Krysztof Kieslowski

IntroductionKrysztof Kieslowskis genius germinated as a truly everywherelord and thought provoking film handler was late influenced by the front of Communism in Poland,. Later to join the ranks of the earths superlative filmmakers, Krysztof was quoted as saying asking questions to the highest degree our exis tennerce was more of import than beingness concerned with political reality why take hold of up from bed ? If one was not at all concerned ab fall out the metaphysics of things. In this context his fascination towards the parameters of storage and complexities of survival developed and was by and by manifested in his movements.The land of his birth, Poland, was the background for many of his movies. He shifted his focus from docudrama reality as a filmmaker working in his country. The respect of his camera shifted from documenting reality to the probing the inner keep of piece beings, deeply affected by their reality in different rooms. The oeuvre of Kieslow ski straddled over many concerns. Two of his recurring themes were the persistence of remembering and survival amidst the pugnacious realities of behavior. Death and violence was a feature of life in commie Poland.Every vestige of idealism was stripped away in the wake of look numbing regimentation and the murder of freedom and valet de chambreity well-nigh reducing race to bare survival level. On a spiritual level the characters in Kieslowskis whole caboodle seem to agonizingly grope their way forward out of this darkness.Each in their own way resolve a dilemma of existence, to expose reunion, stark truth, horizontal death, happiness and yet the films never work their way to around artificial conclusion ambiguous as life is, in fact. An examination of the handlers projects volition throw up evidence of these recurring themes. Yet, the films are never on the whole pessimistic, even if some might go deep into the dark side of human disposition or seem to be concern ed with erotic obsession. Thus in one hand it magnified memory or the reconstruction of memory and on the other hand he juxtaposed the manifestation and complexities of survival.However, the conductor was himself a very warm person who simply felt that limning fictionalized reality was simply a better, if oblique, way to show reality. One tends to get an impression from the whole body of work that a lot is being said in the films only if very subtly. Of course, dish uping Kieslowski was his immensely intellectual cast who seem to draw every shade of feeling out in films as diverse as No End and The icon life of Veronique. On the face of it nothing very much seems to be happening in these films. It is all subtle emotional underplay and a strongly controlled interplay of human conflicts and deeply moving responses. (Dollard, 89-92)Two of his films are representative of the same themes Three Colors Blue and Decalogue 2Three Colors Blue (1993)Blue is a work of such intensity that one is eternally grateful that Juliette Binoche plays Julie Vignon De Courcy, the friend of the film with such a fine texture of emotions.Blue is the Polish theatre directors penetrating and highly involving work on loss and freedom and is also the dominant hue of his film. It is also part of a trilogy, Red, uncontaminating and Blue the director made.A bluish candy wrapper in a small girls hand, reflects, sunlight through a gondolas window the next shot cuts to a leaking pipe, hypnotisming at the at hand(predicate) accident involving the elevator car. Julie Vignon is the only survivor in the accident, which stamp outs her daughter and preserve. Fortunately for viewers, the car crash is heard not seen. The rest of the incident is shown in fragments and slivers of shattered 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 cognize mus ician. The husband has been lately rumored to have run out of original ideas for study his scores are said to have been penned by his wife. Julie seems to fighting these memories pip almost as if they cause great suffering. She seems to discovery it difficult to survive.Through these sign terse cuts , Kieslowski draws us wide eyed into a private world of pain and suffering mad acute by lingering memory this is a devastated world , and very subtle action depicts this . Dialogue would be utterly contrived in this situation. A typical approach would be to take the path of resolution of this pain shown in quick recovery. genuine to his commitment, the director does not make it so easy. In the hospital, Julie attempts suicide by an overdose of pills but does not really go all the way she survives. Here there is a further hardening of the situation. (Lamb, 243-245)After her release from hospital, Julie wants to kill herself off psychologically by postulateing from the world. Her g rief in fact, is so extreme that she can neither cry nor even feel. Yet, her body language reveals that she is inactive in great pain. Her mouth quivers as she watches her familys funeral on goggle box and her daughters casket. She visibly goes limp as she approaches her husbands study. This is depicted with an economy which truly emphasizes the slow build up of grief. She withdraws herself bump offly from the world around her and shifts from the familys country estate to an apartment, in her world-class name. She wipes out all traces of the past, even of her family except a few slivers of glass. Reflections in glass are a persistent device used in the film meant to convey the distance Julie is creating for herself and her memories.But the distance Julie wants to create cannot really meanwhile off her past, try as she might her reaction is to further withdraw into an enigmatic silence. At this point, her husbands business partner, Olivier, searches her out and offers to compl ete her husbands unfinished symphony as a testimony to his memory. Here is the working out of a purgative device. The audience would find it relieving to have Julie come out of the prison of grief and re sequester 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 subject 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 finishing 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 hour films, each based on one of the cardinal Commandments. The work was however, no rendering of the Biblical story but a reframing of the commandments to contemporary Poland. Each sin attributed to a particular moral supervision in each of the ten films. These films offered Kieslowski the convenience of working with some of his favorite(a) 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 pee a work of considerable cinematic importance.The central theme of Decalogue 2 is of the purest moral dilemma. Dorotas husband is seriously ill and in hospital. What she require to live from the doctor is whether he will survive or not. She is significant by some one else and if her husband survives, she will abort the baby .If he dies, she will keep the child.The doctor denies any knowledge of her husbands prognosis saying he doesnt clearly know how to answer her. The doctors story is then told in flashback and we find that his family has been killed in a World 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 glance of the dir ectors humanity and his strong convictions as a person even when working or dealing with a lot of abstraction in his films. The doctors dilemma is should he tell her the husband will be well thus making Dorota abort the child? In the end the doctors 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 details that help build up the situation in a one hour film details that keep audiences involved in the story unfolding. The film reveals that the doctor lives in the same apartment block 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 bottle on a table in the husbands hospital bed, making the connections to the final result of the fragility of life and strong survival instincts at work two within the film and in living beings. Human beings seem to be longing for contact or withdrawing in their own private world. significance is ambiguous in these films there are the sub themes to consider violence, chance, fate, and destiny. ideate 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 bare again and again.ConclusionThroughout the latter part 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 exis tence, with carefully structured camera compositions and an almost sparse narrative. The deeper truths lie beneath the surface of reality and the unraveling of it is as atypical as life the creator does not contrive situations to fit 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 Knowledge Believing and Knowing. (Mangalore Howard & Price. 2006) pp 188Kar, P recital of Cinema & Market Applications (Kolkata Dasgupta & Chatterjee 2005) pp 145King, H Art Today (Dunedin HBT & Brooks Ltd. 2005) pp 126Lamb, Davis delirium to Culture (Wellington National Book Trust. 2004) pp 243-245