As he plays Polish folk songs on a comb in the Metro, he catches the attention of Mikolaj, a Polish bridge player who has an excellent memory. The idea of the three colors in the trilogy, which symbolize the three colors of French's flag, also represents the meaning of each. After his wife divorces him, a Polish immigrant plots to get even with her. Unfortunately, there is no background given to Dominique's character (other than a flashback to the wedding) and she is merely painted as this evil character, casting a cloud of misogyny on the whole film. For instance, the first one we see appear in the film multiple times includes the technology aspect of using a telephone. Happy, sad, excited, etc... Part of that is because they use so many different types of media all at once. Three primary colors are A Red green blue B Red cyan blue C Red white black D from COMPUTER 235 at Kendriya Vidyalaya, Pragati Vihar While I would be skeptical to call this film autobiographical (I think Camera Buff is that film for Kieslowski), it’s undeniable that Kieslowski brings some of himself into this film as a Pole making a trilogy … Karol then dumps his last coins into a pay phone. In French with English subtitles . The film specialises as much in a kind of ironic gallows humour as in laughter pure and simple, but bitterness is also avoided - which is a small miracle in itself considering the subject matter and the setting. Other points of difference between this film and the other two include the protagonist being male (Zbigniew Zamachowski)-- I don't know why Julie Delpy (you may remember her as the prostitute/bank teller from "Killing Zoe") gets star billing in all the promotions for this film, since she only appears in the beginning and the end of the film. Taking advantage of the new free market economy of post-communist Poland, Karol amasses a fortune with the help of the Polish Mafia and Mikolaj. Finally, though the ending seems defeatist, the true ending of "White" is actually found at the end of "Red", where it seems Karol and Dominique have reconciled and re-married. Three Colors: Blue. Its central character is a Polish version of the eternal little man, in this case a mild-mannered hairdresser (Zbigniew Zamachowski) whose work to establish himself in Paris is rudely aborted by his French wife (Julie Delpy) suing him for the non-consummation of their recent marriage. The combination of these two signal virtues rather outweighs Kieslowski 's other preoccupations, even if it doesn't drown them out. The Second Criterion: ‘Three Colors: White’. "The next one is real," Karol warns the suicidal Mikolaj, who wants to die because he wants to feel less pain (no backstory is revealed on this plot point, but because he has an excellent memory, Kieslowski is equating the burden memory to the pain of existence). Krzysztof Kieslowski’s “Three Colors” trilogy — the piercing tragedy of “Blue,” the sharp comedy of “White” and the lasting resonance of “Red” — screens at the Egyptian. It forces us to give up our freedom. When the Polish Mafia catch onto Karol's scheme to cheat them out of some property, they threaten to kill him. Three Colors: White (1994) Plot. Three Colors: Red Questions 1. Finally, unlike the visual tapestry painted by ". To the church!" Dominique answers the phone and forces Karol listen to her make love with her new lover. After staying at his brother's house and working at the family hairdressing salon, Karol is inspired to regain his equality with Dominique. Mikolaj offers to take him back to Poland in the suitcase, and leave behind the alienation and isolation of France (Kieslowski's true feelings of his adopted country, perhaps?). When the movie opens up Michel makes a phone call to Valentine. The only noteworthy bit of film-making is the foreshadowing of Dominique at the hotel room in Warsaw. Love also takes away our freedom. Three Colours: White (French: Trois couleurs: Blanc, Polish: Trzy kolory. The trilogy takes its name from the colours of the French flag and its themes from the ideals represented by those colours: blue (liberty), white (equality), and red (friendship). Directed by Krzysztof Kieslowski. AC Single Phase & Three Phase And DC Wire & Cable Color Codes. Essay by Anthony Leong © Copyright 1997. However, once the plane lands in Warsaw, unsurprisingly, Mikolaj learns that the luggage has gone missing. Showing all 4 items Jump to: Summaries (3) Synopsis (1) Summaries. I don't think people want to be equal. The divorce is granted, and Karol is on the streets, his bank account frozen (Karol watches helplessly as a bank employee cuts up his bank card), framed by Dominique for arson, and all his possessions in a big suitcase. White (color) is associated with light, goodness, innocence, purity, and empowerment. She testifies that she no longer loves him. Let’s talk paint colors! Three Colors: White The entertaining second seg of Krzysztof Kieslowski's "Three Colors" trilogy is involving, bittersweet and droll. Le Blon was the first to outline a three-color printing method using primary colors (red, yellow, blue) to create secondary colors (green, purple, orange). In the trilogy, "Blue" is the anti-tragedy, "White" is the anti-comedy, and "Red" is the anti-romance. You can create shades, tints and tones of a color by adding black, grey and … Karol hangs up, but the pay phone does not return his two francs of change. It is not an uplifting ending, like "Blue" or "Red"-- no, it is a tragedy. Three Colors: White. Through the window, Dominique uses sign language to tell Karol that she still loves him and is willing to marry him again, if she can get out of prison. Karol fakes his own death as a bid to lure Dominique to Warsaw to exact his revenge. "Jesus! they say. He is willing to pay someone to officiate at a depressed friend's own suicide, and will do a considerable favour to anyone acceding to his request. Karol disposes the last vestiges of his identity before leaving Paris-- he discards all his hairdressing diplomas in the Metro, and begins anew as a businessman. The ending left me feeling disappointed. Occasionally one comes across something written about a film that appears to be totally at odds with everything one remembers of that film. They are metaphysical through example, not theory: Kieslowski tells the parable but doesn't preach the lesson. 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