Three Colors: Blue

Miramax | Release Date: September 3, 1993

8.2	USER SCORE Universal acclaim based on 77 Ratings

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SpangleSep 17, 2016

Directed by Krzysztof Kieslowski, Three Colors: Blue is a truly immaculate film. Visually stunning with a pitch perfect score, the opening film of Kieslowski's acclaimed Three Colors trilogy and first entry into his filmography is an utterDirected by Krzysztof Kieslowski, Three Colors: Blue is a truly immaculate film. Visually stunning with a pitch perfect score, the opening film of Kieslowski's acclaimed Three Colors trilogy and first entry into his filmography is an utter marvel for the eyes, the senses, and the heart. Utilizing a sapphire look to the film to encapsulate the main theme of grief, the film tells the story of Julie (Juliette Binoche) grieving after the death of her husband and daughter. After initially shutting off the world, she learns to reopen her heart and move on after his death by returning to her generous and loving self. Open to a wide variety of interpretations, it is a tough task to try and put your finger on what this film is ultimately trying to say to you, but one thing is certain: it is brilliant.

With a beautiful score from Zbigniew Preisner, the music takes center stage in Three Colors: Blue with numerous scenes fading to black to allow the music to really hit some high notes before fading back in to continue the scene. There is even a sequence at the end where Kieslowski opts to have the camera go out of focus as Julie and Olivier (Benoit Regent) work on finishing the concerto written by Julie's late husband Patrice. A beautiful sequence of indescribable melody, the film's music really encapsulates the sheer beauty and wonder of this film. I am no music expert, but to say that the music in this film is beautiful and meaningful would be a terrific understatement.

The cinematography is beautiful, but then again, I am a sucker for any significant use of color as is displayed in this film. Often signifying depression, sadness, or simply grief, blue is used to perfection in this film. Though not every shot is draped in blue, certainly a significant portion of it is displaying blue to some degree. The way in which Kieslowski works in the color in seemingly mundane ways is brilliant and highlights the detailed and subtle nature of this masterpiece.

On that point, Three Colors: Blue is an incredibly detailed film that demands to be re-watched multiple times in order to not just pick-up on everything that Kieslowski is laying down, but to also try and come to some kind of determination as to what the film is telling you. For me, the story is about a woman grieving and learning how to deal with that grief. After initially destroying everything that meant something to her old life and liberating herself from that weight, she learns that the past cannot be escaped. Instead, by embracing her past and letting herself move past the pain, she will liberate herself from it. Rather than running, she can stand still and move past her immense grief. That said, maybe I am way off.

Overall, Three Colors: Blue practically never puts a foot wrong. Impeccably crafted with a wonderous score, beautiful visuals, and incredible heart, Three Colors: Blue is a moving, stirring, and passionately told story about loss, grief, and liberating yourself from that grief.… Expand

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AndremaxDec 2, 2018

This marvelous trilogy already starts with most raw of the three movies. Absolutely semiotic and overwhelming.

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alejandro970Apr 1, 2021

Filmed in a seductive, absorbing shade of blue, it chronicles the efforts of a woman to cope with the death of her husband - a renowned composer - and her daughter. The plot itself is a way of representing the meaning of the color blue on theFilmed in a seductive, absorbing shade of blue, it chronicles the efforts of a woman to cope with the death of her husband - a renowned composer - and her daughter. The plot itself is a way of representing the meaning of the color blue on the flag of France. It is a film that must be assimilated slowly to understand it and find the flavor. To highlight the background music by Zbigniew Preisner.… Expand

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amheretojudgeNov 6, 2018

the emotions a person goes through..

Trois Couleurs: Bleu Kieslowski's heartbreaking reminiscing venture is pious and naked on terms of the route it follows. The aftermath of such a major upheaval, the repercussions that it costs and thethe emotions a person goes through..

Trois Couleurs: Bleu

Kieslowski's heartbreaking reminiscing venture is pious and naked on terms of the route it follows. The aftermath of such a major upheaval, the repercussions that it costs and the emotions a person goes through, is what's this tale about. But don't jump on the conclusions yet, Kieslowski is a real trickster when it comes to storytelling. His range is so vast and detailed, that you find yourself floating in its bubble staring at the abyss beauty of it. Armed with jaw dropping score and eye popping cinematography, this is certainly a cinema at its peak. The narration follows the protagonist from the first frame till the curtain drops.

This is something that isn't often seen. And addition to that, to keep the audience still tangled in its pathos bubble and rooting for the characters is what sweetens this layered cake. The screenplay is tightly packed with gripping plot and adaptive metaphorical tone that is beautifully poetic. Even though the entire concept is dipped in brimful of poignancy, the language of the picture is utterly soothing and hopeful to the core. Kieslowski keeps giving you back at each definite interval, he genuinely cares about the quality of his story. Binoche is literally the soul survivor of the movie.

She has the potential to melt you down within the first few minutes of her screentime. And when she is offered such a three dimensional character, she soars against all the hokum of your expectations and stunningly fabricates her portrayal onto the screen, this is arguably the best work of her career. Chugging down all the viscous material and loping it up on the screenplay, Kieslowski pushes the boundaries of cinema to newer territories and builds a safe home for the script. Trois Couleurs: Bleu is fairly one color foliated into many, and it is that transition that the makers succeed at.… Expand

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ahmedaiman1999May 24, 2021

Two tempting routes instantly manifest themselves for us after losing a loved one: wallowing in sadness forever and detaching oneself from life while being very much alive. Neither of them makes a logical sense. Logic aside, however, neitherTwo tempting routes instantly manifest themselves for us after losing a loved one: wallowing in sadness forever and detaching oneself from life while being very much alive. Neither of them makes a logical sense. Logic aside, however, neither can spare us such an inexorable phase or get us out of it miraculously. Julie seems to have veered into the latter route in order to evade slipping down the abyss of the first. But grief must take its natural course, and suppressing it would result in truly dire circumstances at their worst scenario would be being imprisoned by depression, shrouding us metaphorically until a shroud takes its place quite literally.

"Now I have only one thing left to do: nothing. I don't want any belongings, any memories. No friends, no love. Those are all traps."

Kieślowski incessantly tries to save her from such fate and draw her back to life once again. His camera lingers in extreme close-ups on Juliette Binoche's features to draw out of them a smidgen of the sadness Julie does her utmost to bury inside herself. Later on as Julie keeps pushing grief away in her quest of severing herself from the past, she finds herself drawn back to it as memories surround her everywhere and no matter hard she tries to escape them. When she returns back to her home for the first time after the accident that cost the lives of her husband (a renowned music composer) and her daughter, she asks the gardener if he has emptied the "blue" bedroom, which implies her trying of getting rid of the past. She goes upstairs only to find a "blue"-beaded chandelier, that's likely belonged to her daughter, hanging over her, just like her memories of her daughter. Julie's journey of liberating herself, in one sense, from her past life becomes impeded with reminders of her two dears she lost. Furthermore, Julie's incomplete grief begets anger and irritability that put her mental state at stake. And as memories relentlessly haunt her, she ends up surrendering to them, literally having her head under (blue)water. However, blue gradually begins to mutate its symbolic significance as liberation takes on a totally different definition in Julie's mind. It's here where Zbigniew Preisner's score blossoms into a salvaging tool. There's one scene, in particular, that I found fascinating where Julie and her husband's colleague trying to complete her husband's unfinished manuscript. The shot is pulled out of focus until it becomes almost utterly blurred, forcing the viewer to hear the music playing inside of their heads as they orchestrate parts of it. It's still a liberation of the past, but one of letting go of it while maintaining, nay cherishing its memories instead of eliminating them. A liberation that thrives on a catharsis for all of Julie's repressed painful feelings, bringing forth her deepest sobs and setting her free.… Expand

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