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BLUE JASMINE

BLUE JASMINE

Cate Blanchett is hypnotically astounding as a fallen icon of wealth, fashion and social standing; fleeing New York, the bastion of her halcyon days, to San Francisco, where she hibernates in a vodka, drug-induced fog with her good-hearted, unsophisticated sister (Sally Hawkins, as “Ginger”, is perfect as the selfless foil, rescuing her hapless sister, “Jasmine”, (Blanchette). Stunning portrayals by both women lend depth and credence to the scenario.

“Blue Jasmine” is director Woody Allen’s finest film in years. Gone is the “Woody Allen” cadence; prevalent in most of his previous protagonists; every actor imbues his or her role with legitimacy, integrity, strength; lacking blatant, caustic irony, Allen has submerged his ego and allows his characters free rein in defining themselves.

Allen, has in the past, loosely mimicked, literary masterpieces; “Hannah and Her Sisters” (Anton Chekhov’s “Three Sisters”), “Match Point”  (Theodore Dreiser’s “An American Tragedy”, movie “A Place in the Sun”); “Blue Jasmine” ostensibly parrots Tennessee Williams’  1947 “A Streetcar Named Desire”. It is 2013, and Jasmine is a metaphor for the beleaguered, stunned residue, wife of a disgraced financial kingmaker (Alex Baldwin, an Allen favorite, was sculpted for the role of “Hal”); a Midas of Wall Street and real estate, felled by his own arrogance, reminiscent of Bernie Madoff.

Streetcar’s “Blanche Du Bois” , a woman doomed by circumstances; choices: evaporated, or a mirage of her imagination, forced to live with her sister “Stella” and her moronic, amoral husband, “Stanley”. “Jasmine” originally, “Jeanette” is a woman of substance, reinvention, she had a plethora of opportunities, but blindly, naively accepts illicit largess; defining herself, not by her wit, but by her purchasing power and her love for a sham of a man; she is tragic, but the fragility of her psyche is cloaked with veracity; she, for all her conceit, is likeable; wearing the last vestiges of her former life; the Chanel jacket, Hermes belt, wither and die as she faces the inevitable.

“Ginger” unlike “Stella” has been married, divorced, has two boys and can hold her own with “Chili” (sensational depiction by Bobby Cannavale) her boyfriend with a fiery temper, (opposite of “Stanley” , a moral- less, feckless jerk), is good, loyal and adores her.

Cate Blanchett’s mesmerizing, unforgettable performance,  Shakespearian in pathos, angst, tragedy; grips, entangles the beholder, leaving one breathless with irrepressible reverence and wonder.

FOUR STARS!!!!

For Now……..Peneflix

Cate Blanchett is hypnotically astounding as a fallen icon of wealth, fashion and social standing; fleeing New York, the bastion of her halcyon days, to San Francisco, where she hibernates in a vodka, drug-induced fog with her good-hearted, unsophisticated sister (Sally Hawkins, as “Ginger”, is perfect as the selfless foil, rescuing her hapless sister, “Jasmine”, …

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7 comments

  1. Looking forward to the film and to Cate Blanchets performance!

    • I was amazed at how wonderful this film was; and of late, I have not been a Woody Allen fan!
      For always commenting, thank you! P.

  2. Penelope,
    You are phenomenal and I so enjoyed sitting next to you at Beverly’s event.
    I hope to be with you again and quiz you on your many life happenings.

    Thank you for these reviews and your words.
    I love listening to you.
    Carole

  3. I totally agree with you on Cate Blanchet’s performance. Not sure whether the film would have been the same without her!
    She is definitely academy award material once again!
    L

  4. Did this Hemes and Vuitton-infused morality play need the Streetcar borrowings(although it was about desire gone wrong)? Found myself anticipating its events. Rooting for spunky Ginger…at last Jasmine settles in her (first class) park-bench seat. First-rate casting and performances. I think we could all deserve some vodka.

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