Three Colors: Red (A- or 3.5/4 stars)
'Red', the last chapter of Krzysztof Kieslowski's Three Colors trilogy, is a fantastic way to close things out. With its satisfying exploration of such themes as destiny & platonic love, 'Red' not only exists as a self-contained motion picture, but a fitting conclusion to a trilogy of which you didn't HAVE to see the 1st 2 films to realize what's going on. Of course, seeing all 3 enriches each one {reinforcing a commonality of ideas btwn. all 3}; but this one can exist, solely. In this film, set in Geneva, the protagonists include young part-time model named Valentine (Irene Jacob) & a cantankerous, retired judge, Joseph Kern (Jean-Louis Trintignant). Valentine meets him after accidentally running over his dog & taking the injured pet to the address on its collar.
Kern is initially indifferent to his dog's injury; telling Valentine to keep the dog if she wants. She does; however, the dog soon enough runs away & finds its way back to Kern. When Valentine goes vehemently searching, she inadvertently learns Kern's secret -- he spies on people by illegally tapping into their telephone conversations. Told in parallel with the narrative of the unorthodox friendship btwn. Valentine & the judge is the story of 2 lovers that Kern spies on. Auguste & Karin (Jean-Pierre Lorit, Frederique Feder), appear devoted to each other, but fate rails against them. For Auguste's life is bizarrely similar to that of Kern 30 yrs. ago and, like Kern ... he is drawn by forces beyond his self-control towards Valentine. Drama ensues.
Kieslowski's 3 films, Blue {signifying liberty}, White {signifying equality}, & now 'Red' {signifying fraternity}, also represent the 3 colors of France's flag. This production is rooted in France, Switzerland & Poland {the director's homeland}, so without the pinning of it to ONE country in particular {would have been Switzerland} ... it couldn't be submitted as a foreign entry for the Academy Awards; instead, it was nominated in other categories. Thematically, 'Red' is strong. Its plot construction makes us constantly consider how fate manipulates the lives of these characters; not to mention the characters from Blue & White (briefly reprised by Juliette Binoche, Benoit Regent, Zbigniew Zamachowski & Julie Delpy). And Kieslowski shows - through fraternity/platonic love - how multi-faceted relationships can be, as well as what may be sacrificed in order to find a kindred spirit.
While 'Red' lacks a certain emotional depth of Blue & the dark humor of White {this is my least favorite of the 3 films; though, still a quality film}, it more than makes up for these with style & visual richness. The crimson-saturated visuals by Polish cinematographer Piotr Sobocinski are deep, crisp & very atmospheric. I also greatly admire the music by composer Zbigniew Preisner. The performances are superbly understated. Irene Jacob is mesmerizing as Valentine, a woman inadvertently trapped by her fate. Like Binoche & Delpy before her, Jacob's thespian skills + screen luminance converge extremely well. And Jean-Louis Trintignant provides a multi-layered character whose secrets are not revealed 'til late in the film. Frederique Feder & Jean-Pierre Lorit provide solid support.
This is a simultaneously strong & delicate masterwork from Kieslowski, who confronts themes of loneliness, destiny, morality, cynicism, communication, and most fascinatingly ... chance. Human nature can be so fragile, and that is most apparent in this story; one in which our human connections are so dependent on 'chance' over anything else. Like Blue & White before it, this film works due to its compelling characters. With superlative directing, engrossing performances, stellar writing, distinct color schemes, & stirring music, 'Red' is the kind of movie that warrants multiple viewings in order to grasp both the story's ambitious scope, its exploration of those pressing themes, as well as fleeting, minute details -- quite the transfixing film.
Kern is initially indifferent to his dog's injury; telling Valentine to keep the dog if she wants. She does; however, the dog soon enough runs away & finds its way back to Kern. When Valentine goes vehemently searching, she inadvertently learns Kern's secret -- he spies on people by illegally tapping into their telephone conversations. Told in parallel with the narrative of the unorthodox friendship btwn. Valentine & the judge is the story of 2 lovers that Kern spies on. Auguste & Karin (Jean-Pierre Lorit, Frederique Feder), appear devoted to each other, but fate rails against them. For Auguste's life is bizarrely similar to that of Kern 30 yrs. ago and, like Kern ... he is drawn by forces beyond his self-control towards Valentine. Drama ensues.
Kieslowski's 3 films, Blue {signifying liberty}, White {signifying equality}, & now 'Red' {signifying fraternity}, also represent the 3 colors of France's flag. This production is rooted in France, Switzerland & Poland {the director's homeland}, so without the pinning of it to ONE country in particular {would have been Switzerland} ... it couldn't be submitted as a foreign entry for the Academy Awards; instead, it was nominated in other categories. Thematically, 'Red' is strong. Its plot construction makes us constantly consider how fate manipulates the lives of these characters; not to mention the characters from Blue & White (briefly reprised by Juliette Binoche, Benoit Regent, Zbigniew Zamachowski & Julie Delpy). And Kieslowski shows - through fraternity/platonic love - how multi-faceted relationships can be, as well as what may be sacrificed in order to find a kindred spirit.
While 'Red' lacks a certain emotional depth of Blue & the dark humor of White {this is my least favorite of the 3 films; though, still a quality film}, it more than makes up for these with style & visual richness. The crimson-saturated visuals by Polish cinematographer Piotr Sobocinski are deep, crisp & very atmospheric. I also greatly admire the music by composer Zbigniew Preisner. The performances are superbly understated. Irene Jacob is mesmerizing as Valentine, a woman inadvertently trapped by her fate. Like Binoche & Delpy before her, Jacob's thespian skills + screen luminance converge extremely well. And Jean-Louis Trintignant provides a multi-layered character whose secrets are not revealed 'til late in the film. Frederique Feder & Jean-Pierre Lorit provide solid support.
This is a simultaneously strong & delicate masterwork from Kieslowski, who confronts themes of loneliness, destiny, morality, cynicism, communication, and most fascinatingly ... chance. Human nature can be so fragile, and that is most apparent in this story; one in which our human connections are so dependent on 'chance' over anything else. Like Blue & White before it, this film works due to its compelling characters. With superlative directing, engrossing performances, stellar writing, distinct color schemes, & stirring music, 'Red' is the kind of movie that warrants multiple viewings in order to grasp both the story's ambitious scope, its exploration of those pressing themes, as well as fleeting, minute details -- quite the transfixing film.