Sunday, 25 October 2009

trois couleurs: bleu - (labri)

Where to start with a film such as this? Freedom, with which this first of the trilogy is concerned, as a fundamental tension of humanness is a theme that could be examined in every film, artwork and bus stop ever made. I enjoyed to note in re-watching this week that the two in Heaven make their escape from the gates of judgement in a Blue milk float. Freedom, freedom vs autonomy, freedom to chose, free will, true freedom, where is it found, what is it for?

Preisner and autobiography. The music in this film is a central character, and it was a bold task to write for the script that supposes the soundtrack to be of the greatest composer of a generation. The picture of creativity, of urgency and cooperation draws you in. The heroism of a music so full of life grabs you as Philippe Petit on a wire.

It is pointed that Kieslowski should use a scriptural passage as the crescendo to a piece celebrating a united Europe, a Europe that hopes so much to find a unity to its community without religion, without God.

At a stretch there is an Israel (Rom11:17?) in this in that both the illegitimate mistress and the original bride both come into an inheritance. Where the first child is killed by a car crash a new hope is born at the close. There are relentless allusions to new birth, the terrifying risk and fussy inconvenience of children. Children are the ruin of our myth of independence.

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