Krzysztof Kieslowski is, unquestionably, the master of the visual narrative.
More-so than even La Double Vie de Veronique (which is much more poetic than linear in it's structure), Trois Couleurs: Bleu is a marvel of visual exposition. Due to the nature of the film, exposition in this case is not necessarily related to plot, but rather to the understanding of a human being.
Kieslowski delves so deeply into the true nature of Julie (Juliette Binoche) and in such a remarkable way that by the end of the film we understand her utterly. Free from the clutter of dialogue and, for the most part, interaction with other characters we see Julie alone and in her most natural state. Kieslowski takes his documentary background and conveys his character in an almost voyeuristic manner. Showing Julie in anything but a state of solitude would be false; due to human nature Julie with Oliver would not be Julie, but rather a reflection of her true self which, although certainly interesting, pales in comparison to observing her silently struggle with the death of her husband and daughter alone.
Kieslowski played with applying the documentary techniques, which he perfected in his early work, to the narrative form in The Dekalog with tremendous, although at times visually mundane, results. The Dekalog looks like a documentary. Here, he turns over much visual control to his Director of Photographer, Slawomir Idziak, with tremendously cinematic results. Idziak's use of color and light, combined with his groundbreaking filter work, serve to further explore Julie's character. Blue feels like a documentary and looks like a dismal Rembrandt. While Kieslowski concentrates on showing the true nature of Julie through action, Idziak contributes by showing her through light and color.
Trois Couleurs: Blue is an almost unmatched achievement in the history of cinema. Never before has a character been conveyed so splendidly and in such a visually stunning manner.
More-so than even La Double Vie de Veronique (which is much more poetic than linear in it's structure), Trois Couleurs: Bleu is a marvel of visual exposition. Due to the nature of the film, exposition in this case is not necessarily related to plot, but rather to the understanding of a human being.
Kieslowski delves so deeply into the true nature of Julie (Juliette Binoche) and in such a remarkable way that by the end of the film we understand her utterly. Free from the clutter of dialogue and, for the most part, interaction with other characters we see Julie alone and in her most natural state. Kieslowski takes his documentary background and conveys his character in an almost voyeuristic manner. Showing Julie in anything but a state of solitude would be false; due to human nature Julie with Oliver would not be Julie, but rather a reflection of her true self which, although certainly interesting, pales in comparison to observing her silently struggle with the death of her husband and daughter alone.
Kieslowski played with applying the documentary techniques, which he perfected in his early work, to the narrative form in The Dekalog with tremendous, although at times visually mundane, results. The Dekalog looks like a documentary. Here, he turns over much visual control to his Director of Photographer, Slawomir Idziak, with tremendously cinematic results. Idziak's use of color and light, combined with his groundbreaking filter work, serve to further explore Julie's character. Blue feels like a documentary and looks like a dismal Rembrandt. While Kieslowski concentrates on showing the true nature of Julie through action, Idziak contributes by showing her through light and color.
Trois Couleurs: Blue is an almost unmatched achievement in the history of cinema. Never before has a character been conveyed so splendidly and in such a visually stunning manner.