The second work of Three Colours trilogy, WHITE. As Tony Rayns said in the June issue of Sight and Sound "Imagine a kind of filmmaking that's truly in tune with the ways you think and relate to other people. A deeply humane kind of filmmaking, but free from 'humanist' lies and sentimental evasions. Not a dry, 'realistic' kind of filmmaking, but one in which all the imaginative and creative efforts have gone into understanding the way we are. A kind of filmmaking as sensitive to silence as to speech, and alert to the kind of meanings we prefer to hide away. To my knowledge, only two directors in the world are currently making films like that. One is Krzysztof Kieslowski in Poland. The other is Edward Yang in Taiwan."
Well, it is quite provoking assertions, simply because when I watched the WHITE, I was seeking for an answer to place this so-called "masterpiece" into an explanation of those film theories and argued with myself that there must be something striking, exciting about this work. And then I just went to watch twice of it, and finally I can hardly resonate and I think it is lame.
Unlike the BLUE we were in a quite a melancholic mood in the whole sequences no matter from cinematography of interminable interruptions of editing and somehow the brilliant ending of a panning montage. In WHITE, we were suited in a amusing manner of Zbigniew Zamachowski, in which we might feel sad at the beginning Paris scene in which BLUE's heroine popped up in the courtroom, but again latter we will find out that he is just absolutely a sad sack within those Kieslowski's slapsticks of "humiliation" mostly represented in those genres like "sexual impotency", "financial killing". Well I do not opposed to such universal and ponderous B-type elements surfaced in an European Art house films, as these can not be lethal to a good movie. What we found the problems in the WHITE are based on those abridged stretches in the script (the scenes about their marriage before the divorce) and those simpleminded perfunctory events happened in this ponderous story, and again it proves again how frantic to connect those three notions of French Revolution with this trilogy, it's absolutely nonsense.
Unlike the BLUE we were in a quite a melancholic mood in the whole sequences no matter from cinematography of interminable interruptions of editing and somehow the brilliant ending of a panning montage. In WHITE, we were suited in a amusing manner of Zbigniew Zamachowski, in which we might feel sad at the beginning Paris scene in which BLUE's heroine popped up in the courtroom, but again latter we will find out that he is just absolutely a sad sack within those Kieslowski's slapsticks of "humiliation" mostly represented in those genres like "sexual impotency", "financial killing". Well I do not opposed to such universal and ponderous B-type elements surfaced in an European Art house films, as these can not be lethal to a good movie. What we found the problems in the WHITE are based on those abridged stretches in the script (the scenes about their marriage before the divorce) and those simpleminded perfunctory events happened in this ponderous story, and again it proves again how frantic to connect those three notions of French Revolution with this trilogy, it's absolutely nonsense.