Other Titles • Three Colors: Red • Trois couleurs: Rouge (1994) • Red • Three Colours: Red • Trzy kolory: Czerwony • more
Synopses for Three Colors: Red (1994)
1.
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Blue:
Academy Award winner Juliette Binoche (The English Patient, Best Supporting Actress, 1996) stars as a young woman left devastated by the unexpected death of her husband and child. She retreats from the world around her, but is soon reluctantly drawn into an ever-widening web of lies and passion as the dark, secret life of her husband begins to unravel.
White:
Starring sexy Julie Delpy (Investigating Sex, The Three Musketeers) White is the mysterious tale of a man whose life disintegrates when his beautiful wife of six months deserts him. Forced to begin anew, he rebuilds his life, only to plan a dangerous scheme of vengeance against her! Winner of the Best Director Award at the Berlin Film Festival.
Red:
Nominated for 3 Academy Awards (Best Director, Best Original Screenplay and Best Cinematography, 1994) Red stars Irene Jacob (Victory, My Life So Far) as a young model whose chance meeting with an unusual stranger leads her down a path of intrigue and secrecy. As her knowledge of the man deepens, she discovers an astonishing link between his past...and her destiny!
(23 votes)
2.
The final installment of Polish director Krzysztof Kieslowski's brilliant THREE COLORS trilogy, RED stands for Fraternity (of Liberty and Equality) in the French flag and national motto. Valentine Dussaut (the angelic Irene Jacob), a young student and model, accidentally hits a dog with her car. She attends to its injuries, only to discover that the animal's bitter owner, Judge Joseph Kern (Jean-Louis Trintignant), doesn't care for it--or anything--anymore. Valentine adopts the dog, but it runs away, straight back to the judge's home. When she returns to fetch the animal, she is shocked to find the judge eavesdropping on his neighbors' telephone conversations. Although initially morally disgusted, Valentine finds herself mesmerized by him; his sorrow and isolation intrigue her, and mirror her own feelings of sadness. Soon their relationship evolves into a platonic, yet passionate love that frees the judge from his guilt and cynicism, and opens a future of happiness for Valentine. Kieslowski’s last film as a director is a bona fide work of art--aesthetically pleasing, philosophically challenging, and supremely engaging. As in the other films of the trilogy where he makes intentional use of the colors of the titles BLUE and WHITE within the films, here he employs the color red, on several levels, to further explore and illuminate the themes of this particular story. Although the director’s early death was a tragic loss for the film world, his THREE COLORS trilogy will stand forever as one of cinema’s most profound achievements.
(22 votes)
3.
Even though one can view each segment of Krzysztof Kieslowski's Three Colours trilogy on its own, it seems absurd to do so; why buy the trousers instead of the entire suit? Created by Kieslowski and his writing partner Krzysztof Piesiewicz for France's bicentennial, the titles--and the themes of the films--come from the three colours of the French flag representing liberty, equality and fraternity. Blue examines liberation through the eyes of a woman (Juliette Binoche) who loses her husband and son in an auto accident, and solemnly starts anew. White is an ironic comedy about a befuddled Polish husband (Zbigniew Zamachowski) who takes an odd path of revenge against his ex-wife (Julie Delpy). A Swiss model (Irène Jacob) strikes up a friendship with a retired judge (Jean-Louis Trintignant) who eavesdrops on his neighbours in Red. The trilogy is a snapshot of European life at a time of reconstruction after the Cold War, reflected through Kieslowski's moralist view of human nature and illumined by each title's palate colour.
On the DVD: The DVD set has numerous extras spread throughout the three discs; the end result is a superior collection. Each disc has a short retrospective, culled together from new interviews with Kieslowski's crew, plus film critic Geoff Andrew, biographer Annette Insdorf (who also does the commentaries), and fellow Polish director Ageniska Holland. Producer Marin Karmitz also reminisces about the experience. There's an exceptional effort to show the magic of Kieslowski (who died two years after the trilogy) through a discussion of his various career phases, interviews with the three lead actresses, four student films, and archival materials including simple--and wonderful--glimpses of the director at work. Excellent insight is also provided by Dominique Rabourdin's filmed "cinema lessons" with Kieslowski. Without viewing any of his other films, this set illustrates the uniqueness of Kieslowski. --Doug Thomas
(23 votes)
4.
The final section of the late Krzysztof Kieslowski's acclaimed Three Colours trilogy (preceded by Blue and White) is the least likely of the three to stand alone, and indeed benefits from a little familiarity with the first two parts. Nevertheless, it's a strong, unique piece that reflects upon the ubiquity of images in the modern world and the parallel subjugation of meaningful communication. Irčne Jacob plays a fashion model whose lovely face is hugely enlarged on a red banner no one in Geneva, Switzerland, can possibly miss seeing. Striking up a relationship with an embittered former judge (Jean-Louis Trintignant), who secretly scans his neighbours' conversations through electronic surveillance, Jacob's character becomes an aural witness to the secret lives of those we think we know. Kieslowski cleverly wraps up the trilogy with a device that brings together the principals of all three films. --Tom Keogh
(21 votes)
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