A Krysztof Kielowski Direction Three Colors

Three Colors Directed by Krysztof Kielowski

Krysztof Kieslowski’s trilogy “Three Colors” is inspired by the national colors of France, blue, white, and red. Being an auteur filmmaker who can control almost all aspects of the movie, from characters to music, the character display, their direction, scene cuts, etc., his characters were seen as a holistic representation of profoundness. He has a unique vision of his characters that he wants to show to his target audience, and critics loved it when the trilogy was screened. 

Krysztof Kieslowski wants his characters to delve completely into their role so that their physical and metaphysical energies intertwine in a manner that gives a new meaning to the film. Each film of this trilogy seems complete in itself; however, the characters have been defined in a way that the next part appears to be a connection as a continuous whole. Krysztof Kieslowski can only create the cumulative experience as he has a self-contained realization of forming a sensory experience for the spectators. The entire involvement uplifts and delights the audience that he has shown by forming a seamless connection of the color with the character’s role. 

Apart from character display, the story narrative has been highlighted with music as well. Krysztof Kieslowski himself suggests that it is a masterpiece for the ears as the ideas are dramatized with the sound of the music used within the film so that a connection with the audience could be formed flawlessly. For example, in Blue, when Julie is at the hospital, the music she listens to would signify her repressed emotions experienced at her husband a d daughter’s deaths (Reyland). At that very instant, the camera’s viewpoint is in line with the screen direction and the use of music with the character’s trauma. The music seems to highlight the inside working of Julie’s mind to seek independence and seclusion. The liberation struggle could be beautifully seen following the music used for the scenes. The climax and anti-climax seem to be working their part without error, depicting the fact that the audience could not find any flaw in the screenplay on the part of an auteur filmmaker. 

As Krysztof, Kieslowski relies mostly on auteur cinema artwork as he is fond of framing and sequence shots. He wants to show Polish reality as close as possible, for which he creates immaculate visuals with the interweaving of political, ethical, social, and spiritual tensions. More emphasis on the psychological aspects of his characters and then running the script smoothly over their presentation makes him a true auteur filmmaker. As he had already earned fame for his direction skills in the documentaries and had been acclaimed for his work, it seemed his filmmaking was reliant on human subjects. He was fond of showing their emotions and psychological aspects as humans lived in a world of conflicts and always faced challenges when decisions were to be made over their values. 

The interconnectedness of the narratives within the trilogy is seen shifting from comedy to sadness to tragedy and then again to happening incidences. It arouses the sentiments that indulge the viewer completely in the various emotions simultaneously. Though the three colors seem to show freedom, fairness, and brotherhood from a French flag’s point of view, the director showed the themes of love, deceit, fascination, and man’s potency and hatred towards women in these colors (Bradshaw).