Symbols
Music plays an intricate element of the plot in that it illustrates Julie's efforts to be isolated from everything but cannot do it, such as music cannot be made with a single note but through harmony with all others and how everyone has (or represents) a different kind of music, such as the union of Julie/Patrice had a special tone, which is quite different and more raw with the union of Julie/Olivier.
A symbol common to the three films is that of an underlying link or thing that keeps the protagonist linked to his/her past. In the case of Blue, it is the lamp of blue beads and a symbol seen throughout the film in the TV of people falling (doing either sky diving or bungee jumping), the director is careful in showing falls with no cords at the beginning of the film but as the story develops the image of cords becomes more and more apparent as a symbol of a link to the past. In the case of White the item that links Karol to his past is a 2 Fr. coin and a plaster bust of Marianne that he steals from an antique store in Paris. In the case of Red the judge never closes or locks his doors and his fountain pen, which stops working at a crucial point in the story.
Another recurring image related to the spirit of the film is that of elderly people recycling bottles: In Three Colors: Blue, an old woman in Paris is recycling bottles and Julie does not notice her (in the spirit of freedom), in Three Colors: White, an old man also in Paris is trying to recycle a bottle but cannot reach the container and Karol looks at him with a sinister grin on his face (in the spirit of equality) and in Three Colors: Red an old woman cannot reach the hole of the container and Valentine helps her (in the spirit of fraternity).
Read more about this topic: Three Colors: Blue
Famous quotes containing the word symbols:
“For all symbols are fluxional; all language is vehicular and transitive, and is good, as ferries and horses are, for conveyance, not as farms and houses are, for homestead.”
—Ralph Waldo Emerson (1803–1882)
“Eloquence must be grounded on the plainest narrative. Afterwards, it may warm itself until it exhales symbols of every kind and color, speaks only through the most poetic forms; but first and last, it must still be at bottom a biblical statement of fact.”
—Ralph Waldo Emerson (1803–1882)
“Children became an obsessive theme in Victorian culture at the same time that they were being exploited as never before. As the horrors of life multiplied for some children, the image of childhood was increasingly exalted. Children became the last symbols of purity in a world which was seen as increasingly ugly.”
—C. John Sommerville (20th century)