**THIS REVIEW IS 100% SPOILER-FREE**
As far as auteur filmmakers go, few in history have been as prolific as Woody Allen. Somehow managing to put out one film a year for nearly all of the past 45 years, Allen has a filmography, as a writer/director, more extensive than most actors; the fact that Allen often acts in his own films (although he hasn't done so much recently) only further proves the man's artistic talent. Of course, the law of averages has definitely come into play regarding Allen's work, which is to say that for someone who puts out so much content, not all of what he creates is going to be worthwhile. 2011's Midnight In Paris was an unquestionable masterpiece, a lovely comedic fantasy that was easily that year's best film (seriously, anyone who hasn't seen it definitely needs to check it out.) Last year's To Rome With Love, on the other hand, was essentially forgettable and definitely a let-down after how truly great Midnight In Paris was (no really, Allen won the Best Original Screenplay Oscar that year, with the film also nominated for Best Picture and Best Director).
Here he is in his most natural setting, basically; the man belongs either behind or in front of a camera.
I was lucky enough to see a sneak preview of Allen's latest work, Blue Jasmine, a few weeks ago, although I'm only just now getting around to reviewing it. As far as quality goes, Blue Jasmine is generally very good. The film is not a straight comedy, it falls more into the category known by that singular portmanteau, the "dramedy" (or perhaps it is a "tragicomedy?"). Blue Jasmine tells the story of Jasmine (Cate Blanchett), a wealthy New York trophy wife who suddenly finds herself having to move in with her lower-class adopted sister Ginger (Sally Hawkins) after it gets out that her husband Hal's (Alec Baldwin) fortune was acquired through less-than-legal means. Packing up and moving to San Francisco, Jasmine must adjust to a lifestyle other than that of the rich and famous while also dealing with serious psychological problems that resulted from having her entire world turned upside down.
The film features an absolutely stellar cast, one of the year's best, with Blanchett, Hawkins, and Bladwin joined by Bobby Cannavale (as Chili, Ginger's new boyfried), Michael Stuhlbarg (as a dentist who gives Jasmine a job in San Francisco), Louis C.K. (as a schlubby stereo salesman) Peter Saarsgard (as a U.S. diplomat) and even comedian Andrew Dice Clay (in a surprisingly great turn as Augie, Ginger's ex-husband).
The real standout of the cast, though, is Cate Blanchett; Blanchett absolutely owns the role of Jasmine, perfectly shifting from her snobby socialite persona to a complete wreck, barely held together by a toxic mixture of alcohol and prescription medication. Jasmine at times appears to be completely coherent, criticizing her sister for her "poor" life choices and then at others to almost be a babbling lunatic who talks to herself and can't quite comprehend how her life could have fallen apart so dramatically. Blanchett, of course, is a rare talent in the field of acting and totally blows the viewer away in terms of her commitment to the role.
Unsurprising coming from the woman who won an Academy Award for playing an Academy Award-winning actress.
While Woody Allen does not act in the film, his trademark wit is all over the characters, especially Jasmine, who is (of course) as neurotic as many other Allen protagonists; the difference in this film, though, is that the neuroses Jasmine experiences are definitely born from the tragedy her life has become, giving those neuroses a stronger meaning. Jasmine is also very nearly an unlikable character. The way that Jasmine demeans her sister's lifestyle, the company she keeps, and even her job will surely have many audience members feeling as though she got what she deserved; the path the character takes during the film, however, and the revelations about what her "privileged" life was truly like ultimately engender pity from the viewer. Even spite of the often horrible things Jasmine says to those around her, the character never actually becomes a villain in her own story.
The rest of the cast is also very good, although since the film is primarily a character study about Jasmine, Blanchett does get the most powerful work. Hawkins, however, shines as a Ginger, who must decide whether or not to help her adopted sister despite the fact that Jasmine wanted nothing to do with her while she was wealthy. While desperately wanting to earn her sister's approval, Ginger makes what turns out to be a grave mistake, but in the end realizes that Jasmine's idea of "class" and "standards" do not exactly translate to real-world worth.
The other standout in the cast is Andrew Dice Clay as Augie; the character does not have a ton of time on the screen but Clay makes the most out of it. Augie's story is a tragic one, one that plays out partly through flashbacks and partly through conversations between Jasmine and Ginger, but it carries a good deal of weight and is partially informed by the interference of Jasmine and her husband Hal.
Not this Hal. Although, what is it with Hals and causing trouble?
One of the most interesting things about the film, something that I was conscious of the entire time I was watching it, was the way it felt like watching a stage play. The film's sets were often very simple, such as the interiors of house, apartments, or offices, and even those scenes which took place outside didn't do so in any bombastic way. A few of the story's most important moments, in addition, occur offscreen much in the same way that major action or violence always happened offstage in ancient Greek drama. The film even ends in a very small and intimate manner.
Intimate is actually a great word to describe the film. The viewer really feels like they get to know Jasmine as a person over the course of the film's runtime. The script really delves deep into her philosophy on life, what makes her tick, her hopes, and her fears. Much of the credit for this must also go, as previously mentioned, to Cate Blanchett's incredible performance as well.
The music in a Woody Allen film is usually very good and this one is no exception. The soundtrack is loaded with the director's beloved jazz, which really pairs well with Allen's directorial style. I'm not quite sure whether or not this is simply due to the fact that I couldn't imagine a Woody Allen film not featuring music like this at least to some degree, however it still works.
Oh yeah, did I mention how the guy also plays clarinet in a jazz band?
The film did have some flaws. For all of its wit and interesting characters, the script definitely strayed a bit into the territory of "rich = selfish and greedy, poor = caring and giving." As a (very) thinly-veiled attack on the age of Wall Street excess and the "Greed Is Good" mentality, Blue Jasmine can often feel a bit heavy-handed. The most interesting aspect of the film is definitely not its social, political, or economic commentary (although there is some value to that content in the film), it is experience Jasmine fall and seeing where it takes her. Another problem with the film was that it featured a few superfluous subplots that either never went anywhere meaningful or ended so abruptly that they may as well not have been there at all.
As far as Woody Allen films go, Blue Jasmine definitely does not rise to the dizzying heights of his greatest films (those being Midnight In Paris, Manhattan, Bullets Over Broadway, Hannah and Her Sisters, and, of course, Annie Hall). It also does not sink nearly as low as some of his worst content (To Rome With Love, Anything Else). Blue Jasmine is a decidedly above-average film featuring an Oscar-worthy performance from Cate Blanchett and is definitely a good time at the movies for those looking for a stripped-down, dialogue-heavy character piece. Despite the fact that Allen often misses as often as he knocks it out of the park, I eagerly look forward to his new film every year; I looked forward to Blue Jasmine quite a bit and enjoyed it too. I can honestly say I've already started counting down the days until the premiere of next year's film.
Hey, a stutter-free King George will be in it, it can't wind up being that bad.
Any Woody Allen fans out there? Let me know what you all think of his films (or this one, if you've managed to see it).