Karry Best movie of this year hands down!

Freaktana A Major Disappointment

CrawlerChunky In truth, there is barely enough story here to make a film.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Mariam Mansuryan WARNING: THIS REVIEW CONTAINS SPOILERS ABOUT THREE COLORS: BLUE AND THREE COLORS: REDBesides the fact that all the characters meet up on a ferry at the end of the film, there is one other thing that adjoins them, and that is the courtroom scene. Karol here is the man who does not want to let the divorce happen. The man from Red is the judge, and Julie - the girl from blue, peaks through the door for a second, looking for her ex-husband's lover. These three characters are apparently at some point before the ferry all together.Regarding this one... I liked it a lot. The protagonist here loves his wife but he can't have sex with her since they got married. In red, the judge says it's the stupidest thing to judge people because you can't really be in their shoes. So since he makes this decision, Karol is left homeless in the streets. Mikolaj, who is the man that offers to take Karel back to Poland is a really interesting character for me. Since when talking about this trio, I like discussing the theme of being stuck, I'd say Mikolay is the most stuck of them all. Because he has everything seemingly: money, wife, kids, yet he wants to die. And what gets him out of this vicious loop is the fact that Karol purposely shoots him with a smoke gun. He realizes that someone may actually care about him. And I think it's small things like this that make this film wonderful.White also stood out for me with its comedy. How five robbers are discussing how to share the luggage where one person is lying by himself... I think comedy really fit this character and setting, just as music fit Julie and mystery fit Valentine.

MisterWhiplash In the story of 'White', one of the segments as part of the "Three-Colors Trilogy" that capped off the career of Kieslowski (this was released second after 'Blue', just before 'Red'), Karol (Zbigniew Zamachowski) is married to Dominique (Julie Delpy), but at the start of the film they're getting a divorce. What harm exactly did he do to her? We don't quite know. All we can really gleam is that he loves her passionately but, you know how the "Golddiggers" song goes, huh fellas? This is not to say that this film is misogynistic, or rather I don't think that is really Kieslowski's game with the satire here - and make no mistake, this is as biting satire (and out-and-out comedy) as it can get for such a director. While Dominique is conniving - she leaves poor Karol with nothing but a suitcase, and despite him trying to get her back he turns up (in more ways than one) flaccid. Can he win her back some how? He's still crazy about her - he even buys a statue that looks remarkably like her to keep by his side.Through a rather crazy set of circumstances, which include meeting another Polish man in France who wants him to commit a murder for money (a lot of it) and then finding a way back to Poland by, you guessed it, stuffing himself inside of a suitcase (sure, it gets stolen and he's beaten up by the thieves, but it's the price to pay for getting back to Poland). He tries to build himself back up, and does by chance and ingenuity - and screwing over other crooks before they get the chance to steal people of their land - and all of this is really to do one thing: find a way to get Dominique back into his life. How will this be done? By some unlikely means necessary.A couple of points in White, perhaps mid-way through, seemed a little slow when the film wasn't sure quite what to do with Karol. What is he doing back in Wasaw exactly? Where will this story be going to? And, most confusingly, why does Delpy's Dominique pop up - randomly, to my point of view - two times in the middle of the film, just clips of scenes of her later on in the film? Kieslowski is much more sly in this film than he is in Blue or Red, films that dealt on more concrete terms about existential anxiety and about not connecting with people after traumas of lapses in connection (re Binoche, who randomly pops up in a bling-and-you'll miss cameo and Trintignant).I think the key to me came after seeing the film and noticing a reviewer comparing Kieslowski's approach as a critique of capitalism in the modern age. Before reading that, White was an entertaining film but, comparatively, "light" in what it has to offer. It is all still a divorcée-con-job story, with overtones in the third act of, of all things, The Third Man in its trickery of a character playing dead. But what does carry over in this film - which features its title color revealed at moments of revelation, the wedding dress Delpy wears, and an actual climactic "moment" - is the humor and commentary on a society picking itself up, as Poland was, in the days of the end of Communist rule. I wish I had put that context more for when I was watching it, and maybe on a re-watch it will be more interesting with that in mind.If it does keep from being great overall, it may be because it's a little too... short, in a way. A part of me wishes there was just a scene or two more development of Karol/Dominique's relationship, but on the other hand it's easy to see why Kieslowski keeps it to what it is: love that is more about need and desire than full-on compatibility, on both sides.It goes by in a brisk 90 minutes, and Delpy is there for all of 20 minutes, tops (her appearance on the cover is more for advertisement purposes). When she does appear in the film, her character is raw and duplicitous at first, but strangely vulnerable when it comes to her sorta comeuppance when she really returns. In this midsection, and really our hero, we have Zamachowski, and he is terrific and funny and sad and all sort of things as this hapless guy who knows he loves his wife, even (especially) when he's enacting his obsessive-revenge-type of response to her rejection of him. If there was ever an American remake - not that one should want it, but hypothetically - Paul Giamatti would fit the role perfectly. He's an average, shlubby every-man who is three dimensional: likable, unlikable, fairly slick one minute and idiotic the next.For a director who is often looked at as having very "Heavy" films, and for good reason, a film like Three Colors: White is, for lack of a better word, fun, and it's enjoyable mostly to see the director work in such a mood - though the ending turns out to be rather tragic in what it suggests will come for these characters' double crossings.

grantss So much potential wasted, slowly.The second movie in Krzysztof Kieslowski's Three Colors trilogy. Each movie is separate and doesn't feature characters from the previous one(s) (except at the end of Red, but it made no difference to the story and was essentially Kieslowski showing off).The first, Blue, was engaging and mostly reasonably interesting. Doesn't end very well, but getting to the end was an interesting journey.White, however, doesn't have that same level of engagement or interest. Starts off okay, develops slowly and without a sense of direction, then all of a sudden you have some fairly bizarre and implausible twists. Then it ends. Even more unsatisfactory ending than Blue.Red is marginally better. Turns out that Blue was the best of the bunch after all.

donuthaters12 Review In A Nutshell:White tells the story of a male Polish hairdresser, Karol, who was left by his wife, Dominique, with nothing. He deals with this loss by going back to Poland and rebuilding himself.The first I noticed when going through this film was how light it all felt, all the weight that I felt on the director's previous film, Blue, were mostly lifted. I wasn't so much disappointed with the change in tone as there are many moments in this film where the plot and narrative benefited from it, but I was underwhelmed by Kieslowski's execution. The director couldn't seem to make me feel comprehensively invested to the protagonist, as I personally felt he wasn't explored enough and the intentions of the character wasn't truly clear to me throughout. Thankfully I enjoyed the journey that the protagonist has taken, as we get to see him start off on the bottom of the world, figuratively speaking of course, and building himself up slowly to becoming a respectable and "fulfilled" man. He doesn't reach this stage without playing dirty of course, Karol is still a normal human being and would do whatever he can in order to get ahead, but it was handled in such a way that we don't think less of him. I saw this rebuilding as just a constructive coping mechanism towards the tragic loss he just suffered, and I think in a way all of what he has made for himself was all for her or at least something to prove to her. During the film's third act, we can see that he is still in pain and even though he could get anything he wants there is still a void in him that hasn't been filled, and that is love. It was her love that he has always wanted, and he blames himself for not being able to show and prove that to her during their marriage. For Karol, content doesn't come from wealth, respect and fame, it comes from Dominique.The film's photography was also a major change from the first film of the trilogy. Colors seem to be warmer, and the color seems to dominate a lot of the film's images, possibly enforcing the idea of purity and beauty. It connects really well with the film's plot and narrative, making certain situations coming off as comically charged rather than dire, giving us a glimpse of how the film would feel during its resolution. The score also was change from the previous film, switching from the grand and dramatic tone to something much lighter and sharper. I found the score to be effective, particularly during the moments where the film wants us to feel sorry for Karol or when he examines or thinks about his one true love, Dominique. We are able to understand his fascination with her, and the music helps support that.Zbigniew Zamachowski plays the film's protagonist, Karol. He was wonderful in the role, though it wasn't at the same level of amazing as Binoche in Blue. The actor was able to manipulate my feelings towards the character, with one moment feeling highly sorry then the next moment feeling proud of what he has become. He was able to change the appearance of his exterior while keeping his internal qualities the same. Julie Delpy was also pretty good in the role, but it would have been better if she was given a bit more screen time; then again this is Karol's story, not hers.White may not be a step up as I hoped it would be from Blue, but it's still a great piece of work from Kieslowski. Hopefully Red would be at least just as good as this, if not better.