the time.
A film about a self obsessed widow, who gradually comes out of her blue funk due to nice people around her.
One of the most beautiful portraits of grief.
Juliette Binoche is too real
Does great style, directing, and acting make up for a movie with little to no plot? In this case, yes.
I'm still digesting this movie -- I walked away from it feeling something I can't quite put my finger on. Obviously "freedom," in its most a-political sense, is the primary concern of the film; to what extent can we detach ourselves from memories/the world, and to what extent does that affect how we live and love? I left the movie caught between being hopeful and hopeless, and left with a higher understanding as well as being more confused.
I guess I would describe it as emotional purgatory.
Nonetheless, I was affected, and it's all due to the films symbolic imagery, meditative pacing, and well executed drama. Much of it reminds me of Double Life of Veronique (the spheres, musical composers, different lives producing the same content, etc.), and I found it interesting to see Kieslowski's continuing themes.
I know comparisons are the devil and all, but in some ways Three Colors: Blue reminded me of The Cook, the Thief, His Wife & Her Lover: both are slow paced, capture beautiful environments in a way that makes them even more beautiful, have lush orchestral scores, feature steady and economic direction, weld contrived (and I don't mean that pejoratively, here) formalism onto a plotless narrative; and are undertaken with the utmost gravity. They're both skillfully made at each individual level in an overall cohesive style that certainly held my attention -- sometimes more -- throughout. And because it isn't tasteless, is shorter by a half hour (not bending its glacial pace to the breaking), and actually successfully accomplishes its narrative…
It's pretty neat from a technical stand point but the story is just not at all interesting. Fortunately the pacing and soundtrack are really good and there's enough nifty shots to keep me more or less entertained throughout.
I'm not entirely sure why it's great, but I know it's great.
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 194/776 (25%)