Kyle M
From the characters to interweaving story elements distinguished in signifying how much one part becomes memorably meaning for us upon watching it alongside others solidifies a realized notion that Krzysztof Kieslowski envisioned but unintentionally impressed through his “Three Colours” trilogy, an enriching cinematically thematic build. Its artistry focus definitely ranks this amongst other critically favorable trilogies across film, and it’s debatable how the “Back to the Future” trilogy is the 20th century’s last [formal] trilogy, concurrently with “The Godfather” on a supposedly inconstant note, for what it’s become while this must’ve settled in preparation for the trilogies that came to be structurally. However, the difference being is that the finishing bookend may’ve been the built peak as sensed in the reception, “Three Colours: Red”, while proven perfectly coursed, remains substantially problematic over the drawn lengths.
When researching the meaning behind the titular color and how it relates to being the third ideal patch for the French Revolution flag expressing fraternity, which practically, fully establish trust per carried familiarity, red symbolizes passion being emotionally defined, variously depending on the shade, but the subplot is connectively complex when portraying the withheld jealousy and anger. Here we have part-time model Valentine (Irene Jacob) who meets a reclusive retired judge Joseph Kern (Jean-Louis Trintignant) after accidentally running over his dog (the dog survives shortly later). Upon their first meeting, she finds him listening in his neighbors’ phone calls just to feed his worn cynicism from his days overlooking many court trials, justifying his belief that the truth secretly lies in those wavelength communications. She initially scolds him outrage over his invasiveness but their debate over the matter converses to forming an unexpected bond. Meanwhile, while Kern provides little details over his past, we may grasp such parallels through Auguste (Jean-Pierre Lorit), a law student who has just passed his bar exam to become a judge till the support he received from a loving relationship darkens over a certain revelation that changes his demeanor.
Kieslowski’s thematic handle accumulates amid beautiful finalization of his directorial vision before his retirement (and death two years later) with the colorful usage of the aligned focus still differs from its predecessors. “Blue” is an emittance, “White” is a canvas, and “Red” is embodiment expressed through materials and surroundings reinforcing the heartened truism, unless the occasional opposite of fateful brewing. Many trilogies ascend narratively, but Kieslowski focused on the elementally accompanied patterns that are interconnected as motifs and piled parallels. Julie connected with others during her grief, Karol rebuilt his life for the better via positive influences vice versa, and now Kern opening up to Valentine softens both perspectives, a built testament of trust that this final patch polishes so well. In another degree onto that aspect, as interestingly demonstrated elsewhere, the symbolic role of a dog in connecting others gets played as a more active embodiment to motivate the plot, but it’s rather problematically sensitive. An unorthodox balance as Kern’s dog brings an unexpected bond between two strangers that heals his reclusive edge, but Auguste’s dog distresses this viewing to the point of unbearable when he’s become the target of his owner’s frustrations. This unnecessary length signifies how it should’ve been written better when resorting to such cruelty, particularly the unforgivably implied fate at the end, affects the film’s enjoyment level greatly albeit the overall conversational engagement – and the substantial growth.
While Kieslowski seems to increase his subtly taut ambition under eased completion, this film’s production merits show evident skillful buildup as the trilogy progressed. Agreeably so, “White” is the light-hearted focus, being character-driven coasting on a familiar structural storyline. “Red” circles back to “Blue” in tonal deliverance, significantly felt by composer Zbigniew Preisner’s opportune score considered haunting; aligned with beneficial evocation impeccably captured by this installment’s cinematographer Piotr Sobocinski. Both have a hand in vivid poeticism behind the film’s positional third/final act that rightfully accumulates as it needed to be.
Aside from the aforementioned treatment, both Kieslowski and Krzysztof Piesiewicz, the trilogy’s constant writers, treated as with another complex ambiguity regarding how the characters slightly connect. Through Trintignant’s performance instilling the vulnerable wisdom that secondarily reflects onto Jacob’s Valentine, an underlying notion gets picked up as he projects ambiguous parallels through Lorit’s Auguste. Could it all be a coincidence in one’s passage within differential generational commentary, or could it be prophesized since analysis surrounding his character suggests a spiritual role at play? An effective lingering ponders created speculatively outside a storyteller’s intentions, whether correct over the evoked assumptions or it shows how flexed the narrative became to enable such discussion that afterwards attributes to an established role.
“Three Colours: Blue” started the trilogy off on a minimal, decent impression note, then the engagement improves whilst furthered in “White”, which formed expectations by anticipation when coming into “Red”, only to leveled beneath but masterfully similar to the former. At the end, it’s become a rewarding experience to dive into Kieslowski’s fine artistry in picking up the shared motifs, to the extents of observational complexity piqued questionably and valuable viewpoints enriching familiar perceptions. “Red” may not sit well, but the pre-established buildup weighs in given ranking as second-best, and that was without any need to bolster its own showcase when it is merely thematic accumulation assisted by connective realizations. Recommending this is strict as it can only be truly grasped from watching its ideally accompanied predecessors, so, in other words, it’s the matter of recommending this trilogy, and the worthwhile entertainment value has been proven throughout. (B)
Rated 3.5/5 Stars •
Rated 3.5 out of 5 stars
12/25/24
Full Review
Not R
The best one which is saying a lot
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/14/24
Full Review
Matthew B
Throughout the Three Colours Trilogy, Krzysztof Kieślowski has been exploring the interconnected nature of human relationships. In the final movie (and, as it turned out, the last movie that Kieślowski made before his death), this is the central theme of the story. The film explores all the many ties that form between individuals.
The opening image of any film in the Three Colours Trilogy is important in establishing the mood of the story that follows. In the case of Red the story opens with a telephone call. The camera seemingly follows the wires across the English Channel, and other calls are heard too.
Just as we are all connected to one another by our common humanity, our interests and our personalities, so our homes are connected to one another by telephone wires.
However sometimes those connections do not get through. This one ends in an engaged line. We see a man pick up the phone. However he is answering a different call. This deliberate misdirection on Kieślowski's part hints that perhaps the two people might have been united together if pure chance had not separated them.
As is appropriate in a movie that uses the colour red as a backdrop, the heroine is called Valentine, a name associated with that colour. The name is also associated with love, and this is a film about the many loving relationships that form, or fail to form. Valentine is played by Irène Jacob, and I must again commend Kieślowski for his ability to find a leading actress whose face is so expressive. Intelligence and warmth radiate out from Valentine in every scene.
Characteristically, Valentine's profession is appropriate to the movie's themes. She is a model. After posing for a chewing gum advertisement, her face is seen by thousands of people who have an association with her, even though they have never met her. The image goes up on poster boards, where it waves in the wind, anticipating the closing shot of the movie.
After accidentally running down a dog, Valentine tries to return the injured animal to her owner. He proves surly and ungrateful. On a second visit, she returns the dog, now much recovered, but is shocked to discover that the man is spying on his neighbours.
This man is Joseph Kern (Jean-Louis Trintignant), and he is a retired judge. Perhaps there is something of the judge in his snooping – he is again assuming a god-like role where he gets to learn about the foibles and weaknesses of others.
In the world of Red, judgement gets in the way of developing a fellow-feeling for others. More understanding and less judgement is needed. Valentine initially judges the judge for his illegal and unethical behaviour. Despite this inauspicious beginning, an understanding develops between these two seemingly different people. Indeed it becomes so strong that they seem able to understand aspects of one another before they are even disclosed.
The imagery in the film reflects the inter-relationships between the characters. Often people speak to each other whilst on different physical levels. Auguste climbs up to the apartment of his girlfriend to catch her sleeping with another man. Later he hides from her by walking down a stairway that takes him away from street level.
When Valentine meets Kern after she has spent the day modelling on a catwalk, she speaks to him while she is stood on the stage and he is sat below in the auditorium. They reach forward and hold hands. Then she descends to his level to talk to him as an equal.
Glass is also used as a metaphor. Glass is an object that allows you to see another person whilst remaining separate from them. Sometimes the glass is shattered, as happens when an angry resident breaks Kern's window. Valentine and Kern put their hands to one another through a car window. Later Kern sees her on a television screen that he watches through the broken pane.
A range of coincidences and parallels are notable in the plot. In other films, these would seem contrived, but here they are the point of the story. Life is a series of accidents, collisions and near-misses. (It was a collision that brought Valentine and Kern together, for example.)
The final scene of Three Colours: Red brings all the characters together. An event happens where a handful of people are seen emerging. They include Julie and Olivier from Blue, Karol and Dominique from White, and Auguste and Valentine from Red. This ending offers one final image of unification and ties the trilogy neatly together.
I wrote a longer appreciation of Red on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2021/01/21/three-colours-red-1994/
I also wrote an overview of the entire Three Colours Trilogy, which discusses Red: https://themoviescreenscene.wordpress.com/2021/01/09/krzysztof-kieslowskis-three-colours-trilogy-an-overview/
Rated 5/5 Stars •
Rated 5 out of 5 stars
09/22/23
Full Review
favio c
Para los vulnerables amantes del rojo y las emociones graficas. Un romance en el que seguro de identificas.
Rated 5/5 Stars •
Rated 5 out of 5 stars
08/04/23
Full Review
Robert J
Wow first of all she is exquisite the story makes you want to stay in the moment never boring or lazy just honest emotions when he talks of having control of peoples lives being judge make you really think how here sweet beauty brings him out of his shell like an elixir of life an she so honest great writing great acting I wish more movies now would let the story just be there not drive it down are throats with narration
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/08/23
Full Review
dave s
Focusing on themes surrounding fraternity, based on the color red on the French flag, Krzysztof Kieslowski concludes his Three Colors trilogy with the outstanding Three Colors: Red. Set in Geneva, Valentine (Irene Jacob), immersed in both her studies and her modeling career, develops a unique friendship with a retired judge after she accidently runs over his dog. Beautifully shot in an array of red hues by Piotr Sobocinski and intelligently scripted by Kieslowski and long-time colleague Krzysztof Piesiewicz, Three Colors: Red is the stunning final piece to one of cinema's great trilogies, concluding with the reintroduction of characters from the first two films.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
03/30/23
Full Review
Read all reviews
>
