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Red (A.K.A. Trois Couleurs: Rouge)

By the time the final film in a trilogy rolls around, audiences are pretty much attuned to the methods and tactics of the filmmakers, and can generally pinpoint events and circumstances before they occur. Thank God for Krzysztof Kieslowski, who completely banishes any and all predictability from his film "Red" by going against the techniques he infused in his previous two pieces, "Blue" and "White. In this final, closing chapter of the Three Colors trilogy, Kieslowski chooses not to keep things simple by focusing on one main characters; instead, he broadens the canvas by incorporating a host of players into an intricately-woven, mystifying story that teases, tantalizes, and finally blows the mind. ***

The exterior outline of the film revolves around the lives of very different people aware of one another's existence, but for all intensive purposes unacquainted with each other. There is Valentine (Irène Jacob), a young French model who communicates via telephone with her somewhat-boyfriend, who's away in England. She lives across the street from Auguste (Jean-Pierre Lorit), a soon-to-be judge who is dating Karin (Frederique Feder), who operates a personal weather phone service. ***

The first of many story hooks comes with an automobile accident involving Valentine and a dog, the pet of a reclusive former judge (Jean-Louis Trintignant) whom Valentine will soon discover has a fetish for listening in on his neighbors' telephone conversations. Their initial encounter with one another is one of exchanged words of disgust and pity, that which causes them both to rethink their present situations. The judge is taken by Valentine's words, and in turn reveals his eavesdropping to his victims in hopes that she will see him as a better man. This sets in motion a series of events involving their growing friendship with one another, as well as a split between Auguste and Karin that leaves the former devastated and alone. ***

The key element of "Red" lies not within the characters' inner emotions as much as it does the politics of plot progression and surprise. Of course, there is a certain degree of loneliness and solitude required from each of these people in order to establish a central theme, but even the theme does not play by the rules. It shifts gears from one of longing to one of fraternity and connectivity: Kieslowski is playing with our minds, forcing us to look deeper into the material for any sign that these people may have some underlying common bond that seals the deal. It is not until the final, fleeting moment, in a single series of events at the very end of the film, that this realization comes into play; Kieslowski wonderfully incorporates the characters from "Blue," "White," and "Red" in a stunning gut-punch of a revelation that brings home the all-encompassing message of the trilogy, that we are connected in ways we cannot begin to comprehend. ***

As for the film itself, everything about it shines. The pitch-perfect performances bring out the intricacies of the characters while simultaneously drawing us into the events of their lives before we have a chance to realize it. Kieslowski's pacing, his best out of the three films, is slow and methodical, ponderous and brooding, never once losing our attention. The stylish cinematography of Piotr Sobocinski, who is new to the trilogy, is lavish and exquisite, ripe with blood-red hues and symbolic imagery to boot. All of this grandeur, in addition to the exceptionally brilliant plot and development, coalesces to make "Red" the best of the Three Colors films, as well as a masterwork in its own right.

As with the transfers for "Blue" and "White," "Red" looks just great on DVD. The 1.85:1 anamorphic picture features terrific color fidelity and saturation, with accurate fleshtones, vibrant hues unblemished by bleeding, and deep, rich blacks. Contrast is very good with the occasional blue tint lapse here and there, while shadow detail is very impressive throughout. Edges are sharp with an overall lack of annoying enhancement artifacts, and the grainy appearance of the image fits in with the film's subject matter. Truly delicious! ***

Out of the three films, however, "Red" has the most subdued soundtrack, but the Dolby 2.0 Surround track makes the best of what it's given. Dialogue sounds very natural and well-defined, which isn't surprising as it remains the dominant factor of the track. When the music kicks in, it fills out the surrounds adequately, and a thunderstorm near the end of the film makes very good use of the entire soundfield, including some deep bass, which is otherwise absent throughout. Not a stellar track, but it suits the material.

Yes, most of the material is very insightful and will surely please fans of the movie, but after sitting through hours and hours of commentaries, interviews, and behind-the-scenes footage for the Three Colors trilogy, I never want to see Annette Insdorf's face nor hear her voice ever again! ***

From the commentary we move on to "Insights into Red," featuring more interviews with the same collaborators on the previous DVDs as they discuss the final chapter of the trilogy, and its impact on the other two films. Much is made of the possible connections between Jean-Louis Trintignant's reclusive judge and Kieslowski himself, while other elements of the film, such as the themes and hidden meanings, are singled out and further examined. If you've seen the previous two featurettes related to this one, then you won't be disappointed. ***

Once again we have an interview with the female star of the film, this time Irène Jacob, who recalls meeting Kieslowski when they worked on "The Double Life of Veronique" together, and her interest in this project. This is followed by the "Krzysztof Kieslowski's Cinema Lesson" featurette, in which he takes us into the editing room and discusses the context of a single scene in the film. Kieslowski can also be seen making comments about the movie, as well as about his beliefs and life, in "Behind the Scenes of Red with Krzysztof Kieslowski," and "Red at Cannes 1994," which also features archival interviews with the cast and crew as they react to the success of the film. ***

Here again one can find three interview/commentary sessions, one with producer Marin Karmitz, actress Jacobs, and editor Jacques Witta. Those familiar with these extras from the "Blue" DVD know what to expect, as the three go over the production of the film from start to finish, giving us the dirty, interesting details. The disc closes out with the usual filmography of Kieslowski's films. ***

--This DVD edition of "White" is also available in a 3-DVD box set with the films "Blue" and "Red."