A friend of mine (who will hopefully join this discussion) recently began a conversation with me regarding her favorite piece of Kieslowski’s Three Colors. A simple question with the potential for an in-depth analysis of the films individually and as a collection. Please share your thoughts and opinions of your favorite of the three, your choice of “best” (if not the same), your thoughts on the very asking of the question and breakdown of a trilogy, and your reasons for all stated conclusions.
My own opinion is lacking from the discussion topic. I suppose that is because I am still a bit conflicted. For sure white is my least favorite. But between blue and red, each invoke such a different response that I feel to state my preference is to choose between two very different emotions. How does one choose which emotion one prefers? Red was the first of the three I viewed as well as my first Kieslowski experience and it was instant love. In some senses it sticks out in my mind as favorite for those reasons alone. Yet Blue content-wise, struck with such a poignant connection. Place a talented actress in a story such as Blue with the visual effectiveness in terms of color and how can it not be your favorite? I suppose if I were to judge which expressed a more seamless display of color emotion and connection it would be Blue. But perhaps that is just due to the nature of that sentiment. So I have not answered the question. I think Blue the greatest of the three pieces, though at times Red appears in my memory as my particular favorite.
“Now I may die content, for I have seen great love”…….
In reading other reviews, you find scads about unrequited homo-sexual love. Yet breaking outside of the homo/hetero box, I think a greater look is in order of that “love” itself. Though Claude is romantically in love with his model, there are other elements to their relationship as a sort of adopted father and son. Despite the son’s lack of love and repentance, Claude continues to forgive, accept, and help Michael. There is a sort of unfinished prodigal son aspect to the plot. Yet the son never returns in shame. Instead, Claude’s selfless love anticipates any change on Michael’s part which in fact is never displayed in the film. Even in the image of the painting, the illustration of the man who has lost everything, book-ended by the couple who took frivolously tortured him with their neglect and affair, the withered man seems to remind me of the famous Prodigal Son painting. (my own projection, but a contributor to my sense of the film).
Then as a sort of new testament fulfillment, Claude dies in peace after a display of the utmost selfless “great” love, still unseen by his beloved, as the Christ figure died in what may have seemed in vain as those he died for did not recognize his act of love. Im not trying to pull a forced religious interpretation on the film, but rather analyze the work in the vein of the age-old concept of hero and savior. Claude saves the day while Michael sits with his love unaware.
All of that being said, the essence of the discussion is on the nature of Claude being content to die for he has seen great love, yet the content of that love being unseen and unrequited. How can that nourish him in peace when he is not loved in return. Can one’s own achievement of perfection actually enlighten one’s own self and hopes. Or am I missing something greater in the piece. All thoughts of the overall greater meaning of Claude’s last words and “Michael” as a whole welcome.
Which is the best of Kieslowski's Three Colors about 3 years ago
A friend of mine (who will hopefully join this discussion) recently began a conversation with me regarding her favorite piece of Kieslowski’s Three Colors. A simple question with the potential for an in-depth analysis of the films individually and as a collection. Please share your thoughts and opinions of your favorite of the three, your choice of “best” (if not the same), your thoughts on the very asking of the question and breakdown of a trilogy, and your reasons for all stated conclusions.
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Which is the best of Kieslowski's Three Colors about 3 years ago
My own opinion is lacking from the discussion topic. I suppose that is because I am still a bit conflicted. For sure white is my least favorite. But between blue and red, each invoke such a different response that I feel to state my preference is to choose between two very different emotions. How does one choose which emotion one prefers? Red was the first of the three I viewed as well as my first Kieslowski experience and it was instant love. In some senses it sticks out in my mind as favorite for those reasons alone. Yet Blue content-wise, struck with such a poignant connection. Place a talented actress in a story such as Blue with the visual effectiveness in terms of color and how can it not be your favorite? I suppose if I were to judge which expressed a more seamless display of color emotion and connection it would be Blue. But perhaps that is just due to the nature of that sentiment. So I have not answered the question. I think Blue the greatest of the three pieces, though at times Red appears in my memory as my particular favorite.
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MICHAEL (Carl Dreyer) and The Meaning Of Love about 3 years ago
“Now I may die content, for I have seen great love”…….
In reading other reviews, you find scads about unrequited homo-sexual love. Yet breaking outside of the homo/hetero box, I think a greater look is in order of that “love” itself. Though Claude is romantically in love with his model, there are other elements to their relationship as a sort of adopted father and son. Despite the son’s lack of love and repentance, Claude continues to forgive, accept, and help Michael. There is a sort of unfinished prodigal son aspect to the plot. Yet the son never returns in shame. Instead, Claude’s selfless love anticipates any change on Michael’s part which in fact is never displayed in the film. Even in the image of the painting, the illustration of the man who has lost everything, book-ended by the couple who took frivolously tortured him with their neglect and affair, the withered man seems to remind me of the famous Prodigal Son painting. (my own projection, but a contributor to my sense of the film).
Then as a sort of new testament fulfillment, Claude dies in peace after a display of the utmost selfless “great” love, still unseen by his beloved, as the Christ figure died in what may have seemed in vain as those he died for did not recognize his act of love. Im not trying to pull a forced religious interpretation on the film, but rather analyze the work in the vein of the age-old concept of hero and savior. Claude saves the day while Michael sits with his love unaware.
All of that being said, the essence of the discussion is on the nature of Claude being content to die for he has seen great love, yet the content of that love being unseen and unrequited. How can that nourish him in peace when he is not loved in return. Can one’s own achievement of perfection actually enlighten one’s own self and hopes. Or am I missing something greater in the piece. All thoughts of the overall greater meaning of Claude’s last words and “Michael” as a whole welcome.
Go to Comment