Krysztof Kieslowski

IntroductionKrysztof Kieslowskis genius germinated as a truly original and purpose provoking need director was profoundly influenced by the presence of Communism in Poland,. Later to join the ranks of the worlds greatest movie dischargers, Krysztof was quoted as saying enquire questions ab emerge our existence was more crucial than being concerned with political justicefulness why contract up from get along ? If unmatchable was non at t step up ensemble concerned about the metaphysics of things. In this mount his fascination towards the parameters of retrospect and complexities of selection of the fittest essential and was later manifested in his surveys.The land of his birth, Poland, was the land for m any(prenominal) of his movies. He shifted his focus from accusative reality as a mental picturemaker on the job(p) in his country. The gaze of his tv camera shifted from documenting reality to the probing the upcountry smell of homosexual beings, copious ly affected by their reality in polar modes. The body of work of Kieslowski straddled over many concerns. Two of his hap themes were the persistence of remembrance and survival amidst the unpleasant realities of look. Death and violence was a character of spirit in communist Poland.E rattling mark of idealism was stripped away in the wake of mind numbing regimentation and the discharge of freedom and pityingity about lessen people to b atomic number 18 survival level. On a apparitional level the characters in Kieslowskis industrial plant puddle the appearance _or_ semblance to excruciatingly grope their way forward out of this darkness.Each in their own way thaw a dilemma of existence, to invent reunion, marginal truth, tear down death, happiness and yet the films never work their way to some unreal conclusion ambiguous as life is, in fact. An examination of the directors projects will throw up licence of these recurring themes. Yet, the films are never a lone pessimistic, even if some might go deep into the dark side of human nature or seem to be concerned with erotic obsession. Thus in one hand it magnified memory or the reconstruction of memory and on the new(prenominal) hand he set the manifestation and complexities of survival.However, the director was himself a very warm person who simply mat up that depicting fictionalized reality was simply a better, if oblique, way to show reality. One t break offs to get an impression from the whole body of work that a lot is being verbalise in the films but very subtly. Of course, disjoint Kieslowski was his immensely talented cast who seem to gasp every shade of imprint out in films as assorted as No End and The range of a function life of Veronique. On the face of it cipher very much seems to be occurrence in these films. It is all discriminating ruttish underplay and a well(p)-knitly controlled interplay of human conflicts and deeply moving responses. (Dollard, 89-92)Two of his films are vox of the aforementioned themes Three Colors toothsome and Decalogue 2Three Colors unconsecrated (1993)Blue is a work of such intensity that one is eternally grateful that Ju remaintte Binoche plays Julie Vignon De Courcy, the protagonist of the film with such a fine texture of emotions.Blue is the Polish directors incisive and highly involving work on hurt and freedom and is also the dominant change of his film. It is also part of a trilogy, Red, whitened and Blue the director dottye.A bluish dulcorate wrapper in a delicate girls hand, reflects, sunlight by a motorcars windowpane the next shot cuts to a leaking pipe, hinting at the imminent accident involving the car. Julie Vignon is the only subsister in the accident, which kills her young lady and save. Fortunately for viewers, the car crash is heard not seen. The lodge of the fortuity is shown in fragments and slivers of shattered crosspatch. This reflects the land of the injured Julie in ho spital.Extremely painfully she recollects the incident in fragments. The fragments hint at her life so far. She is the wife of a closely known musician. The economize has been lately rumored to start run out of original ideas for root his scores are said to have been penned by his wife. Julie seems to fighting these memories off almost as if they cause great suffering. She seems to cause it difficult to survive.Through these initial terse cuts , Kieslowski draws us wide eyed into a cliquish world of pain and suffering mad acute by lingering memory this is a devastated world , and very subtle action depicts this . Dialogue would be abruptly contrived in this situation. A natural approach would be to take the course of resolution of this pain shown in supple recovery. True to his commitment, the director does not make it so easy. In the hospital, Julie attempts suicide by an overdose of pills but does not real go all the way she survives. here(predicate) at that place i s a further band of the situation. (Lamb, 243-245)After her release from hospital, Julie wants to kill herself off psychologically by pull ining from the world. Her grief in fact, is so intense that she can neither war cry nor even feel. Yet, her body language reveals that she is as yet in great pain. Her mouth quivers as she watches her familys funeral on television and her daughters casket. She visibly goes limp as she approaches her economizes study. This is depicted with an parsimony which truly emphasizes the slow build up of grief. She withdraws herself completely from the world around her and shifts from the familys country estate to an apartment, in her maiden name. She wipes out all traces of the past, even of her family and a few slivers of glass. Reflections in glass are a persistent invention used in the film meant to adopt the distance Julie is creating for herself and her memories.But the distance Julie wants to create cannot genuinely stave off her past, tr y as she might her reaction is to further withdraw into an enigmatic silence. At this point, her maintains business partner, Olivier, searches her out and offers to complete her husbands unfinished symphony as a tribute to his memory. here(predicate) is the functional out of a cathartic device. The consultation would find it relieving to have Julie come out of the prison of grief and re conquer to the world.The resolution of the films magnetise tone of grief is toward a brighter shade. Blue is the color of grief but Juliets slow emergence back into in the flesh(predicate) peace succors to overcome this. Oliviers fibre is cathartic meant to bring a closure. Towards the end of the film, she decides to collaborate on finishing her husbands symphony and gives off the familys country estate to her husbands mistress. (Fletcher, 188)Losing everything can be freedom too.DECALOGUE 2Decalogue was a series of ten I second films, each based on one of the Ten Commandments. The work was however, no version of the Biblical story but a reframing of the commandments to contemporary Poland. Each sin attributed to a particular moral lapse in each of the ten films. These films offered Kieslowski the convenience of working with some of his favorite themes and some freshly ones. They obliquely refer to Kieslowskis spiritual concerns but in a way totally in synch with the directors typically understated and subtle style. They are tightly made and form a work of considerable cinematic importance.The key theme of Decalogue 2 is of the purest moral dilemma. Dorotas husband is seriously ill and in hospital. What she needs to know from the furbish up is whether he will survive or not. She is big(predicate) by some one else and if her husband survives, she will abort the tiddler .If he dies, she will keep the shaver.The doctor denies any knowledge of her husbands prospect saying he doesnt all the way know how to answer her. The doctors story is then told in flashback an d we find that his family has been killed in a World struggle 2 bombing raid. His tragic spill in the past and his memory of it makes him certified of another life at stake. Here we have a clear glimpse of the directors humanity and his strong convictions as a person even when working or dealing with a lot of abstraction in his films. The doctors dilemma is should he utter her the husband will be well thus making Dorota abort the child? In the end the doctors brilliant answer will assistance to save two lives (Dorotas and the childs).The film is embellished like the others in this battle array with the many small details that help build up the situation in a one hour film details that keep audiences involved in the story unfolding. The film reveals that the doctor lives in the same apartment block as Dorota, walks to work. There are scenes involving Dorotas grass which obviously increases the danger to her.The theme of survival is cleverly shown in scenes where a bee tries t o draw itself out of a bottle on a table in the husbands hospital bed, making the connections to the fare of the fragility of life and strong survival instincts at work both within the film and in living beings. benevolent beings seem to be longing for get through or withdrawing in their own backstage world. Meaning is ambiguous in these films there are the sub themes to consider violence, chance, fate, and destiny. daydream sequences are an extension of memory crowing us a glimpse of the discretion of anguish or obsession which different in the human beings. (Kar, 145)Rather, as his other creation like The Double intent of Vronique, the films take on a life of their own with individuals in a society, in a state, in a family. More is happening to these characters than the films makes apparent. The director does not observe from the wings but probes deep in to what makes human conflict, what goes on in their minds. Thus the aspects of memory and complexities of survival dr ive evident again and again.ConclusionThroughout the latter part of his career, Kieslowski reveals a streak of pessimistic humanism. The works show a fascination for the inner life of human beings and a spiritual quest for the meaning of existence, with carefully incorporate camera compositions and an almost sparse narrative. The deeper truths lie beneath the surface of reality and the unraveling of it is as unpredictable as life the master does not contrive situations to fit his view. However, he remained loyal towards his belief of greater truth regarding memory and complexities of survival. (King, 126)Works CitedDollard, John Krysztof Kieslowski looks into Tomorrow. (New Haven and capital of the United Kingdom Yale University Press. 2006) pp 89-92Fletcher, R Art Beliefs and Knowledge believe and Knowing. (Mangalore Howard & Price. 2006) pp 188Kar, P History of picture & Market Applications (Kolkata Dasgupta & Chatterjee 2005) pp 145King, H Art Today (Dunedin HBT & permit Ltd. 2005) pp 126Lamb, Davis Cult to Culture (Wellington National phonograph recording Trust. 2004) pp 243-245