Trilogy's fine finale
DIRECTOR Krzysztof Kieslowski has said that Three Colours: Red could be the last film he will ever make. That would be a tragedy - Red is a stunning tour de force, a perfect climax to the Three Colours series.
Those who have seen Blue and White will know what sort of picture to expect: an elaborate mesh of complex visuals with challenging ideals. Yet it all seems so casual. Here Kieslowski tackles 'fraternity', or brotherhood.
But I doubt whether Kieslowski's sentiments will be as affecting to the viewer as his sheer artistry. Red comes close to visual perfection, and showcases a director at the peak of his powers.
Each film is awash with the colour of the title; perhaps that's why Red is so much more seductive than White. There's also the presence of the beautiful Irene Jacob, star of Kieslowski's The Double Life of Veronique. She plays the role of Valentine, a young model and student who meets an older man, a retired judge (Jean-Louis Trintignant), when she accidentally runs over his dog.
Valentine discovers the judge listening in on his neighbours' telephone conversations; initially angry, she is affected by his life story and it soon becomes obvious that these two people were made for each other. But the difference in age makes this impossible. In the meantime, she has not yet met her neighbour Auguste (Jean Pierre Lorit). But when they board the same ferry to England, it will tie up Kieslowski's trilogy in a way that only viewers of Blue and White will appreciate. Redemption for all.
Why didn't Red win the Palme d'Or at Cannes last year - how is it possible for Kieslowski to lose to a novice like Quentin Tarantino? And how could he not be awarded the Best Director Academy Award? What do they want - blood? Red makes a travesty of such ceremonies; no wonder Kieslowski feels tempted to retire. This is a film which provides rich, luscious and frequently enigmatic enjoyment.
Red is showing at the Gateway cinema
