Product Details

• Amazon Sales Rank: #8889 in DVD
• Released on: 2001-10-29
• Rating: Suitable for 15 years and over
• Aspect ratio: 1.78:1
• Number of discs: 1
• Formats: Anamorphic, PAL, Widescreen
• Original language: French, Polish
• Subtitled in: English
• Number of discs: 1
• Running time: 88 minutes

Amazon.co.uk Review
White is the second of witty Polish director Krzysztof Kieslowki's "three colours" trilogy Blue, White, and Red--the three colours of the French flag, symbolising liberty, equality and fraternity. White is an ironic comedy brimming over with the hard laughs of despair, ecstasy, ambition and longing played in a minor key.

Down-and-out Polish immigrant Karol Karol is desperate to get out of France. He's obsessed with his French soon-to-be ex-wife (Before Sunrise's Julie Delpy), his French bank account is frozen, and he's fed up with the inequality of it all. Penniless, he convinces a fellow Pole to smuggle him home in a suitcase--which then gets stolen from the airport. The unhappy thieves beat him and dump him in a snowy rock pit. Things can only get better, right? The story evolves into a wickedly funny anti-romance, an inverse Romeo and Juliet. Because it's in two foreign languages, the dialogue can be occasionally hard to follow, but some of the most genuinely funny and touching moments need no verbal explanation. --Grant Balfour

DVD Description
DVD Special Features:

Krzysztof Kieslowski Masterclass
'Making of' documentary
Interview with Julie Delpy
Interview with Marin Karmitz (producer)
Theatrical trailer
Extracts from the original soundtrack composed by Zbigniew Preisner
Dolby Digital 5.1
French with English subtitles
16:9 anamorphic picture

Synopsis
Part two in Polish director Krzysztof Kieslowski's THREE COLOURS astounding trilogy, WHITE represents Equality (of Liberty and Fraternity) in the French flag and the French national motto. Karol (Zbigniew Zamachowski), a sweet but awkward Polish hairdresser, has just lost everything in a bitter divorce settlement--his cold-hearted French wife, Dominique (Julie Delpy) having taken their home, credit cards, and business. The poor Karol finds himself stranded in Paris, speaking very little French; once he returns to his native Poland, his luck changes for the better. He manages to make a small fortune and a name for himself. Although he's moved up in the world, he still thinks about his former life with Dominique, and it is his memories, good and bad, that lead him to stage his disappearance, and which initiate an unusual chain of events. WHITE is a more lighthearted and leisurely affair than BLUE or RED, adding a well-rounded dimension to the trilogy. Kieslowski and Krzysztof Piesiwicz's script thrusts the characters into odd predicaments, and then ingeniously backs off to tell the tale of Karol's revenge, succeeding in laying enough emotional groundwork to justify Karol's sincere change of heart.

Customer Reviews

The most underrated of all the Three Colours films.
Blue was the first... It was bleak, it was moody, and held a lot of weighty issues dealing with loss, grief and personal liberation. Red was the final... It was rich in colour, deep with emotion and, had a multi-layered plot that drew comparisons with Kieslowski's earlier hit, the Double Life of Veronique. It was also his final film.

Somewhere in between those deep, thoughtful meditations on the nature of life and love came the second film in the trilogy... White. Maybe because this film - which for all intensive purposes is about gaining equality - is less emotionally rigid than the two films that act as bookends - or perhaps because the issues analysed here are less weighty - White has always been somewhat overlooked and undervalued by the majority of fans and critics. I think this is a bit of a shame really, because for me, the film represents something of a pleasant change of pace for the director, allowing him to create characters that are much more lucid and three-dimensional (away from the anguished, metaphysical ciphers in Red and Blue), as well as offering him the chance to use moments of comedy and kind pathos to undercut the more thoughtful or reflective moments of drama. The characters here are wonderfully rendered, with our central protagonist Karol Karol - the most perfect example of a tragi-comic hero this side of the silent age - trying to find his place in the world after a bitter divorce and an embarrassing court procedure leave him uncertain of who he really is.

The rest of the film charts his journey from nobody, to somebody, right back to nobody (with some devilish twists along the way), whilst also touching on notions of power, personal equality and the all consuming power of love. The relationship between Karol and his wife/ex-wife Dominique is one filled with paradox and contradiction, which to me seems a lot more realistic and believable than some critics at the time would suggest. Both characters profess a love for one another, but then go on to do absolutely vile things to try and subvert the power and equality between themselves. Ultimately, the film comes down to a simple equation... would you destroy yourself and sacrifice everything in the name of true love? Although filled with dark humour and a number of actions and rationalisations that seem to be brimming with bitterness, White is really an inspirational film... one that fills you with a sense of hope and makes you believe that anything is possible.

The ending of the film, like the endings to almost all of Kieslowski's works, is a one that transcends everything that went before and subverts every nuance of the characters and their relationship throughout the film (making you want to go back and experience the whole thing again. As final scenes go, the closing moments of this film are amongst the most sublime and beautifully melancholic depictions of enduring love and hope that I've ever seen, managing to be both touching and emotionally moving, without relying on cloying sentimentality.

The visualisation of the film is stunning with Kieslowski - as he had done with Blue and Red - utilising the colour of the title to give us a film that is both cold and neutral. His depiction of Poland in the later scenes of the film - replete with icy lakes, towering buildings and roads caked in snow - owes more to his defining Decalogue than the autumnal setting of Veronique, with the locations really going against the obvious actions of the film to give us the internal realisation of Karol and Dominique's true feelings (cold and emotionally barren). Kieslowski has just as firm a grip on his actors, with both Zbigniew Zamachowski (no, I can't pronounce it either!) and Julie Delpy giving great, multi-layered performances that manage to convey the loving, internal warmth, hidden beneath the cold, icy exteriors. Equally as impressive is Janusz Gajos as Karol's Polish confidant Mikolaj, who here plays an important part in much of the plot.

Although this is a film rich in visual poetry and dense in symbolism, it is by no means a heavy film. In fact, it's the lightest and most enjoyable of the three, with Kieslowski and his co-writer Krzysztof Piesiewicz crafting a witty and anarchic film filled with moments of dark comedy and interesting drama. I even think it's a better film than the gloomy, though no less critically acclaimed Blue... but that could just be a matter of personal taste. At any rate, White is an enjoyable, interesting and greatly rewarding film that deserves to be seen in it's own right (as opposed to being evaluated alongside Blue and Red)... Get the box set and enjoy all three.

black black humour
for a film named "white" the humour is very dark indeed. this film is an ideal riposte to blue, and whilst the majority of the film is slightly comic in nature there is a heart-rending twist at the ending. the characters are wonderfully constructed and you can understand why karol loves the cruel but beautiful dominque. the theme of inequality is dealt with skillfully, and you are left considering the merits of seeking revenge for a love taken away.

A dish best served cold
Having watched Kieslowski's "Three Colours Blue" and now this film , I must admit to finding the whole Liberty and Equality , Blue and White theme to be particularly vague and tenuous and "Three Colours White" bears no significant resemblance to the first film in terms of plot and atmosphere with 80% of the film being set in Poland and most of the dialogue being in Polish. That said, these observations don't prevent "White" from being as good a film, possibly even better, than "Blue".

The characterisation and acting is first class as the film's location shifts from Paris to Warsaw, following the plight of scorned husband Karol (Zbigniew Zamachowski) , thrown out by his beautiful but callous French wife Dominique (Julie Delpy) and being forced to use a somewhat unorthodox method of returning to his native Poland. Rather than resume his hairdressing duties in Warsaw, Karol tries his hand successfully at property speculation, opens his own business and concocts a very cunning plan to avenge his Parisian humiliations at the hands of Dominique.

Memorable characters abound; Karol the lovelorn crimper turned streetwise schemer, his gorgeous but icy cold ex-wife Dominique, Karol's mysterious depressive friend Mikolaj and his whispering landlord Jurek. The cinematography is typically stylish and the storyline is intriguing and cleverly constructed. An excellent film.