At the end, I've included the synopsis and embedded the trailer.
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If you’re going to knock Woody Allen films, or at least
recent Woody Allen films, there’s the easy criticism that a certain
self-satisfaction exudes from some of the characters. They’ve been born into a
world of art galleries, yachts, ridiculously expensive bills from restaurants
named after French dudes, and they’re not exactly apologizing for it. This isn’t
to say that the films don’t have their share of people like you and me (unless
you’re one of those people who just loves Louis’ or Paul’s or whatever), but
only that there seems to be clear delineation between their world and our
world, between us and them.
That’s something that sets Blue Jasmine apart in a way that
I hadn’t anticipated. It’s relentless in the way that it deconstructs the myth
of the spoiled trophy wife. This isn’t to say that the script is merciless, as
there’s a fair bit of compassion for the central character, but I have yet to
come up with an Allen film that’s been this focused in its attack on the vapid,
out-of-touch isolation of a privileged lifestyle gone wrong.
In many ways, I almost read Blue Jasmine as a response to
Allen’s critics, however unconscious and unintentional that might be. There’s
almost a marked attempt to use his weaknesses as strengths. In addition to the quasi-microscopic
take on privilege that I mentioned before, there’s another thing to contend with.
Cate Blanchett.
Her performance is one of the best I’ve seen her give. What’s
more, it’s not only one of the best in an Allen film in recent years, it’s one
of the best performances that’s ever graced one of his films. Woody’s penchant
for writing female characters that go on to win awards for their actors isn’t
exactly a secret, but these tend to be for showier roles that in many cases
play toward Woody’s penchant for characterization that feels mannered and
somewhat artificial. It’s not that the characters aren’t fabulously written and
performed well so much as they feel
fabulously written and the performances are trying hard to match that with
whatever level of histrionics might be needed.
That’s what really sets Blanchett’s performance apart. She’s
walking a razor’s edge between sanity and hysteria, trying desperately to stay
on the right side. Other Allen characters talk to themselves because they’re
nervous and neurotic and are trying to fill the audience in on things. Jasmine talks
to herself because she has to, because her world has been so drastically turned
upside down that she’s alone and adrift in a place where she has virtually no
frame of reference. It’s that delicate balancing act that elevates her work in Blue
Jasmine. It doesn’t come across as showmanship for its own sake so much
as the action of a desperate person who has no idea what to do. For example,
upon arriving in San Francisco, her sole “career decision” is to take a
computer class so that she can “study interior decorating online.” Hey, forward
momentum is good, but her affinity for announcing this to whoever asks her
anything about her future is so sad in a misguided sort of way. She has no idea
how silly she sounds. It breaks your heart a little bit.
Blue Jasmine also features strong work from Sally Hawkins
(one of my favorites) and Louis CK. Their flirtation had me saying “awww” over
and over again. Woody and Casting Directors Juliet Taylor & Patricia
DiCerto deserve kudos for casting someone like Hawkins in such a big role, who’s
yet to really break through in the United States. Here’s hoping that this role
changes that!
As Woody’s first true dramatic film since 2007’s Cassandra’s
Dream, Blue Jasmine succeeds best as a character study. As a whole, I
think that some of the performances still feel a bit mannered, which detracts
from the sense of realism that I think would have elevated it even further.
That said, it’s an engaging look at a truly interesting person and, what’s
more, you won’t be completely prepared for where it ends up. If it’s not a
great film, Blue Jasmine is still a very good film. This massive Allen fan will
take whatever he can get.
4 stars (out of 5)
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"After everything in her life falls to pieces, including her marriage to wealthy businessman Hal (Alec Baldwin), elegant New York socialite Jasmine (Cate Blanchett) moves into her sister Ginger’s (Sally Hawkins) modest apartment in San Francisco to try to pull herself back together again." (from the official site)
