Watching closely with your eyes shut: Jackie von Pablo Larraín

1963. Nur wenige Tage nach dem Begräbnis von John F. Kennedy besucht ein Reporter die Präsidentenwitwe in ihrem Anwesen an der Küste von Massachusetts. Das ist der Ausgangspunkt von Pablo Larraíns Jackie. Der Journalist ist auf der Jagd nach einer Story, versucht schon an der Eingangstür emotionale Reaktionen und private Einblicke zu gewinnen, doch Jackie Kennedy lässt sich nicht überrumpeln und schildert gefasst ihre Version der Ereignisse. In verwaschenen Rückblenden erzählt der Film dann von Jackies Amtshandlungen als First Lady, vom Attentat auf ihren Mann und den darauffolgenden Tagen. Dazwischen kehrt der Film immer wieder zum Gespräch der beiden zurück. Die Funktion des Interviews erschöpft sich aber nicht in seiner dramaturgischen Rolle als strukturgebendes Element. Die Rückblenden setzen unvermittelt ein, mäandern durch die Zeit, verschachteln sich ineinander, enden abrupt. Die verschiedenen Szenen bilden Assoziativketten und Erinnerungsräume; wie Sedimentschichten überlagern sich die Zeit- und Erzählebenen. Das Interview geht als Referenzpunkt verloren – die Rückblenden haben sich von ihrer vermeintlichen Ausgangssituation gelöst – es steht vielmehr gleichberechtigt neben den anderen Szenen.

Jackie von Pablo Larraín

Jackie geht es, so wird schnell klar, um ihre öffentliche Darstellung: Wenn sie sich vor dem Reporter öffnet, dann „off record“; das Begräbnis ihres Mannes stilisiert sie zum Spektakel. Die öffentliche Darstellung erschöpft sich allerdings nicht in Glanz, Souveränität oder Eitelkeit. Sie berücksichtigt auch Kategorien wie Verletzlichkeit und Schmerz. Jackie ist sich darüber im Klaren, was der Journalist hören will und gibt unter Tränen eine detaillierte Schilderung ihrer Erlebnisse in Dallas. Sie zündet sich mit zitternden Händen eine Zigarette an, um im nächsten Moment den Reporter besonnen darauf hinzuweisen, diese Passage aus den Aufzeichnungen zu streichen – die Grenzen zwischen Kalkül und ehrlicher Betroffenheit verschwimmen. Der Film wechselt ständig zwischen zärtlicher Wärme und distanzierter Kühle: mit klinischer Souveränität weist sie den Reporter in die Schranken; herzzerreißend hingegen der Morgen nach dem Attentat, als sie ihren zwei kleinen Kindern erklären muss, dass ihr Vater von ihnen gegangen ist; nüchtern die Unterhaltung mit ihrem Priester über Schicksal und Gerechtigkeit. Aus der Schichtung dieser Momente ergibt sich schließlich ein komplexes Geflecht aus Beziehungen, das Jackies Lebenswelt darstellt. Der Hauch eines Lächelns, wenn sie mit ihrer Sekretärin über den bevorstehenden Auszug aus dem Weißen Haus spricht, oder ein Anflug von Trauer, wenn sie mit ihrem Schwager Bobby über das Bestattungsprozedere spricht, erzählen schließlich mehr, als die Interviewpassagen, in denen die Alternation von Offenheit und Verschlossenheit oft allzu berechnend wirken.

Man sieht diese Augenblicke in Jackie Kennedys Leben und doch entzieht sich der Film einem klaren Blick. Obwohl man hinsieht, kann man sich nicht so recht einen Reim daraus machen. Der Film widersteht einer eindeutigen Auslegung – man sieht genau hin, aber es fühlt sich an, als hätte man gar nichts gesehen. Wie schon in Larraíns letztem Film Neruda stellt sich die Frage, inwiefern seine Konzeption der Protagonistin überhaupt mit der echten Person übereinstimmt. Beide, Jackie Kennedy und Pablo Neruda, beherrschten das Spiel mit den Medien und sorgten für ihre eigene Mythenbildung. Larraín nimmt bereitwillig diese Selbstdarstellungen in seine Figuren auf, fügt ihnen jedoch zusätzliche Ebenen hinzu. Im Falle von Neruda konfrontiert er den Protagonisten mit einer gänzlich fiktiven Figur, die einzig als Katalysator der Handlung dient; im Falle von Jackie vermengt er sein eigenes Material mit alten Archivaufnahmen der tatsächlichen Ereignisse. In beiden Filmen verlaufen schließlich die Grenzen zwischen Selbst- und Fremdzuschreibungen, und es wird deutlich, dass Kategorien historischer Authentizität irrelevant sind, wenn es darum geht eine Person der Vergangenheit zu porträtieren und in ihr Inneres vorzudringen. Pablo Neruda wie Jackie Kennedy wirken in Larraíns Filmen plastischer und menschlicher, als das eine filmische Aufzählung verbürgter historischer Ereignisse (und deren Emotionalisierung durch dramaturgische Mittel) leisten hätte können.

Jackie zeigt eine Frau in einer Ausnahmesituation, die versucht Fassung zu bewahren. Mitgefühl, Mit-Leiden ist Teil dieser Geschichte, dieser Konfrontation von Zerbrechlichkeit und Grausamkeit. Fordert der Film Empathie aktiv ein (das geschieht am stärksten auf der Tonspur), so folgt kurz darauf die kühle, analytische Selbstkritik. Wärme und Kälte wechseln sich nicht nur in den Handlungen Jackies ab, sondern auch in der Inszenierung. Oft wird der Erfolg eines Biopics (oder eines figurenzentrierten Dokumentarfilms) daran gemessen, ob wir dem Protagonisten „näher gekommen sind“, doch letztlich ist das gar nicht von Belang. Invasives Eindringen in die Privatheit führt nicht zwangsläufig (eher das Gegenteil ist der Fall) zu größerem Verständnis, als eine multiperspektivische Beschreibung, die die Vibrationen wahrnimmt, die sich aus der Differenz zwischen öffentlicher und privater Person ergeben. Eine solche Beschreibung wird der Komplexität des menschlichen Wesens immer gerechter werden, als die Reduktion auf einen vermeintlichen Kern, eine Essenz.

Jackie von Pablo Larraín

Jackie ist einer dieser Filme, bei denen man bei Verlassen des Kinosaals darauf brennt, möglichst zügig nach Hause zurückzukehren, um zu recherchieren, was es über die Protagonisten und ihre Zeit noch zusätzlich zu erfahren gibt. Während die mediale Aufbereitung von Information nur allzu oft auf Sättigung aus ist und darauf abzielt eine allumfassende, abgeschlossene Geschichte zu erzählen, ist sich der Film bewusst, dass es nicht in seiner Macht steht die eine Wahrheit zu verkünden. Der Reporter sucht nach einem griffigen Narrativ, der Priester entgegnet mit tröstenden Phrasen auf Fragen, für die es schlicht keine Antworten gibt. Die Welt ist komplexer als Reporter und Priester sie darstellen, sie ist komplexer als man es sich selbst zugestehen mag und sie lässt sich nicht durch eine objektivierende Aufzählung von Fakten beschreiben. Weder will der Film ein möglichst rundes Gesamtbild zeichnen, noch möchte er sein Publikum von seiner Sicht der Dinge überzeugen, vielmehr geht es in Jackie darum die Komplexität der Welt mit filmischen Mitteln zu evozieren und eine kritische Haltung gegenüber dieser filmischen Welt zu provozieren.

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  69. Between me and my spouse we’ve owned excess MP3 avid gamers earlier mentioned the many years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the final couple of a long time I’ve fixed down toward 1 line of avid gamers. Why? Due to the fact I was joyful in the direction of obtain how well-designed and fun toward use the underappreciated (and widely mocked) Zunes are.

  70. Zune and iPod: Utmost individuals examine the Zune to the Contact, however soon after viewing how slim and surprisingly lower and mild it is, I take into account it in the direction of be a quite distinctive hybrid that combines characteristics of equally the Touch and the Nano. It’s exceptionally vibrant and magnificent OLED show is a little smaller sized than the touch screen, however the player alone feels quite a bit smaller and lighter. It weighs relating to 2/3 as considerably, and is substantially smaller in just width and peak, even though currently being simply just a hair thicker.

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  73. Zune and iPod: Utmost men and women evaluate the Zune towards the Contact, yet after looking at how slim and amazingly small and light-weight it is, I acquire it toward be a really distinctive hybrid that brings together characteristics of either the Contact and the Nano. It truly is fairly colourful and attractive OLED show is a little smaller than the contact screen, nevertheless the player alone feels Really a bit lesser and lighter. It weighs regarding 2/3 as significantly, and is drastically smaller within just width and top, although staying particularly a hair thicker.

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