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The Essentials: Krzysztof Kieslowski

by Rodrigo Perez
March 13, 2013 5:34 PM
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The Essentials, Kieslowski
"Maybe it is worth investigating the unknown, if only because the very feeling of not knowing is a painful one.”

It’s perhaps comical to describe a filmmaker revered in some circles as underrated when they’ve been nominated for some of the biggest prizes in cinema -- the Palme d'Or, Venice’s Golden Lion, the Academy Awards, Berlin’s Golden Bear. But perhaps because Polish filmmaker Krzysztof Kieslowski never really took many of these major prizes home, and never gained global status until later in his career, we find that the filmmaker is not as revered as we’d like (though he tied for a Golden Lion in 1993). Perhaps this observation is very relative. Perhaps it’s because he didn’t enter the Criterion canon until 2006, perhaps because his career ended too abruptly just as it was truly ascending, or perhaps simply because he’s one of our most adored filmmakers: we routinely never give up an opportunity to celebrate Kieslowski’s work when we can.

A Polish director who spent much of his life behind the country’s postwar communist regime (and felt the pains of its control and censorship), Kieslowski started out as a documentarian and then made his first feature-length drama in 1975. While the early narrative films contained many elements of social realism and political dimension within the intangible and mystical conceits Kieslowski is known for, the filmmaker's work soon discarded many of his overly political ideas and shifted into his unwavering purpose: exploring the metaphysical, random mysteries and paradoxes of the universe via themes of chance, interconnectivity, identity, destiny and more. The films had some high-concepts on paper -- movies about doppelgangers, rewriting one’s time and history, second chances, reaching beyond parallel alternative universes and even death -- but each one had a spiritual resonance, an emotional weight, a soulful humanism, and a dramatic texture that made them beautifully profound and enigmatically enrapturing.

Stanley Kubrick himself once said of Kieslowski and his constant screenwriting companion Krzysztof Piesiewicz -- a lawyer and now a prominent politician -- “I am always reluctant to single out some particular feature of the work of a major filmmaker because it tends inevitably to simplify and reduce the work... They [dramatize life] with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart.”

There's arguably a before and after period in Kieslowski's work that is divided by 1985's "No End." That film marked the first collaboration with screenwriter Piesiewicz and composer Zbigniew Preisner and both men would work on every subsequent Kieslowski picture. Arguably, Kieslowski’s metaphysical sonnets of intuitive nature from that period forward became masterful symphonies of sound, color, and rich emotional transcendence. Interestingly enough, this new period would center almost exclusively on ravishing female protagonists (though "The Dekalog" was mixed).

Frustrated by the medium of cinema and/or his own limitations -- a terminally cynical Kieslowski didn’t believe the interior mysteriousness of the human condition could be aptly captured on film, though that hardly ever stopped him -- and exhausted by the speed in which he made his final masterwork and triptych Three Colors trilogy (he directed all three in under ten months and at one point he was editing, shooting and writing all three films simultaneously), Kieslowski announced his retirement at the age of 52 during the premiere of “Red” at the Cannes Film Festival. Just under two years later, as word came out that he was considering leaving retirement to form a new trilogy loosely based on the concepts of heaven, hell and purgatory (one of which was later directed by Tom Tykwer), the filmmaker died during open-heart surgery at the all-too early age of 54. Krzysztof Kieslowski passed away 17 years ago today, and so simply we use this opportunity to celebrate the filmmaker who believed that strangers were perhaps not so estranged; who sometimes believed the our existence was a cruel trick with deeper meaning we couldn’t fully comprehend; who believed in contemplating the mysterious elements of the universe that unified us as people beyond nationalities, race religions, political and personal philosophies.

The Dekalog
“The Dekalog” (1988)
While “The Double Life Of Veronique” was his first international breakthrough and the Three Colors trilogy brought him much more acclaim, Kieslowski’s first masterpiece was “The Dekalog,” a ten part cycle of short films shot for Polish television. Co-written with Piesiewicz, the two men conceived of ten vignettes that would be loosely based on the Ten Commandments and one hour long each. Set in a bleak and drab housing project in Warsaw, “The Dekalog” illustrated ten stories of moral and ethical dilemmas that various loosely intertwined characters faced. Moody and melancholic throughout, perhaps one of the most powerful, resonating and moving shorts is episode I, based on “Thou shalt have no other gods.” It centers on a university professor who teaches his son the virtues of the scientific methodology and philosophy above all others, but fate intervenes tragically. The only recurring character throughout the series is a silent, nameless figure, a perhaps celestial and Christ-like figure who is shown observing the character in each moral tale. “The Dekalog” made huge fans of Stanley Kubrick and Roger Ebert (who I still have to thank for bringing these films to my attention on TV in the late ‘80s) and the international film community (while he had been in the Un Certain Regard section at Cannes previously; one of the extended shorts would be the first time he was invited into main competition). Due to contractual obligations, Kieslowski expanded parts V and VII into longer feature-length films, "A Short Film About Killing" and "A Short Film About Love," the former taking the Jury and FIPRESCI prizes at Cannes that year. While the religious and metaphysical connotations are obviously present, “The Dekalog” is also an examination (and sometimes censure) on the mental condition of Polish society during the communist regime hence harsh gray conditions and the unbearable opaqueness of being that floats over the films like a somber cloud. If there is one major crime of home video it is that “The Dekalog” is still collecting dust on shelves in an outdated, bare-bones version that hopefully will be rectified by someone like the Criterion Collection soon.

The Double Life Of Veronique, Irene Jacob, Kieslowski
“The Double Life Of Veronique” (1991)
“The realms of superstition, fortune-telling, presentiments, intuition, dreams, and the inner life of a human being...all this is the hardest thing to film,” Kieslowski once said. “Because [these themes] deal with things you cannot name. If you do they seem trivial and stupid.” Featuring a bifurcated narrative, ‘Veronique’ centers on two separate women -- each played by Irene Jacob (who would win the Best Actress prize at Cannes) -- raised in different countries with a mysterious bond connecting them. Identical doppelgangers or the same person? Weronika is a singer in Poland with a weak heart and Veronique is a Polish music teacher. Ostensibly the same person (or maybe not), Weronika dies of a heart attack mid-recital after seeing her identical other half briefly in a Krakow square (ironically at a demonstration about solidarity). Unaware of Weronika's existence, Veronique nonetheless is struck with a deep sense of loss, isolation and grief after her other half passes on. This death reverberates like an echo throughout her, leading to quit her job and transform her life (themes of manipulation, inverted worlds and freedom are all felt). Expressively shot in intimate, melancholic close up of its protagonists -- with radiant amber hues imbuing each frame -- “The Double Life Of Veronique" is a sensual, enchanting and profoundly absorbing contemplation of Kieslowski's singular preoccupation with the unfathomable and enigmatic interconnectedness of human existence. The distinct musical presence of Zbignew Preisner and the memorable gold color palette by cinematographer Slawomir Idziak all forecast hints of what was to come in Three Colors. Extra credit: fate and chance intervened on Kieslowski himself as such forces helped to narrowly avoid the original casting choice of Andie Macdowell in the role of Veronique/Weronika.

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  • Overseer | March 14, 2013 6:01 PMReply

    If there is an overrated trilogy it's gotta be the colors trilogy. "Red" is just bad. It really is. Check how clumsy and stunted the direction is. KK has always been one of these "untouchable" directors. But dawggonit I calling the colors trilogy out as being lammee. The only decent one is "White" really. Blue and Red is are really not good. (Red being the worst). It's so obvious in it's chance themes. Come onnn. Anyone with me???

  • Cameron | May 27, 2013 7:22 PM

    You're not on your own - I agree. Halfway through "Red" I was suffering serious visual-symbolism-fatigue. The 'culminating event' meant to tie things together was excessive and rather callous. And the theme of fate or serendipity didn't resonate in a thought-provoking way afterwards or me; it simply felt confined to the events of the movie.

    Finally, it's clear that we who find the trilogy overrated think the best entry is the one fans like LEAST: the great, darkly comic "White."

  • tyrannosaurus max | March 20, 2013 10:58 AM

    You're on your own.

  • Framesz | March 17, 2013 11:07 AM

    Holy shit, just shoot your self, Overseer. xo

  • David | March 17, 2013 10:30 AM

    Blue is not really good? Blue is brilliant. One literally feels the pain from Binoche, the quiet, and the music. One of the best films I've ever seen.

  • MDL | March 13, 2013 11:20 PMReply

    I guess I don't consider him underrated? But shortness of career and few films made in only two decades does probably put him into a pocket of directors who could be forgotten in the future.

  • Arch | March 13, 2013 6:27 PMReply

    The opening sentence is spot on: he is still "underrated" somehow. Actually it's an opinion I frequently have these days about many other directors. Weird times.

    Although it will probably raise issues like any list it's still a nice reminder of how beautiful these movies were, thanks for that (special shout-out to Blue and Red which really moved me back then).

  • Anon-ee-Miss | March 13, 2013 5:58 PMReply

    Leaving Camera Buff off of this list is positively egregious. Are you just dismissing every film he made before 1985? This seems careless.

  • Rodrigo | March 13, 2013 10:15 PM

    What? No. I love Camera Buff and Blind Chance and No End (though not as much). It's a Playlist Essentials which is where we usually tackle 5 films. The Essentials: half the idea being the best, half the idea being the most digestible for the aud that might not know it. Are we dismissing every film before 1985? How'd you add that up? Even Alan wouldn't be so silly.

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