Rating: 
Summary: my opinion
Review: I don't like this director very much, including 4 movies and maybe 5 shorts films i ever saw. He has not poor but no taste...or maybe horrible, horrible taste. He tells lies in his movies. Anyway i admire Julie Delpy here very much!
Rating:
Summary: I'm a tough film sell but this was sensational
Review: I'm not an easy consumer of films---I've never seen E.T., nor Jaws nor Jurassic Park, nor most of the Indiana Jones films, my interests are most esoteric, creative. I slept thru the day and subsequently wa sup teh night with nothing to do so I dug out my video tapes that I hadn't seen yet. First Blue and then White. White is amazing. Little Karol is heartbreaking adorable and ... and as he progresses through the film becomes almost dynamic, ..., charismatic with the power he soon weilds. He's a simple man, simply in love with a woman who may or not have married him to bilk him---I wa snever quite clear if she saw an opportunity with this renowned Polish hairdresser or if he truly failed her in the marriage. She makes much of his impotence but it seems to stem from his worship and adore for her that he doesn't want to sully her with carnmal passions. Unfortunately she's a carnal woman. Finally Karol gets himself sent back to Poland in a suitcase (hilarious by itself) and goes to work for the quasi-Polish mob and eventually tricks them. What I appreciated most about this film was that Karol is not a dumb man, nor is he a loser, he's simply a man too far in love with someone who doesn't appreciate the depth of that love. Yet what make sthe film a masterstroke is the otherside that love comes out to---there is indeed a thin line between love and hate. The way the plot itself meanders, self aware of it's destination with only vague hints as to its' intentions also make this a triumph. Karol's love-revenge at the end is so subtle, so devilishly simple and yet a true, true comeuppance to this woman that it realizes itself as giving her what she wants, what she needs and then makes her ask for what he wants. If you love someone you set them free but if you adore someone you create a huge White space within their consciousness about ones self. Domonique will never, ever forget not truly begin to fathom Karol and how he loved her. It just occured to me that perhaps certain peopel don't understand love and must be put away for teh sake of those who love too much---another meditation on this film. Yes, I will be sending it to Aisha the Actress.
Rating:
Summary: Subtley Brilliant
Review: I'm usually not too much into foreign films. I decided to watch this one since one of my favorite actresses, Julie Delpy (who enraptured me in "Before Sunrise") was in it. I must admit, the first time I watched this movie, I was like "what the hell...?" However, the more I thought about what I saw, the more I understood. A lot of this movie is very subtle. I've seen reviews claiming it's a dark comedy, but I don't see what's funny about this film (I didn't laugh a single time). But that's not the point; even without understanding the humor, I could see the raw emotion that drives this movie. I've heard a lot of people rave about the final scene in this movie, and they should. It's the GREATEST, most heart-wrenching, emotional, poignant scene in the HISTORY of motion picture! I had to rewind the tape because I didn't understand Delpy's "sign language" the first time. However, once I did, it just touched me in a way no that other movie scene ever has. To people who will watch this movie for the first time; watch the last scene with all your attention! You'll be richly rewarded! One last thing; WARNING, this is not a happy movie. Don't be fooled by critics claiming it's a "comedy". It's an incredibly sad and poignant movie.
Rating:
Summary: Kieslowski's Die Hard trilogy
Review: If you're looking at this film, you won't be expecting car chases and machine guns ... These three films, of which Blue if the first, form a close-knit trilogy and together offer a perfect example of what European film makers do so well and Hollywood does so badly, spellbindingly slow studies of character and situation that draw you in, that you need to relax into like a hot bath.If you agree that films can be an artform and not pure entertainment, you don't faint at the thought of subtitles and you don't need an explosion every five minutes to keep you concentrating, give these a try.
Rating:
Summary: Kieslowki's Die-Hard trilogy
Review: If you're looking at this film, you won't be expecting car chases and machine guns ... These three films, of which White is the frivolous central movement (almost like the light-hearted scherzo between the dramatic opening and closing sections), form a close-knit trilogy and together offer a perfect example of what European film makers do so well and Hollywood does so badly, spellbindingly slow studies of character and situation that draw you in, that you need to relax into like a hot bath. I shan't go into the symbolism of the three films - the themes of colour and "freedom, equality and fraternity" - as that is dissected far better in the other reviews. I will say, however, that you don't need to know any of that and can enjoy these films as simply great beautiful works of art. If you agree that films can be an artform and not pure entertainment, you don't faint at the thought of subtitles and you don't need an explosion every five minutes to keep you concentrating, give these a try.
Rating:
Summary: First Among Equals
Review: In downtown Warsaw, where so much of "White" is set, there was an electric sign celebrating Poland's recent release from the Iron Curtain of communism by praising Bill Clinton and splashing around an American flag. The electric sign, though, was not like the monumental Panasonic sign in New York's Times Square. Rather it was more comparable to the signs composed of light bulbs that can be found in major league baseball stadiums. I thought of that sign many times throughout "White," how meager it looked in a nation already so deprived. "White" deals with the disillusionment and failure of one man who represents the disappointment of a nation. When the protagonist, Karol, returns to Warsaw from Paris, after being rejected and betrayed by his French wife, Dominique, through divorce and infidelity, and by the French court, whom Karol believes has cheated him in the divorce by giving him nothing because he cannot speak French (both a clear metaphor for the West's disregard of Poland), he is greeted by a city where bands of thieves roam the land like the Middle Ages, and gangster capitalists own everything and can buy anything. Karol then aspires to become part of this amoral ruling class, thereby becoming more equal than anybody else. In "White," besides the inequitable wealth between Karol and his fellow Polish countrymen, there is an intricate interplay between the affluence of the West and the lowered expectations of Poland. In Paris, Karol and is wife owned a clean well-lit salon, but back in Warsaw, his brother's salon has little more than a gaudy electric sign to distinguish it from the days of communist rule, and it is located along a muddy, unpaved road. A loan shark, who hires Karol to protect him, gives Karol what amounts to a cap gun as his weapon. And even an expensive office building in downtown Warsaw only has a few phone jacks. This comparison is perhaps Kieslowski's message that there is no perfect equality, either within a nation (as demonstrated through both Karol's amassed wealth and influence, and the discrimination against his at the hands of the French judicial system) or between nations. Kieslowski also suggests, through the relationship between Karol and Dominique, that perhaps love can bridge this gap.
Rating: 
Summary: "Home at last!"
Review: Krzysztof Kieslowski's second entry in his "Three Colors" trilogy is filled with less dread than its predecessor "Blue," but that is not to say that "White" is a totally whimsical film. "White" is actually a revenge-tale that has an underlying mean streak in addition to its more comical elements. It is a film that revels in the idea that a man scorned can be just as dangerous as a woman scorned. "White" traces the journey of Karol (Zbigniew Zamachowski), a hairdresser from Poland. Karol is a simple man who has become despondent over his upcoming divorce in France. Unable to reconcile with his former wife, Dominique (Julie Delpy), Karol returns home curled up in a suitcase and sets into motion a series of events that culminates with him becoming a successful businessman. He uses his newfound wealth and power to reignite Dominique's interest in him, but when she arrives in Poland, Karol exacts his revenge when she unwittingly falls into his trap. Zamachowski's performance in "White" is a treasure. His Karol is a lovable character whose darkness comes as a bit of a shock when it emerges because of the disarming effect of his more charming side. Yet, this does not mean Karol is sinister. Calling him complicated would be more accurate as the film makes clear that he has mixed feelings over his actions. While he wants to get even with Dominique, he is still deeply in love with her as she continuously fills his thoughts long after they are separated. Such a complicated characterization is a welcome sight amongst the one-dimensional stock figures that inhabit many current films. "White" doesn't have the dramatic impact of "Blue" but is still a worthy continuation of the "Three Colors" trilogy. If anything, it will make you realize that not all people that project a jovial exterior are truly completely jovial inside.
Rating:
Summary: "Home at last!"
Review: Krzysztof Kieslowski's second entry in his "Three Colors" trilogy is filled with less dread than its predecessor "Blue," but that is not to say that "White" is a totally whimsical film. "White" is actually a revenge-tale that has an underlying mean streak in addition to its more comical elements. It is a film that revels in the idea that a man scorned can be just as dangerous as a woman scorned. "White" traces the journey of Karol (Zbigniew Zamachowski), a hairdresser from Poland. Karol is a simple man who has become despondent over his upcoming divorce in France. Unable to reconcile with his former wife, Dominique (Julie Delpy), Karol returns home curled up in a suitcase and sets into motion a series of events that culminates with him becoming a successful businessman. He uses his newfound wealth and power to reignite Dominique's interest in him, but when she arrives in Poland, Karol exacts his revenge when she unwittingly falls into his trap. Zamachowski's performance in "White" is a treasure. His Karol is a lovable character whose darkness comes as a bit of a shock when it emerges because of the disarming effect of his more charming side. Yet, this does not mean Karol is sinister. Calling him complicated would be more accurate as the film makes clear that he has mixed feelings over his actions. While he wants to get even with Dominique, he is still deeply in love with her as she continuously fills his thoughts long after they are separated. Such a complicated characterization is a welcome sight amongst the one-dimensional stock figures that inhabit many current films. "White" doesn't have the dramatic impact of "Blue" but is still a worthy continuation of the "Three Colors" trilogy. If anything, it will make you realize that not all people that project a jovial exterior are truly completely jovial inside.
Rating: 
Summary: Mouse's revenge
Review: Mouse's revenge WHITE is one in a trilogy of French films also comprising BLUE and RED. As the film opens, Polish emigre Karol Karol (Zbigniew Zamachowski) arrives in a Parisian court for his divorce hearing. His wife, the ravishing Dominique (Julie Delpy), is giving him the toss because he no longer satisfies her sexually, although she admits he was hot stuff when they first met in Warsaw. After the dissolution of the marriage is decreed, Dominique dumps Karol's possessions, all contained in a large trunk, into the car park and drives off. Karol soon discovers that she's also cut off his access to their joint bank account. Karol, now down and out and soliciting handouts in the Paris Metro, absorbs the abuse without any overt sign of anger, even after his ex figuratively pushes his nose into the fact that she's copulating with another man. Karol is the meekest and most inoffensive of men. Let's not mince words; he's a wimp. With the help of another Pole, Mikolaj (Janusz Gajos), Karol returns to Warsaw by an unusual route. Once arrived, he literally ends up in a ditch. Rock bottom is a hard place. Karol is an award-winning hairdresser, and he begins working in his brother's beauty shop. Through good luck and a series of shrewd moves unrelated to the hair trade, he becomes rich. And it's also clear that he remains obsessed with Dominique. WHITE is somewhat less subtle than BLUE, and therefore demands less cerebral exercise on the part of the viewer; BLUE tries too hard to be obscure. Karol is an enormously endearing character, much like a puppy that's been kicked. And, though we don't know what his grand strategy is, we recognize that he has a plan that he's clearly implementing. The lovely Juliette Binoche in BLUE is a more aloof figure as she struggles to recover from a family tragedy, and it's only from close-ups of her face that the audience can infer what's going on inside. WHITE is thus, to this viewer, the more satisfying of the two. Zamachowski's performance is solid, and Mikolaj is the friend that anybody could hope for. And Delpy's Dominique is eye candy that would drive any sober man on a fevered quest. It's said that revenge is a dish that's best eaten cold, and WHITE suggests such a meal. The very last scene strongly implies, however, that Karol ultimately lacks the requisite dispassion.
Rating:
Summary: a really good movie that i ever seen
Review: personally, i think "white" was better than "red" that i hardly understand all. the story is great and look real, even that likes impossible. i had a very strong feeling that would really happen in this world in someday after i wacthed this movie.
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