Trois couleurs: Bleu (1993)

User Rating:

7.9/10   

Director:

Krzysztof Kieslowski

Writers:

Krzysztof Kieslowski (scenario) and
Krzysztof Piesiewicz (scenario) ...

Release Date:

8 September 1993 (France)

Genre:

Drama | Music | Mystery | Romance

Plot:

First of a trilogy of films dealing with contemporary French society concerns how the wife of a composer deals with the death of her husband and child.

Plot Keywords:

Blue | Liberty | Composer | Grief | Love

Awards:

Nominated for 3 Golden Globes. Another 14 wins & 7 nominations

Cast

Juliette Binoche	...	Julie
Benoît Régent	...	Olivier (as Benoit Regent)
Florence Pernel	...	Sandrine
Charlotte Véry	...	Lucille (as Charlotte Very)
Hélène Vincent	...	La journaliste (as Helene Vincent)
Philippe Volter	...	L'agent immobilier
Claude Duneton	...	Le médecin
Hugues Quester	...	Patrice (Mari de Julie)
Emmanuelle Riva	...	La mère
Florence Vignon	...	La copiste
Daniel Martin	...	Le voisin du dessous
Jacek Ostaszewski	...	Le flutiste
Catherine Therouenne	...	La voisine
Yann Trégouët	...	Antoine (as Yann Tregouet)
Alain Ollivier	...	L'avocat

Also Known As:

Three Colors: Blue (Canada: English title) (USA)
Three Colours: Blue (Canada: English title) (UK)
Bleu (France) (short title)
Blue
Trzy kolory: Niebieski (Poland)

MPAA:

Rated R for some sexuality.

Runtime:

98 min

Country:

France | Poland | Switzerland

Language:

French | Romanian | Polish

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby SR

Certification:

Canada:14 (New Brunswick/Nova Scotia/Prince Edward Island) (DVD rating) | Argentina:13 | Australia:M | Chile:14 | Finland:K-12 | France:U | Germany:12 | Hong Kong:IIA | Netherlands:AL | Singapore:M18 | South Korea:18 | Spain:13 | Sweden:11 | UK:15 | USA:R | Iceland:L

Filming Locations:

Cité du Midi, Paris 18, Paris, France

Company:

Canal+

Trivia:

In a scene where Olivier has tracked down Julie but is then ignored by her, there is a close-up of Julie allowing a sugar cube to soak up her coffee. Deeming that the sugar cube had to soak up the coffee in precisely 5 seconds, Krzysztof Kieslowski had his assistant director test multiple brands (which soaked with coffee anywhere from 3 to 11 seconds) to find one that took just the correct time.

Goofs:

Factual errors: The speech given at the funeral states Julie's daughter's age as 5, but the dates on the coffin (26/04/1985 - 07/09/1992) would make her 7 years old.

Quotes:

Julie Vignon: Why are you crying?
La servante: Because you're not.

Movie Connections:

Referenced in "The League of Gentlemen: Love Comes to Royston Vasey (#1.5)" (1999)

A stunning film from one of the world's preeminent directors.

TROIS COLOURES: BLEU is a rich, dark film with all the Kieslowski marks: death, silence, depression, and the inner torment of outwardly attractive women. After seeing the whole trilogy and the DEKALOG, I'm convinced at Kieslowski's great talent, and his very early death was a true blow to world cinema. Much like Kubrick but with a less ironic nature, Kieslowski loves to make his characters and stories both humanely distant, realistic, and, at the same time, philosophically idealist and dense. I enjoyed BLEU more than BLANC (which was an odd machismic entry in a trilogy mainly focusing on women) but not as much as ROUGE, which I feel is one of the finest, most beautiful, most well-done films I've ever seen.

More specifically, BLEU's focus seems to be on the relationship of a woman's loss of the tactile manifestation of her husband's existance with the ligering notions of his life - especially his music, which pervades the entire film, interrupting at key moments with a blackout and short blast of the overture. To watch Julie struggle with her husband's abandoned secrets (including a mistress Julie befriends) is shattering, frustrating, and perplexing.

Unfortunately, life must move, and, due to that, I can't watch BLEU over and over. However, I did glean from one viewing the complexity of this picture, and recognize its need to be watched over and over, until Kieslowski's last gasps can be properly understood, which is all we can hope to return to a man whose genius was tragically cut short, but still stands as a giant in my view of cinema.