#590: KIEŚLOWSKI, Krzysztof: Three Colors: Red (1994)
THREE COLORS {Spine #587}
KIEŚLOWSKI, Krzysztof (France)
The Booklet
Commentary
None.
Cinema lesson
Video essay
By film critic Dennis Lim.
Video interviews
With Irène Jacob, Marin Karmitz, and editor Jacques Witta.
Behind-the-scenes footage
Documentary 1
On the film’s world premiere at Cannes.
Documentary 2
KIEŚLOWSKI, Krzysztof (France)
Three Colors: Red [1994]
Spine #590
Blu-ray
Blu-ray
Krzysztof Kieślowski closes his Three Colors trilogy in grand fashion, with an incandescent meditation on fate and chance, starring Irène Jacob as a sweet-souled yet somber runway model in Geneva whose life dramatically intersects with that of a bitter retired judge, played by Jean-Louis Trintignant. Meanwhile, just down the street, a seemingly unrelated story of jealousy and betrayal unfolds. Red is an intimate look at forged connections and a splendid final statement from a remarkable filmmaker at the height of his powers.
99 minutes
Color
Color
2.0 Surround
in French
1:85:1 aspect ratio
Criterion Release 2011
Director/Writers
Screenplay by Krzysztof Piesiewicz and Krzysztof Kieślowski.
Kieślowski was 53 when he directed Red.
**
Kieślowski’s earliest films were documentaries. Four are included on the three discs of this trilogy: The Face (1966); The Tram (1966); Seven Women of Different Ages (1978); and Talking Heads (1980).
He began to win prizes at film festivals, and No End (1985), though controversial, brought him further international notice. He also began relationships with two collaborators who would remain with him for the rest of his career: the composer Zbigniew Preisner and trial lawyer Krzysztof Piesiewicz, who co-wrote this, and all of Kieślowski’s future screenplays.
In 1989, he made Dekalog (Spine #837) — one of the finest film cycles of all time.
His final four films (The Double Life of Veronique [1991] and Three Colors: Blue [1993], White [1993], and Red [1994]) — all made with French and Romanian-born producer Marin Karmitz's money — cemented his fame.
Other Kieślowski films in the Collection:
The Film
If Blue was the anti-tragedy and White was the anti-comedy, then Red — the finale of the trilogy, and Kieślowski’s very last film — is the "anti-romance."
The opening brings a trio of cinematic images from all three films, which -- as Kieślowski says in one the extras -- tie together as a subterranean triplet: in Blue, under the car; in White, in an airport conveyor belt, and here: the underground telephone lines.
Someone is dialing a number. The camera follows the telephone wire to its outlet, and then Kieślowski takes the viewer on a wild ride through the cables -- even under the ocean -- only to end up on a boring, flashing red light (over the credts) ... the film begins.
(Kieślowski's worthy protégé. Tom Tykwer, in his wonderful film, The Princess and the Warrior (2000), "borrowed" this idea for the opening of his film -- in his case, using a letter going through the postal service.)
Irène Jacob stars as Valentine, a model, living in Geneva. She accidentally hits a dog with her car, and tracks down the owner, a retired judge, Joseph Kern (a magnificent Jean-Louis Trintignant). The following dialogue, from when they first meet, is typical of the general strangeness of their relationship throughout the film:
VALENTINE
Excuse me ... the door was open. I’m sorry, I think I ran over your dog. Rita. A German Shepherd.
THE JUDGE
[Displaying little interest] It’s possible. She disappeared yesterday.
VALENTINE
She’s in my car. Alive. I don’t know what to do.
[after getting no response from the judge] Would you like me to take her to a vet?
THE JUDGE
[Displaying little interest] As you wish.
VALENTINE
If I ran over your daughter, would you react the same way?
THE JUDGE
[Displaying no emotion] I don’t have a daughter, miss.
[pauses, then turns to her] Go away ... and don’t close the door!
This final Kieślowski masterpiece lives up to the promise of the previous two entries of the trilogy. It is a deeply thought-out cinematic reverie on life, love, relationships, emotions, consequences and basically all things.
Kieślowski pulls out all the stops, using his polished technique to film scenes taking place in physically distinct spaces by using crane shots, and thrilling pans and push-ins. The technique never shows because the director always keeps the story — particularly the interior aspects of the characters lives and actions — at the forefront.
As usual, Preisner’s score is essential and extremely moving.
Film Rating (0-60):
56
The ExtrasThe Booklet
Seventy-eight page booklet featuring essays by film critics Colin MacCabe, Nick James, Stuart Klawans, and Georgina Evans; an excerpt from Kieślowski on Kieślowski; and reprinted interviews with cinematographers Sławomir Idziak, Edward Klosiński; and Piotr Sobociński.
Commentary
None.
Cinema lesson
With director Krzysztof Kieślowski.
In this lesson, the master discusses the scene where Rita, the dog, runs away from Valentine. Kieślowski considers the scene the film’s “first critical moments; where everything that seemed to be going one way will now go another.”
Video essay
By film critic Dennis Lim.
Video interviews
With Irène Jacob, Marin Karmitz, and editor Jacques Witta.
Behind-the-scenes footage
Documentary 1
On the film’s world premiere at Cannes.
Documentary 2
Krzysztof Kieślowski: I’m So-So . . ., a 1995 feature-length documentary in which Kieślowski discusses his life and work.
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