Jackie by Pablo Larrain: summary notes Character: representation of a historical figure The film is essentially about a woman considering her place in history and trying to control the way she is perceived, and how her husband will be remembered. ● Consider what the director wants to convey about Jackie as a person and what you think of her. Plan a statement that summarises what you want to say about Jackie, and a key idea that the film conveys through her. Think about the various ‘Jackies’ (ie roles and identities) presented to us over the course of the film. We see her in turns as glamorous and elegant, optimistic, angry, sad, anxious, vulnerable, uncertain, guarded, fearful, bitter, protective, prickly - but almost always composed, poised, gracious, brave and dignified: - White House flashback: optimistic and elegant young First Lady; wanting her husband to be proud of her; concerned that her husband (and others) see her efforts to restore the White House as serious and important work, and more than a glamorous pastime, - ie she hopes people are more interested in her intelligence than in her glamour - Main narrative: lonely grieving widow; loving and protective mother; composed, determined, courageous and dignified former First Lady (funeral and its build-up); side-lined single woman uncertain about the future -with the priest: a woman questioning her life, wrestling with conflicting feelings of love and hurt, public duty and private pain -Interview: cool and somewhat calculated- she has a clear agenda to present her version of the story; hardened by pain; prickly; unsparing of interviewer’s feelings; both the ‘public’ Jackie as myth-maker, and the private Jackie who reveals intimate feelings then retracts them. Here we question whether ‘what she is saying is objectively true or merely selfserving’ (Seitz, 2016). Key aspects of Larrain’s style (Techniques to discuss): Larrain employs a range of cinematic features to craft this complex and nuanced film. Your discussion of techniques must be linked to your question and an explanation of the ideas in the film, and give a coherent sense of the film’s narrative arc and overall purpose. What you want to avoid is a ‘piecemeal’ essay which picks out techniques in isolation without connecting to the film as a whole. - fragmented narrative structure. The film threads back and forth between the four narratives, slowly building a complex picture of Jackie and the events surrounding the assassination. Each narrative becomes increasingly revelatory, as Jackie reveals to the interviewer her terrifying memories, to the priest her pain over an unfaithful husband, and to Nancy her fears for the future. Within the main narrative we see Jackie’s increasing resolve to insist on a funeral procession, against the resistance of the new White House administration. The climactic moment is the funeral, which is intercut with flashbacks to the shooting and to the making of the White House Tour two years earlier, and interjections from the interviewer. The denouement of the film is the last few minutes, in which the interviewer concludes with an admiring remark: ‘you left your mark on this country’ and Jackie introduces the ‘Camelot’ story. Jackie’s discussion with the priest concludes with his reassurance that she has the strength to go on. She then reinters her children beside their father at Arlington, leaves the White House for the last time and drives past a shop full of ‘Jackie’-themed mannequins; she plays with her children by the water (returning to the film’s opening scene), and finally, she dances with her husband to the tune of ‘Camelot’ in a final flashback to her happiest moment. The Interview is the ‘guiding’ factor in the complex narrative structure. The interviewer acts as the ‘public voice’, asking questions or making observations that we or people at the time might have thought. The interview also builds the story: each time the film jumps from the interview to another timeframe, there is a connection between the ideas; either reinforcing or juxtaposing a question or comment in the interview. For example, the interviewer’s question ‘What did the bullet sound like?’ immediately cuts to the assassination scene, where we hear this sound for ourselves. Or for example, when the interviewer says ‘You will have to share something personal eventually’, we have just seen a personal sequence where Jackie wanders through the White House drinking, trying on her various gowns and listening to ‘Camelot’ - a private moment of grief. ● When discussing structure, talk about what each time frame reveals about character and ideas. eg White House flashbacks show Jackie stiff and uncomfortable in front of the camera; almost robotic and doll-like, and highly conscious of how she appears, but we also see her respect for history and its notable figures, and her belief in the importance of the work she is doing. This gives us a better insight into the Jackie of the interview- now a widow, highly conscious of how her husband, her words about him and she herself will go down in history. This time frame also develops the idea that history is a deliberate construction and curation of ideas, artifacts, and narratives. Editing in the form of slam-cuts often take the viewer uncomfortably from one moment to the next, with sudden shifts in mood. - L or J audio bridges to connect ideas from one scene with the next. Cinematography Framing and composition: Jackie is deliberately framed front and centre for much of the film. Notable examples are the ‘dressing up’ scene, the flashback to the recital at the White House, marching in the funeral procession and at the funeral itself. This emphasizes that Jackie is the story. Sometimes she is pushed to the edge of the frame, for example during Johnson’s swearing-in on Airforce One, where she has been abruptly pushed out of the centre of events. Close-ups are often used; often uncomfortably so, and shots are held for just a beat too long to discomfort the viewer. Big close-ups are used in the most emotionally intense moments (eg mirror scene, with priest). Shots are often symmetrical, both indoor and outdoor, echoing Jackie’s composed and orderly demeanour. Movement: A fixed camera (eg interview scenes), or smooth tracking camera (eg White House Tour) is used to give a sense of Jackie’s composure and control. Hand-held camera is used in the Dallas crowd scenes to indicate Jackie’s discomfort and vulnerability, foreshadowing the horror to come. Frantic camera movement and quick cuts capture the chaos and terror of the shooting itself. Angles: occasionally, striking camera angles are used, eg the very low-angle of Jackie marching in the procession which makes her look powerful and resolute. Mis-en-scene Interiors vs exterior: the assassination is in open air, hence there is always a sense of vulnerability outdoors. The procession is outdoors (the main cause of contention in the funeral arrangements), as is the open air setting of the interview with priest (here suggesting honesty and vulnerability). Most other scenes are interior or guarded by windows. We see a range of formal, private and business-like spaces in the White House. The events and conversations within them reflect the purpose of the room. Soundtrack Mica Levi’s stunning score is the ‘soundtrack of grief’. Her score, according to Claire Lobenfield, projects both the sweetness and composure of a First Lady struck by the tragedy of the assassination of her husband, President John F. Kennedy, and the grim reality of having witnessed your beloved being shot to death.’ (factmag.com, 2016). Swooping glissandos lurch and surge, creating an unnerving effect, and mirroring the grief, uncertainty and pain beneath Jackie’s composed exterior. Motifs and symbols A range of motifs and symbols support ideas in the film Symbol/ motif Example Windows Jackie inside as interviewer arrives Funeral procession- windows of buildings; John-John in the car Sun/ weather Leaving White House- Jackie through car windows Jackie alternating as observer and observed Shop windows - mannequins Comments on how Jackie was remembered more for her style than her ideas. End of an era and hope for fa better future Jackie’s cool manner Playing with kids - sunset orange glow Interview- cool but clear, winter feeling Colour Clothing Effect/ idea Private vs public Jackie in retreat or being open Vulnerability of being in public Arlington - rain and fog Grief; pathetic fallacy Blue/grey bedroom shared with JFK Coolness in the marriage Interview - cream, neutral décor; Cream clothes at interview Red dress Jackie’s choice. Understated class and style- not attention-seeking As First Lady, expected to stand out Represents Jackie as a style icon, then horribly out of place Grief- she is saying goodbye to her life in the White House Pink suit Trying-on scene Tailored dresses as First Lady Casual pants and shirt in interview Always on show; always a performance Relaxed; more natural. Ideas You need to discuss both your ideas about Jackie herself, and at least one of the wider concerns the film explores. The main ones are: -Myth and truth: these concepts are intertwined. We are invited to question how much of what we know about historical people and events is the actual truth, and how much of it is myth. This film goes beyond the myth of Jackie as a glamourous ‘Mother to the Nation’ and allows us to see the real woman beneath. Jackie is keenly aware that what is recorded is what is remembered as truth- so she wants her version told. We know too that Jackie and JFK are mythologized figures; the youthful, optimistic, glamourous power couple who ushered in an optimistic new era in American life. The JFK presidency is known as the Camelot Era, but it is Jackie herself who introduced this notion. The film’s final image reinforces the mythologized view, and no doubt Jackie’s happiest memory, but we know this is not the whole truth of the Kennedy story. - History and Legacy: this is a similar idea. Jackie’s determination to have an elaborate funeral procession and her conducting the interview are her effort to ensure her husband is remembered as a ‘great man’, (as the interviewer says, putting words in her mouth). Jackie’s White House makeover and her interest in Lincoln both illustrate her awareness that history must be preserved, or else it will be forgotten or distorted. JFK’s words in the closing scene reinforce this idea, and also the message that the people of legend are real human beings too - like Jackie herself. Bobby however questions the Kennedy legacy: ‘what did we actually achieve?’. Secondary ideas -Power: we see shifts in power: Jackie thrust out of the limelight abruptly, uncertain of her place now as the new machinery of administration takes over. She and Bobby Kennedy are outsiders. She has a battle of wills with Jack Valenti over the funeral. -Gender: Jackie struggles to be taken seriously - this is clear from questions about the White House Tour. People are more interested in her clothes and her personal life than in what she has to say about history. Suggested Essay Structure ● Intro- in an order which works for you, include: A thesis statement which outlines the scope of your argument A positioning statement summarising what the film is about, eg ‘Larrain’s unconventional bio-pic presents Jackie Kennedy’s struggle to ensure her husband’s legacy in the days following the assassination, at the same time as dealing with her personal grief and pain.’ The key ideas /purpose you will discuss (lots of possibilities here- see above) ● Body Paragraphs: Work through the film structurally, but also chronologically. Early in your essay outline the four-timeframe narrative structure which builds a complex portrait of Jackie at different stages, before, during and after the assassination. Select key scenes/ details from each narrative which relate to your argument, but also try to give a sense of the film as a whole. Be sure to discuss the way the four time frames come together during the funeral scene and discuss the ending. Explain how the techniques used in your chosen scenes reveal aspects of Jackie’s character, convey ideas and manipulate the audience’s response. ● Conclusion- strong statement that reinforces your thesis statement, the film’s message and goes beyond the text by commenting on what we learn /the relevance of the film today etc. A few essay tips - your marker may not have seen the film. Give an overview in the intro or next para- the film presents Jackie in the aftermath of her husband’s assassination. You need to outline the four timeframes- ie we see Jackie in the week following the assassination, preparing for JFK’s funeral; this is framed by an interview with a reporter (based on Theodore H White’s article) during which we see flashbacks to J’s heyday in the White House, and this is intercut with a conversation between Jackie and her priest. - start with a strong statement, not ‘In the film’ or ‘the film’ (snore). Look for an interesting quote from a film critic, or a statement connected to your central idea. - topic sentences: these need to drive your argument. They need to establish the POINT of the paragraph. Remember my mantra: I should be able to read your intro, topic sentences and conclusion and get the gist of your essay. - build your argument throughout - ‘we begin to understand / but - write with ‘pulse’. This is not a clinical dissection. Put some feeling and voice into your writing. Compare these extracts from two student paragraphs. Which is better written? The elaboration of the assassination time period begins with a very private moment of Jackie revealing her raw, fragile character. The action of sobbing while wiping the blood off her face evokes a feeling of trauma, as blood is a powerful symbol of danger and horror and the extreme close up draws the audience almost too intimately with Jackie which successfully shocks us into feeling engaged with the character. versus The assassination narrative immediately confronts us with Jackie’s raw and undiluted grief. In the bathroom of Airforce One Jackie sobs into the mirror, wiping her husband’s blood from her face. Her anguish is visceral, traumatic and powerful - the extreme close-ups almost too intimate - and we are shocked into engagement. Jackie: A Review Biopics remain a popular genre for Hollywood. The lesser productions could be considered toothless awards bait, but the best biopics transcend that cynical generalization and offer insight into the human condition, exploring themes relevant and compelling to the audience. Written by Noah Oppenheim, Jackie isn’t just a biopic—the film is an intimate character study of the former First Lady. Jackie never wanted the spotlight, and the script plays with this internal conflict, depicting her as a woman torn between being a grieving widow and, to quote the movie, the “mother” to all Americans. Throughout the screenplay, Jackie tries to take control of her and her husband’s narratives; she insists that her husband have a funeral like Lincoln’s, complete with a procession on foot through the streets of Washington, despite the potential security risks, and when she begins her interview with a reporter from Life magazine, she tells him that she “will be editing this conversation.” But none of this was specifically about her image—as shown in the screenplay, her main goal was to secure her husband’s place in history, not have him discarded as “some dusty old artifact.” That selflessness helps make Jackie an even more sympathetic and compelling figure. Structurally, Oppenheim mostly limits the script’s focus to the days immediately after JFK’s assassination up until his funeral, with Jackie’s subsequent conversation with a Life reporter serving as a frame. As she goes through her grief and mourning, the script shows the cracks in her public facade but nevertheless depicts her as a strong woman in the midst of a horrible situation. As a movie, Jackie deserves all the praise it’s been receiving. Director Pablo Larraín has taken Oppenheim’s screenplay and made it into a visually stunning film, and Natalie Portman perfectly captures Jackie's voice and mannerisms and gives a career-best performance. As a character study and as a moving tribute to a former First Lady, Jackie is worth checking out. https://scriptpipeline.com/jackie-screenplay
