There is only one real talking point when coming to this quirky little movie, and that, of course, is the overdue recognition of one of Hollywood’s finest actresses over the last dozen years. Yes, the impeccable talent of Jessica Chastain finally won her Oscar, and quite right too! I have seen her in 16 of her 36 current film credits and am very unsurprised to look back and note she has appeared in nine 4 star films and one 5 star film, according to my own Decinemal Rating system. That is some track record! Proving her choice of project is usually a sign of quality – with misfires It: Chapter 2 and X-men: Dark Phoenix as exceptions to the rule. Chances are you have seen at least a few performances that made you say “wow”. At the very least, I never heard a single person ever say they don’t like her, on or off screen.
It may be surprising to learn that her career is not that old. Unlike many of her peers, she did not have a film CV in her 20s, beginning only in 2008, aged 31, after a spell of solid theatre performances. 3 years later in 2011 she exploded into our movie consciences by appearing in three memorable roles, and even garnering an Oscar nomination for her supporting role in the popular period piece The Help. Looking back, that was in fact her weakest film that year artistically – considering the other two were the love or hate it art piece The Tree of Life, from the contentious oeuvre of Terrence Mallick and Jeff Nicols‘ exceptional and criminally under-rated masterpiece Take Shelter.
Since then, films like Molly’s Game, Miss Sloane and the also under-rated (and personal favourite) A Most Violent Year have kept her high in public opinion and always extremely castable in big roles made for strong, smart women. Consider significantly integral roles in two of the biggest and best sci-fi films of the decade, namely in Interstellar and The Martian, and we are talking about an A-list star on a level with all but a handful of male counterparts. Truly, her career can be said to be an essay in the inevitable crossover from male dominated Hollywood into a better world that acknowledges the power of femininity that stands up against the patriarchy without ever losing a sense of grace.
This was never more apparent than in her best role to date, in the best movie she has starred in; the film for which she very much should have won her first Oscar: Kathryn Bigelow’s 2013 opus: Zero Dark Thirty. It epitomises everything about Chastain herself – a determined, intellectual stance against a masculine world that refuses to accept vulnerability, beauty and strength can go hand in hand. It is a seminal performance in a film that only gains more power and meaning over time, as politically America continues to implode. It has always been my opinion that this will be the performance that stands the test of time as a marker of what female leads in Hollywood could be capable of. A shame then, in a way that she gained her recognition not for that role, but for Tammy Faye, which evokes a much lighter and supercilious impression.
Don’t get me wrong, it is good, it is a very assured and interesting performance, in what could have been a banana skin role for any lesser actress. Nuanced and well judged in all the right ways, Chastain knows when to push the comedy and pathos of Tammy Faye to the limits and when to pull back. At times it feels like she is completely running the show; dictating the films’ shape beyond any control the director has – which is its ultimate fault: the direction is weak and unimaginative, leaving the impression of an average film containing an extraordinary acheivement in acting. We are always on her side, no matter how ridiculous events become – she instils an integrity and depth to Tammy that supercedes anything we might want to poke fun at. The make up (also deservedly Oscar winning) is the surface we are asked to look beyond – and in the eyes of Jessica Chastain we can always see the truth beyond the veil. The trouble is that the script, editing and direction don’t always support her fine work to the maximum.
The likable Andrew Garfield is blameless; doing his best to keep up with Chastain where he can. His was a tough role to pull off and he does a decent job here. Although it is apparent that his female co-star is eating up the screen in every scene they share. So good is her performance that it blinkers you from anything else around it, including some of the plot. You find yourself marvelling at her fake smile and cutesy giggle, pitched perfecty, rather than caring about the situation, which is always lacking in the drama it could have been invested with given better story-telling prowess.
I am unlikely to recommend this film to anyone for any other reason than to showcase Chastain, it’s as simple as that. It was entertaining enough, but just too light and inconsequential to be important and memorable in any other way. Although it is fascinating as a studious example of how much a star turn can elevate average art.
The most interesting question perhaps is where does Chastain go now that she has the clout of an Oscar win behind her? Aged 45, it is compelling to think what kind of thing she will even be offered? It is thankfully a slightly different time from when any actress over 40 struggled to find interesting roles and scripts. I trust that she is smart enough to recognise that responsibility and use her position of strength in Hollywood wisely. For me, the most exciting prospect is a possible return to the character of Anna Morales in a Most Violent Year sequel, alongside Oscar Isaac, with whom she shares a palpable chemistry. Whatever happens, it will be a career to keep a very close eye on.
Decinemal Rating: 68
The Wasteland 