Jackie is a surprising film. I found it to be a riveting watch and it left me strangely uplifted but also puzzled. I’m not sure what immediate conclusions, if any, I came to except that I’m glad I saw it on a big screen. It’s a film about a moment of American history that resonated around the world for those of us alive in 1963 and that has been ‘re-presented’ in different ways ever since. But though this is an American event, it doesn’t feel like an American film, or at least it doesn’t seem to belong to either Hollywood or American Independent Cinema, despite the involvement of several US producers. Instead, this is essentially a French film directed by the Chilean auteur Pablo Larrain. The script and the impressive cast are mainly American but the creative personnel supporting Larrain are European. The best known of the production companies involved, the French company Why Not Productions, has been involved in the recent films of Jacques Audiard and Ken Loach. In what follows I try to analyse my response.
The opening frames of the film set me trying to calculate the aspect ratio. In our local cinema that is usually proud of its presentation procedures, the image was not properly masked. Eventually I realised that it was set as 1.66:1, that odd ratio favoured by some European and British producers for many years after the development of widescreen processes in the 1950s. It was only later that the lack of masking reminded me of a similar problem with Pablo Larrain’s earlier film No (Chile-US-France-Mexico 2011). The way cinema projection boxes are set up for DCPs now means that the projected image is set to 1.85:1 with the smaller 1.66:1 framing inside it. When the image is bright and the film frame is not masked, the letterboxing at the sides is always visible as dark grey and I found it distracting. The irony is that Jackie was shot on Super 16 film, giving the image a slightly grainier and less sharp/bright feel than a digital original image. To add to the disturbance of the framing and image texture, the score by the British composer Mica Levy (best known for her score for Jonathan Glazer’s Under the Skin) and some of the compositions by DoP Stéphane Fontaine are equally unsettling. Together they set up very well the performances by the actors and especially that of Natalie Portman as Jackie Kennedy.
Jackie is routinely described as a ‘biopic’ by reviewers. But I don’t buy this. A biopic needs to cover a substantial part of a subject’s life with at least some reference to childhood and other key stages in the development of the adult persona. Jackie focuses on not much more than one intensely dramatic week of the life of Jacqueline Bouvier Kennedy plus some occasional references to earlier events. The narrative structure is such that these events are discussed in retrospect in an interview given to a journalist (such an interview was conducted by Theodore H White for Life magazine in 1964) in the rather austere surroundings of a house in the Kennedy ‘homeland’ of Hiyannis Port in Massachusetts.
The original choice for the director of the film was Darren Aranovsky who later became one of several producers. He is reported to have told Natalie Portman that the key to the film was Jackie’s voice. The character is in virtually every scene and must go through some terrible experiences. Portman appears to have responded fully to his comment in her study of Jackie Kennedy and her delivery has become one of the talking points of the film. Portman does not ‘resemble’ Mrs Kennedy, either facially or in her body shape. The hairstyle and the iconic Chanel suits certainly help to create the character but a lot depends on the voice and on Portman’s performance skills. I have no memory of hearing Jackie Kennedy speak so the only signifier for me was when Portman shifts her voice between the soft, breathy and almost girlish ‘public voice’ of the character and the more clipped and authoritative voice she uses for the ‘behind the scenes’ moments. Overall, I found the performance convincing. I didn’t know much about Jackie before I saw the film and what I learned from the film and subsequently through research I found interesting.
It seems to me that the film illustrates two main points. The first is that there is humanity even in the processes inside the White House and the Presidency. Everyone treats Jackie and her children with respect even as a new administration has to begin. I’m not sure how ‘true’ or ‘realistic’ this is. In one scene Bobby Kennedy (Peter Sarsgaard) orders everyone, including President Johnson, to sit down when Jackie is under stress. Johnson is represented as an amenable figure – which belies the stories of his anger and violent language, though the camera does hint at what he and Ladybird might be saying off screen/off microphone. Personally, I found the scenes of Jackie coping with her grief and the procedures she had to follow quite moving. The other main theme of the film is Jackie’s attempt to create the image of JFK’s legacy. She did this as a continuation of her earlier attempts to redecorate the White House and to learn from the history of other presidential figures. We can see this theme played out both in her determination to organise an appropriate state funeral and burial at Arlington and in the way she conducts the interview with the journalist (played by Billy Crudup with a distinct swagger). Again, I rather admired Jackie as a character and Natalie Portman’s performance.
I’m grateful to Nick Lacey, my viewing partner, who found this useful interview with Stéphane Fontaine on ‘No Film School’. It was Nick who spotted the use of 16mm and in the interview Fontaine explains how he and Pablo Larrain approached the shoot which was mainly in a Paris studio with only a few exteriors in Washington. Larrain went so far as to bring an old three-tube video camera (as used in No) from Chile to Paris in an attempt to ‘insert’ Portman into the 1962 video recording of Mrs Kennedy offering TV viewers a tour around the White House – one of the pre-assassination sequences included to help build Jackie’s persona as a character. The film’s whole budget is listed as $9 million on IMDB which seems extraordinary (it’s quite a lot less than most mainstream French features). All I can say is well done to cast and crew. If you are interested in cinematography this interview is a must.
In conclusion, Jackie is a terrific emotional narrative with a stunning central performance and very good support from a talented supporting cast (including Greta Gerwig, Richard E. Grant and John Hurt). I suspect it will surprise many audiences. I just hope they are open to the approach adopted by Pablo Larrain and his crew and prepared to learn a bit more about an era and a group of historical figures who they think they might already know well.
Here’s a promotional clip from the film in which Jackie fights for the funeral parade she wants:
This clip from a 1961 TV interview reveals not just the real Mrs Kennedy’s’s speaking voice, but also her historical knowledge about the White House. Some of her statements are used verbatim in the new film.