Three Colors: Blue 4K 1993 FRENCH Ultra HD 2160p

Story Movie

The story of a young woman who miraculously survived a car accident, but lost her husband - a famous composer - and her five-year-old daughter.

Review 4K Movie

At the 50th Venice Film Festival, the triumphant return of Krzysztof Kielowski came as a big surprise: two years earlier, the eccentric Pole admitted that his work had reached a climax in expressive and philosophical terms. After the premiere of the film "The Double Life of Veronica", he decided to break all ties with the Western European cinema-bohemia and retire in search of new means of expression. The director did not manage to disappear for a long time: literally a year later, Europe heard about the revival of the all-powerful tandem with Zbigniew Preisner, a brilliant composer, colleague and friend of Kieslowski. And so, in 1993, a Polish director took the Venetian Golden Lion.

The Polish maestro borrowed new ideas from the benevolent Euterpa. Music, which has always been an integral part of his work, became the plot of a new film, and the director himself combined the roles of a composer, conductor and performer. Kieslowski preferred to the front row a seat at the console in the orchestra pit, the opening speech - the right to wave a pianist's stick, because Three Colors: Blue, the first film from the French cycle, begins with trembling piano notes. A couple of touches to the white keys and ... a pause-fermata: the piano lid slammed shut, leaving the offended instrument to sound frightened disharmony. Now we know a young woman who lost her family in a car accident, i.e. with a melody destined to become the main theme of the whole composition. The name of this melody is Julie Vignon.

Kieslowski stopped his creative search on European classicism - the director literally fell in love with a clear, geometrically verified sonata form. The "exposition - development - reprise" structure opened up new horizons for him in the study of the spiritual death and rebirth of his unfortunate heroine. Three parts - three stages of rehabilitation - form a single cycle of opposing themes, followed by a code - the final sentence of the word "freedom" sung by the French.

“It's okay, we'll put a new glass in place of the broken one,” the nurse will say to the exhausted woman, clutching a handful of pills in her palm, which she could not swallow. This phrase will open the exposition: with a timid hope for a positive ending, with undisguised empathy typical of Kieslowski's work. But the sonata lives by cruel laws: the melody has no right to survive in the first movement, and the director-composer cannot but obey. First, he lets Julie touch the score (this look at the musical line, which gives birth to a beautiful motive in the mind, can be considered a direct appeal to the memories of past happiness), then he pushes his melody to a fatal mistake: the music sheets perish under the bucket of an excavator. So the composer will tell Julie that there is no turning back. Thus, the theme of love will die and the theme of indifferent freedom will be born. This is how development begins.

And for development from the exposition, the melody took with it only the blue color. "Always keep something for yourself" - this phrase, uttered by the mouth of an unknown musician, sounds like a sentence. This street flutist, who is brought to a small street in Paris by an expensive car, is a connecting theme, a hint loop, and his flute, according to Kieslowski, is the only instrument capable of expressing the state of being devoid of joy in an aimless life. Therefore, the main orchestra enters only for moments when Julie strays from the direction set by the composer. Nevertheless, the main task of development is to put everything in its place. In the painting Three Colors: Blue, the second part is by no means a hallway of a hospitable reprise, but a purgatory, where the main theme will be tested by time. To get a chance to live on (that is, to escape into a reprise), Julie will have to understand that it is impossible to kill the past in herself.

In the reprise, the composer forgives the melody, gives her a chance to see her score again: the book of her life and the most unwanted memory. It seems that the hated sheet music, in which there is so much contradictory and unsaid, haunt Julie. But no, the viola comes to life from a fleeting touch, followed by a full-sounding bassoon, and suddenly - after silence in the development, the whole orchestra comes to life, at first timidly. The secondary theme of love, killed in the sonata's exposition, breaks through the sequence of “freedom” with nervous pizzicato. The choir enters. The cycle ends.

Tessitura, the main range of the first violin of the Kieslowski Orchestra, is the pain of loss and the purpose from above is to survive. And I really want to believe that when the last circle closes, a new life will begin. But the Pole has never been a supporter of blind predestination, the director-composer has always only set the direction for the development of melody. Therefore, in the Blue Sonata, as in other films of the Three Colors cycle, there is a coda, an infinitely small concluding part. The episode will tell about Kieslowski's views far from the republican views: Freedom will never let go of its heroes, there is no escape from its Blue color, no escape. This coda is so contrary to the ideas of the French Revolution, this coda is so to the liking of the genius Pole.