All posts by jamesblakeewing

Three Colors: Red (1994)

threecolorsred-photos

For those who skipped over the Three Colors: Blue and Three Colors: White reviews you probably could go back and read them first. Yet Krysztoz Kieslowski’s Three Colors trilogy is really three standalone films united around the three ideologies represented in the three colors of the French flag. There’s not one narrative spanned over three films but three narratives that seem unrelated. Or are they? Red explores the idea of fraternity, the idea of connections between people socially. So while the film clearly does follow the connection between two people there’s a sense that in some way whether we know it or not we all affect each other: sometimes for the better, sometimes for the worst and sometimes with no impact at all. Continue reading Three Colors: Red (1994)

Three Colors: White (1994)

threecolorswhite-poland

When jammed between the wondrously cinematic juggernauts Red and Blue, Three Colors: White gets lost in the shuffle. Even among ‘90s Kieslowski films—of which there are only four—Three Colors: White gets glossed over. In some ways it simply can’t be helped. It doesn’t have the visual gravitas or heavy dramatics to duke it out with the films it bridges but that isn’t to say it’s somehow bad or lackluster, far from it. In fact, attentive viewers will find it has just as much nuance and complexity as the rest of the trilogy. Continue reading Three Colors: White (1994)

Three Colors: Blue (1993)

threecolorsblue-julielamp

A color can strike a mood, create a sense of visual unity and give a film identity. The first film in Kryzstoz Kieslowski’s Three Color’s Trilogy achieves all three. But it goes further than simple aesthetic effect; the color bleeds out of the screen and reaches further into things beyond. At first the idea to make a film based around a primary color seems a simple hook into the film to separate it from similar foreign dramas. But the influence of the color reaches further, goes deeper and touches upon almost every aspect of the film. The color simple isn’t an afterthought; it’s what separates this film from so many others similar to it. Continue reading Three Colors: Blue (1993)

Sherlock Jr. (1924)

sherlockjr-ourhero

Buster Keaton is one of the pillars of the comedic silent era, so much so that there is a long running debate between movie buffs over which is better: Buster Keaton or Charlie Chaplin. Both possess physical flair and hilarious dramas but that’s about where the similarities end. For instance, Keaton has a tendency to make the comedic elements spectacular, elevating itself beyond the narrative. Sherlock Jr. is a prime example of Keaton’s flamboyant tendency. Continue reading Sherlock Jr. (1924)

The Double Life of Veronique (1991)

Thedoublelifeofveronique-singing

What is a film? Put in its simplest terms it’s a string of images played back at high speeds that uniformly convey something to its audience. This often takes the form of a narrative in which the actions of the film perpetuate pacing and follow a narrative arc. Other times these images are used to convey some sort of truth about the human condition as fictional people simulate situations. It doesn’t matter what kind of film, every film uses its images to convey something. Therefore, when looking at any film it’s worth dissecting these images, whether from a technical, artistic or ideological angle. Continue reading The Double Life of Veronique (1991)