Director: Krzysztof Kieslowski
Never did work out why this was never in the 1001 Movies book with the other two. Ebert characterised Blue, White and Red as anti-tragedy, anti-comedy and anti-romance. I can kind of see what he meant about the anti-tragedy and I’ll be able to judge the anti-romance when I see that one, but what about the anti-comedy? What is an anti-comedy? A comedy that’s not funny? That sort of thing doesn’t take an arthouse master… Anyway, our “hero”, Karol, is a somewhat more immediately appealing figure than Julie in Blue; his wife, Dominique, has dumped his sorry Polish arse in a fairly bitter divorce, and, left homeless, he encounters another Polish man who contrives to get him back to Poland, where, over time, he re-establishes himself and, having done so, sets about taking his revenge on Julie by faking his death and framing her for his murder. OH MY ACHING SIDES! Yes, this is comedy in only a fairly nominal sense as most people would probably understand it; I think the only actual laugh-out-loud moment I had with it was the scene where the airport baggage handlers nick the suitcase he’s been concealed in and find him inside. And even that was more of a mild chuckle than a proper LOL. (Do you have any idea how much I hate myself for typing those three letters in a non-ironic manner like I just did?) I’ve seen the word “droll” used to describe White, and it’s probably the best descriptor of its rather particular humour, more funny peculiar (as the scene just described may indicate) than funny ha-ha, and possessing a distinct undercurrent of unpleasant sourness. I liked it better than Blue, which is not to say that I actually particularly liked it per se; it’s not as dull as Blue, but I did still find it about as cold and not much more engaging.