THREE COLOURS: WHITE

France/Poland, 1994, 91 minutes, Colour.
Zbigniew Zamachowski, Julie Delpy, Janusz Gajos, Jerzy Stuhr.
Directed by Krzysztof Kieslowski.

Three Colours: White is the second in Kieslowski’s famous trilogy, Blue, White, Red, the colours of the French flag signifying liberty, equality and fraternity.

The first of the trilogy, Three Colours: Blue, made a very strong impact, winning many prizes, including the Golden Lion in Venice. Juliette Binoche made a singular impression.

Three Colours: White is very different. It is smaller, low-key, ironic – rather than high-minded as were the other two films. The film focuses on a Polish man called Karol Karol (people see echoes of Charlie Chaplin) who has married a Frenchwoman, Julie Delpy, and moves to Paris where he is unable to work, consummate the marriage, manage, even with the language. The film opens with their divorce proceedings. Dominique cuts off her husband and he is forced to go on the streets. However, he meets a Polish man who recognises the melody that Karol Karol is playing. The film becomes somewhat absurdist as the arrangement is made to transport Karol Karol back to Poland as air luggage. He is successful when he returns, however Dominique goes to Poland, is embroiled in a tangle with her husband, charged and is sent to prison. The irony is complete.

With the emphasis on white, Kieslowski makes sure there is something strikingly white in every sequence.

Many people feel that this is the least of the three – while others, relishing the irony rather than the nobility, are very strongly in favour of it.

1. Kieslowski and his trilogy, the French flag, the emphasis on liberty, equality and fraternity?

2. The title, the use of white throughout the film, the objects, the bridal dress, the doves, the decor?

3. The Paris settings, the courts, the Metro, the streets? The contrast with Poland, the shops, the streets? The musical score – and the song whereby Mikolaj recognises Karol Karol as Polish?

4. The sense of realism, the surrealism, farce and absurdity, serious issues?

5. The marriage, real, symbolic? The Polish background of the director? Politics? Society?

6. The court proceedings, Karol and Dominique, the testimonies, the judge and his attitudes, the divorce, Karol in need of a translator? The decision? Dominique and her haughtiness, cutting Karol off?

7. Karol’s testimony, the issue of impotence, not before the marriage, after the wedding? His decision to go to Paris, the difficulties of the language, his impotence, her coldness?

8. Karol destitute, the Metro, the streets, the music, the meeting with Mikolaj, talking, Mikolaj agreeing to help?

9. Mikolaj and his character, in France, the nature of his help, his own story, marriage?

10. The airport, the package, the smuggling, the package and its arrival, the comic touches?

11. Karol at home, at work, his resentment against Dominique, the plan, the bullets and the gun?

12. Dominique, in Poland, cold, marriage and the ring, the charges? The two at the end and their reversed roles?

13. The ironies of relationships, language, love, falling out of love, revenge?