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Special Features
- Insights into trois coleurs - "Rouge"
- A conversation with Irene Jacob on director Krzysztof Kieslowski
- Irene Jacob selected scenes commentary
- Audio commentary with film scholar Annette Insdorf (in English)
- Krzysztof Kielowski's cinema lesson
- Marin Karmitz interview
- Behind the scenes of RED with Krzysztof Kieslowski
- Jacques Witta interview and commentary
- Krzysztof Kieslowski filmography
- RED at the Cannes Film Festival, 1994
Editorial Reviews
Amazon.com
The final section of the late Krzysztof Kieslowski's acclaimed Three Colors trilogy (preceded by Blue and White) is the least likely of the three to stand alone, and indeed benefits from a little familiarity with the first two parts. Nevertheless, it's a strong, unique piece that reflects upon the ubiquity of images in the modern world and the parallel subjugation of meaningful communication. Irene Jacob plays a fashion model whose lovely face is hugely enlarged on a red banner no one in Geneva can possibly miss seeing. Striking up a relationship with an embittered former judge (Jean-Louis Trintignant), who secretly scans his neighbors' conversations through electronic surveillance, Jacob's character becomes an aural witness to the secret lives of those we think we know. Kieslowski cleverly wraps up the trilogy with a device that brings together the principals of all three films. --Tom Keogh
Product Description
Praised by critics nationwide as one of the year's 10 best films, RED is a seductive story of forbidden love -- and the unknowable mystery of coincidence. The final chapter in Krzystof Kieslowski's acclaimed "Three Colors" triology, RED stars sexy Irene Jacob (THE DOUBLE LIFE OF VERONIQUE) as a young model whose chance meeting with an unusual stranger leads her down a path of intrigue and secrecy. As her knowledge of the man deepens, she discovers an astonishing link between his past ... and her destiny! Academy Award(R)-nominated for writing, direction, and cinematography, RED is Kieslowski's crowning achievement -- a fascinating mystery sure to dazzle and entertain!
Customer Reviews
Most Helpful Customer Reviews
16 of 16 people found the following review helpful
By A Customer
Format:VHS Tape
Originally, this was the third of the trilogy that I viewed, and it totally blew the first two away. After a long search to find 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 think 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.
31 of 35 people found the following review helpful
Format:VHS Tape
This is a sometimes clever, sometimes corny, but always beautiful story of predestined love.
Jean-Louis Trintignant plays a retired judge, corrupted by an all-consuming cynicism, who meets a beautiful girl, but doesn't fall in love 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 beautiful. She's a French model unloved by her boyfriend (fool that he is) with a demeanor proud, but not vain, vulnerable, but not weak.
The judge is so pathetic that he spies on his neighbors' phone conversations to spice up his lonely and pitiful existence. Their love affairs, their spats, their crimes are piped into him as he sits alone in his house. But she has the genius to appreciate him and to understand him, and so frees him from his bitterness.
We see 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 see further in the character of the retired judge a projection of ideas about how an old man, past any pretense, might love a young woman: wisely, delicately, from a slight distance, without a hint of lechery.
Irène Jacob makes us believe that innocence and instinctive goodness are wondrous qualities, regrettably not much touted these days. More often depicted are women who would rather sing proudly of being bitches while acting out violent, two-fisted, emulations of a bogus masculinity, e.g., see "Single White Female," etc.
Red is for her lips, for the color of curtains and theater seats, for the color of her true love's utility vehicle (often in her sight, 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.
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 plot (Kieslowski loves to surprise us), highlighted by captivating performances from the leads, make this the best of the three.
--Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"
Jean-Louis Trintignant plays a retired judge, corrupted by an all-consuming cynicism, who meets a beautiful girl, but doesn't fall in love 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 beautiful. She's a French model unloved by her boyfriend (fool that he is) with a demeanor proud, but not vain, vulnerable, but not weak.
The judge is so pathetic that he spies on his neighbors' phone conversations to spice up his lonely and pitiful existence. Their love affairs, their spats, their crimes are piped into him as he sits alone in his house. But she has the genius to appreciate him and to understand him, and so frees him from his bitterness.
We see 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 see further in the character of the retired judge a projection of ideas about how an old man, past any pretense, might love a young woman: wisely, delicately, from a slight distance, without a hint of lechery.
Irène Jacob makes us believe that innocence and instinctive goodness are wondrous qualities, regrettably not much touted these days. More often depicted are women who would rather sing proudly of being bitches while acting out violent, two-fisted, emulations of a bogus masculinity, e.g., see "Single White Female," etc.
Red is for her lips, for the color of curtains and theater seats, for the color of her true love's utility vehicle (often in her sight, 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.
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 plot (Kieslowski loves to surprise us), highlighted by captivating performances from the leads, make this the best of the three.
--Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"
12 of 13 people found the following review helpful
Format:VHS Tape
Every great director creates a sort of myth around his or her work. For Kieslowski, his ultimate denouement finds its place in Red. Red is the third and final film in Kieslowski's Trois Colours Trilogy and, in fact, the last film of his career. It takes place in Geneva, a city renowned for its neutrality and aloofness in an already very aloof and very neutral country. High in the Swiss Alps, the story concerns a young model and part time student, Valentine, and a regretful and reclusive old judge, whose name is kept a mystery. Like in Bleu, the first film in the series, the primary story begins with a car accident, as Valentine runs over the Judge's dog. When the Judge refuses to accept the wounded animal, Valentine is forced to take the dog to the veterinarian. When attempting to return the dog once again after her treatment, she discovers that the Judge is spying on his neighbors with his radio equipment. Valentine cannot bring herself to denounce the Judge, although she finds his actions utterly reprehensible and a bit pathetic, and even takes part in the Judge's world of detached moral condemnation by calling a man whom the Judge suspects is a drug dealer (her brother being a drug addict) to curse at him. From that point, the Judge and Valentine engage in what at first is an ambivalent relationship, but which slowly and intimately melts into an exchange of fraternity. The relationship grows closer as both make sacrifices for each other and emotional revelations between each other, dredging up painful memories, revealing long held secrets, mistakes, and vanities, and admitting misplaced or unrequited love. The film ends in a tour de force, as there is a fulfillment of Kieslowski's promise of liberty, equality, and fraternity.
Most Recent Customer Reviews
2.0 out of 5 stars
What the?
If this was the best of the trilogy, don't waste your time! Overly melodramatic, which really says alot as melodramatic is "beyond beyond" as it is!
Published 1 month ago by Alyson Ford Fowlks
5.0 out of 5 stars
can't watch this often enough
The combination of theme, performances, story, photography and characterization makes this one of the finest movies I have experienced. Read more
Published 1 month ago by Mary M. Watson
4.0 out of 5 stars
Good, thought provoking, poetic
And poetic realism is why I liked it. I am not trying to judge it by how much of the movie is "plausible," rather how nicely the producer linked together the stories to create a... Read more
Published 16 months ago by Kafishna
5.0 out of 5 stars
Great!
one of my top 10 all-time films, and my favorite of the Trois Couleurs trilogy; partly because of the way it ties all 3 films together at the end. Read more
Published on April 1, 2011 by vta
5.0 out of 5 stars
Red's A Classic and Ties Up the Trilogy Nicely
Red is the color of Franternite - Fraternity, of human relationships and being with people. A lonely model whose boyfriend is away accidentally hits a dog with her car and becomes... Read more
Published on July 19, 2009 by Lynn Ellingwood
5.0 out of 5 stars
A masterpiece
As you consider watching or buying this movie you may be wondering if you need to see "Blue" or "White" the earlier movies in the trilogy. Read more
Published on June 4, 2009 by L. Power
3.0 out of 5 stars
2.5 stars out of 4
The Bottom Line:
The most impenetrable and less engaging of the three movies, Red is triumphant when it comes to visuals but not as much when it comes to... Read more
The most impenetrable and less engaging of the three movies, Red is triumphant when it comes to visuals but not as much when it comes to... Read more
Published on February 1, 2009 by One-Line Film Reviews
5.0 out of 5 stars
A Beautiful Meditation
The Great Kieslowski strikes again! The most visually arresting of the Trois Couleurs triptych, the film is also a 'button' for the preceding panels/movies, Blue, and White. Read more
Published on January 25, 2009 by J. Marsano
4.0 out of 5 stars
Great
The final film of Krzysztof Kieslowski's Three Colors (Trois Couleurs) trilogy, Red (Rouge), released in 1994, is almost universally acclaimed as the best of the films. Read more
Published on September 16, 2008 by Cosmoetica
4.0 out of 5 stars
Weakest of the Three Colors trilogy is still better than most movies.
Red (Krzysztof Kieslowski, 1994)
Kieslowski wrapped up his Trois Couleurs trilogy with Rouge, and like the others, it's entirely different from its predecessors. Read more
Kieslowski wrapped up his Trois Couleurs trilogy with Rouge, and like the others, it's entirely different from its predecessors. Read more
Published on August 19, 2008 by Robert P. Beveridge
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