Krysztof Kieslowski

IntroductionKrysztof Kieslowskis psyche germinated as a truly superior and thought provoking choose film handler was deeply influenced by the presence of socialism in Po coun exertion,. Later to join the ranks of the humannesss grandest filmmakers, Krysztof was quoted as axiom asking questions about our existence was more than important than world concerned with semipolitical reality why get up from bed ? If unrivaled was non at all concerned about the metaphysics of things. In this context his fascination towards the parameters of fund and complexities of extract developed and was later manifested in his works.The land of his birth, Poland, was the hold upground for many of his movies. He shifted his focalization from documentary reality as a filmmaker working in his country. The scan of his camera shifted from documenting reality to the probing the in placement(a) disembodied spirit of human beings, deeply change by their reality in antithetical counsels. The oeuvre of Kieslowski straddled over many concerns. ii of his recurring matters were the persistence of retention and extract amidst the harsh realities of life. Death and violence was a feature of life in communist Poland.E rattling vestige of idealism was stripped apart in the wake of mind dull regimentation and the murder of license and creation closely reducing people to b ar excerption train. On a spiritual level the characters in Kieslowskis works depend to agonizingly grope their way send out of this darkness.Each in their own way resolve a dilemma of existence, to set reunion, stark truth, redden death, happiness and up to now the films neer work their way to most artificial conclusion ambiguous as life is, in fact. An examination of the music theatre directors projects w adversity throw up evidence of these recurring themes. Yet, the films are never executely hopeless, even if whatsoever index go deep into the dark side of human nature or e xpect to be concerned with erotic infantile fixation. thus in one hand it overdone keeping or the reconstruction of memory and on the other hand he juxtaposed the manifestation and complexities of excerpt.However, the director was himself a truly warm psyche who merely felt that depicting fictionalized reality was plainly a better, if oblique, way to show reality. unmatchable tends to get an impression from the whole consistency of work that a lot is being utter in the films alone very subtly. Of course, helping Kieslowski was his immensely talented plaster bandage who seem to draw every weirdy of feeling out in films as diverse as No conclusion and The ikon life of Veronique. On the baptismal font of it nonhing very much seems to be happening in these films. It is all perspicacious emotional underplay and a cockeyedly controlled interplay of human conflicts and deeply moving responses. (Dollard, 89-92)Two of his films are representative of the aforementioned th emes Three colors coloured and Decalogue 2Three Colors Blue (1993)Blue is a work of such rapture that one is eternally grateful that Juliette Binoche plays Julie Vignon De Courcy, the sponsor of the film with such a bonny texture of emotions.Blue is the Polish directors penetrating and highly involving work on loss and freedom and is also the prevailing hue of his film. It is also part of a trilogy, Red, White and Blue the director made.A blue(a) candy wrapper in a small girls hand, reflects, sunshine through a cars window the next shot cuts to a leaking pipe, hinting at the imminent accident involving the car. Julie Vignon is the whole survivor in the accident, which kills her daughter and save. as luck would have it for viewers, the car crash is heard not seen. The rest of the incident is shown in fragments and slivers of bust glass. This reflects the state of the injured Julie in hospital.Extremely painfully she recollects the incident in fragments. The fragments hint at her life so far. She is the wife of a well known musician. The economize has been last mentionedly rumored to have run out of sea captain ideas for composition his scores are said to have been penned by his wife. Julie seems to fighting these memories murder almost as if they cause great miserable. She seems to find it difficult to survive.Through these initial brusque cuts , Kieslowski draws us wide eyed into a private world of pain and suffering mad acute by inert memory this is a devastated world , and very baneful action depicts this . Dialogue would be utterly contrived in this post. A typical approach would be to cope the path of resolution of this pain shown in quick recovery. True to his commitment, the director does not make it so easy. In the hospital, Julie attempts self-destruction by an overdose of pills notwithstanding does not really go all the way she survives. hither there is a cope along hardening of the situation. (Lamb, 243-245)After her releas e from hospital, Julie wants to kill herself despatch psychologically by withdrawing from the world. Her grief in fact, is so intense that she can uncomplete cry nor even feel. Yet, her body linguistic process reveals that she is still in great pain. Her spill quivers as she watches her familys funeral on goggle box and her daughters casket. She visibly goes term of enlistment as she approaches her husbands study. This is portrayed with an economy which truly emphasizes the slow haoma up of grief. She withdraws herself completely from the world round 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 except a few slivers of glass. Reflections in glass are a tenacious device used in the film meant to convey the distance Julie is creating for herself and her memories.But the distance Julie wants to realize cannot really stave absent her past, try as she might her reaction is to prom ote withdraw into an enigmatic silence. At this point, her husbands bu depravityess partner, Olivier, searches her out and offers to complete her husbands unfinished philharmonic as a tri savee to his memory. Here is the working out of a cathartic device. The audience would find it relieving to have Julie come out of the prison of grief and re attach to the world.The resolution of the films mesmerizing tone of grief is toward a brighter shade. Blue is the color of grief but Juliets slow emergence back into personal peace helps to overcome this. Oliviers role is cathartic meant to bring a closure. Towards the end of the film, she decides to collaborate on culture 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 mo films, each based on one of the Ten Commandments. The work was however, no rendering of the Biblical story but a reframing of the comman dments to contemporary Poland. Each sin attributed to a particular deterrent example backsliding in each of the ten films. These films offered Kieslowski the comfort station of working with some of his favorite themes and some new ones. They obliquely refer to Kieslowskis religious concerns but in a way totally in synch with the directors typically understated and subtle style. They are tightly made and make water a work of holdable cinematic importance.The central 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 unsex is whether he pass on survive or not. She is pregnant by some one else and if her husband survives, she will abort the babe .If he dies, she will keep the child.The unsex denies any knowledge of her husbands prognosis saying he doesnt urinately know how to answer her. The recreates story is then told in flashback and we find that his family has been killed in a innovation War 2 bombing raid. His tragical loss in the past and his memory of it makes him conscious of another life at stake. Here we have a clear coup doeil of the directors humanity and his strong convictions as a person even when working or dealings with a lot of abstraction in his films. The cooks dilemma is should he tell her the husband will be well thus devising Dorota abort the child? In the end the refers brilliant answer will help to save two lives (Dorotas and the childs).The film is embellished like the others in this collection with the many small detail that help build up the situation in a one hour film details that keep audiences knotty in the story unfolding. The film reveals that the doctor lives in the same apartment keep mum as Dorota, walks to work. There are scenes involving Dorotas smoking which obviously increases the danger to her.The theme of survival is cleverly shown in scenes where a bee tries to draw itself out of a nursing bottle on a table in the hu sbands hospital bed, making the connections to the issue of the fragility of life and strong survival instincts at work both within the film and in musical accompaniment beings. Human beings seem to be longing for contact or withdrawing in their own private world. Meaning is ambiguous in these films there are the sub themes to consider violence, chance, fate, and destiny. Dream sequences are an extension of memory giving us a glimpse of the depth of anguish or obsession which different in the human beings. (Kar, 145)Rather, as his other creation like The Double Life 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 become evident again and again.ConclusionThroughout the latter par t 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 conservatively structured camera compositions and an almost lean narrative. The deeper truths lie beneath the surface of reality and the unraveling of it is as unpredictable as life the creator does not contrive situations to check into 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 seaport and London Yale University Press. 2006) pp 89-92Fletcher, R Art Beliefs and familiarity Believing and Knowing. (Mangalore Howard & Price. 2006) pp 188Kar, P History of picture & Market Applications (Kolkata Dasgupta & Chatterjee 2005) pp 145King, H Art straight off (Dunedin HBT & Brooks Ltd. 2005) pp 126Lamb, Davis Cult to Culture (Wellington home(a ) Book Trust. 2004) pp 243-245