Do you believe in fate? Fate allows you to meet the people you are destined to meet, the destiny of love, fate to let you love, to hate, to pain, to tear and intertwine, to engrave your heart!
The polish genius director, Kzyzystów Kislovski, has always devoted himself to the relationship between man and destiny, as well as the spiritual and moral complexity that governs human relations, and in 1993 and 1994 he released three films named after three colors: Blue of the Trilogy (1993), White of the Trilogy (1994), and Red of the Trilogy (1994).
The title of the Blue, White and Red Trilogy, inspired by the three colors of the French flag, means: freedom, equality, fraternity.
Containing three ideals, carrying three propositions, carrying three kinds of meaning, and at the same time having a loose connection with each other, the trilogy of films at the time berlin film festival and venice film festival won eight awards and two Oscar nominations in one go.
The Tricolor series is considered an immortal work in the history of cinema and is considered by many critics to be the pinnacle of the film industry.
At the same time, these three films, which were also Kzyshtov's last project before his retirement, combined all the best elements of his film career. In these three films, he explores more deeply the spiritual and moral problems that plague humanity, and also devotes himself to exploring the so-called destiny.
It can be said that the transcendental spirit, complex interpersonal relationships, and unfathomable fate that Krzyshtov has always been interested in, in his final trilogy, has been released to the extreme, so that every moviegoer, in the process of watching, consciously indulges in some magical emotion, in the struggle of spirituality, relationship, and fate, looking for a way out of the soul.
Blue of the Blue,White-Red Trilogy: Freedom
In the first film of the trilogy, Blue, Juliet Binoche played a woman named Julie who lost her husband and children in a car accident. When Julie wakes up, she is in pain and wants to commit suicide, but she loses her courage at the last moment, she wants to get out of the pain, but she is always in the bondage of the past.
Where is a woman's freedom when the spirit is captured by pain, when it is overwhelmed by the calamity of fate?
In order to get out completely, she cut off all contact with the past, and she sold all the furniture. The blue color in the film all the time represents Julie's great sadness and the memory she longs to lose.
But blue is everywhere, in fact, at the beginning of the film, when the car drives through France, a sleepy child, gazing at the fluttering headlights of the car behind, and the dark blue shadow when floating, means a tragic life, because the brake fluid is leaking, and from the beginning, the director has established an invisible, near-disaster mood.
Then the blue began to thicken, more and more, as if in a thick fog, engulfing the exit.
One detail is that at Julie's house, she ordered someone to clean up her daughter's room and remove all the things that aroused her thoughts, and the housekeeper was crying bitterly, and Julie asked her why she was crying?
The housekeeper said: Because you don't cry. We only noticed that when the tragedy occurred, Julie did not shed a single tear, but in the end, when she finally came out, she began to cry.
Because the director hinted that when she did not cry, she was actually like a walking dead, and the dead would not cry, and crying meant that she was born again.
Julie finally accepts her past, accepts the full pain, and when she finally begins to complete the symphony left behind by her husband, it implies that we, some kind of external force, are pushing the human life, no matter how desperate you are, life will go on forever.
What determines our power is destiny, God, chance, or something else.
The film is very abstract, it expresses faith in transcendence and spirituality, but it reflects the director's own agnostic beliefs. He didn't explain why God allowed Julie's family to die, but it hinted at the fact that some sort of spiritual force existed and might play a role in and around her.
And the last Julie to come out, because she looked away, she left all the house and property to her husband's former mistress, which is a playing detail, because when the car accident occurred, there was a teenager who picked up Julie's necklace, and when he wanted to return it to Julie, Julie refused, so the teenager wore this necklace, often woke up in a nightmare, and saw the scene of the car accident that day.
At the end of the movie, the mistress happily stays in the mansion, trapped in the past, becomes her, and Julie is reborn.
Perhaps this is another hint of the director, when you don't covet anything, don't want anything, the so-called fate, you can't do anything.
We are vulnerable because we desire to have; we are free because we are free because we have no desire.
The White of the Blue-White-Red Trilogy: Equality
In the second film of the trilogy, The White of the Trilogy, Krzyshtov attempts to illustrate his views on fate and spirituality in a less direct way.
The film's protagonist, Kyrol, is a Polish hairdresser who, during a match, meets and falls in love with his French wife Dominic, who hides in his wife's suitcase and is smuggled back to France.
The language barrier, the obstruction of her career, and the inferiority in front of her wife make their sex life an obstacle, while his wayward young wife, who insists on divorcing him, and when Carol asks for help, she designs him to be hunted down by the police.
Penniless in a foreign country, Kellolf earns a living playing Polish songs on the subway with a comb, and in the process, he meets a Polish businessman, hides in the other person's box, and is brought back to Poland again.
After returning to Poland, Khorol, who had several positions, worked hard, and was recruited to become a local gangster and businessman, became his driver, in the process of driving for the businessman, he overheard that a certain piece of land was going to be planned by the government, so he bought a lot of the land in advance and made a fortune by speculating in real estate. After that, he ran a multinational trading company, and the business was booming.
But he still can't forget Dominic, but Dominic is still very desperate for him, and they are entangled with each other, loving and hating each other. If you love deeply, you hate it.
In the end, he changed the name of the heir to his ex-wife, bought a corpse to pretend to die, and tricked Dominic into coming to Poland for a funeral, at which he saw Dominic crying with heartache, so as to make sure she still loved him.
The distraught Dominic returns to the hotel, only to find Carol lying in her bed, kyrol once unable to satisfy Dominic because of her low self-esteem, but after the reunion, their night of passion is very happy.
Unaware, however, Dominic was part of Carroll's revenge, and while she was basking in a renewed happiness, the police approached her and arrested her on suspicion of murdering her ex-husband.
Then history repeats itself, the language is not clear, and Dominica, a foreign country, experiences the plight of her husband at that time.
They are finally evened, is this the equality that the director wants to express?
Finally, as Dominique stood in front of the very fortified prison window that Carol had built at great expense, with her eyes on Kelore, who had secretly come to visit her, the woman said to the man in a dumb voice: I will stay here, even if I am hanged, with you.
White is repeated many times in the film, and most of the white seems to have no importance or meaning, appearing on ordinary objects such as toilets, guano, and snow. However, there are two places where white is striking, and Carol has several recollections, both of which are Dominic in his wedding dress on his wedding day, with a dreamy smile. This divine light meant that, for the most part, Carol was idealizing his lover.
In this film, the ambiguous meaning of white is difficult to understand, but perhaps what the director wants to express is that love may be blind, cruel, possessive and immature, but it can also be warm, healing, transformative and mutually beneficial.
So, white is a double definition in the film, evoking purity and filth, love and hate, happiness and pain. It is the irresistible imposition of fate on lovers.
Do you crave the sweetness of love? Then you should taste heartbreak.
The Red of the Blue-White-Red Trilogy: Fraternity
The last installment of the trilogy, The Red of the Trilogy, tells the story of a young model named Valentine who meets a reclusive former judge who engages in immoral activities and eavesdrops on the phones of his neighbors, but as he learns better, Valentine and the judge develop an unusual friendship.
The judge knows all the secrets, including a young judge named Auguste, who loves a woman who could betray her at any moment. It can be said that August is the epitome of the old judge, the epitome of his youth, who was also in love with a woman, betrayed, and hurt.
And Auguste and Valentine, they are good and compassionate young people, but they are all in a wrong relationship, their partners are hurting them, they are completely unaware of themselves, they live in the same street, they have the same interests, they are obviously the most suitable people, but they always pass by.
Krzyshtov once said: I believe that fate is an important part of life, and that one is free to choose one's own path, but in order to understand your present situation, you need to trace the trajectory of your life, separating from necessity, free will, and pure contingency.
This strong connection of fate, the link between cause and effect, is cleverly shuttled through the film.
There are a few scenes where Valentine is on the verge of meeting Auguste, they like to listen to musicals, they almost bump into each other under the apartment, they should have walked into each other's lives, and when the audience is nervous and breathless, almost thinking that great love is about to happen, they are one to the left, one to the right, and missed again.
It is always only a little bit, so the frequent appearance of the eye-catching red is full of urgency, as if in the warning of ordinary life, ambushing important things.
Fate operates slowly and randomly, and the lives of the two young people are undergoing earth-shaking changes.
In the end, under the clever arrangement of the old judge, two young people who have lost love are both in the same boat, and this fateful connection is realized at the end of the film.
Because the huge ship was shipwrecked in the English Channel, there were only 8 survivors, and Valentine and Auguste were one of them.
When we see the news footage of their rescue, we see Valentine finally standing next to Augustine, curled up in a blanket, destined to meet, to fall in love, and after a great calamity, they will see each other all the time.
The last movie hit, my personal favorite of the three movies, is almost the climax of the three movies.
Because Valentine and Auguste were the only survivors in Geneva.
But also rescued on the same ferry were Carol and Dominic; Julie and her last lover, Olivier.
They had all missed it, Valentine and August had always been neighbors, Carol and Dominic had no idea how much they loved each other, and Olivier, who genuinely loved Julie, understood her, supported her, even though she had a husband at that time, even if he had known that her husband had been cheating at that time.
They are all the people who should be together the most, but ordinary life makes them miss each other in the wrong timeline.
Finally, the hand of fate, let them meet. A strong sense of fatalism, a mysterious force beyond our comprehension, is dominating the love and hatred of this world.
Spirit, relationships, fate, some things seem to be predestined, we may miss, but around a bend, we will eventually encounter!
Picture | Douban