This film Jackie is a portrait of one of the most important and tragic moments in American history, seen through the eyes of the iconic First Lady, then Jacqueline Kennedy. Jackie places us in her world during the days immediately following her husband’s assassination.
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If Huppert were to lose her Best Actress Oscar it might as well have been to Portman, who delivers a mesmerising and complex Jackie Kennedy. Known to many simply as a wife and an international style icon (an aspect that the film honours with its exquisite clothes, sets and cinematography) her inner demons and conflicts are on constant display in Portman's expressions and mannerisms as she relives those tragic events.
This is not about Jackie. This is a performance masterpiece that only proves how Natalie Portman is one of the greatest. No one could bring the human sadness, despair, and love to life in such powerfull way like her. Well Done.
Hurt's swan song with Malick/Erice magic hour light+Jackie's last confession:"How come I'm not burying you?". Best Editing? Since Malick's out?This one. Jackie as a destitute Queen: "Never had anything to keep. Nothing I could call my own." Bergman-y close-up of Jackie wiping off lost love's blood. Slowclap in this order: Portman, Sarsgaard, Crudup (guy can act with his dimples alone!), Hurt (tears), E.Grant, Gerwig.
Digital. One moment, a very brief moment, gives a glimpse of what this movie might have been: the two travelings on the car at the time of Kennedy's murder, crossed with two frontal travellings towards Jackie's face. Kinetics of a processed memory. The rest is a movie of banal narrative phrases full of life's ambient-digest philosophy, which seems to have triumphed in the realm of mortals. Oh, Natalie!
Among the year’s best-directed films. Larraín's vision is uncomfortably intimate in ways that'd make Żuławski squirm. Structurally fascinating. Enhanced by Levi's haunted score, which eerily lacerates pretty melodies with creeping dread. The controversy surrounding Portman is both understandable and immaterial; the contrast between the vaudevillian public Jackie, and the catatonic private one, is quite intentional.
Another solid effort from Larrain; this time a biopic tackling the period following the assassination of JFK. There is a nice nod to conspiracy theories with the mention of the calibre of bullet and Portman is superb here. The look is spot on and blends seamlessly with archival footage. Framing the film around an interview with a reporter as the spine anchors the film effectively. 3.5 stars
Cinematography, score, Pablo Larraín and NATALIE PORTMAN. I wonder what's wrong with people who say her perfomance is bad. Try to do it better yourself, she's one of the best actresses of her generation. In 2017, I really want Isabelle Huppert to win the Oscar for Actress in a Leading Role but Natalie deserves it as well. By the way, John Hurt's presence is one of the best things in Jackie, RIP.
Mica Levi's soundtrack is an off-kilter delight, Natalie Portman's actualising of the much-more-than-a-first-lady-widow, Jackie Onassis, is method magnificence and Larrain's direction is an idiosyncratic take on the biopic. However, the interview sequences lack dramatic punctuation to emphasize key dialogue. 'Jackie' would have had greater resonance with Hillary as POTUS, 'The Wolf of Wall Street' is now our context.