Kieslowski: Poetry and Philosophy of the Three Colors of Life

  The highest level of a movie does not lie in the amount of applause after the curtain ends, but whether it can evoke the ups and downs in the audience’s heart, and it will last forever over time. Concise lines, long still pictures, frequent close-ups, and unconventional camera switching… Krzysztof Kiieslovsky’s movies have such characteristics. In his works, there are few compact and dense plot narratives, but projected on the deep spiritual world, poetry and philosophical thinking can be seen in the tiny details.
  It is not the pressure from the box office, the likes and dislikes of the audience and the criticism of the movie peers that maintain the relationship between Kieslowski and the film, but God. “Anything needs a reference. If God exists, then he is such a reference point. I feel that I and God are connected by a bond. I tell God to make things happen, and then things happen naturally. I told him, Give me what I need. At the beginning, I asked him to give me the wit and the feeling I needed. I wanted him to make things happen for granted, but he sometimes did and sometimes didn’t do it.” Chieslow The maintenance that Fvsky talks about here is not only the original source of inspiration, but also the idea at the time of creation.
  Whether it is the “Ten Commandments” inspired by the Bible or the “Blue, White and Red Trilogy”, this kind of low-key silence, melancholy and passive, and let it go, can find clues in the attitude of the protagonist. He pushes the people in the play into extreme predicaments, facing the questioning of human nature and the torture of life, and even the major propositions of life and death are permeated in the choices of life. It is precisely because of this that the seemingly ordinary details are revealed Metaphor or the sound of the apocalypse, Kieslowski’s mission is to make these inadvertent symbols traceable.
The “ten commandments” in life

  The artist’s work is actually a footnote he wrote for his own life, just like Kieslowski’s “Ten Commandments”, which was based on the “Bible Exodus” and was adapted by him. Ethical sketches based on the life of ordinary Polish people. These 10 seemingly unremarkable stories imply God’s admonition to human beings, and they are also about the game between contemporary human morality and religious philosophy. From religion to daily life, from abstract to concrete, the ancient and mysterious Ten Commandments have a new life in the illusion created by Kieslovsky.
  The 10 stories in “The Ten Commandments” do not correspond to each commandment one-to-one, nor do they follow decadent dogmas. Instead, they see the obscure answers of modern people to ancient propositions in the fusion of old and new. In the chasing game of material and desire, the ugly and nihilistic values ​​of human nature are suddenly revealed, and the relationship between people is also undergoing tests from many sources, such as the exploration of family ethical relationships in the Ten Commandments: A father who has over-trusted technology and lost his son, a husband who has an affair when his husband is critically ill, a husband peeping on his wife to have an affair, a daughter who secretly loves his father, etc., even if there is no religious belief, he cannot escape the plight of family and social constraints.
  Every filmmaker who makes dreams is first of all his own dreamer. In this field of endless imagination, Kieslowski disciplines himself with the “ten commandments” of life. As a film master, he never shy away from his dislike of movie theaters. Movies are just a way for him to convey his life thinking. Life and literature are his true love. The turmoil of his family, the fall of his hometown, and the many sufferings of his childhood suffering from disease made him have to seek a habitat outside of reality. Works by Kamus, Dostoyevsky, Thomas Mann, and Kafka It is the light in his life. Not everyone can find spiritual solace in the book like Kieslowski did. In his later works, there are also many plots derived from the exploration of fate by the small and medium-sized people in the turbulent era.
  At the time of his adolescence, Kieslowski was forced to enter the firefighter school. By nature, he admired freedom and romance, and he couldn’t stand the discipline and restraint of training. After several years of drama study, the Lords Film School turned him away twice. However, the repeated defeats did not discourage him. Instead, the more frustrated he became, and he became more proud. Then this “dark horse” drowned in the silent majority emerged as a pioneer artist. However, due to the tightening of the public awareness of the Polish government, only documentaries that have both commercial and artistic can survive in the cracks, allowing his ambition to be realized. Kieslowski has always been accustomed to lurking in the inaccessible spiritual zone, and “peeping” scenes are often seen in later dramas. In a documentary career spanning more than 10 years, he saw the advantages of this method of filming, and also noticed its imperfections: “Documentary is the real life of the photographer. They trust us and tell the truth about life, but This truth is often used to deal with them. The more concealed our tools are, the more dangerous the consequences will be. Cameras and microphones will make people lonely and helpless, only speechless… Documentaries inherently have an insurmountable limitation. In real life People won’t let you photograph their tears, they will close the door when they want to cry.”
The overtones of the “three colors”

  The documentary opened the door to the movie world for Kieslowski, and formed a unique basic film vocabulary during decades of flicking, and then he brought this humanistic spirit to the film and television presentation into the plot. The film reached its peak in the “Blue, White and Red Trilogy”. After “The Ten Commandments”, he moved his home scene to France. Having been suppressed by wars for a long time, the romantic atmosphere of France and the relaxed environment of public opinion have given his creation a new look.
  As the second hometown, France has extraordinary significance to Kieslovsky. The blue, white and red flag symbolizes freedom, equality, and fraternity. If these macro-political concepts are transformed into national temperament, they will be personal. What kind of subtle reaction occurs is the reason for the birth of the “three colors”.
  In the last three years of his life, Kieslowski filmed the classic “Blue, White and Red Trilogy”. “White” won the Berlin Film Festival Silver Bear Award, and “Blue” won the Venice Film Festival Golden Lion Award. , “Red” has won more than a dozen nominations and awards including the Oscar for best director, best screenwriter nominations and the Palme d’Or at the Cannes Film Festival, establishing his status as a master in the world of film.
  The subject matter of the “Blue, White and Red Trilogy” story is nothing more than family trivia and life choices. “Blue” led by Juliet Binoche spreads melancholy. Her husband and daughter died in a car accident. The blue-light rendering of the swimming pool, candy paper, and wind chimes is tantamount to the release of tears of sadness. While learning about her husband’s affair, she embraces new feelings at the same time. , It also symbolizes that she opens a life of hope and freedom after being hit hard. However, everything is short-lived, and the new life will inevitably be accompanied by unknown problems.

  A holy wedding, the vast snow… “White” is inferior to the large-scale presentation of “Blue” in tonal contrast. On the contrary, it is loud and loud, which also means all the futile betrayal. The husband has always tried his best to regain the inequality in emotion, status, financial resources and status. He has suffered many difficulties due to injustice, and has struggled to achieve what he called equality, but his wife has fallen into jail with the tricks he has laid. , Is still a tragedy. “Red” is like a romantic history filled with warmth by the color itself. Several pairs of stories surrounding love and suspicion follow one after another, such as extramarital affair, deception, monitoring, feelings that are barely maintained in reality, and the dislocation of people who have their hearts. The original pure love is contaminated with embarrassment and trouble, and chances are ups and downs.
  As he said, “The closest to the humane spirit is fraternity, and we are fraternity, because we always show generosity in our eyes.” All the depravity between thoughts stems from untimely friendship. With compassion in his heart, Kieslowski stripped away the weaknesses of human nature and sutured them appropriately. The ending he set is more intriguing: the passenger ship carrying hundreds of people capsized, and there were only a few survivors. Two of them were the protagonists who set out to find love in the story. Does this mean that in the storm of fate, a lonely life will always be Get God’s favor and salvation?
  Kieslowski said: “I don’t shoot metaphors, people will only read them as metaphors.” Perhaps all the existing interpretations of the film do not capture the director’s original intention, just like a few people can walk through. By the narrow door, no one can easily get the secret of God.
  The silent childhood, the bumpy adolescence, and Poland during the Cold War all gave him a scrutiny gaze and a solemn background. As a pessimist, the future is unfathomable to him, making him panic. In the documentary “What Kieslovsky Says” that asked and answered almost the whole process, the person who usually hid behind the camera walked up to the audience. When he faced personal growth and political turmoil, he was more willing to believe in the implications. A sense of secret and unspeakable.
  ”We are indeed in an era full of cultural crises. In the process of exploring the value of life and finding answers, our attitude towards life will also change as a result. After all, this kind of cultural crisis will not endanger the survival of the world… I prefer to believe There are more things in the earth and heaven that we haven’t seen.” Just after the filming of this film was completed, Kieslovsky, who was in the golden age of creation, left the world. After 25 years, Kieslowski has explored the universal resonance of the anxiety and crisis of ordinary people in the context of the era, which is still popular and more precious.

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