I. Trois Couleurs: Bleu

Krzysztof Kieslowski

For quite a long while, I have been putting off these posts on Kieslowski's Three Colors trilogy. Perhaps this is because they are so dear to me that I hesitate to touch them lest their significance be lost in too ponderous and compact a thought.

Regardless, I have made my disclaimer, and so refuse to accept any blame for the comments that follow. They are meant as a guide, or a jump-start, to contemplation of what must be privileged the name of masterworks.

It is held that these films are themed according to the values of the French Revolution: liberté, egalité, fraternité. And while said values are expressed in these films far better and in far purer a manner than was within the capability of those revolutionaries, themes of human sorrow, love, loneliness, regretted revenge, and great joy are also compellingly portrayed in Kieslowski's characters. As Kieslowski himself stated, "The words [liberté, egalité, fraternité] are French because the money is French. If the money had been of a different nationality we would have titled the films differently, or they might have had a different cultural connotation. But the films would probably have been the same." (Wikipedia)

Just as there may be found the themes mentioned above, there may also be found the traditional elements that make a story in film: plot continuity, character development, appropriate setting and costume.

Yes, there is a story in Bleu. It is the potent tragedy of a female musical genius who loses both the husband she made famous and her young, innocent daughter in an automobile accident.

However, just as the capricious human element forces the film to transcend its presumed themes, the dynamics of music and color accentuate those archetypal human compulsions so that the film transcends a particular plot, a particular character -- while yet retaining the indispensable characteristics of particularity. We are conscious, ever, that we are watchers, that even Julie is a watcher, a voyeur, of her own daily life, a tableau of the cosmic fable of which she too is a part -- the giant, the miniscule at times overwhelming each other, but always interpenetrating.

Bleu is a display of this participation. We are meant to understand that the score is composed by Julie herself. And yet the score plays throughout the film, as if pre-existent, ever-present. It is outside and inside. It is also outside and inside of Julie's ownership. There is a man who plays the recorder in the streets of Paris; he plays her music -- or they play a common music. She asks him how he knows it: "I like to play. I make up lots of things."

Moreover, the cosmic purview of the music -- or the great silence to which it gives birth -- enhances the intensity of every particular emotion, every personal encounter, every knock on the door at night. Even Julie seems aware of its rare effect, and appears at once detached and submerged in the flights and plunges of agonized self-isolation, passionate self-destruction. She seems intuitively aware of the spiritual significance of suffering, in a fashion -- at least aware that it is leading onward to something, and this is why she does not complete her attempted suicide.

Onward and onward to the purge of loss, a heart speared and quivering. And strangely finds peace in the knowledge of her husbands affair.

She is not so indebted, not so deeply bound by ties of identity. The relationship between husband and wife is revealed to be less than she had perceived -- and so she is more of the heroic composer of great music than she had created in her husband -- he detached with the lover, he only a face, a name, she the reality.

In the beginning, after her release from the hospital, she seeks out a colleague who keeps the record of her music, and destroys the only known copy, but in a strange foreshadowing, the music continues.

By chance, Julie catches a glimpse of television, where her husband's colleague (Olivier, who is and has been in love with her) is being interviewed concerning his attempt to finish the incomplete composition. (Another copy has been kept -- "one cannot destroy something so beautiful.")

After the interview, photographs are displayed on the screen of her husband (Patrice) and his lover, of whom she had theretofore been ignorant. In this strange moment of ... grace, if you will, both she and her music are freed in some way -- she from a portion of grief, the music from its limbo of spousal ties beyond the grave. The old is not lost, but a new life can begin -- Julie awakens to a frustration with Olivier for presuming to attempt the fulfillment of so great a work of art freighted with such personal memory. She sets out to stop him, but instead hears him out.

She helps him to understand the beauty, the strain. A new thing is formed. What is broken is renewed, and the human story is woven with a new complexity, hence a new beauty.

"I may speak with every tongue that men and angels use; yet, if I lack charity ..."

I simply insist that you hear the soundtrack. You will live ... better. ... I certainly have. The film is part of the ostentatious Criterion Collection, and therefore may be found on hulu. Alternatively,

:)

Enjoy. Tell me about it.

The Savage

I recently shared midday meals and time with strangers during a training course near the Gulf coast in Texas that I attended for work. As the training involved a supposedly "universal" incident management program, there were individuals present from both government agencies and private industry.

On the second day, I shared lunch with one man, a trainer in operations with the army. He was stationed in the area. And soon I realized that neither of us were sitting at that table for any particular reason.

He had been in California, Louisiana, Kansas, New York. I had been in Louisiana, North Carolina -- these for birth and family, education and joy. To Texas came I for sustenance, which in this State (i.e. the U.S.A.), must come from money.

After lunch we sat in my car, waiting through the 2-hour period so irregular for us, perhaps not so for the others, who were public servants. Like me, one of his enjoyments is music in the Irish tradition. We both know of Julie Fowlis.

Yet as we sat and spoke of music -- and listened -- I could not dispel the feeling that neither of us were at all capable of interesting the other. Neither of us were at all capable of engagement, cordiality, connection.

"Yes, I know this artist you speak of. Do you know this one?" And a dry exchange ensues.

He had a humility and honesty about his eyes and speech, but perhaps the iciness of Statism or the gray sky or the cold unshakeable tool of capitalism that makes its will ever known to our fears came like a silent wave and shook our plastic & leather capsule til we were subdued and wanted escape -- not from the truth but from the reminder of the truth in a man's eyes, heart, tongue.

Here in Houston, we are all killers. On the roads, we are seldom hot and angry, just full metal coolness and murder. To every man a compensatory pick-up truck. But the object dissipates as we climb into our vehicles and the desire to inflict upon mad drivers the panic only comprehended as hatred overthrows the possibility of temporal despair. And we are all lost in the welling hell.

Once back to the plastic and leather capsule of our holes, we dive into the filtering shell that seems to be an outlet but really is a thief in saving us from saving harm.

And paradoxically, you should watch The Matrix and try with good will to see how we are hastening the loss of the human. And paradoxically I will write on, aware of the death clinging to my words unless you let them live.

I do not want the grace of doctrine. If my mind is free, but every act refutes its call to free my body, my mind is in chains.

I want not to be a slave. I do not want my fruit taken with assumed justice unless I see it's worth the price. And I cannot see it. And unlike God the United States of America merits no Mystery.

What is to become of us? What is to be done, my dear fellow slaves? Dare we raise our heads and cry to God the shame upon the heads of those who bend our noses to mirrors on the ground? Dare we cry shame upon our own heads as we bend them to the ground?

God save us and have mercy.

If I were not drawn with fear and harsh words saying I neglect responsibility, I would drop this sordid towel that mops the drops gushing from the staunched fountain. Death and love and freedom rather than ongoing.

God did not make these walls.

Will someone shoot you for saying "I am a man, and will forage for food. I am a woman, and will feed my child. I am a man, and will farm this land you leave wanton and fallow. I am a woman, and will tend this house you leave neglected"? Perhaps it is best to be shot.

Shots can not harm us as we walk through the fields, feeding a living act of God's love with grain on the Sabbath.

I would invite any and all to contemplate these shots and those rocks that come in through the window in Trois Couleurs: Rouge. See earlier post for viewing information.

Krzysztof Kieślowski: Polish Filmmaker

Recommended

This post will serve as the introduction to a series on Krzysztof Kieślowski, a Polish filmmaker widely unknown in America, who directed many films of great intuition and artistry from 1989 to 1994. 

A master of the contemplative moments of life, he captured complex emotion with the aid of powerful sound scores by the Polish composer, Zbigniew Preisner, with whom he worked closely on some of his greatest pictures, such as the Trois Couleurs trilogy and La Double Vie de Véronique. 

Noticeable characteristics of his cinematographic style include long shots of characters making their paths through the streets, sequences devoid of dialogue with movement seemingly directed by the almost constant musical accompaniment, and a conscious use of color tones to achieve diverse moods.

Singularly masterful in comparison to most contemporary filmmakers, Kieślowski's ability to convey the human condition as beautiful, mournful, solemn, and sublime dwarfs the standards of Hollywood that attempt to simplify human experience to a few immobile sentiments, reactions, needs. Kieślowski's characters cannot be pinned down. They seem to be the best representations of the fallen human self, free from assumptions and surmise. They have infinite potential, and no trite, quick conclusion is employed to flatten them. They remain real.

We may be blessed with one lonely hermit of the same breed, and of course I mean Terrence Malick, who has also applied the compositions of Preisner -- as well as John Tavener (d. 2013) -- to his work.

Enjoy the trailers. Dive into the human story and the fragrant bath of life. More to come.

Concerning Music

Part III: Voices of Heaven

The human voice, almost unlimited in its range of application and its potential for communication, is truly a wonderful gift. In its very nature as intrinsic to humanity lies its unique quality of being the only musical instrument created directly by God Himself. In the Incarnation, God became man and took on a human body. Because of this act, there is something of the divine nature in the human voice. In this divine quality rests the capacity to be raised to the level of the sublime, and also lowered to that of the profane.

In song, the words commonly used for communication are given a quality which rises above spoken words. A person must pour all of his musical skill into the words in order to make them resound with the beauty of musical art. Simply put, the singer endows his words with all the beauty he can give them. Because of the spiritual quality of the human voice, the words he chooses to hallow by making them into song become very important. Transform sacred words into song, and they become divine. Adapt depraved and vulgar words or stories into song, and they become a mockery, and in this mockery the singer commits blasphemy against the divine nature of the instrument, against the Giver and Bearer of this instrument Himself.

It is in this mockery that we find hidden and subversive elements of Satan's influence. After all, what can Satan do apart from make a mockery of what is good? It is in the demonic hallowing of depravity under the disguise of music that the fallen angel of light dupes us into overlooking one of his greatest deceptions. We see the evidence of this lie everywhere. Songs whose words celebrate every form of human concupiscence have subtly made their way into the enjoyment of those in even the most pious of social circles. These songs have gained acceptance because they bear the disguise of music, which may be appealing by itself. But in truth, what greater mockery is there than to make a divine instrument sing the praises of sin itself? The hideousness of this great perversion is as frightening in its reality as it is powerful in its infernal practice.

Now a word on the unfortunate phenomenon spearheaded by the growth of mediocrity in music. In the popular music industry, there is a severe lack of appreciation for true vocal talent. The predominant idea, cemented in our minds by such exhibitions as "American Idol", is that that anyone with a flair for performance and who can prolong words into a semi-rhythmic or melodic pattern can make good music. The aid of technology has been a great boon to this mediocre industry. This cheapening and commercialization of music, in particular the human voice, has led to a society with wide-ranging ignorance of the existence of true beauty in vocal music.

In the classical tradition we see a vast deposit of beautiful vocal compositions. Yet the classically trained singer is perhaps one of the most under-appreciated of musical artists. Their talents can be seen most prominently in the great classical operas. In modern times they have become more diversified in their range of musical selections, yet the beauty and purity of the trained human voice remains. But it is in the choral tradition that the human voice achieves its highest musical function. There is little in our world that can contend with the awe-inspiring beauty of many human voices raised in harmonic unison. In secular music it achieves an unparalleled level of beauty. In sacred music it rises to entirely new level. From the majestic and powerful polyphony of the Byzantine tradition to the haunting and ethereal chant of the Gregorian tradition, we see the true perfection of the human voice, of the art of music, and of communal worship. The works of Bach, Handel, Allegri, Palestrina, Vaughan-Williams, Rachmaninov, Tavener, and many others will forever be paradigmatic of this wonderful tradition of choral music.

I hope it is now easy to understand how the human voice in musical art can not only make the art as perfect as humanly possible, but in its sacred capacity, as in worship, it becomes the epitome of artistic beauty while transcending art itself. It is in the great choral compositions, where the words of worship have been transformed into the beauty of music, that we find ourselves wondering if the angelic choirs would sound much different if given human voices. There is such a pure and ethereal quality about such music, that it often seems out of place in our fallen world, and indeed it might be. It has been said that the language of heaven is music. I am convinced that our voices, raised in worship and endowed with all the beauty of music, are but a small taste and foreshadowing of Paradise.

Concerning Music

Part II: Worlds of Music

There exists a wide disparity within musical genres and styles. Many of these differences are centered solely around different cultures, but even within the same culture there are major dissimilarities. I think it can be deduced from this fact that people listen to and enjoy music for a variety of different reasons. While the decision to listen to a certain genre of music is in part determined by the individual's familiarity with it (nostalgic attachment), one also listens to a particular genre for the sake of the feelings and thoughts that it inspires. It is important to observe that these two reasons are very much related.

I will begin by describing two musical styles or genres that appear exceedingly different and nearly present a kind of musical dichotomy. Because of the many sub-genres and various categorizations related to each of them, I will, for the sake of simplicity, refer to them as they are commonly categorized: art music and popular music. There is a third category, folk music, which, also for simplicity, I will group with popular music. Although my definitions of these categories are loosely applied and may be too rudimentary, they will serve well the intent of this essay. Once again, I will analyze music independent of all human vocals, which will be discussed in detail in part three.

Popular music is characterized, among other things, by an easily discernible and often dominant rhythm or beat. This rhythm is usually marked by percussive instruments. One may find it easy to imagine our primeval ancestors discovering that beating on various instruments to accompany dance or song was very satisfying. This rhythmic and percussive music appeals to our very nature as physical beings. The beat of our hearts, the circulation of our blood, our breathing; these natural and physical markers of life are represented in rhythmic music at a fundamental level. This is possibly the most basic explanation as to why human beings are innately attracted to popular music. Observe the response that most people have to a popular song; their body almost naturally begins to move in time with the beat, often culminating in some kind of dance or similar carefree activity. The happiness that can be gained through the enjoyment of popular music is real, but because it is normally just a physical emotion, it is fleeting. This explains why the popular music genre is growing so rapidly; why there is a constant demand for new music, and why there are very few popular songs that are "timeless."

Art music is commonly referred to as classical music, although art music encompasses a much broader spectrum of music than classical, which is actually a sub-genre. It can be very loosely characterized by the absence of a dominant rhythm and by its skill-based artistic origin. Many art music pieces are written to showcase the skill of a particular musician or composer. There is something about the absence of a dominant beat that requires the listener to transcend physical human instincts. The appreciation for art music becomes much more intellectual; we can often find our minds hard at work to match the music with something that is familiar to us. This makes sense when one considers that this kind of music is often associated with intellectuals. Observe someone listening to a piece of beautiful art music; the eyes are closed and a slight smile will sometimes appear. There is a kind of peace and tranquility about raising the mind above visible realities. Although we may not be able to relate physically to what we hear, we somehow know that there is great beauty in it; that it hearkens to something beyond the human condition. Many composers of classical music understand this and they often attribute or dedicate their music to some kind of spiritual reality.

When God created our universe he created order out of chaos. He designed human beings to desire order and beauty. There is something within an ordered rhythm that appeals to our nature as God created it. Music that represents the order within creation is truly beautiful. Keeping this in mind, a perversion of popular music arises in a disordered and chaotic rhythm, as is perhaps exemplified by the dubstep genre, as well as other rising genres. Sounds and tone patterns that would, taken by themselves, be naturally displeasing to the human ear, as in the heavy metal genre, are another example of disorder in music. Art music too is subject to this corruption of rhythm and melody. Experimental and cacophonous melodies or sounds have become more prevalent within the art music world and show a frightful disregard for order and natural beauty. This represents the very "modern" idea that ugliness and disorder can be made into art, and it exemplifies a perversion of the nature of art and beauty itself. It is the "enjoyment" of disordered music that leads to negative thoughts and emotions; indeed, some music is actually formulated for this very purpose, and it is only out of great ignorance or a desire to satisfy human concupiscence that these disordered musical styles can be enjoyed.

An important phenomenon to consider is that people develop nostalgic attachments to certain types of music. These attachments are, to a certain extent, independent from the objective nature of the music. Memories associated with a certain musical piece can, for the individual, completely change the effect that may be commonly perceived or that the artist or composer had originally intended. Children who grow up with certain musical genres have a greater appreciation for them as adults. It is this learned bias towards music that could explain why a person who loves beauty and order can enjoy what may be categorized as disordered music. One must always remember that attachments and biases often cloud clear thinking, and that we must learn to judge art objectively as well as subjectively.

Because of technological advancements, the skill required to produce music has been greatly minimized. This accounts for a sharp increase in mediocrity, especially in popular music, although art music is by no means exempted. The very real fact that almost anyone can compose music which will appeal to many, regardless of skill, and the fact that a general appreciation for genuine quality and skill has all but disappeared, has given rise to the music industry. It is an industry which churns out mediocre art for profit, and one which many sadly uneducated people have been drawn into. This point brings us back to the first part of this essay concerning music as art. Mediocre "art" created simply to make money is not art.

A final note concerning the appeal of art music. I am speaking primarily about most orchestral, film, and incidental compositions. I mentioned that our minds naturally seek to match what we hear to something which is familiar to us. The difficulty with the music I have just mentioned is that they do not easily coincide with life as we normally see it. This is one of the reasons it is often used to accompany a story, a story which may often be so fantastic that, if experienced in our everyday life, would be called miraculous. When I listen to beautiful orchestral music, my mind is drawn into the worlds of Narnia, Middle Earth, or Perelandra, the worlds of mythology and fantasy, worlds that are, in a sense, more real than ours, as G.K. Chesterton has observed. The contemplation of worlds where beauty does not wear a mask, where truth is not locked in churches and where goodness is not a mental construct is where the listener often finds peace. Of course, these worlds would be incomplete and even meaningless without the absolutely true, constant, immediate, and dare I say, fantastic reality of the story of our salvation. No story is more true and real than the story that is true and real for all the universe, unbound by culture or by history, free from the limits of time and space. For me, music has always been there to point the way to this world. To those heights we must all go, and we should not dismiss the guiding power of music.

Concerning Music

Part I: Musical Transcendence

 

I have always had an immense love and respect for music. Its capacity for celestial beauty and ability to inspire has affected billions of people, yet its power is often underestimated. In this series of articles, I will describe a fundamental and basic understanding of the nature (and effects) of music, in the hope that my thoughts are as close to the truth as possible.

While I have had some training in music, I have very little education in regards to music theory and the psychology and philosophy that informs it and flows from it, so I hope the reader will forgive me for any errors arising from my ignorance. Everything I know concerning this subject is rooted in my own observations and my basic psychological and philosophical knowledge (a knowledge founded in simple and universal metaphysical principles).

Let me first vehemently establish that there is an objective good in music. The common perception that good in music is subjective or relative is a fallacy. Music, first and foremost, is art. The final end and purpose of art is to portray truth (which, in this article, is synonymous with reality) and beauty in creation, to portray what is truly real, and its ultimate effect will necessarily be the raising of the mind to the Creator and the First Artist. It is a simple fact of human experience that some art fulfills this task better than others.

All art is subject to an objective judgement in the sense that it is either good art or bad art. This judgment is determined by both an objective and a subjective element. The subject matter of the art itself can be judged objectively according to its beautiful portrayal of what is true or real, and subjectively dependent on the skill of the artist and his ability to model his art after beauty and truth. In short, the objective good of the artifact is directly related to the objective good of its model, and the subjective good is directly related to the likeness between artifact and the model, which is dependent on the skill of the artist.

(A note on my use of the terms "truth" and "reality":  sin in itself is a lie, a turning away from all that is true, from God Himself. God, as Being Itself, contains within himself all that is, therefore all that is real is in God. Thus, in this metaphysical sense, sin, by itself and for itself, is not real and cannot be the subject of art. However, the effects of sin such as mercy, suffering and death, justice, damnation and forgiveness are valid, and indeed highly appropriate subjects for art as they are ultimately about our relationship with God. Furthermore, as the transcendentals {truth, beauty and goodness} all reside in God it follows that these "effects of sin" are objective goods.)

Music as art has the unique capacity to be modeled after a diverse and often exceedingly profound array of subjects. To clarify, I am speaking primarily of music separate from human vocals. The presence of vocals in music adds an entirely new element which I will describe in the final portion of this essay.

At its most basic level, music is written to tell a story, and the artist struggles to illustrate this story with the often ambiguous sounds of musical instruments, knowing that the quality of his art will be judged by how well it tells the story. Observe that such music can illustrate an objectively good story, as well as a story lacking in goodness.

Another model for musical composition is human emotion itself. It is in this arena that music has its real power, for it can represent and inspire nearly every emotion, both good and evil. How often have our moods been quickly changed by an arrangement of musical notes? This power has often been used to influence people for good as well as for evil. Ultimately it is by the emotive power of music that our thoughts and feelings are raised to the divine or lowered to the profane.

One may argue that this is a utilitarian understanding of music; that it should stand on its own apart from human influence and desire. In reply I would ask: in what realm, in what manner, and to what end can any art form be separated from the mind who gives it form and from the souls who will experience it? There will always be a part of us in that which we create.

In summary, music in its most perfect form and separate from vocal elements will represent the good (in light of the use of a transcendental here, one may even substitute the word "transcendent") in humanity and nature. Follow music to the heights (or depths) from which it flows and to which it leads, and it will ultimately inspire the contemplation of the beauty that is in all of creation, thus aiding in the ascent of the mind to the Creator Himself.

I have established the purpose of music as an art form; now one may readily ask how this is applicable to the vast array of musical styles and genres. Are there musical styles that represent beauty and truth more perfectly than others? Do certain genres inspire positive emotion while other genres inspire negative emotions? The answer to both these questions is yes, and I will explain how and why in part two of this article.