June 17, 1994 |
As in the monumental "The Decalogue," in which Polish director Krzysztof Kieslowski probed the relevance of the Ten Commandments in modern life, Kieslowski has been considering the contemporary meaning of the French Revolution slogan "Liberty, Equality and Fraternity" in his provocative ongoing "Three Colors" trilogy, which began with "Blue."
August 13, 1993 |
Saying so much as a discouraging word about "The Secret Garden" (citywide) feels unforgivably churlish. For this is that rare thing, an accomplished G-rated film, made by a respected director with fair fidelity from one of the great favorites of childhood literature. So why does the urge to scrawl graffiti all over its pristine surface seem so irresistible?
December 2, 1994 |
Except for his imposing name, there is little about Polish filmmaker Krzysztof Kieslowski that fits the conventional American image of a great director. His public statements are spare, his subject matter intimate rather than epic, and his interest in anything as flamboyant as a cult of personality is nonexistent.
March 12, 1993 |
"Olivier Olivier" has no trouble with what most films find difficult but stumbles over what should be easy. The result is an emotionally powerful piece of work that is unsatisfactory in terms of simple plot logic, a compelling picture marred by a clumsily built frame. Like writer-director Agnieszka Holland's previous film, the stranger than fiction "Europa Europa," "Olivier" (selected theaters) is based on a true story, in this case one that Holland read in a Parisian newspaper in 1984.
October 24, 1997 |
"Fairy Tale--A True Story" is an enchanting, gorgeous-looking movie recalling "The Little Princess" and "The Secret Garden" that, like them, involves a spunky little heroine on her own coping in a new environment. It is even set in the same early 20th century era as the two earlier pictures. It's 1917 and World War I is raging. In the audience at London's Duke of York Theater is 10-year-old Frances Griffiths (Elizabeth Earl), riveted by the sight of Peter Pan flying across the stage.
December 8, 1993 |
It is a mark of the virtuosity with which director Krzysztof Kieslowski has made "Blue" that it is possible to envision its intensely emotional story of a woman's search for meaning after tragedy unhinges her life becoming, with slight tinkering, the plot for a standard-issue Bette Davis "women's picture" of the 1940s. Yet there is nothing ordinary or banal about the way Kieslowski, a Polish director now working in France, has gone about his business here.