Krzysztof is one of the biggest names with immense skills who contributed greatly to the film industry by producing films of various genres that attracted much love and hate in equal measure. He was an influential polish film director and screenwriter known for several movies across different genres (Woodward, 34). He has received numerous awards throughout his career that earned him a brand name in the movie industry. The contributions of Krzysztof to the film industry in Poland will forever leave an important mark as having shaped the film industry not only in Poland, but the rest of the world. He was a scholar, who had an illustrious film career running up to three decades had important social and moral lessons drawn his films and documentaries, which will continue to be important themes during the modern times. This paper analyses the Artistic qualities of Krzysztof by focusing on his film Three Colours Trilogy.
Three Colours Trilogy
The Three Colors Trilogy is one of the many films directed by Krzysztof that made a debut in the film industry. The films utilises three colours (blue, white, and red) as reflected in the French flag to reflect the story of the French political parties. The movie highlights the ideals of the French republic: liberty, equality, and fraternity. The use of the French themes in this movie demonstrates the cultural inclination as part of Krzysztof style. The movie Three Colors of Triology was nominated for 1995 Oscars and this seemed to approve the quality of his works (ZIzek, 31). The Oscar nomination is one of the highest recognition an artist can get in the art industry. Despite having been in existence for some time now, this film by Krzysztof is still admired by many.
The French flag in this film is used to punctuate the film by adding another layer of rich glimpses in the course of the narrative. In this film, Krzysztof demonstrates that each moment is full of infinite possibility since our lives are somehow interconnected in ways which we may never understand. The film ends where the major characters emerge from the tragic accident and both delivers a pleasure of a happy ending. Despite the film being watched throughout the world, it was pretty complex for Krzysztof to create an international film due to the several factors that worked against him in his time. In the Blue, Juliet losses her husband together with her daughter at the same time and this makes her to come into terms with the realities of life.
Krzysztof was a film director with a lot of cultural connotations as can be seen from the manner in which she brings the music element in Juliet’s husband. Juliet is sitting in a café while enjoying the sounds of sweet musical element from the background. Interestingly, the sweet sound of music turns out to be the song writer by her husband who was a staunch musician. This film is full of episodes of all sorts of emotions and expiries that enable the audience to learn a lot from this type of art. In addition, the cameras used by Krzysztof makes the colours look rich on the screen and further enables the audience to receive projected feelings. The sugar cube being used by Julie creates a very important motif that mixes a wide range of colours in the making and adds beautiful scenery to them. The film is directed by Krzysztof such that the innocuous mis-en-scene shows that he was not only interested in the story as moved by the dialogue, but he takes his time to show the intricacies that surrounds the environment of the actor. The music plays an important element in the plot by illustrating Julies effort to isolate herself from everything in the society but can’t because it is impossible. In this case Kieslowski portrays the irony surrounding the event, a skill that made him gain fame for the suspense created. This featured extensively in opinion talks during the late 60s and 70s is considered an important mark in the Polish Cinema industry. The period 1970 and 1971, Kieslowski and other prominent film makers represented the new entrant who shaped the Polish documentary films industry. This group consisted of a new generation of Artist, who believed that film was an effective way to communicate to the society and required a genre of journalists, who were free to express their views without fear of intimidation. However, the challenge that they faced during this time, came from the authoritative nature of political government at that period, which limited the freedoms of expression. Kieloswki in a view to drive the point home addressed his audience with feelings that strongly depicted resentment (Woodwar, 78).
Elements of Krzysztof Style
One of the elements of this film by Krzysztof is that it has a strong single line that gives the story momentum. The music element by Julies husband provides occasional digresses from the strong story line. In addition, the film, through the use of the tree colours, portrays the moral problem in French. Another great element of this film is that the audience knows what the fight is all about and this touches their value and beliefs as they watch the film. The movie revolves around a central position created by Juliet, from which an array of preposition emerges to portray essential predicaments of human life. Another element in this movie is the ability to portray a unique and detailed world by focusing on the French cultural environment. With the use of the three colours of blue, white, and red, Krzysztof is able to portray the large forces that work in human life that affects the character of a person.
Polish feature films
Immediately after abandoning documentary production, Krzysztof embarked on polish feature films by producing Personnel as his first non-documentary work (Woodwar, 72). This movie won him several award and recognition due to the nature and manner of work he work. He immediately worked on his next production which was called The Scar. In The Scar Krzysztof showed the upheavals in the poorly planned industrial project. Both The Scar and Personnel showed the oppressive system that majority of people are subjected while the authorities watches. In this films, he showed great disagreement with the radical solutions expressed by the authorities and condemned the bad attitudes that were hurting the common man. Later in 1981, Krzysztof produced another movie Przypadek that focused more on ethical choices faced by single persons as persons as opposed to group. Until this time, most of films were either censored, edited, or outrightly banned from viewing due to perceived attack on the authorities. Due to his persistent nature, Krzysztof produced another film called No End, which had more direct attack on the authorities (Woodwar, 60). In this film, Krzysztof clearly depicted political trials and bad laws that existed in the country. Just like the previous films, No End was harshly criticized by the dissidents and the people in authority for portraying things they never expected them to portray.
It is evident that Krzysztof remained true to his documentary films even while making feature films since he wanted to focus his films to paint the realities in the society. His presentation of fictional stories made it possible for him to concentrate of psychological complexities while selling his ideology to a good number of people who liked his films. Being a member of a group dubbed “cinema for moral concern”, his work involved showing pictures that stirred issues of great moral consideration. Krzysztof used the shadow and the light to explore whatever he believed reflected the truth with the aim of promoting humanity. However, a good number of people accused his work to lack styles, genres, fashions, and forms and thus they deserve less recognition.
Krzysztof is one of the biggest names that will never be forgotten in the film industry due to immense work he did in most of his films. Krzysztof film career is regarded as having contributed much to the French film Industry by earning him respect throughout world as an acclaimed movie icon who possessed good artistic skills. Despite a good number of is colleagues being confused on whether to become conformist or to highlight the plight of the common man, Krzysztof often choose to document the realities faced by people in the society. Despite facing constant criticism, he never changed his point of view concerning the realities of life, thus making him one of the most controversial figures in the film industry. Unfortunately, a good number of his work never reached his majority of viewers due co constant censorship from his opponents and authorities due to perceived attack on them.
Žižek, Slavoj (2001). The Fright of Real Tears: Krzysztof Kieślowski Between Theory and Post-Theory. London: BFI Publishing