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Title: Three Colors: Blue (1993)
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| Cast overview, first billed only: | |||
| Juliette Binoche | ... | Julie Vignon (de Courcy) | |
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Benoît Régent | ... | Olivier (as Benoit Regent) |
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Florence Pernel | ... | Sandrine |
| Charlotte Véry | ... | Lucille (as Charlotte Very) | |
| Hélène Vincent | ... | La journaliste (as Helene Vincent) | |
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Philippe Volter | ... | L'agent immobilier |
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Claude Duneton | ... | Le médecin |
| Hugues Quester | ... | Patrice (Mari de Julie) | |
| Emmanuelle Riva | ... | La mère | |
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Florence Vignon | ... | La copiste |
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Daniel Martin | ... | Le voisin du dessous |
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Jacek Ostaszewski | ... | Le flutiste |
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Catherine Therouenne | ... | La voisine |
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Yann Trégouët | ... | Antoine (as Yann Tregouet) |
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Alain Ollivier | ... | L'avocat |
The first part of Kieslowski's trilogy on France's national motto: Liberty, Equality, and Fraternity. 'Blue' is the story of Julie who loses her husband, an acclaimed composer and her young daughter in a car accident. The film's theme of liberty is manifested in Julie's attempt to start life anew, free of personal commitments, belongings, grief or love. She intends to numb herself by withdrawing from the world and living completely independently, anonymously and in solitude in the Parisian metropolis. Despite her intentions, people from her former and present life intrude with their own needs. However, the reality created by the people who need and care about her, a surprising discovery and the music around which the film revolves heal Julie and draws her back to the land of the living. Written by Anonymous
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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.