IMDb > Trzy kolory: Bialy (1994)
Trzy kolory: Bialy
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Trzy kolory: Bialy (1994) More at IMDbPro »


Overview

User Rating:
7.6/10   15,771 votes
MOVIEmeter: ?
Down 7% in popularity this week. See why on IMDbPro.
Writers:
Krzysztof Kieslowski (scenario) and
Krzysztof Piesiewicz (scenario) ...
more
Contact:
View company contact information for Three Colors: White on IMDbPro.
Release Date:
18 February 1994 (USA) more
Plot:
Second of a trilogy of films dealing with contemporary French society shows a man dealing with a Polish immigrant whose wife wants to divorce him because he can't perform in bed. full summary | add synopsis
Plot Keywords:
Awards:
1 win & 2 nominations more
NewsDesk:
Full Moon: Julie Delpy, Parisian Animal
 (From FilmExperience. 3 September 2009, 8:30 PM, PDT)

User Comments:
Conjugal wickedness that cries out for vengeance more (58 total)

Cast

  (Cast overview, first billed only)
Zbigniew Zamachowski ... Karol Karol

Julie Delpy ... Dominique
Janusz Gajos ... Mikolaj
Jerzy Stuhr ... Jurek
Aleksander Bardini ... Le notaire (The Lawyer)
Grzegorz Warchol ... L'elégant (The Elegant Man)
Cezary Harasimowicz ... L'inspecteur (The Inspector)
Jerzy Nowak ... La vieux payson (The Old Farmer)
Jerzy Trela ... Monsieur Bronek
Cezary Pazura ... Le propriétaire du bureau de change (Bureau de Change Proprietor)
Michel Lisowski ... L'interprète (The Interpreter)
Philippe Morier-Genoud ... Le juge (The Judge) (as Philippe Morier Genoud)
Piotr Machalica ... L'homme de haute taille (The Tall Man)

Francis Coffinet ... L'employé de banque (The Bank Employee)
Barbara Dziekan ... La caissière (The Cashier)
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Additional Details

Also Known As:
Three Colours: White (Canada: English title) (UK)
Three Colors: White (USA)
Trois couleurs: Blanc (France)
Trzy kolory: Biały (Poland)
White
more
MPAA:
Rated R for some sexuality and language.
Runtime:
91 min
Color:
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1 more
Sound Mix:
Certification:
Filming Locations:

Fun Stuff

Trivia:
Almost every shot in the movie contains at least one white object. more
Quotes:
Karol Karol: [to the man who wanted help committing suicide] That was a blank. The next one's real. Are you sure? more
Movie Connections:
Referenced in Wielkie rzeczy: Gra (2000) (TV) more

FAQ

The Meaning of the Sign Language in the Last Scene / La Signification de la language de signe en la scéne de la fin
more
25 out of 29 people found the following comment useful.
Conjugal wickedness that cries out for vengeance, 29 April 2005
8/10
Author: Aquilant from Italy

WHITE IS THE COLOR OF DOMINIQUE'S WEDDING DRESS at the exit of the church, surrounded by the blazing whiteness of an overexposed background, full of subtle symbolisms imbued with hypnotic nuances. WHITE is the glimmer of the impending reflexes in the background of a lazy town buried under the snow. WHITE is the bust of a statue caressed as a memento of a love irremediably lost. WHITE is Dominique's final orgasm, a real scream of liberation from the yoke of her spiteful stubbornness, the false revenge of a woman unaware of her impending calamity, completely unacquainted with the bitter game of make-believe inspired by a wickedness that cries out for vengeance. According to Karol, the main character, it's better to have loved and lost than never to have loved at all. His desire for revenge blows out his residual flickering flame of love after having suffered unforgivable affronts devised by his heartless wife.

"Trzy kolory: Bialy" (Three colors: White), second episode inspired to the three colors of the French flag and to the three principles of the French Revolution (Freedom, Equality and Fraternity), brings back to us two old acquaintances, Zbigniew Zamachowski (very similar to the pathetic Italian character Fantozzi,) and Jerzy Stuhr. It may be considered the most unforeseeable movie of the whole colors trilogy, full of sharp and witty tones of grotesque melodrama, with a reluctant and peevish Julie Delphy never seen so cold-mannered on the screen before. The inborn sense of Kieslovski's BLACK humor comes out here in all its might almost counterbalancing the concept of absolute WHITE connected with he story.

"Three colors: white" is very different from the other two episodes of the trilogy, but nonetheless the unmistakable touch of the genius can be generously found in the accurate care of the details, in the emotional intensity of the dialogs, in the careful analysis of the individual values, in his safe distance from the events represented by him, in his constant application of the principle of casualness and in his large use of metaphors (look for instance at the sequences of simultaneous flights of pigeons, symbolizing an open concept of freedom often cherished in his works). And Julie Delphy's following words sound as a sort of sincere homage to Kieslovski's art: "Kieslowski is a director who draws his inspiration from the true life of people, who instills his own soul into his movie, who dwells upon the details as if he wanted to examine the life under a microscope." Absolutely true. There is nothing else left to say: "Three colors: red" looms on the horizon.

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