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Trois couleurs: Rouge《藍白紅三部曲之紅》Krzysztof Kie?lowski.

(2024-04-12 16:30:59) 下一个

頂級懸疑：超百萬人給出五星好評，IMDb評分8.0，卻很少有人真正看懂

19K views4 months ago

三部曲探討了現代法國旗幟中所用三色（藍、白、紅）所隱含的三大主題：自由、平等、博愛。三大主題 Not only made some good, but also made some bad, in history.

Valentine and  Joseph Kern (the Judge) 互相救赎 - 博愛 Redemption of Each Other - not knowing the suffering of others, but encouraging others to be kind [未知他人苦，却劝他人善]. 

Three Colours: Red (French: Trois couleurs: Rouge, Polish: Trzy kolory: Czerwony) is a 1994 artsy psychological romantic dramatic mystery film co-written, produced and directed by Polish filmmaker Krzysztof Kie?lowski. It is the final installment of the Three Colours trilogy, which examines the French Revolutionary ideals; it is preceded by Blue and White. Kie?lowski had announced that this would be his final film,[2] which tragically proved true with the director's sudden death in 1996. Red is about fraternity, which it examines by showing characters whose lives gradually become closely interconnected, with bonds forming between two characters who appear to have little in common.

Red was released to universal critical acclaim and was nominated for three Academy Awards, including Best Director for Kie?lowski. It was also selected as the Swiss entry for the Best Foreign Language Film at the 67th Academy Awards, but was disqualified for not being a majority-Swiss production.[3] Since then it has been widely regarded as the best film of the trilogy, and Kie?lowski's magnum opus, one of the best movies of the 1994, of the 1990s, of the 20th century, and of all time, as well one of the greatest French-speaking films ever made. On both Rotten Tomatoes and Metacritic is the highest-assessed movie of the 90s.

Plot[edit]

Valentine Dussaut is a University of Geneva student who works part-time as a model. She often contacts her possessive boyfriend, who is currently overseas, and plans to meet him in London. One day, she poses for a chewing-gum advertising campaign, and a photograph of her displaying sadness is chosen.

After a modeling job, Valentine hits Rita, a pregnant Malinois dog, while driving home. She tracks down the dog's owner, Joseph Kern. When he shows no concern, Valentine takes the dog to a veterinarian and decides to keep her. She selects her favorite photo at the studio, rebuffing sexual advances from the ad company's photographer. Money later is delivered to Valentine's apartment from an unknown sender.

The next day, Valentine takes Rita for a walk, and the dog leads her back to Kern's house. Kern confirms that he sent the money for the vet expenses and tells Valentine to keep the dog. As he gave her extra money, she decides to return it to him. While waiting for Kern, Valentine goes inside his house and catches him eavesdropping on a male neighbor's phone conversation with his male lover. She tries to convince Kern to respect his neighbor's privacy; he challenges her to reveal the eavesdropping to the neighbor. When Valentine goes next door to attempt this, she discovers the neighbor's daughter listening on the phone extension. Kern reveals that he is a retired judge, and his actions will not change the outcome of people's lives. Valentine shares that her brother's biological father is not her dad. Kern directs Valentine's attention to his heroin trafficking neighbor. He also shows her Auguste, a law student neighbor of Valentine. Auguste finds a relevant chapter in the Criminal Code when his textbooks fall open while he walks home. He passes his exam to become a judge, crediting his success to the dropped textbook.

That night, Kern writes letters confessing his spying activities, resulting in a class-action lawsuit. At court, Kern sees Karin flirting and admits to confessing due to Valentine's disgust. While they discuss altruism, Kern recounts a case where he wrongly acquitted a sailor. Valentine asks if Kern has ever loved; he evades the question and talks about a dream in which Valentine was happy.

Auguste cannot reach Karin by phone, so he climbs up to her flat and catches her having sex with another man. He takes his anger out on his dog and leaves it at a lamppost. Kern calls Karin's "Personal Weather Service" to inquire about the weather for the English Channel, which she predicts will be clear. Karin plans to sail there soon with her new boyfriend, who owns a yacht.

Before leaving for England, Valentine invites Kern to her fashion show. As they have coffee at the theater, Kern senses that the gathering storm will soon put Valentine in danger. Their conversation turns to Kern's doomed love life. Kern reveals that the girl he loved died in an accident after he followed her across the English Channel. His last case as a judge involved his ex-girlfriend's lover. By coincidence, Auguste's first case as a judge is Kern's trial. Kern shares more details of his dream with Valentine, in which she is 50 and happy with a man she loves. Before parting ways, Kern and Valentine plan to meet again in three weeks, when he will give her one of Rita's puppies.

Finally, Valentine boards the ferry to England. Auguste also boards the ferry, reunited with his dog. While searching for their seats, they come in close proximity to each other as they ask an employee for directions. Meanwhile, Kern tends to the puppies and learns that a storm has hit the English Channel, causing both the ferry and the yacht to sink. Watching the television coverage of the incident, it is revealed there were only seven survivors: a barman, Julie and Olivier (from Blue), Karol and Dominique (from White), Auguste (without his dog), and Valentine. Upon seeing the news, Kern is relieved.

Cast[edit]

  • Irène Jacob as Valentine Dussaut
  • Jean-Louis Trintignant as Joseph Kern
  • Jean-Pierre Lorit as Auguste Bruner
  • Frédérique Feder as Karin
  • Samuel Le Bihan as Le photographe (photographer)
  • Marion Stalens as Le vétérinaire (Veterinary surgeon)
  • Teco Celio as Le barman (barman)
  • Bernard Escalon as Le disquaire (record dealer)
  • Jean Schlegel as Le voisin (neighbour)
  • Roland Carey as Le trafiquant (drug dealer)

Production[edit]

Kieslowski said that Red was the most difficult film of the trilogy to write: "I've got everything I need to put across what I want to say, which is really quite complicated. Therefore, if the idea I've got in mind doesn't come across, it meant that either film is too primitive a medium to support such a construction or that all of us put together haven't got enough talent for it".[4] The main theme of the score, "Bolero", was written before any filming took place. According to the filmmakers, it was meant to symbolize events that occur repeatedly in people's lives.[5]

Analysis[edit]

As in the previous two films, a single color dominates: numerous objects in the film are bright red, including the huge advertising banner featuring Valentine's facial profile. Several images recur throughout the film. Characters are often juxtaposed on different physical levels. The scenes between Valentine and Kern at his house never show the characters on the same level: Valentine either stands above him or sits below him. When Karin searches for Auguste, he hides on a walkway below her. During the climactic scene in the theater, Valentine stands on the stage, towering over Kern who is in the pit below. Telephone communication is important throughout, and so is broken glass (when Kern reveals his eavesdropping, his neighbors throw rocks through his windows, and at the end of the film Kern watches Valentine and Auguste on the news while watching the outside world through broken glass). Also, when Valentine is bowling, the camera moves down the line to where there sits a broken glass next to a packet of Marlboro cigarettes, which is the brand that Auguste smokes.

Biblical references relating to the Gospel of Matthew are also evident. The old man can be pictured as an Old Testament archetype, a God-like figure. Exploring biblical ideas in Red the questions of the judge being a 'God' figure is probably the one that has been explored most often. That he is as an Old Testament God, control over the wind and seas and predicts about people future. This film also depicts topics of the Philosophy of Law and the manner in which man acts in society, the relationship between the law, ethics and socially acceptable behavior and how not all of them coincide, particularly in the reflections by Judge Kern and some symbols related to Auguste.

Roger Ebert interpreted the film as an anti-romance, in parallel with Blue being an anti-tragedy and White being an anti-comedy.[6]

Reception[edit]

Critical response[edit]

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This section needs expansion. You can help by adding to it. (May 2017)

At the time of Red’s release, film critic Geoff Andrew responded positively in Time Out London: "While Kie?lowski dips into various interconnecting lives, the central drama is the electrifying encounter between Valentine—caring, troubled—and the judge, whose tendency to play God fails to match, initially, the girl's compassion. It's a film about destiny and chance, solitude and communication, cynicism and faith, doubt and desire; about lives affected by forces beyond rationalization. The assured direction avoids woolly mysticism by using material resources—actors, color, movement, composition, sound—to illuminate abstract concepts. Stunningly beautiful, powerfully scored and immaculately performed, the film is virtually flawless, and one of the very greatest cinematic achievements of the last few decades. A masterpiece".[7]

Film critic James Berardinelli of Reelviews also lauded the film, giving it four out of four stars. He described it as a "subtle" masterpiece, also praising the film's "satisfying exploration of such complex and diverse themes as destiny and platonic love". The film went on to become his 18th greatest film of all time.[8] The trade magazine Variety was also enthusiastic about the film, highlighting the lead performances from Jacob and Trittingant.[9] The British Film magazine Empire described the film as a "superb example of French arthouse which is also very watchable".[10]

The film was included in the San Francisco Chronicle's "Hot 100 Films from the Past" in 1997.[11] Altogether, Three Colors: Red received overwhelmingly positive reviews. It holds a 100% approval rating on Rotten Tomatoes, based on 63 reviews, with an average rating of 8.8/10. Rotten Tomatoes' critical consensus reads: "A complex, stirring, and beautifully realized portrait of interconnected lives, Red is the captivating conclusion to a remarkable trilogy".[12] On Metacritic, it was assigned a score of 100 out of 100, based on 11 critic reviews, meaning "universal acclaim".[13]

Year-end lists[edit]

Awards and recognition[edit]

豆瓣8.7分，10萬人給出五星好評，這才是真正的大師遺世之作！兩萬字細細品讀《藍白紅三部曲之紅》"Red, Blue, White and Red Trilogy"法国国旗中的蓝代表皇家

《藍白紅三部曲之紅》，（法語：Trois Couleurs: Rouge， 波蘭語：Trzy kolory. Czerwony）是1994年法語電影，古茲托夫·奇斯洛夫斯基《三色》三部曲的最後一部，也是他最後一部電影作品。三部曲探討了現代法國旗幟中所用三色（藍、白、紅）所隱含的三大主題：自由、平等、博愛。

劇情介紹[編輯]

本片的一大部分劇情發生在瑞士。

電影始於倫敦與日內瓦之間，大學生兼職模特范倫婷和她貌合神離又富於佔有欲的男朋友的一次電話通話。當晚范倫婷駕車撞上了一隻走失的懷孕母犬，犬隻傷愈後尋找故主，范倫婷意外地隨之見到了原主——退休法官約瑟夫。本片的主線即為范倫婷發現約瑟夫竊聽鄰居電話的行為及其所引發的結果，還有約瑟夫向范倫婷吐露往事後兩人的精神戀愛。

與此同時，范倫婷的鄰居、法學院學生奧古斯特經歷了女朋友卡琳的背叛，而卡琳的電話卻正好被她的鄰居約瑟夫所竊聽。奧古斯特的遭遇又正巧和令約瑟夫不堪回首最終使他退休隱居的往事極其相近。奧古斯特和約瑟夫兩名劇中人物角色的情節就彷彿是同一個人物在不同年齡時發生的故事，此種表現手法類似奇斯洛夫斯基的前作《雙面薇若妮卡》裏兩個相同人物的不同生活軌跡。

另外，作為三色三部曲的結尾，前兩部電影「藍白紅三部曲之藍」和「藍白紅三部曲之白」的重要角色們也在本片最後英吉利海峽渡輪船難事件之中以獲救倖存者的身分出現。

主要演員[編輯]

評價[編輯]

《藍白紅三部曲之紅》獲得媒體和影評家的正面評價，爛番茄根據57條專業評論，總計獲得「新鮮」度100%，平均分數8.7/10，網站共識評價寫道：「一幅複雜、激動人心、美麗實現的相互關聯生活的寫照，《藍白紅三部曲之紅》是一部非凡三部曲的迷人結局。」，為該網站罕見的爛蕃茄100%新鮮度電影名單之一[1]。Metacritic則根據54條評論，總計獲得加權平均分數滿分100分，代表「普遍讚譽」[2]。本片是少數同時在爛番茄和Metacritic取得100%好評度的電影。

獲得獎項[編輯]

1994年

1995年：

參見[編輯]

參考文獻[編輯]

  1. ^ Three Colors: Red (Trois Couleurs: Rouge) (1994). Rotten Tomatoes. Fandango Media. [2022-09-25]. （原始內容存檔於2004-09-07）.
  2. ^ Three Colors: Red. Metacritic. [2022-10-30]. （原始內容存檔於2022-11-19）.
Valentina 是一個 純真善良的人
老法官是一個 在俗世塵土覆蓋下 純真善良的人
 
有缘千里来相爱，无缘对面不相舐。愛情的基礎在平等.
 
這已經是教材級的評論，超越了一般的影評。 觀看電影，拍攝電影，思考電影是三個層次，彼此存在關連但各有領域。 有想過評論以下幾部電影嗎？ 陽光普照--鍾孟宏，台灣2018 「CLOSER」（誘心人）--麥克·尼可斯，美國2004。 幻之光--是枝裕和，日本1995
 
 
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