On Blue Jasmine

There is something decidedly dark about Woody Allen’s latest film, Blue Jasmine much more than one usually associates with the anxious ridden, often whimsical Allen. In relation to his latest pieces of cinema, Blue Jasmine is more Vicky Christina Barcelona (2008) than Midnight in Paris (2011). And this is no criticism; it simply speaks of the director’s mercuriality and knowledge of film.

Blue Jasmine is more than a film about insecurities in adult relationships (for which Allen has perfected the formula); it is a film that traces the breakdown of its protagonist, Jasmine. A breakdown as complete as that of Curtis in Take Shelter (2011) although not as reliant on horror conventions. Like Take Shelter, Blue Jasmine’s brilliance has at its visual centre an actor in a performance that could define their career. As Jasmine, Cate Blanchett is faultless. For an actor of such recognition to disappear entirely into a role is rare. And this is not an easy role. Jasmine is a mess; she switches from charming defensive to socialite to insecure with layers of psychological collapse. Jasmine’s desperate attempt to cling to a life that was never even real manages to be both pathetic and heart breaking. Blue Jasmine is arresting cinema.  

Of course the success of this film is more than one person. Allen’s direction and writing, as always is secure and distinctive. The supporting cast do exactly as needed and despite a few moments of questionable serendipity, Blue Jasmine is Allen at his best.