Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both ... See full summary »

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Cast

Complete credited cast:
John Quentin ...
Narrator (voice)
...
Narrator (voice)
Derek Jarman ...
Himself / Narrator (voice)
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Storyline

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue. Written by Michael Brooke <michael@everyman.demon.co.uk>

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Details

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Release Date:

3 December 1993 (USA)  »

Also Known As:

Derek Jarman's Blue  »

Box Office

Budget:

£90,000 (estimated)

Gross:

$1,718,328 (USA)
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Company Credits

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Technical Specs

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(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The lines "Our name will be forgotten in time, no-one will remember our work [etcetera]", and "our lives will run like sparks through the stubble" are adapted from the book in the Biblical Apocrypha "The Wisdom of Solomon", Chapters two and three respectively. See more »

Quotes

Terry, Nigel: At the bottom is a space for me to sign, showing that I understand that all these things are a possibility. I really don't know what I am going to do. I am going to sign it.
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Soundtracks

Summertime
Written and performed by Marden Hill and Simon Fisher-Turner (as The King of Luxembourg)
Courtesy of Mo Music
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Frequently Asked Questions

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User Reviews

a final masterpiece
20 July 2001 | by See all my reviews

Jarman's "Blue," a feature consisting entirely of a blue screen with voice-overs, has succeeded in annoying viewers with its seemingly uninventive approach to the cinematic personal narative. As so much of what we have come to consider "good" filmaking relies primarily on our sense of sight and our ability to absorb and process hundreds of CGI critters flashing before our eyes, it is easy to forget that a "good film" relies as much if not more so on the story than it does on the visuals.

Jarman's story is one that does not need visuals to support it. Reflecting upon his life in the face of his rapidly approaching death, Jarman's memories and meditations offer the viewer (listener, really) a window into the soul of a director who is losing the most important sense he could posses: his sight. Blue was the last color available to him before AIDS related complications robbed him of his sight. As he stands before death and stares it straight in the face, Jarman's writings put forth a suprising feeling of calmness, as he has accepted his own finitude and shares his meditations with us in this, his last masterpiece.


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