Theme for oboe from the film “Blind Chance”
Blind Chance is director Krzysztof Kieślowski’s only film featuring music composed by Wojciech Kilar – with No End (1984), Kieślowski began regular collaborations with composer Zbigniew Preisner.
Kilar’s music is used rather sparingly in the film, amounting to two quasi-baroque themes (oboe or flute melodies, with the presence of harpsichord). The first plays a crucial structural role as a framework, appearing at the beginning and at the end then during pauses between the three successive variants of the fate of the main protagonist, Witek (Bogusław Linda), variants depending on whether he will catch the train, that is, on the eponymous blind chance.
A regularly repeated melodic line is presented usually by oboe or violins to wistful accompaniment of the orchestra. At the film's beginning, the motif frequently appears in family and intimate scenes: the protagonist’s first memories, conversations with his father or a date. The first sequence with the protagonist running after a departing train is marked by the entry of the piano with repeated chords and a piercing trumpet (towards the end of the film, when two young men perform a circus trick, the solo trumpet will carry the theme).
The second theme, more modest and calmer, usually appears when Witek meets people who will change his fate, people like the ageing, idealistic communist Werner (Tadeszu Łomnicki) or the cynical Party worthy Adam (Zbigniew Zapasiewicz). The flute in dialogue with harpsichord and orchestra, with a rising melody, everything delicate and gentle, usually serves as a backdrop for conversations. Diegetic music features two protest songs; one, I Don’t Like) is sung by none other than Jacek Kaczmarski, the voice of Solidarity in the early 1980s.
Later in the film, the first theme appears several times arranged for solo piano (with Chopin associations), serving for example as a linking device in the chase scene. Yet it probably makes its strongest impact when the orchestral motif literally emerges from the protagonist’s scream at the film's very beginning, which later turns out to be its end as well: it is a scream of terror, when a plane with Witek on board is about to crash.
One more scene is hugely impressive, yet is paradoxically so as there is no music or even sound in it, with the exception of a very quiet clock: Witek’s dance with his naked wife, Olga. The characters are left to themselves, without any illustrative off-screen music, in their intimacy – a very effective directorial decision by Kieślowski.