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This is a sometimes clever, sometimes corny, but always fine record of predestined care for.
Jean-Louis Trintignant plays a retired mediate, corrupted by an all-consuming cynicism, who meets a fair girl, but doesn’t descend in esteem with her. Instead, his reincarnation does, and he mystically orchestrates their predestined meeting. The girl is played by Irène Jacob, who is earnest, warm, uncorrupted and sparkling. She’s a French model unloved by her boyfriend (fool that he is) with a demeanor proud, but not vain, vulnerable, but not feeble.
The think is so pathetic that he spies on his neighbors’ phone conversations to spice up his lonely and pitiful existence. Their cherish affairs, their spats, their crimes are piped into him as he sits alone in his house. But she has the genius to delight in him and to understand him, and so frees him from his bitterness.
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We explore in this, the final third of director Krzysztof Kieslowski’s trilogy, something reminiscent of his countryman, Roman Polanski, in his passion for young actresses and his ability to bring out the best in them. We peruse further in the character of the retired contemplate a projection of ideas about how an ancient man, past any pretense, might fancy a young woman: wisely, delicately, from a itsy-bitsy distance, without a hint of lechery.
Irène Jacob makes us absorb that innocence and instinctive goodness are wondrous qualities, regrettably not mighty touted these days. More often depicted are women who would rather stammer proudly of being bitches while acting out violent, two-fisted, emulations of a bogus masculinity, e.g., stare “Single White Female,” etc.
Red is for her lips, for the color of curtains and theater seats, for the color of her correct love’s utility vehicle (often in her look, but not yet recognized), for doors and panels and for the warm beat of her heart. Her name is Valentine. She is the dream of the worldly man who has known many women, whose head is not easily turned. And red is for the ringing of the phone, heard in its urgency as red.
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I liked this better than Blue or White, both of which were very good; but the clash of innocence and cynicism here, with youth and age so aptly contrasted, along with a clever area (Kieslowski loves to surprise us), highlighted by though-provoking performances from the leads, accomplish this the best of the three.
Originally, this was the third of the trilogy that I viewed, and it totally blew the first two away. After a long search to acquire this for sale on video (okay, I basically gave up), I found it and had the pleasure of being blown away by it a second time. This is one of those movies that you don’t consider of immediately when someone asks for a recommendation. Even as I write this, my memories of the movie are secondary to my memories of how amazed I was by it. It’s like I’m watching it for the first time every time. Not many movies can do that.
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