I don’t think much of Woody Allen as a husband or father, but I still get excited whenever I hear that he has a new film out. Despite a mixed bag in recent years, I loved Match Point and thought Midnight in Paris was one of the best movies of 2011. His latest, Blue Jasmine, starring Cate Blanchett in possibly a career-defining performance, is definitely right up there as one of his better projects over the past decade.
In tradition with Allen’s unique style, Blue Jasmine is a small, chatty, neurotic character movie, this time about a woman who had everything coping (or not coping) with losing everything. Blanchett plays the titular Jasmine, a New York socialite who once had wealthy husband (Alec Baldwin) and all the branded handbags and shoes a woman could want, but begins the film travelling to live with her not-so-well-off sister and her two sons in San Francisco. There are reasons for her downfall and breakdown, and we find this out gradually, piece by piece, through a series of well-designed exposition and flashbacks.
It’s clear from the very first scene, a one-sided conversation aboard her flight, that Jasmine is not a likable protagonist, someone who cannot let go of her elitist attitude and high and mighty behaviour despite no longer having the status or bank balance to back it up. Much of the fun is watching this very self-centered, pompous and cluelessly tactless woman trying to “put up” with people she thinks are inferior to her, though at the same time there is a certain poignancy to Jasmine’s ordeal because she is fighting so hard to not crumble under her depression. Despite all the obnoxious and insufferable things she says and does, it’s no easy hating Jasmine because she’s so laughably pitiful.
Part of that is Allen’s masterful writing, but most of the credit should go to Blanchett’s performance, which has already won her a Golden Globe and makes her a favourite heading into the Oscars. She is simply perfect as Jasmine, exuding an elegance and presence that is tailor made for the role. Everything, from her posture to the way she seems to start every sentence with a heavy sigh, tells you the kind of horrible character she is, and yet you understand why men are drawn to her. And most of all, she is incredibly funny, in an endearing Larry David/George Costanza kind of way.
Backing Blanchett up is a strong cast that includes Sally Hawkins as her “far too nice” sister, Bobby Cannavale as the sister’s middle-class boyfriend, and Peter Sarsgaard as a potential new love interest. Rounding out the effective ensemble are Alec Baldwin as the sleazy husband (another wonderful bit of casting), Louis CK as the sister’s new potential love interest, and Michael Stuhlbarg as a creepy dentist.
Blue Jasmine is an unusual, quietly brilliant movie because it doesn’t follow Hollywood’s typical “character journey” plot. Some of the subplots were a little on the predictable side — you just knew Woddy was setting certain relationships up for a dramatic moment — but by the end I was pleasantly surprised with its unconventional, and probably more realistic, conclusion. The film does lose momentum and become more serious and less funny as it progresses, but with a crafty pace and a compact 98-minute running time, Blue Jasmine is a pure delight that doesn’t come around very often, even for Woody Allen.
4.25 stars out of 5