Hilary & Jackie (B+ or 3.5/4 stars)
'Hilary & Jackie' (directed by Anand Tucker) tells the interesting story of celebrated, virtuoso cellist, Jacqueline du Pre. But it's not just about 'Jackie' (Emily Watson), but about her oft tempestuous, yet endearing relationship with her sister, Hilary (Rachel Griffiths). As children, H&J were inseparable soul-mates. Growing up in 1950s England, musical prodigy Hilary, a flutist, was considered the greater talent. She was invited to play with orchestras & make special appearances. Through practice, hard work & determination, however, flamboyant Jackie honed her skills to get to her sister's level ... and beyond. When they were teens, Hilary came to resent Jackie's success. But then as young adults, the tables turned again.
As an adult, Hilary all but gave up the flute to find domestic bliss with her vibrant husband, Kiffer (David Morrissey) and to raise chickens in the countryside. All the while, Jackie hit the big time, touring Europe, and relishing the fame & acclaim that came her way. The price of all: her desperate yearning to have the stability & innate happiness that Hilary possessed. Then, when Multiple Sclerosis ended her career - leaving her both alone & dependent - she had to cope with the loss of her defining characteristic, as well as imminent death. Relationships btwn. sisters are never easy. And both director Tucker & screenwriter Frank Cottrell Boyce (from a book by Hilary & Piers du Pre) 'get' this; having taken great pains to show all of the ups, downs, loves, hates, shades & variables of sisterhood.
What gives 'Hilary & Jackie' more substance than your traditional biopic is its uniquely executed story structure. The film is essentially told in 3 acts; which enables us to plunge into the core of the love/hate relationship btwn. the sisters The 1st act covers the sisters' intriguing childhood. The 2nd, labeled 'Hilary' is told from her point-of-view {we sympathize with her greatly & judge Jackie, a bit}. And the 3rd, titled 'Jackie', considers her own perspective -- and we learn that we might've jumped the gun on judging her. Acts 2 & 3 ('Hilary' & 'Jackie') are presented as mirror images of each other from diff't perspectives so as to illustrate how the same events can be interpreted differently by each sister -- brilliant! Sometimes, the changes are infinitesimally subtle, but at other times, they can be quite different. There's also a dream-like bookend where a young Hilary & Jackie confront a mysterious woman on the beach. This allows for a satisfying moment of catharsis.
Emily Watson, so good in 1996's Breaking the Waves, is superb as the troubled, ill-fated musician. It is a VERY a difficult role for many reasons: being a petulant genius without coming across as vile; showing supple music skills {Watson trained mightily}; plagued by self-doubt that borders on insanity {her voracious, erotic need for sexual liberation}; playing someone disabled without pushing it into artificial histrionics -- she balances it all so well. For as tough as a person Jackie may have been, Watson gives her real human moments. i.e. spreading her clothes out on a hotel bed to remind her of home. Rachel Griffiths, so good in 1995's Muriel's Wedding, is fantastic as the 1st prodigy child who loves her sister, but becomes jealous, retracts from the music world, finds the self-esteem she wanted in her marriage, and still juggles the ups-&-downs of her beloved, brilliant, yet tortured sister. Both Griffiths & (especially) Watson play big characters, but they lend such subtle character nuances, as well. Lending stellar support is James Frain and both Charles Dance & Celia Imrie as H&J's proud parents.
The director, screenwriter & editor's non-traditional storytelling flourishes enhance the narrative rather than distracting from it. Every subject that this film touches on - from the lasting effects of sibling rivalry to the line btwn. musical genius & pure madness to the high price of celebrity - is handled impeccably. And when you add in the wonderfully urbane performances, some fantastic music sequences, effective cinematography, astute period designs {including Sandy Powell's brilliant outfits}, it's easy to see why this has been heralded as a towering cinematic achievement. 'H&J' tells a heartbreaking tale of multi-dimensional characters we can empathize with. It may not be uplifting with respect to what happens in the story, but it is a rewarding film to witness for how utterly well-executed it is.
As an adult, Hilary all but gave up the flute to find domestic bliss with her vibrant husband, Kiffer (David Morrissey) and to raise chickens in the countryside. All the while, Jackie hit the big time, touring Europe, and relishing the fame & acclaim that came her way. The price of all: her desperate yearning to have the stability & innate happiness that Hilary possessed. Then, when Multiple Sclerosis ended her career - leaving her both alone & dependent - she had to cope with the loss of her defining characteristic, as well as imminent death. Relationships btwn. sisters are never easy. And both director Tucker & screenwriter Frank Cottrell Boyce (from a book by Hilary & Piers du Pre) 'get' this; having taken great pains to show all of the ups, downs, loves, hates, shades & variables of sisterhood.
What gives 'Hilary & Jackie' more substance than your traditional biopic is its uniquely executed story structure. The film is essentially told in 3 acts; which enables us to plunge into the core of the love/hate relationship btwn. the sisters The 1st act covers the sisters' intriguing childhood. The 2nd, labeled 'Hilary' is told from her point-of-view {we sympathize with her greatly & judge Jackie, a bit}. And the 3rd, titled 'Jackie', considers her own perspective -- and we learn that we might've jumped the gun on judging her. Acts 2 & 3 ('Hilary' & 'Jackie') are presented as mirror images of each other from diff't perspectives so as to illustrate how the same events can be interpreted differently by each sister -- brilliant! Sometimes, the changes are infinitesimally subtle, but at other times, they can be quite different. There's also a dream-like bookend where a young Hilary & Jackie confront a mysterious woman on the beach. This allows for a satisfying moment of catharsis.
Emily Watson, so good in 1996's Breaking the Waves, is superb as the troubled, ill-fated musician. It is a VERY a difficult role for many reasons: being a petulant genius without coming across as vile; showing supple music skills {Watson trained mightily}; plagued by self-doubt that borders on insanity {her voracious, erotic need for sexual liberation}; playing someone disabled without pushing it into artificial histrionics -- she balances it all so well. For as tough as a person Jackie may have been, Watson gives her real human moments. i.e. spreading her clothes out on a hotel bed to remind her of home. Rachel Griffiths, so good in 1995's Muriel's Wedding, is fantastic as the 1st prodigy child who loves her sister, but becomes jealous, retracts from the music world, finds the self-esteem she wanted in her marriage, and still juggles the ups-&-downs of her beloved, brilliant, yet tortured sister. Both Griffiths & (especially) Watson play big characters, but they lend such subtle character nuances, as well. Lending stellar support is James Frain and both Charles Dance & Celia Imrie as H&J's proud parents.
The director, screenwriter & editor's non-traditional storytelling flourishes enhance the narrative rather than distracting from it. Every subject that this film touches on - from the lasting effects of sibling rivalry to the line btwn. musical genius & pure madness to the high price of celebrity - is handled impeccably. And when you add in the wonderfully urbane performances, some fantastic music sequences, effective cinematography, astute period designs {including Sandy Powell's brilliant outfits}, it's easy to see why this has been heralded as a towering cinematic achievement. 'H&J' tells a heartbreaking tale of multi-dimensional characters we can empathize with. It may not be uplifting with respect to what happens in the story, but it is a rewarding film to witness for how utterly well-executed it is.