Andrzej Zulawski's La Note Bleue can be called an event. This is probably the first time that a director has, in all humility, treated the life of a composer – Chopin in this instance – without sacrificing any of his ambitions as a filmmaker. In others words, not for a single moment does he attempt to appropriate or put to his own use the music he is filming. He directs it, and perhaps illustrates it, but in no way reduces it.
