In these years, in the wildest years of self-analysis and the growing addiction to the spiritual world, I have frequently seen in Kieslowski's video world the appearance of my most intimate passages, sometimes with clear shapes. It can be seen that sometimes it flashes suddenly and then disappears quickly and sinks into the ocean of consciousness, but he is the only one who touches so accurately, so precise that after being discovered the gate of life, he repeatedly loses the ability of language and thinking, and seriously wants to refuse to have any relationship with the world. , although this world, like the career that each of us has worked hard to manage, is an individual that cannot escape.
I actually meant to say "blue", "white" and "red".
I watched these three films at different time periods intentionally or unintentionally, but it happened that they were all in the cool-toned season. I watched "Blue" very early, and the narrative structure of the film itself was already blurred in my mind, but the whole tone and color, as well as the beloved Juliette Binoche, were still clear. Juliette Binoche's temperament dominates the entire film. I watched "White" on a warm and cold afternoon, and what left an imprint was the marching music and the rhythmic narrative, but the heroine was watching "Love Before the Dawn" and "Love After the Sunset". I just fell in love with the intellectual and beautiful Julie; this time I watched "Red", it should be said to be the most outstanding of the three in terms of plot setting and expression, not to mention the actress is the beautiful Veronica - Elaine Na Jacob. It’s the afternoon again, the long afternoon in the room blocked by the closed curtains, the long pause in life and the huge aesthetic texture are creeping towards me at the same time, the deep accumulation in my heart until the physical influence can’t emit a trace of the vocal cords. sound.
Keith's narrative does not have the usual several tomb structure in the play, and different people may have different opinions and understandings of the milestone passages in the whole film. Just like Foucault asked, "who's the auther"? Freedom, equality , fraternity, the symbol of the French flag, or the most basic value principle in human nature in the Western vision, these grand political morality or human nature theory are not something that can be revealed by a few paragraphs or a representative event, just like Lu Xun's abandonment of medicine and the huge change in the direction of his life must be the result of the brewing and accumulation of various forces or time, and not the result of the single action of the slideshow. But in order to be universal in expression, we can only concretize every great pause or change into a specific event, just like Keith's entry into the narrative.
Putting the three together, you can see a key word - betrayal. Julie's husband betrayed her, she had a third person and even a posthumous child, Dominican and Carol betrayed each other, the old judge in red was young and August betrays now and Valenti Na is betrayed by her boyfriend's repeated suspicions. However, in the context of Keith, all three gained freedom, equality and love through betrayal.
Julie lost her family in a car accident and discovered her husband's affair. She was not only unable to give up her life in the captivity of the idea of life, but also imprisoned in the huge shadow of her past life, unable to accept new feelings and lives. The management is all down to disillusionment, and the only thing she can accept is a life that is reconstructed by a person without any overlap or any basis. What is most criticized in Aristotle's theory is his maintenance of slavery, but according to the methodological approach, the process of his argumentation will find that slaves have no personal freedom by their masters when they are slaves. When the slave ends this identity and becomes free, he will become a slave in multiple fields, a ubiquitous shackle in the struggle in life, so the slave shouts to restore his identity as a slave. While the loopholes in the argument itself are obvious, for Blue, Julie is clearly not free—she is a slave ruled by the past. Even one's life is not synonymous with freedom, and the blue chandelier taken away continues its mighty reign like the ghost of the past. Her husband's betrayal has become even more dominant, and the airtight suffocation of Julie's new life. There are no climaxes, no ups and downs, but turbulent undercurrents in Keith's slow narrative. The demand of all the residents of the apartment to drive out the prostitutes should be a very important structure for the whole film. In this movement, Julie gradually began to comprehend or discover the shape of freedom and the possibility of stepping out of the past to accept a new life. She finally left the big house to her husband's lover and the child in her womb, and only then did Julie's reconstruction of her life become associated with freedom, the blue chandelier that once represented captivity and enslavement that accompanied her new home. Instead of guarding the undead in the past, it has become a farewell tribute and a testimony of self-salvation.
I still can't understand Bai's narrative. Equality in Keith's context is obviously not the same concept as equality in the field of political philosophy. The significance of literary and artistic works does not lie in the affiliation and performance of politics or power, nor in the satire and reference to history. More profound and sincere literary and artistic works are only related to the human spirit and inner soul. Carol, who was rejected in a foreign land and lost her sexual function, was betrayed by his wife Dominigo. The betrayal was not just a matter of divorce. The real betrayal was when Dominigo told the judge in court, "Do you love me or not?" he" answered. As a man, Carroll and Dominican are undoubtedly in an unbalanced position in their psychological high at this moment. He is at the lowest point in his life at the moment, and he has almost no dignity at all. After returning to Poland, Carroll not only gained economic status, but also regained his sexuality. His betrayal was undoubtedly the most important driving force for this series of fortunes and needed to be balanced. Rolle's calculations were put behind bars, and what the audience saw clearly was Carroll's love-hate relationship but not the meaning of true equality. When Carol hid behind the trees and peeked at Dominican's cry at the funeral he had arranged for himself, when his deepest feelings surged in the emotional world, he stared at his lover with a look up, two people who did not look up In between, equality is naturally out of the question. Carroll's temporary psychological balance in revenge proves that she still has the deepest love for her ex-wife. In such love, where does equality come from? In other words, Carol has also become a slave, and in a temporary revenge, he has been imprisoned forever, and true equality is an extravagant hope.
Red, made eternal by the sad smile of Irina Jacobs under the red curtain. The meaning of betrayal has reached its peak here. The retired old judge and the young judge August have almost the same life trajectories in different time and space. The three-dimensional structure of the horizontal and vertical axes of time and space is in three dimensions. If fraternity is a word that is too grand and symbolic, then the love of forgiveness through tolerance can glow warmly and softly in the intersection of the individual and the individual. After the first contact with Valentina, the old judge had a subtle vibration in his inner world. Although the probability of such an event happening in this world is almost zero, but fortunately, the movie can make all the impossible in life. may become the most realistic portrayal, not to mention angels like Irina Jacobs. The old judge was shocked and revealed the fact that he had eavesdropped on the lives of his neighbors just to test Valentina's reaction or the old judge's gamble on the power of the world he believed in and the world that Valentina believed in. It was in the afternoon when Valentina and the old judge were slowly flowing their language, and in the lingering halo of the dim ancient European civilization that was slowly descending, I seemed to suddenly see, and at that moment, I saw the tunnel of my most private world. .
The subtle friendship between Valentina and the old judge is a collision between two worlds that believe in the goodness of people's hearts and those who are discouraged. A week before Valentina leaves for England, their long cinematic chat is almost the climax of the film. The old judge's dream of Valentina's perfect happiness decades later is almost one of the warmest episodes. The prelude to the storm is both a prediction of the storm ahead and a hope for rebirth from suffering. Valentina's photo of a sad, smiling billboard against a red curtain was pulled down in the wind and rain. Sure enough, the seven survivors of the shipwreck, the characters in "Blue" and "White" all appeared one by one, and the young judges Auguste and Valentina, who were also betrayed, were also reborn. In the final scene, the clever overlapping of that eternal smile deliberately arranged by Keith, this scene, despite having the same expression and gesture as the sadness of the previous one, has a very different mental state at the core. In this scene, the smile of redemptive rebirth in destruction and the red symbol of fraternity merge into one.
In this scene, Valentina's sad smile under the red curtain and the blue chandelier in "Blue" accompany the change of the inner realm of the protagonist Julie, from the shackles of the past to the rescue of the present and the care for the future. However, due to the vicissitudes of life in the characters' hearts, the characters have acquired a completely different meaning from the previous ones, completing rebirth or redemption, which has a similar symbol in Keith's concept of religion. In "Blue", "White" and "Red", Keith tried his best to use personal collision to express the grand care in human nature. Although this method is always unfinished, it is already the most ingenious way to express it. It is different from "Double Face" In Veronica, the biblical word veronique (reappearance and reappearance), which he borrows, expresses the absence and feeling in the realm of the individual's mind, although it can only be expressed through individual narratives.
Listening to the soundtrack of Philip Glass' "The Hours", silent nights, recall these long overdue episodes. Recalling what Xiao Cheng said, "You are too addicted to the spiritual world and sometimes you have to get out of that world", and I couldn't help but relate to Keith, "The Hours" and "Death In Venice", which are related in the soul. "They are the subtle correlations between the lights that always lead me to the tunnel that leads me to the other world I live in in the bottomless black hole. I have to admit that the long-dead Keith is the One of the most complete covers of my two worlds. I know that the present world I live in will eventually pass away and become the dust of history, and that the phenomenal world that I can't touch but is also living in real life will still extend infinitely with the soul after the disillusionment of the individual material.
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