Pablo Larraín
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Watching it I was reminded of Rebecca (1940) and The Innocents (1961) in the way the location looms over the central character like a constant omen of dread.
The affectionate moments Diana shares with her adoring sons, Prince William (Jack Nielen) and Prince Harry (Freddie Spry), briefly take on spooky candlelit overtones of Jack Clayton’s “The Innocents.”
The theme of “Camelot” (the original score with Richard Burton and Julie Andrews is heard) echoes throughout the film as Jackie conducts an exclusive interview with a journalist (played by Billy Crudup of “Almost Famous”).
An unhappy marriage is also at the center of Jane Campion’s The Power of the Dog , which earned its director a prize in Venice and also features a score by Greenwood—this one more than a bit reminiscent of his atonal accompaniment for There Will Be Blood.
Jonny Greenwood’s ("There Will Be Blood," "Phantom Thread") spiky, atonal jazz score perfectly captures Diana’s head space.
The music shudders with all the raw-nerves lyricism you’d expect from Jonny Greenwood (adding another remarkable score to an oeuvre that includes “There Will Be Blood” and “You Were Never Really Here”).
The emcee at the Heartland Film Festival screening introduced it as something more akin to “Black Swan,” if that gives you any sort of flavor.
If Larraín dipped his toe in gothic waters with “Jackie,” and its many scenes where Natalie Portman drifted through an empty White House like a ghost haunting her previous life, here he jumps all the way in, staging “Spencer” as a psychodrama swimming the same tides as “Repulsion,” “Rosemary’s Baby,” or “Black Swan.”
Of course she should suffer from “Black Swan”-like hallucinations while trapped with a bunch of royal ghouls for Christmas.
It's still a bit of a beauty pageant that will satisfy fetishists of her iconic style on a superficial level, and Under the Skin composer Mica Levi's groaning cellos, while embracing the dirge, put Jackie on the same unearthly plane as Scarlett Johansson's alien from that film.
It will come as no surprise to anyone that Levi gave us all that moody music that helped make 2013’s “Under the Skin” so affecting.
“Jackie,” which boasts one of the year’s best, most compelling scores by Mica Levi (“Under the Skin”), tells us little we did not already know and has a lot in common with the 2013 release “Parkland.”
Produced by Darren Aronofsky and boasting a staggering, disorientating string-based soundtrack from Mica Levi (Under the Skin), Jackie has the sophisticated psychological aesthetic of a Jonathan Glazer movie but focuses on one of the most contentious and traumatic events in U.S. history.
The twenty-nine-year-old classically trained experimental composer’s music, like her work for Jonathan Glazer’s “Under the Skin,” is luxurious yet unnerving, sometimes cacophonous, other times disordered, and nothing less than lovely, even thrilling in its own right, but also piercingly, disarmingly subjective to the trauma onscreen.
The film is considerably burdened by a pointlessly weird score by Mica Levy (whose work on the Scarlett Johansson movie Under the Skin was so hair-raisingly effective).
But by the end, lifting the script of Wes Anderson’s The Grand Budapest Hotel, I say, she certainly sustained the grand illusion [of Camelot] with a marvelous grace.
Hay pruebas de ello en una obra irregular como ‘Spencer’ de Pablo Larraín, así como en obras mayores como ‘Last Night in Soho’ de Edgar Wright y ahora ‘El último duelo’ de Scott.
Woozy and dreamlike, floating for close-ups both intrusive and inquisitive, French cinematographer Claire Mathon (who worked with Céline Sciamma on Portrait of a Lady on Fire and Petite Maman ) does excellent work.
Mathon also has Petite Maman screening at the festival this year, while Greenwood has The Power of the Dog , making 2021 one of the most accomplished years for both these masterclass individuals (although Mathon has already experienced a similar year in 2019 with both Atlantics and Portrait of a Lady on Fire ).
Jackie Kennedy (Natalie Portman, Jane Got a Gun) is visited by journalist (Billy Crudup, Spotlight) after the assassination of JFK to get her “definitive” interview on the subject.
Soon, she’ll meet with the journalist (Billy Crudup, Spotlight) approved to document her account of the day John F. Kennedy (Caspar Phillipson, Villads fra Valby) died.
For those of us who are fans of British filmmaker Edgar Wright—a hometown favorite in my neck of the woods for the Torontopian masterpiece Scott Pilgrim vs. the World —the hope was that Last Night in Soho would reverse the downward trajectory he’s been on since 2017’s enervating Baby Driver.
Durran has won two Oscars for her achievement in costume design for Little Women (2019) and Anna Karenina (2012).
Like Isabelle Huppert and director Paul Verhoeven on “Elle,” Portman and Larrain are like a dynamic duo.
This is still a powerful film about faith, and along with Anne Fontaine’s Polish-French drama The Innocents and Pablo Larraín’s The Club, it forms a triptych of 2016 films that examine the nature of belilef in God and what it’s like to have it, maintain it, or lose it.
She’s clung to the vocal affect that brought the title character to life with 2016’s “Jackie.”