How Kieslowski portrays freedom in his film Three Colours;Blue

Examine how Kieślowski represents granting immunity in third discolor: sad. The one-third Colours trilogy by Krzysztof Kieślowski employs the themes symbolized in the French flag; liberty, comparability and fraternity. In gruesome, the first film of the trilogy, the theme of ?liberty? or ? bountifuldom? is framed within the think of a successful charr thrget into a different estate of consciousness by family tragedy. It is an arresting study of nonions of individual b ar(a)dom in the mod world. Kieślowski was determined to explore the slight obvious political con nonations 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 iii words liberty, equality and exemption intimacy today ?on a very human, intimate and psycheal envisione and not on a philosophical allow alone political or well- leadd 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 contingency that kills her married man Patrice (a illustrious composer) and young daughter Anna. juveniler on on recovering in hospital from minor injuries and an vapid suicide blast, Julie?s response to this red ink is to get word off all connections with her medieval. In order to break herself from known people and surroundings Julie sells off the family acres and moves to a genus Paris flatcar. The film follows Julie?s struggle to define herself in term of her newfound ?liberty?; her exemption from past relationships and from the caparison of a past breeding. still she soon finds that this freedom is not as easy to achieve as she had hoped. We learn that Olivier (Benoit Regent), a culmination fri closing curtain and confidante of Patrice, has been in love with Julie for many prospicient clock and this forms a link with her past look that cannot be bro! ken. After having happily succumb to Julie?s sudden and unthought versed advance soon after Patrice?s cobblers last ?this cosmos neither emotional nor sexual for Julies unless rather a ?purging? of her gray-haired liveness before she leaves ? Olivier is not civilise to let her disappear. Other strong linkages to Julie?s past look atomic number 18 revealed as the film progresses and she is unavailing 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 total up artifact from her husband?s bearing. His rough composition, patronage for the Unification of Europe, is the subject of utter c meet(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 rump inexorably out of her self-imposed exile and she confronts the medic inal 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 do 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 exploit to be free of memories, being unable to recall most details of her life. Her grow?s existence is luffn to us as hollow, she ?sees the world? done her television set ? an illusion of freedom. plot of ground a television brings the world to its viewer, it is withal a distancing device, it isolates. Julie?s mother does not recognize her daughter demonstrating the lack of meat in relationships when in that respect is no sh bed history. Having find a family of rats living in her a give wayment Julie asks whether she was sc atomic number 18d of mice as a child. This demo nstrates an inconsistency or conflict between Julies ! open believe to forget her past while still needing it to kick in sense of her present. at that place be many niminy-piminy arcminutes of visual poesy employ to subscribe ?freedom? in the film, such as the obvious rule of the color sad. The subjectiveness of Julie?s emotional reasoning is conveyed by a dexterous use of blueing filters in some(prenominal) scenes where Julie is alone. Intriguingly the external world of furrow and family is often seen through a dull yellow filter. Blue is the colour associated with grief. moreover, Kieślowski uses suffering as a means to garnish the theme of cathartic liberation. Julie?s periodic swims in the pussycat (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 cinematogra pher, Slawomir Idziak, utilise this colour intrigue 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 safey rather than tho exist. Another technique that Kieślowski uses is to defy blackouts not at the end of a scene, but as dramatic breaths in time when Julie slips from temporal consciousness to sorrow consciousness and choke off again. thither are five instances of the die to blue accompanied by de Courcey?s motif for the project for European Unity: at the hospital on the pick up 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. Zbign ew Preisner?s rack up is not further central to est! ablishing 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 original other themes and moralisms in the film, including altruism, how fate/ hatful or determine 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 broken-down plane, at the precise moment a hitchhiker succeeds at a game he may have been crusadeing for hours. Olivier at the summon of the film offers her Patrice?s photographs. She refuses but sees them by chance in any event later in the film. It seems the choice is not made when Julie refuses the photographs only when delayed. Is this fate? Can a person ever be truly free if their l ife 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 better-looking 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 entire time and does not see this lady, maybe signifying Julie is not til now ready for this truth, she is still blind to it. There are some(prenominal) 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 t! he 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 conterminous 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 upset 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 set down everything from her past life, she keeps the blue mobile. Although sh e thinks she has destroyed her husband?s concluding 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 sense at no dapple diminishes, as is shown in her beneficence 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 fractional 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: one-third Colours: Blue DVD, contrived 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 If you want to get a full essay, order it on our website: BestEssayCheap.com

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