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He’s trying to be there for Jackie and his brother’s children while he is, understandably, also going through some stuff of his own. Peter Sarsgaard stands out in a crowded field for his take on Bobby Kennedy. Much of the conversation around this film will be dedicated to its lead’s performance but, credit where it’s due, the strong directorial voice elevates this above standard Oscar-bait fare.Ĭredit too, to the supporting cast which is filled out by the likes of Greta Gerwig, John Hurt and Richard E. Both Larraín and Portman play it perfectly. One moment where we, along with the newly made widow, almost stumble onto a glimpse of her husband’s body postmortem is a horrific jolt. It’s an effective and disconcerting choice.
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Kennedy does appear in flashbacks, his presence is mostly felt by his absence. Long but ultimately un-showy shots, such as Portman using a vanity mirror to clean and smear her husband’s fresh blood from her face, linger in the mind. The 16mm image is reminiscent of both newsreel and French New waves films of the time. This is about presenting a face to the world.ĭirector Pablo Larraín then manages to either work within or against conventional biopic tropes. As Portman puffs away on a fresh cigarette she tells the flustered journo ‘I don’t smoke’. We are given flashbacks to the events before, during and after JFK’s death in Dallas. The film uses a conventional narrative framing device as we see the recent widow being interviewed by a journalist in a palatial rural house.
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More than buying her as Jackie Kennedy you buy her as someone who’s trying really hard to keep her shit together. Portman dodges making this an impression and manages to turn in a genuinely remarkable portrayal of someone whose grief, shock, and pain is pouring out from under a prim and proper exterior. While it is indeed heavy on the bizarre accent and practised mannerisms, it is worth remembering that it is a portrayal of a woman whose demenour was studied, affected, and heavy on practised mannerisms. Natalie Portman’s performance as a Jackie Kennedy dealing with the immediate aftermath of her husband’s assassination comes across, at first, as studied and affected. ‘Enjoyable’ isn’t quite the word but Jackie is, in its own calculated way, a very interesting movie. It’s all well and good but is it in the service of anything more, anything enjoyable? It can seem as worthy as someone going on about just how God damn organic their food is. Films that are sold based on a star’s strong central performance can send alarms bells ringing.