Blue Jasmine (2013)
With writer/director Woody Allen’s proliferate output, cranking out a movie every year, it’s all too easy to take the man for granted. Critics will argue his halcyon days are long gone, that the man is coasting on his past laurels. Of course when you’re comparing everything to Manhattan, Annie Hall, or Crimes and Misdemeanors, well sure most movies will be found lacking, even Allen’s. And there’s no real forgiving of 2001’s Curse of the Jade Scorpion. But when Allen hits a rich topic with a capable cast, he can still produce knockout cinema, as is exactly the case with the engrossing Blue Jasmine.
Jasmine (Cate Blanchett) is experiencing a tumultuous change of living. Her wealthy husband Hal (Alec Baldwin) has been indicted for a Ponzi scheme that fleeced millions. Her posh New York lifestyle has vanished, Uncle Sam has frozen the assets that haven’t been repossessed, and she’s forced to move in with her working class sister, Ginger (Sally Hawkins), in San Francisco. Jasmine immediately has her complaints, mostly about the men that Ginger seems to date. She also tries adapting to a life she has been ill prepared for. Much like a domesticated animal, Jasmine’s social skills and pricy tastes do not have real-world transitions into her getting a job and supporting herself. She’s looking for a way to re-enter the shrine of privilege, and that it through a man of means.
Blue Jasmine is a fascinating character study of a life of self-delusion, denial, greed, and guilt, and it is a marvelous film. Allen hasn’t done something this cutting, this precise in several years and it’s a reminder at just how skilled the man can be at building magnetic, fully realized characters, especially women. This is a rich, complex, and juicy character for an actress of the caliber of Blanchett (Hanna) to go wild with. Jasmine is something of a modern-day Blanch DuBois with a sprinkling of Jay Gatsby; she’s a woman who’s become accustomed to a luxurious fantasy world that she’s still striving to recreate, but she also is a woman who reinvented herself. As we learn in the opening scene, Jasmine left school without finishing her degree when Hal whisked her off her feet, to a world of privilege. She even changed her name from Jeanette to Jasmine at her husband’s whim. She also became particularly adept at looking the other way when it concerned her husband’s shady dealings. Surely she must have known what was happening (in the end, it’s pretty clear) but as long as her illusion of wealth was maintained then it was easy to not ask questions. Why ruin a good thing, even if that good thing is built upon ruining the lives of ordinary people? Two of those people bilked of their money were Ginger and Augie (Andrew Dice Clay), which make Jasmine’s complicity all the more troubling. Every line of dialogue from Jasmine needs to be studied and dissected, analyzing how buried is the real Jasmine.
Jasmine’s declining mental state is also given much attention and curiosity. We are watching in full view a woman go through various stages of a nervous breakdown. She’s medicating herself via booze and a cocktail of prescription drugs, but there are hints that point to something other than substances at play. She hints at undergoing electric chock therapy (does this still exist?) and she may have a touch of mental illness as well, though it’s unclear. Jasmine is given to talking to herself, reciting anecdotes and patter from previous parties with the rich and fabulous. It could be a sign of madness or it could be a desperate attempt by Jasmine to zone out, to return to that former life, to relive her former glory. Personally, I’ve done something similar, recited old conversations out loud to myself, though usually a line or so, not to the degree of recitation that Jasmine engages in. In the opening, it’s revealed that the lady she’s sitting next to on the plane, who we assume she’s talking with, is really just a bystander. She tells her husband she was confused because Jasmine was really just talking to herself. As Jasmine tries to get back on her feet, with delusions of grandeur about reinventing herself again, her world seems to be collapsing around her as she struggles to adapt to the real working world. A receptionist job for a dentist is beneath her as well as far too much for her to handle. She has one real sincere heart-to-heart where she lays out her true feelings, and it’s to her nephews in a pizza shop with no other adult present: “There’s only so many traumas a person can withstand until they take to the streets and start screaming.
An enthralling character study, but Blue Jasmine also benefits from Allen’s precise plotting, folding back into flashbacks to create contrast and revelations. There is an economical finesse to Allen’s writing and directing. Every scene is short and sweet and imparts key knowledge, keeping the plot moving and fresh. It also provides back-story in a manner that feels unobtrusive. Jasmine’s more modest living conditions with her sister are contrasted with apartment shopping in New York City’s Upper West side. The class differences between Jasmine and her sister are put on full display when Ginger and Augie visit New York. However, Allen isn’t only lambasting the out-of-touch rich elite here. Few characters escape analysis. In this story, everyone is pretending to be someone else, putting on fronts, personas, to try and puff themselves up. Once living with her sophisticated sister, Ginger starts seeing her world with new eyes, mainly finding dissatisfaction and a yearning that she could do better. She meets Al (Louis C.K.) at a fancy party and gets smitten, though he’s not what he seems. She dumps her current boyfriend, buying into Jasmine’s theory that she “dates losers because that’s what she thinks she deserves.” She tries to remodel herself into a posh, inaccurate version of herself, a knockoff on Jeanette to Jasmine. It’s a bad fit. The person with the most integrity in the entire film appears to be, surprise, Andrew Dice Clay’s character. Augie is a straightforward blue-collar guy but he has a clear sense of right and wrong, one that comes in handy when he’s able to bust people.
This is much more a dramatic character study than a typical Allen comedy of neurosis, but I want to add that there are a number of laughs to be had, mostly derisive. There is comedy but it’s of a tragicomedy vibe, one where we laugh at the social absurdities of self-deluded characters and the irony of chance encounters. It’s far less bubbly than Midnight in Paris, Allen’s last hit, but that serves the more serious, critical tone. The class conflicts made me chuckle, as well as Jasmine’s hysterical antics and self-aggrandizing, but I was so thoroughly engaged with the characters and stories to complain about a lack of sufficient yuks. Confession: I generally enjoy Allen’s dramas more than his straight-up comedies.
Naturally, the movie hinges on Blanchett’s performance and the Oscar-winning actress is remarkable. I expect her to be a lock for another Oscar nomination if not the front-runner until later. She fully inhabits the character and lays out every tic, every neurosis, every anxiety, and every glimmer of doubt, of delusion, of humanity. She is a fully developed character given center stage, and it’s a sheer pleasure to watch Blanchett give her such life. You’ll feel a mixture of emotions with the character, from intrigue, to derision, to perhaps some fraying sense of sympathy, especially as the movie comes to an end. Blanchett balances the different faces of Jasmine with startling ease; she can slip into glamorous hostess to self-pitying victim to naiveté like turning a dial. I never tired of the character and I certainly never tired of watching Blanchett on screen.
Woody Allen has been a hit-or-miss filmmaker for over a decade, and you’ll have that when the man has the perseverance to write and direct a movie every freaking year. I had a pet theory that, as of late, every three years was when we really got a great Allen movie: 2005’s Match Point, 2008’s Vicky Cristina Barcelona, 2011’s Midnight in Paris. Well now my theory has been put to rest, thank you very much, all because Allen couldn’t wait one more year to deliver Blue Jasmine, a truly great film. It’s a tragicomedy of entertainment, an exacting character study of a flawed, complex, deeply deluded woman as her carefully calculated world breaks down. Anchored by Blanchett’s supreme performance, the movie glides along with swift acumen, doling out revelations at a steady pace and consistently giving something dishy for the actors and audience to think about. It’s funny, it’s sad, but more than anything Blue Jasmine is compelling as hell. This is one of Allen’s best films and one I’d recommend even to non-fans of the Woodman. Give Blue Jasmine a chance and you may be surprised what you feel, for the film and the woman, both complex, engaging, and memorable.
Nate’s Grade: A
Posted on September 6, 2013, in 2013 Movies and tagged cate blanchett, comedy, drama, louis c.k., mental illness, michael stuhlbarg, oscars, peter sarsgaard, sally hawkins, woody allen. Bookmark the permalink. Leave a comment.