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In downtown Warsaw, where so remarkable of “White” is site, there was an electric label celebrating Poland’s current release from the Iron Curtain of communism by praising Bill Clinton and splashing around an American flag. The electric brand, though, was not like the monumental Panasonic price in Modern York’s Times Square. Rather it was more comparable to the signs unruffled of light bulbs that can be found in major league baseball stadiums. I view of that tag many times throughout “White,” how meager it looked in a nation already so deprived. “White” deals with the disillusionment and failure of one man who represents the disappointment of a nation. When the protagonist, Karol, returns to Warsaw from Paris, after being rejected and betrayed by his French wife, Dominique, through divorce and infidelity, and by the French court, whom Karol believes has cheated him in the divorce by giving him nothing because he cannot yelp French (both a determined metaphor for the West’s disregard of Poland), he is greeted by a city where bands of thieves streak the land like the Middle Ages, and gangster capitalists believe everything and can hold anything. Karol then aspires to become fraction of this amoral ruling class, thereby becoming more equal than anybody else. In “White,” besides the inequitable wealth between Karol and his fellow Polish countrymen, there is an intricate interplay between the affluence of the West and the lowered expectations of Poland. In Paris, Karol and is wife owned a super well-lit salon, but assist in Warsaw, his brother’s salon has tiny more than a gaudy electric heed to distinguish it from the days of communist rule, and it is located along a muddy, unpaved road. A loan shark, who hires Karol to protect him, gives Karol what amounts to a cap gun as his weapon. And even an expensive office building in downtown Warsaw only has a few phone jacks. This comparison is perhaps Kieslowski’s message that there is no perfect equality, either within a nation (as demonstrated through both Karol’s amassed wealth and influence, and the discrimination against his at the hands of the French judicial system) or between nations. Kieslowski also suggests, through the relationship between Karol and Dominique, that perhaps like can bridge this gap.
This film is the second in Krzysztof Kieslowski’s “Trois Couleurs” trilogy (“Blue,” “White,” and “Red,” after the colors of the French flag) . While it contains some quite surprising location twists, overall it doesn’t have the same emotional impact as the first and last movies do.
Zbigniew Zamachowski plays Karol Karol, a Polish immigrant living in Paris with his wife, Dominique (Julie Delpy) . As the film opens, Karol and Dominique are in divorce court; she wants the divorce, he doesn’t. She wins, and he is left with nothing but a spacious suitcase — in which he manages to send himself encourage to Poland, with unexpected results.
While white is traditionally the color of marriage, in this film it is the color of divorce. Throughout the movie the sky is a bleak, almost colorless shade of white, reflecting Karol’s mood. The divorce proceedings capture set in a white marble courtyard, and after the hearing Dominique drives away in a white car. When Karol returns to Poland, the countryside is buried under a layer of snow. More than that, the color symbolizes the sterility of their marriage: Dominique’s grounds for divorce are that the marriage has never been consummated.
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For the rest of the film, Karol struggles to rebuild his life and to come by assist Dominique. The movie is delectable, with highly novel subplots. The actors turn in magnificent performances, and the direction (as one would question from Kieslowski) is fascinating without being heavy-handed. However, for a film that focuses on such emotional topics as treasure and death, it fails to rouse intense emotions in the viewer. Waste
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