THREE COLORS - WHITE
DIRECTOR: KRZYSZTOF KIESLOWSKI
COUNTRY: POLAND 1993
CINEMATOGRAPHY: EDWARD KLOSINSKI
MUSIC: ZBIGNIEW PREISNER
CAST: Zbigniew Zamadomski, Julie Delpy, Jamsz Gajos, Jersy Stuhi.
SUPER FEATURES: Nice film suffering from bad equipment.
Some films stand out with their stories, even if they were poorly done, or made. EL MARIACHI, had almost no budget,
but with what it had, it got enough film stock to get moving forward. WHITE was not as lucky. It is obvious right
from the start that the film had no help at all from anything theat vaguely resembles a studio. There are no sun
shades at all, and Kieslowski is forced to shoot with the best he can. Even as such, the film stock used for many of
these scenes, is the same, and inappropriate for what he may have wanted to do.
The film has a nice, but tragic, love story.
Like GREEN CARD, the most obvious thing is that he married a french girl to get a visa. And a year later, they are in
court (when the film opens) and discussing their separation and divorce. Rather than get deported (it really isn't
clear what the result is), he gets a ride in a suitcase, by a shady character, whose motives are never clear, and he
becomes a part of the story.
But the sad young man happens to like the french girl, even if she is a bit rude on the phone to him.
Back in Poland (the film must have run out of money as well ... the film stock in the first series is awful), he
sets about figuring out what he has left for a life.
He strikes it lucky, and ends up coming into a bit of money, and with it, he invests enough to make a go of things.
Here his imagination takes over, and the real trouble starts. He decides to try and cash in on his money, by dieing.
And make sure his wife gets what's left. After the whole thing is put in motion, she comes to Warsaw for the funeral
and goes back to Paris. When she gets come he is waiting for her in her bed. And for the first time he proves
himself to her as a man, and she appreciates his effort.
No sooner than he leaves, and the investigation police show up. She is taken in, probably as the accused murderer of
the husband, as a profiteering scheme. The film ends with the young man looking through his trusty binoculars, at his
wife, through a window in a prison.
The story is nice, and the premise seems fine, but I can not help feeling that there were many problems all the way
through that caused the story to have to change to match whatever budget, or problems beset them. Julie Delpy is
nice, but it isn't until the last minute of the film that we see some serious acting worthy of notice out of her.
Zbigniew Zamadomski is excellent all the way through. And the down and out older man, is interesting, but we can't
help think of him as a bum.
WHITE is a part of the trilogy of films that Kieslowski has done, saluting the french flag. It also, apprarently,
signals his return to Poland, and much to his chagrin, probably the end of his film career. He has criticized the
polish government for not helping the fledging industry of film in Poland, when once it was an integral part of their
cultural programs, and one that brought in money, through international licensing deals.
Without a better support system, it will be a matter of pure luck that anyone will be able to make a good film, and be
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