Examine how Kieślowski represents granting immunity in third discolor: Blue.
The Three Colours trilogy by Krzysztof Kieślowski employs the themes symbolized in the French flag; liberty, equality and fraternity. In Blue, the first film of the trilogy, the theme of ?liberty? or ? bountifuldom? is framed within the study of a successful charr thrget into a different state of consciousness by family tragedy. It is an arresting study of nonions of individual bare(a)dom in the mod world. Kieślowski was determined to explore the less obvious political connotations of these melodic themes without facile moralizing. As he explained to writer and translator Danusia Stok, the guiding trader behind the trilogy is how the three words liberty, equality and freedom intimacy today ?on a very human, intimate and psycheal envisione and not on a philosophical allow alone political or social one.? What results is a diaphanous examination of a woman?s state of mind.
The exalted of ?liberty? is personified in the upst artworkly-widowed Julie (Juliette Binoche), who survives the automobile disaster that kills her married man Patrice (a illustrious composer) and young daughter Anna. later on recovering in hospital from minor injuries and an abortive suicide blast, Julie?s response to this red ink is to break off all connections with her medieval. In order to break herself from familiar people and surroundings Julie sells off the family estate and moves to a Paris apartment. The film follows Julie?s struggle to define herself in terms of her newfound ?liberty?; her freedom from past relationships and from the caparison of a past breeding. However she soon finds that this freedom is not as easy to achieve as she had hoped. We learn that Olivier (Benoit Regent), a close fri closing curtain and confidante of Patrice, has been in love with Julie for many long clock and this forms a link with her past look that cannot be broken. After having happily succumb to Julie?s sudden and unexpected versed advance soon after Patrice?s death ?this cosmos neither emotional nor sexual for Julies unless rather a ?purging? of her old life before she leaves ? Olivier is not discipline to let her disappear. Other strong linkages to Julie?s past life atomic number 18 revealed as the film progresses and she is unable to stop new relationships forming; neighbours seek help and friendship, doubts about her husband?s unfaithfulness inflame jealousy and she is plagued by an unwel sum up artifact from her husband?s life. His unfinished composition, line for the Unification of Europe, is the subject of uttermost(prenominal) interest and although Julie disposes of Patrice?s notes for the piece (and tries to dispose of all her own memories), it continues to insinuate itself into her life until it draws her back inexorably out of her self-imposed exile and she confronts the medicinal drug as well as her own devastated psyche.
Kieślowski explores the notion of freedom in many different slipway finishedout the film. It could be argued that he made a advisable choice to depoliticize his films, for the freedom that Blue deals with is not political but personal and emotional ? a hoped for freedom from memories. Julie?s arrest has Alzheimer?s and represents the extreme of any attempt to be free of memories, being unable to recall most details of her life. Her grow?s existence is shown to us as hollow, she ?sees the world? through her television set ? an illusion of freedom. While a television brings the world to its viewer, it is also a distancing device, it isolates. Julie?s mother does not recognize her daughter demonstrating the lack of meaning in relationships when in that respect is no sh bed history. Having discovered a family of rats living in her apartment Julie asks whether she was sc ared of mice as a child. This demonstrates an inconsistency or conflict between Julies patent desire to forget her past while still needing it to make sense of her present.
at that place are many exquisite moments of visual poesy employ to subscribe ?freedom? in the film, such as the obvious rule of the color sad. The subjectivity of Julie?s emotional reasoning is conveyed by a deft use of blue filters in some(prenominal) scenes where Julie is alone. Intriguingly the external world of business and family is often seen through a dull yellow filter. Blue is the colour associated with grief. However, Kieślowski uses suffering as a means to illustrate the theme of cathartic liberation. Julie?s periodic swims in the pool (which appears blue at night), expiration of her husband?s unfinished symphony (with a blue pen), and transfer of their country estate to his mistress (who is expecting a boy) are all symbolic acts of closure. However as Julie begins to reengage with the world, the way in which Kieślowski and his cinematographer, Slawomir Idziak, utilise this colour scheme adjusts. Blue ceases to be the colour of Julie?s depressed state but rather a symbol of hope, a reawakened desire to create and, most crucially, a signal to live life fully rather than tho exist.
Another technique that Kieślowski uses is to concord blackouts not at the end of a scene, but as dramatic breaths in time when Julie slips from temporal consciousness to grieving consciousness and back again. thither are five instances of the fade to blue accompanied by de Courcey?s motif for the Concert for European Unity: at the hospital on the visit of the journalist; when she meets the witness to the accident Antoine; on the stairway of her apartment block; in the go pool and when she learns of Patrice?s affair. These blackouts are an unpredictable intrusion of retentiveness and loss and an indication that freedom from past memories cannot be achieved.
The music throughout the film also plays an important role. Zbignew Preisner?s rack up is not only central to establishing the verisimilitude of Julie?s high art background and her late husband?s stature, but reinforces the idea that freedom is a work in progress not an end in itself. When we learn that the music that accompanies Julie?s blackouts is the music left by the husband to complete the concert, it symbolizes the ties that endure.
Kieślowski also draws firmly on certain other themes and moralisms in the film, including altruism, how fate/ hatful or chance affect our lives and the foreshadowing of events to come. At the parentage of the film Julie?s car crashes into the sole tree on a deserted plane, at the precise moment a hitchhiker succeeds at a game he may have been attempting for hours. Olivier at the reference of the film offers her Patrice?s photographs. She refuses but sees them by chance anyway later in the film. It seems the choice is not made when Julie refuses the photographs merely delayed. Is this fate? Can a person ever be truly free if their life is already pre-destined?The scene with the old lady struggling to put a bottle in a recycling bin is used in all three films.
How the characters react to her reflect on the themes of the films. Instead of giving up on life she has genuine age and the life she has been given and she is still fulfilling her social responsibilities. Julie has her eyeball closed the whole time and does not see this lady, maybe signifying Julie is not yet ready for this truth, she is still blind to it.
There are several key close-ups in Blue, most memorably Julie soaking up her coffee with a sugar cube. In an interview with Kieślowski he is explicit on the importance of these segments:?We are trying to show how the heroine perceives the world. We are trying to show that she focuses on small things, on things that are close to her. She doesn?t manage about things which are further away from her. She is trying to settle her world, to limit it to herself and her immediate environment.?Instead of liberating herself Julie is actually putting constraints on herself. In an attempt to protect herself she is actually sacrificing her freedom. It could be argued that the transition of what Julie is going through is the exact opposite of what is superficially occurring. oratory about the part Juliette Binoche said ?When you have lost everything, life is nothing? . However as the film progresses it becomes increasingly apparent that Julie has not lost everything. Olivier still loves her unconditionally and although at the beginning of the film she tries to destroy everything from her past life, she keeps the blue mobile. Although she thinks she has destroyed her husband?s final composition she keeps the motif (the few notes that come flooding back to her during her blackouts) in her handbag. At the pool she submerges herself and curls up in a fetal position in an attempt to hold back her memories but yet goes back to her apartment and looks at the blue mobile. It seems the two elements of her former life that she is unable(predicate) of letting go of are her daughter and her husband?s (or quite possibly her own) music. These are what lure her back into society. She realises her plan to rid herself of her memories and responsibilities has been futile. Her maternal instinct at no dapple diminishes, as is shown in her sympathy towards the rats and her relationship with her neighbor, the child-like Lucille. It is something she cannot be free of. When she offers her house and her husband?s family name to her husband?s mistress she is providing for Anna?s half brother. If we assume that it was Julie who was the composer, when Patrice died she lost the intercessor for her creativity, she did not however lose creativity itself. The completion of the Song for the Unification of Europe is the moment that finally brings her peace and allows her to deport her past and move on with hope. This is when Julie finally becomes free.
Bibliography: Binoche, Julie, Interview. In: Three Colours: Blue DVD, Artificial Eye, 2001Kickasola, J. G. (2004). The Films of Krzysztof Kieslowsk i; The Limial Image. New York: Continuum.
Kieślowski, Krzysztof, Interview. In: Three Colours: Blue DVD, Artificial Eye, 2001Stock(ed), D. (1993). Kieslowski on Kieslowski. capital of the United Kingdom: Faber & Faber.
Hill, Lee. Three Colours: Blue www.sensesofcinema.com
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