TROIS COULEURS: BLEU (1993) is a stunning film from one of the world’s preeminent directors, a rich, dark film with all the Kieslowski marks: death, silence, depression, and inner torment of the protagonist. Bleu is an impressive, inspired and inspiring anatomy of Loss, Death & Mourning with certain Christian overtones.
Desson Howe notes that “in Krzysztof Kieslowski’s “Blue,” the rehabilitation of a human spirit after painful tragedy is given stunning, aesthetic dimension. A story about a woman (Juliette Binoche) who loses her family (her composer-husband and 5-year-old daughter) in a car crash, this Polish-French production is also a spectral array of blues — cold, heart-chilling and beautiful.
For the trauma of loss and persistence of memory, watch https://www.youtube.com/watch?v=osu3j7N1fGU
Emotionally, “Blue” is a grim ordeal, as Binoche (still in the hospital recovering from the accident) attempts suicide, then retreats into deep-freeze mourning. But Kieslowski, cinematographer Slawomir Idziak, set designer Claude Lenoir and composer Zbigniew Preisner infuse the harrowing atmosphere with stylistic rhapsody.” (Washington Post, March 04, 1994 )
More importantly, unlike Michael Rosen’s Sad Book, certain Christian themes throughout the movie offer the hope of redemption. Throughout Kieslowski implies a form of divine intervention or destiny at work, forcing Julie to come to terms with her past, others, and herself and serving as an agent of epiphanic inspiration.
There is also specifically love and forgiveness: Julie for example discovers that her late husband was having an affair. She tracks down Sandrine, Patrice’s mistress, and finds out that she is carrying his child; Julie arranges for her to have her husband’s house and recognition of his paternity for the child. What a ray of hope and redemption for such a “bleak” film, focusing on death and mourning, to end with the ultrasound of a baby, waiting to be born! Life conquers Death because Love is Life, and nothing, nobody can defeat Love, not even Death, the ultimate enemy.
Then, there is humility, self-effacement and sacrifice. After the crash, in an attempt to blot out the trauma of loss, Julie destroys the score for her late husband’s last commissioned, though unfinished, work—a piece celebrating European unity, following the end of the Cold War. It is strongly suggested that she wrote, or at least co-wrote, her husband’s last work. Throughout there is an implication that she has hidden her own work behind the public face of her husband. In the final sequence she rewrites and completes the score and the Unity of Europe piece is played, while images are seen of all the people Julie has profoundly affected by her actions.
Significantly, this climactic piece which features chorus and a solo soprano is Saint Paul‘s 1 Corinthians 13 epistle in Greek, the hymn of love.
For a profound rendition of the Christian Hymn of Love (1 Cor, 13) , watch Trois Couleurs: ‘Bleu’ finale: https://www.youtube.com/watch?v=jmQ88PWzvR0
13 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.
2 And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. …
6 Rejoiceth not in iniquity, but rejoiceth in the truth;
7 Beareth all things, believeth all things, hopeth all things, endureth all things.
8 Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. …
13 And now abideth faith, hope, love, these three; but the greatest of these is love.
So, although there are some scenes, themes and plot developments in Bleu which conflict in my opinion with a Christian outlook, such as the typical French twist with Julie and her husband’s friend becoming lovers, still I find this film so much more comforting, uplifting and inspiring than The Sad Book* and its like, so plenty in modern art!