Centered in a brilliant composition of Natalie Portman, Jackie evokes the more mythical First Lady of the U.S.; the realization has the signature of the chilean Pablo Larraín.
Curious paradox: the movie Jackie (today), about Jacqueline Kennedy, the mythical figure of the imaginary political and social “made in USA”, was conducted by a chilean filmmaker, Pablo Larrain. This does not prevent it from being a rare case of subtle psychological and intelligence critical, much beyond the conventions of current model biography.
The feat is all the more fascinating as this is not about making a portrait “descriptive” of what was the First Lady of the USA, precisely until the murder of her husband, John Fitzgerald Kennedy, 22 November 1963, in the city of Dallas. Everything focuses on the days following the tragedy, in a whirlwind of events in which Jackie is compelled to deal with issues ranging from the operating requirements of the White House up to the preparations for the funeral of her husband, passing by the follow-up of the children, Caroline (who was six years old the 27 of November of 1963) and John Jr. (three years old the 25 of November, the day of the funeral of the father).
the Two vectors narrative are essential in the odyssey for which Larraín calls to us: an interview with a journalist that her own summons to give account of his vision of the inheritance of the husband and the evocation of how the public image of Jackie was generated, in large part, through a careful use, a pioneer at the time, the media and television. Both put in play one of the central themes of the film. To know: the tension between the public image of a woman who conquered the hearts of most americans (in a seduction that always extended beyond the boundaries) and a look behind the scenes of the private life and the political scene in the scenario, also it mythical, of the White House.
Particularly impressive is how the film recovers the famous emission tv (CBS, 14 February 1962) in which the First Lady gave to know to the americans the changes which, under its supervision, had been operated in the White House. From the outset, for technical reasons: by using a delicate job of handling technique, the interpreter Jackie, Natalie Portman (for certain that that is the most brilliant composition of his career, nominated for an Oscar), is “inserted” in the original images, in a kind of realism to digital, after all, puts us in contact with the raw original of the history of television. Then, because through such matters we understand that in the start of the decade of 60, much more than the spokesman for her husband, Jackie was one of the protagonists of a complex conversion from the media and symbolic of women in the public space.
the Puzzle of memories
Not be assumed, however, that the film bet on a banal aesthetic of the “reconstitution”. The extraordinary zigzag your assembly is, indeed, revealing: this is not “paste” in more or less chronological facts lived in those days, tragic, but to build a puzzle of memories and objective experiences subjective that, in the final analysis, challenge the certainties of common history.
in This perspective, the dialogue with the journalist, played by Billy Crudup, is fundamental. Although the film is not the states, this is a character inspired by Theodore H. White, journalist, and, in fact, interviewed Jacqueline Kennedy for the magazine Life (the work, entitled “For President Kennedy – An Epilogue”, it would be published in the edition of December 6, 1963).
The front the front has something insolitamente theatrical: on the one hand, they both know that the existence of Jackie, as the heroine’s fragile a world of bliss (“Camelot”) is a fiction that has plagued all corners of reality; on the other hand, the assombramento of the death of the President gives his dialogue the disturbing and poignant dimension of a subtle work of mourning.
The sharp cold of death – understood: the necessity of dealing with its effects on human and symbolic – circulates through all the gestures, words and silences of Jackie. It is a feeling that, in good truth, we had already experienced in relation to the previous work of Larrain, in particular his trilogy – Tony? (2008), Post Mortem (2010) and Not (2012) – about the dictatorship of Augusto Pinochet.
Hence the importance, discrete but fundamental, the character of the priest who listens to confessions hurt Jackie, in particular about the difficulties inherent in the fact that you have “become a Kennedy”. Taking as a reference the jesuit Richard McSorley, a spiritual companion of the Kennedy family, such a character, it embraces the anguish of a woman who, in the character of the exception of your destination, looking for a sense for the absurdity of that existence offers. When do you see that, probably, we are doomed to not find this sense, the priest emerges, paradoxically, as the voice of a radical serenity. That your artist is the recently deceased John Hurt, that is a fact that helps us to recognize that there are differences between the film and the life.
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