Pablo Larrain’s Jackie seemed a slightly incongruous addition when I first saw that it had been added; it didn’t seem like enough of a picture to warrant inclusion in the Book, as negative as that comes across. Having seen it now, I get the decision to pick this over other fare a lot more; it’s not just that Jackie is a fine film, but how it goes about telling its story is extremely unconventional, which must have of course been exceptionally appealing to the editors of the list. Now, one can certainly argue either for or against this indeed being a fine film, and I’m absolutely not going to be the one to settle that argument. But, for what it’s worth, while the point of the film may have been slightly hard to ascertain at first, the exceptional effort put into this by everyone involved is certainly worth making the argument for this film.
For those who are unaware or somehow unable to discern the film’s plot merely from the title, this is a biopic of Jackie Kennedy, wife of John F. Kennedy, specifically about her in the days directly following President Kennedy’s assassination, as told through an interview she gives a reporter much later in her family home. As befitting the structure of the film (having the reporter’s interview as a framing device), the film is very unorthodox with how it presents its content to us; the narrative skips through time, almost wantonly, as if the memories of Jackie herself are jumbled around in her head, trying to make sense of themselves, and the film is merely printing them out in whatever order they happen to come up. For whatever reason they had in presenting the film this way, it did make everything very effective; you get into the headspace of our lead quite easily, mostly thanks to the very slight disconnect between Mrs. Kennedy and the events she is remembering, a disconnect that permeates almost every aspect of this picture. There’s a lot, for instance, in portions of the film of Natalie Portman merely walking around in a fugue state, and indeed we are reminded a few times that, the reporter scenes aside, most of the film is in the days (or sometimes even hours) directly following the assassination. Really, the goal is to get us into the same mindset as Jackie in that timeframe, and in that, the film is largely a success, mostly thanks to Larrain’s steady hand in directing and Natalie Portman’s work in fully embodying the presidential widow. The score was also very interesting; strange and off-setting, making sure you are never in a comfortable place, much like Mrs. Kennedy in the days after the assassination. Looking it up afterwards for myself and finding it was done by Mica Levi, who also provided the score for Under the Skin, merely has it all make even more sense.
What is probably going to be troubling to most of the people that take the time to watch Jackie, is to try and decipher what the point of it all ultimately is. Jackie the character goes through much of the film upset and ravaged, wondering and struggling to make sure that her late husband’s place in history is assured and as perfect as she knew him to be. This, I think, is only ancillary to the point of Jackie the film; this, as redundant as it is to say, is about Jackie the person, what her place in history will be, and how she will be remembered, either by her hand or by the hands of those that write of her. This is the point of the film; sure, it may not exactly be a point that most people will need to have gotten, either by watching this or not, but this was still the point of making it, of making it possible for others to see it if they choose to. It’s up to each potential viewer, and their own cinematic palettes, to weigh that choice for themselves.
Arbitrary Rating: 7/10