![]() ![]() Pink is a color that symbolizes the positive values rather like innocence, sweetness, romance, sweet. Orange is a very bright color that symbolizes values such as courage, intelligence, loyalty, trust and mistrust simultaneously albeit conflicting values. This is why the brown symbolizes values such as natural, rustic, strength, stability, warmth, comfort but also softness and insurance.īlack is a color that symbolizes dull rather negative values.īlack reminds us of the fear, the anxiety, the unknown, loss, emptiness and death. It therefore refers to the animal and plant world. It can also symbolize the sweetness and intelligence.īecause it is the color of gold, it also refers to the wealth and opulence.īrown is a color that makes us think of nature as it is the color of earth, tree trunks and even fur of some animals. Yellow is a cheerful and lively color that represents joy, energy, France It symbolizes sadness, depression, confusion, loneliness and monotony. Gray Color is rather negative values since it is a dull color. ![]() It provides light and gives a fresh feeling. It also makes us think of the calm, peace and serenity. White represents mainly positive values such as purity, balance or innocence. There is nothing else left to say: "Three colors: red" looms on the horizon.The Blue Color reminds us first of all the nature and infinite since reminded us directly to the sea and the sky.īlue is a color that symbolizes peace, calm, serenity, freshness but also the sensitivity. And Julie Delphy's following words sound as a sort of sincere homage to Kieslovski's art: "Kieslowski is a director who draws his inspiration from the true life of people, who instills his own soul into his movie, who dwells upon the details as if he wanted to examine the life under a microscope." Absolutely true. "Three colors: white" is very different from the other two episodes of the trilogy, but nonetheless the unmistakable touch of the genius can be generously found in the accurate care of the details, in the emotional intensity of the dialogs, in the careful analysis of the individual values, in his safe distance from the events represented by him, in his constant application of the principle of casualness and in his large use of metaphors (look for instance at the sequences of simultaneous flights of pigeons, symbolizing an open concept of freedom often cherished in his works). The inborn sense of Kieslovski's BLACK humor comes out here in all its might almost counterbalancing the concept of absolute WHITE connected with he story. It may be considered the most unforeseeable movie of the whole colors trilogy, full of sharp and witty tones of grotesque melodrama, with a reluctant and peevish Julie Delphy never seen so cold-mannered on the screen before. "Trzy kolory: Bialy" (Three colors: White), second episode inspired to the three colors of the French flag and to the three principles of the French Revolution (Freedom, Equality and Fraternity), brings back to us two old acquaintances, Zbigniew Zamachowski (very similar to the pathetic Italian character Fantozzi,) and Jerzy Stuhr. His desire for revenge blows out his residual flickering flame of love after having suffered unforgivable affronts devised by his heartless wife. According to Karol, the main character, it's better to have loved and lost than never to have loved at all. ![]() WHITE is Dominique's final orgasm, a real scream of liberation from the yoke of her spiteful stubbornness, the false revenge of a woman unaware of her impending calamity, completely unacquainted with the bitter game of make-believe inspired by a wickedness that cries out for vengeance. WHITE is the bust of a statue caressed as a memento of a love irremediably lost. ![]() WHITE is the glimmer of the impending reflexes in the background of a lazy town buried under the snow. WHITE IS THE COLOR OF DOMINIQUE'S WEDDING DRESS at the exit of the church, surrounded by the blazing whiteness of an overexposed background, full of subtle symbolisms imbued with hypnotic nuances. ![]()
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