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''Three Colors: Blue'' ((フランス語:Trois couleurs: Bleu)) is a 1993 French drama film written, produced, and directed by the acclaimed Polish director Krzysztof Kieślowski. ''Blue'' is the first of three films that comprise ''The Three Colors Trilogy'', themed on the French Revolutionary ideals of liberty, equality, and fraternity; it is followed by ''White'' and ''Red''. According to Kieślowski, the subject of the film is liberty, specifically emotional liberty, rather than its social or political meaning.〔''Three Colors: Blue'', Bonus Features: Commentary by Anne Insdorf, A Look at "Blue".〕 Set in Paris, the film is about a woman whose husband and child are killed in a car accident. Suddenly set free from her familial bonds, she attempts to cut herself off from everything and live in isolation from her former ties, but finds that she can't free herself from human connections.〔Kieślowski, Krzysztof. ''Kieślowski on Kieślowski''. Edited by Danusia Stok. London: Faber and Faber, 1998, p. 212.〕 ==Plot== Julie (Juliette Binoche), wife of the famous composer Patrice de Courcy, must cope with the death of her husband and daughter in an automobile accident she herself survives. While recovering in the hospital, Julie attempts suicide by overdose, but cannot swallow the pills. After being released from the hospital, Julie, who it is suggested wrote (or helped to write) much of her husband's famous pieces, destroys what is left behind of them, finishes an affair she has been having during her marriage, and closes up the house she lived in with her family. She takes an apartment in Paris without telling anyone, leaving behind all her clothes and possessions, and taking only a chandelier of blue beads that the viewer assumes belonged to her daughter. For the remainder of the film, Julie disassociates herself from all past memories and distances herself from former friendships, as can be derived from a conversation she has with her mother who suffers from Alzheimer's disease and believes Julie is her own sister Marie-France. She also destroys the score for her late husband's last commissioned, though unfinished, work—a piece celebrating European unity, following the end of the Cold War. It is strongly suggested that she wrote, or at least co-wrote, her husband's last work. Snatches of the music haunt her throughout the film, although this is equally consistent with just being illustrative of the depth of their relationship. She reluctantly befriends an exotic dancer named Lucille (Charlotte Véry) who is having an affair with one of the neighbors and helps her when she needs moral support. Despite her desire to live anonymously and alone, life in Paris forces Julie to confront elements of her past that she would rather not face, including Olivier (Benoît Régent), a friend of the couple. Olivier is also a composer and former assistant of Patrice's at the conservatory. He is in love with Julie, and suspects that she is in fact the true author of her late husband's music. Olivier appears in a TV interview announcing that he shall try to complete Patrice's commission. Julie also discovers that her late husband was having an affair. While trying both to stop Olivier from completing the score, and finding out who her husband's mistress was, she becomes more engaged in her former life. She tracks down Sandrine (Florence Pernel), Patrice's mistress, and finds out that she is carrying his child; Julie arranges for her to have her husband's house and recognition of his paternity for the child. This provokes her to begin a relationship with Olivier, and to resurrect her late husband's last composition, which has been changing according to her notes on Olivier's work. Olivier decides not to incorporate the changes suggested by Julie, stating that this piece is now his music and has ceased to be Patrice's. He says that she must either accept his composition with all its roughness or she must allow people to know the truth about her composition. She agrees on the grounds that the truth about her husband's music would not be revealed as her own work (no such 'agreement' occurs ). Julie calls Olivier back and agrees to bring the score that she has finished. There is an implication that she has hidden her own work behind the public face of her husband, at the beginning of the film a journalist asks Julie if she is the author of her husband's work. Julie avoids the question. In the final sequence, the Unity of Europe piece is played (which features chorus and a solo soprano singing Saint Paul's 1 Corinthians 13 epistle in Greek), and images are seen of all the people Julie has affected by her actions. The final image is of Julie, crying—the second time she does so in the film.〔Kieślowski, Krzysztof, and Krzysztof Piesiewicz. ''Three Colours Trilogy: Blue, White, Red''. Translated by Danusia Stok. London: Faber and Faber, 1998.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Three Colors: Blue」の詳細全文を読む スポンサード リンク
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