Since bursting onto the scene in 1966 with his directorial debut What’s Up, Tiger Lily?, American auteur Woody Allen has, with a mere handful of exceptions, brought out a film every single year, and it’s not since 1981 this wasn’t the case. Differentiating between his projects, particularly over the last decade or so, is not the easiest of tasks, and it takes a real gem to stand out from the crowd, like Midnight in Paris, for example. However his latest picture Blue Jasmine hasn’t got to worry about this in the slightest, as this masterclass in filmmaking is one of his darkest, most accomplished productions, as we follow the tragic set of events unfolding in the life of the emotionally unstable Jasmine (Cate Blanchett).
Jasmine arrives in San Francisco, right off the back of breaking up with her affluent husband Hal (Alec Baldwin), as the upper class New York socialite is to stay with her adopted sister Ginger (Sally Hawkins), despite the distinct difference in personality and social class. Imposing greatly, with a snobbery aimed at this particular lifestyle and Ginger’s fiancé Chili (Bobby Cannavale), Jasmine struggles to fit in, and while haunted by her own past and how this extravagant, excessive life has slipped between her fingers, she has to make an effort and attempt to turn her life back around, but she needs to discover who she really is first.
There is an incredibly poignant meaning to Blue Jasmine, as Allen delves into social class, as we have two contrasting sisters, one of whom has everything she ever asked for, while the other isn’t nearly as well off and works in a supermarket – yet it’s undeniable as to who is the happiest of the two, and enjoying life for all its worth. The message is enforced powerfully while remaining subtle at all times. There is so much depth and so many layers to this title too, in how Ginger is always desperate to impress Jasmine, and how the latter merely looks down on her sister, as though embarrassed by her.
What Blue Jasmine also has, predictably where Allen is concerned, is a stunning screenplay. This story is structured wonderfully too, as the way Allen moves back and forth between the present day and flashbacks to ensure this story is told with as much emotional gravitas as possible is masterful. The film is so emotional too, as a really touching piece of cinema, as we witness a woman just solemnly trudging through life, struggling to take a hold of it. As we watch how her mental state deteriorates in front of our very eyes, and yet knowing there’s nothing we can do about it, it makes for painful viewing at times.
Jasmine is a remarkably well constructed and tragic character and Blanchett is breathtaking in the role, and one that demands an Oscar nomination, at the very least. She has this fragility to her and there is so much emotion going on in her eyes, in a performance so strong you simply couldn’t imagine anyone else taking it on. Talking of Oscar nominations, Hawkins would consider herself unlucky to miss out on a Best Supporting Actress nod, as yet another masterfully concocted creation, as Allen displays a unique ability to write from a female perspective, while remaining faithful to his usual, clumsy and awkward leading role we so often see in his productions.
It’s refreshing to see a character driven piece from Allen, as it’s fair to say his previous couple of ensemble pieces have fallen flat, making it a real joy to invest properly in a character, and there are few characters this year that will move you quite in the same way that ‘Blue’ Jasmine manages. At 77 years of age now, there is a debate to be had as to whether Woody Allen is the finest living director today, and if there’s one thing for sure, it’s this film certainly won’t be doing any harm to his chances of claiming such a prestigious title.
[Rating:5/5]
