“Three colours blue” is the first instalment of Kieslowskis’ famous trilogy exploring the French revolutionary ideals. The other two films in the trilogy, “Three colours white” and “Three colours red” explore equality and fraternity on the personal level. Like “Blue”, they show their protagonists go though a long personal struggle to achieve the films ideal, often at financial or emotional cost. “Three colours blue”, being a story of personal grief, charts a woman’s struggle for emotional liberation, and sees her suffering horrors in the process. These three ideals-liberty, equality and fraternity-are portrayed by Kieslowski as pure, almost sublimated targets, which can be reached only through hard work. His choice to use these themes-themes an entire country fought over in a bloody revolution-can only make the trilogy public art, art intended to speak to and for France, and the rest of humanity.
The plot is reasonably simple; Julie, (Juliette Binoche), loses her composer husband and child in an accident. Traumatised, she leaves her home and tries to discard her past, rejecting all love and friendship, which she now views as “traps”. Gradually though, she re-learns how to live, and finishes her husbands final work, the “Symphony for the unification of Europe”. The work proves to be a healing force, and she can finally rebuild her life. Binoche is wonderful in the part, delivering one of her career-making performances, which won the “best actress” at the 1993 Venice film festival.
As with all Kieslowski films, the cinematography is beautiful, but in this case shows reality from the protagonists point of view; the repeated use of close-ups expresses Julies wish to limit the world to her immediate environment. The repeated motifs Kieslowski uses, of glass, water and reflections, are relevant; they reflect Julies’ mindset, namely her desire to keep the world at a distance; Glass allows observation without contact: Julie observes the world, and allows it to observe her, but she does not allow anyone emotional contact. Water is used in a similar way in this film, but also reflect her wish to drown her emotions; Julie repeatedly visit’s a swimming pool, where she often stays submerged for a long time.
The journey from isolation to social integration is ferociously difficult for Julie, and mirrors the idea of an eternal struggle for freedom; Julie fights hard against an oppressive emotion, finding recourse in creative work, which is eventually a healing force; the plot is the story of a fierce human struggle to throw off the past, and by hard work, create a future. However detached the story seems on the surface, these peculiarly French ideals run through the very heart of it.
One of Kieslowskis’ abiding interests is in human connections, which he identifies with the three ideals throughout the trilogy; Julie’s initial rejection of society is repeatedly challenged by the director; He uses various tricks and motifs to remind us of the interconnectedness of everyone in society; For example, in one scene a busker plays the very music Julies husband was composing; He later reveals that he made up the tune himself. This scene serves to remind us that different people from different backgrounds, for different reasons might have identical thoughts. Julies’ journey away from voluntary isolation, and return to love, reflects the directors beliefs: The individual must always return to society, because life outside society is worthless.
“Three colours blue” is certainly a masterpiece, and won unanimous praise from critics when it was first released. Quite apart from Binoche’s perfect performance, it interprets emotional freedom as a high ideal. Woven in with this ideal is Kieslowskis’ vision of society as a unified whole, which offers love in its various forms, provided you accept it. Kieslowskis’ film is certainly public art, speaking on the most personal level. It speaks very well.