Blue Jasmine: did you ever wonder about Mrs. Madoff
after her husband went to jail? This movie presents Woody Allen’s
perspective on a spouse’s afterlife following exposure of the Ponzi
scheme. Cate Blanchett, in an Oscar caliber performance, is Jasmine
French, the spouse who lived the Good Life. In the opening scene,
Jasmine is on a flight from New York to San Francisco, talking non-stop to the
elderly lady sitting next to her. We learn that Jasmine has a sister
named Ginger, played by Sally Hawkins, whom Jasmine has always looked down on
(Jasmine “has the good genes”). Jasmine’s former life is told
through a series of flashbacks. Alex Baldwin is excellent as Alex, the
Madoff-type husband (all smiles and no substance). The entire cast is
superb, including some folks who are not your usual suspects: Andrew Dice
Clay as Augie, the former husband of Ginger who invested $200,000 with Alex;
and Louis C. K. as a would-be Ginger
boyfriend. Bobby Cannavale also gives a noteworthy performance as
Ginger’s boyfriend. But the primary reason to see this film is Blanchett’s
performance. Jasmine still dresses as if she has
money. Although she claims to be destitute, her NY to SF flight is
via a first class ticket. She is in denial of her circumstances and
clearly has mental health issues as well as a love for vodka and Xanax pill
popping. During the film’s 96 minutes, Blanchett presents a range of
emotions that are incredible. I understand she has played Blanche in
“A Streetcar Named Desire”, which must have been incredible to watch.
There are parts of Blue Jasmine that may remind you of Williams’ play.
This movie is a series of set pieces starting with our introduction to
Jasmine, then moving on to her relationship with her sister and finally to her
attempt to create a new life in SF. The film is presented with a musical
score that is also excellent. Allen wrote and directed the film but does
not appear in it. To those of you who have placed yourselves in the
anti-Allen category, make an exception for this movie. You can pick
at the script but not at the actors’ performances.
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