Article Author: 江江_Jan
Article Link: https://blog.jannns.com/posts/Kieslowski-and-his-reality/
Copyright Statement: Unless otherwise stated, all articles on this blog are licensed under CC BY-NC-SA 4.0. Please indicate the source as Jiang Zhi Ke Le!
Preface#
Krzysztof Kieślowski (referred to as Kieślowski hereafter), a famous Polish director in the 20th century, is widely regarded by many critics as the pinnacle of film history with his work "The Three Colors Trilogy" (also known as the Three Colors series).
Rather than being defined as a filmmaker, Kieślowski himself is more like a philosopher and a fighter. He is rooted in real life and excels at expressing his perception of the world in a calm and objective manner. He is passionate about revealing the cruel nature of life and the dark side of human nature, and is willing to stand up for "freedom of expression" and confront the outside world.
My perception of Kieślowski's works is objective and detached (even a bit indifferent). His narratives seem to be devoid of any emotional color, but upon reflection, one can feel his love for life.
Kieślowski's films do not adhere to a binary notion of good and evil. A brutal murderer can be a helpless young man who has silently endured the death of his sister for years ("A Short Film About Killing"); an authoritative physics professor can sacrifice his own child because of his belief in science ("The Decalogue: The First Commandment"); a young man can die because of the collapse of his spiritual love ("A Short Film About Love"); whether two people who have loved each other for many years can stay together despite being proven unrelated by blood ("The Decalogue: Honor Your Father and Mother")... When faced with real life dilemmas, I believe that Kieślowski's films are closer to the essence of life than some stereotypical choices, and perhaps they reflect the essence of life that I personally identify with.
In short, his films are quite interesting and there is much to explore. I have recently been immersed in them and cannot extricate myself.
Kieślowski's Words#
The first time I watched Kieślowski's films was "The Three Colors Trilogy," recommended by my philosophy teacher four years ago. After watching it, I felt like I had lost my three perspectives. Why did the female protagonist destroy her husband's work but still couldn't forget him? How could she treat the person who silently loved her for so many years in such a way? Why was she so good to the person who destroyed her marriage?... After being bombarded with these soul-searching questions, I silently reminded myself not to watch European films anymore, as they were beyond my cognitive scope, especially when it came to emotions, I couldn't keep up with the Western way of thinking. (Of course, the flag of "not watching European films" was later contradicted by other excellent films.)
Perhaps due to the narrative style or cultural background, European films do not have a strong sense of spectacle (the kind of feeling that makes you feel excited after watching a blockbuster film from the United States). They are keen on depicting small and ordinary things, whether good or bad, objectively presenting them to you. Sometimes, it even feels like the moral boundaries are blurred ("Small Change" gave me a headache). However, upon reflection, these films may have a dramatic way of expression, but their portrayal of emotions is very real, whether it is certainty, uncertainty, decisiveness, or hesitation... They tell us that life is inherently cruel, but they also remind us that there are many small beauties in life that cannot be ignored, and they are worth our anticipation and care.
Kieślowski is passionate about revealing the cruel truth of life and the dark side of human nature. (Perhaps this is also the reason why his films are so attractive to me, as I appreciate authenticity.) His early works were documentaries, aiming to reflect the real social life. Later, due to some social reasons and his disappointment with the documentary form of expression, he started making feature films.
He lived in a turbulent era, and people yearned for true freedom.
He voiced his opinions in his own way and confronted the outside world. When asked by a friend why he didn't become a politician to change the environment, he simply expressed that it wasn't suitable for him, and he was doing what he should be doing.
For friends who are interested in his views, you can watch the documentary "Kieślowski's Words" on Bilibili.
I agree more with his view of human nature.
Once a certain characteristic takes root in people's hearts, it is difficult to change. There is no definitive answer to the question of whether human nature is inherently good or evil, nor can we determine where this "nature" should be traced back to. However, in terms of the future, the present is what matters. I believe in the ancient saying "time reveals a person's true nature." Human nature cannot withstand the test of time.
This is a digression.
I suddenly thought of the concept of "original family" that was widely circulated online a couple of years ago. It seems that all our character flaws can be attributed to problems in our original family. This concept resonated with many people, and they could blame the harm caused by their original family with righteousness, so they couldn't solve problems well when they encountered them. However, this blaming behavior is just a meaningless negative emotional release, which is of no benefit to oneself or the family.
I do not deny that the original family can have an impact on a person. In "Wild Strawberries," it explores the emotional alienation that lasts for three generations, and in "Shoplifters," it portrays the reserved nature of a typical Eastern family... Individuals are influenced by major events, not to mention the family they grew up in. But I think the concept of the original family was not proposed to create family conflicts or to find excuses for one's own problems, but to provide individuals with more material (such as family interaction patterns) to find solutions to their problems.
The following content contains a large number of spoilers and analysis. Please read with caution.
Image source: Douban or self-captured.
Synopsis of "Blue," the First Part of the Three Colors Trilogy#
Julie loses her husband and young daughter in an accident and, troubled by painful memories, chooses to start a new life. She empties her previous home, severs contact with people from her past, but emotional attachments are never as simple to sever as material ties. The media infiltrates her life, wanting her to continue her husband's unfinished work, and her husband's assistant, who has always loved him, silently cares for her. Most importantly, the symphony she and her husband composed together keeps echoing in her mind... A television interview unexpectedly reveals that this piece of music is related to another woman, and she also has her husband's flesh and blood...
In harmony with the recurring symphony, the story can be divided into four movements.
First Movement#
Often presented in sonata or allegro form. It often features two conflicting themes alternating and culminating in the prominence of the primary theme.
The film begins with a scene of driving. Kieślowski portrays the ordinary day and harmonious atmosphere of this family through their tacit interactions, the little girl playing with candy wrappers, and passersby playing on the street.
Suddenly, the car mysteriously crashes into a tree.
Second Movement#
A variation or a slow movement.
Julie's husband and daughter are separated from her by the accident. Unable to commit suicide, she begins a long process of adaptation.
Julie sells off the belongings in her home, settles the lives of the gardener and the housekeeper, bids farewell to the assistant who has always had feelings for her in a determined manner, and moves into an apartment in the city, wanting to erase all traces of her past life.
However, discomfort surrounds her like water without any gaps. The habits of her past life, the symphony they composed together, the request from the country for her to continue composing the symphony... People's interactions always forcibly pull her back into life.
Third Movement#
A minuet or scherzo, in moderate or fast tempo.
Julie doesn't want to be connected to the world around her, but she can't control others. After inexplicably establishing a connection with a prostitute living in the same building, her peaceful life is gradually disrupted. A television program she accidentally sees completely forces Julie back into reality. The assistant accepts a national commission to continue composing the symphony that she had destroyed; her husband had another woman in his life. The memories that she had carefully sealed suddenly explode. She goes to find the assistant and questions why he has the right to continue composing this piece of music; she goes to find her husband's lover, but can only "calmly" accept the fact that the other woman has her husband's flesh and blood... (The female protagonist's performance in this scene is truly remarkable)
Julie reevaluates her life and emotions. She donates the property she was planning to sell to her husband's lover; she immerses herself in composing and writes down the melody that has been lingering in her mind...
Fourth Movement#
Finale. Usually in fast tempo, often adopting rondo or recapitulation form. It echoes the main theme.
The climax of the film is presented as a carousel, reviewing Julie's experiences. The boy wearing a cross suddenly awakens, the perpetually silent mother of the past, the contemplation of the prostitute living a chaotic life, and the smile of the lover at the newborn baby... Accompanied by the final composition, Julie's life experiences are reviewed.
The director's arrangement is truly ingenious, with each element closely connected. The blue tone and the symphony running through the entire film not only create an atmosphere but also express the suppressed emotions behind Julie's silence...
Afterword#
I originally wanted to write about the entire Three Colors Trilogy, but after watching "Blue" several times, I feel that I need time to digest it. Kieślowski's films are worth watching repeatedly, and different people should have different perspectives at different stages of life.
As an individual, my knowledge is limited, so if there are any omissions, please feel free to criticize and correct.