The biopic, Jackie (2016), is set in the days following the assassination of President John F. Kennedy. It depicts the First Lady Jacqueline Kennedy, in her moments of grief and trauma, and her struggle to regain control and preserve her husband’s historic legacy. The film was beautifully and artfully made, as if an embodiment of Jacqueline’s poise. The script composed largely of her words, articulated with uncanny likeness by Natalie Portman, seemed to flow like poetry. Yet, Natalie’s intensity, and expressiveness of facial expression, was quite beyond Jacqueline’s rather easy composure even as she conversed with leaders around the world. Nevertheless, Natalie’s interpretation of Jackie as she metamorphosed, from a woman who was her husband’s woman, to one who survived without him, was carefully thought out.
For me, the best frames of the film were during her march with the casket. Her face, though composed, almost stoic, bore the stain of tears; and the light rays filtering through her black veil were at times blueish black, and reddish black. The significance of the march would be remembered by the world, for many years to come.