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TROIS COLOURES: BLEU is a rich, dark film with all the Kieslowski marks: death, silence, depression, and the inner torment of outwardly attractive women. After seeing the whole trilogy and the DEKALOG, I'm convinced at Kieslowski's great talent, and his very early death was a true blow to world cinema. Much like Kubrick but with a less ironic nature, Kieslowski loves to make his characters and stories both humanely distant, realistic, and, at the same time, philosophically idealist and dense. I enjoyed BLEU more than BLANC (which was an odd machismic entry in a trilogy mainly focusing on women) but not as much as ROUGE, which I feel is one of the finest, most beautiful, most well-done films I've ever seen.More specifically, BLEU's focus seems to be on the relationship of a woman's loss of the tactile manifestation of her husband's existance with the ligering notions of his life - especially his music, which pervades the entire film, interrupting at key moments with a blackout and short blast of the overture. To watch Julie struggle with her husband's abandoned secrets (including a mistress Julie befriends) is shattering, frustrating, and perplexing.Unfortunately, life must move, and, due to that, I can't watch BLEU over and over. However, I did glean from one viewing the complexity of this picture, and recognize its need to be watched over and over, until Kieslowski's last gasps can be properly understood, which is all we can hope to return to a man whose genius was tragically cut short, but still stands as a giant in my view of cinema.
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