Review of Jackie (2016) by Kj P — 28 Jan 2017

Pablo Larrain has previously proved that he can engagingly convey the world of power. After having seen the film "No" one wanted to run out of the house and picket outside the nearest Town Hall. The new picture "Jackie" doesn't cause such emotions. Instead - alike the titular character- remains with style and devastating inteligence.

Debuting in Hollywood, the Chilean managed to ably miss traps awaiting filmmakers of biographies. Larrain cares, not to change his film into a kitschy postcard in honour of Jackie Kennedy. The director isn't focused on searching for scars on the woman's life, who became an icon of 1960s. This had been covered by tabloid journalists and authors of hard-hitting biographies. Jackie fascinates Larrain as a person, perfectly understanding political mechanism and treating it as an evocative spectacle. Chilean director has no doubt that the First Lady helped create one of the most sustainable legends of our time. Jackie herself is fully aware of that fact and not entirely without reason, repeats that a musical about King Arthur was among her husband's favourite films. If the White House in the days of Kennedy was named the 'modern Camelot', Jackie deserves the title of its greatest architect.

Had it not been for her impresive selfawarness, our heroine wouldn't have accomplished her aims. To emphasize this aspect of Jackie's character, Larrain exploits an interview, given for the Life magazine, as a plotline frame. In contrast, the conversation between man in power and the Representative of media in memorable "Frost/Nixon", doesn't resemble an equal battle. Jackie controls the course of the discussion for the whole time and doesn't treat the journalist as a partner, bur as an executive of her orders. Jackie displays a similar ability to govern situations in other moments of her life. Mrs Kennedy can uniformly well use media during realisation of the trivial documentary about life in the White House, as well as during her husband's funeral - turned into a media event.

Although, Larrain could have recognised widow's unswayed composure as a proof of cinicism and a lack of empathy, he chooses to praise her for her acuity. At the same time, he doesn't conceal that Jackie's attitude requires sacrifices. Replicating John's pure image demands silent indignity linked with his faithlessness. Apart from that, the main character is acquainted with the fact that building the myth of Kennedy, as a flawless husband and father, is the only way that the family goes down in history. In one of the film's best scenes Jackie hears from her brother-in-law, Robert (Peter Sarsgaard), bitter words: 'What did we accomplish? We're just the beautiful people'.

Full of suggestive moments, the film poses as Larrain's directional triumph. However, it is not the director that trully shines, but Natalie Portman portraying the titular character. American actress masterfully brings out complexity of the First Lady, deepening with every moment. Regardless of the bonding personality of cold elegance, screen Jackie can be in times ironic and kind, sympathetic and flirtatious. It's difficult to resist the impression that Portman immortalizes not only Jacqueline Kennedy, but also herself. Due to the bravura performance, she has become a part of the legend that the film trascends.