Hilary and Jackie (1998)

reviewed by
Jamie Peck

HILARY AND JACKIE Reviewed by Jamie Peck

Rating: ***1/2 (out of ****) October / 2:02 / 1998 / R (subject matter, language, brief nudity/sexuality) Cast: Emily Watson; Rachel Griffiths; James Frain; David Morrissey; Charles Dance; Celia Imrie; Auriol Evans; Keeley Flanders Director: Anand Tucker Screenplay: Frank Cottrell Boyce
Even before the opening credits roll, "Hilary and Jackie" has two strikes against itself: First, it's a biography of a musical genius - in this case, celebrated cellist Jacqueline du Pré, the Jackie of the title - and second, the story eventually focuses on her battle with a deadly disease - in this case, multiple sclerosis. Both topics that would seem to play better on the small screen of any given TV-movie-of-the-week, but pretty much from the opening scene on, "Hilary and Jackie" justifies its cinematic status with a crisp visual style, great-sounding orchestral presentations and at least one performance that guarantees serious Oscar consideration.

That'd be Emily Watson, whose staggeringly brilliant work as the tragic Jackie is pretty much everything Academy voters look for in a Best Actress candidate. However, the Hilary du Pré character, played by Rachel Griffiths ("My Best Friend's Wedding"), doesn't get top title mention for nothing, and it'd be a shame if her subtle - but every bit as moving - acting was overshadowed by Watson's far showier role. The jury's currently out on whether or not that will happen, but already assured is that these lovely ladies put power and presence into a true-life tale filled with the kind of emotion and human drama that requires such treatment to really hit its heartbreaking story home.

"Hilary and Jackie" sets up a tale of pseudo-sibling rivalry in 1950s England, when the du Pré sisters were young girls (nicely embodied by Keely Flanders and Auriol Evans, respectively) and it appeared Hilary, a natural on the flute, would become their family's claim to fame. But when Jackie reveals herself to be a cello prodigy after watching Hilary's gift garner much attention, their futures are altered forever; the former puts away her dreams for a fulfilling domesticity while the latter spirals into madness brought on by her musical success. For the second time in her life, Jackie begins to long for what Hilary possesses: sheer, stable normalcy with a loving husband (David Morrissey) and kids.

This story is told in halves - first from Hilary's point-of-view and then Jackie's - a gimmick that seems initially frustrating but pays off beautifully in the concluding hour, when viewers are allowed to finally see most of the puzzling past events from both sides of the coin. There are a few underexplained forays into the deeper, more questionable branches of their relationship, especially some bed-hopping business after Jackie asks Hilary to help fulfill a shocking favor, but even in the film's weak moments, Watson and Griffiths (one or the other is nearly in every frame) deserve and demand attention. Simply put, these women work wonders.

Also remarkable is how debut director Anand Tucker avoids the pitfalls of this type of picture by slathering his potentially devastating canvas with restraint - "Hilary and Jackie" never stoops so low as to indulge in blatant manipulation or false emotion. Screenwriter Frank Cotterell Boyce ("Welcome to Sarajevo"), who based his work on real-life Hilary and brother Piers' memoir "A Genius in the Family," might skimp on certain details that better the bond between Hilary and Jackie, but makes up for his shortcomings by concocting scenes that will hang in the memory for a long time. One such rendering is a haunting beach-set coda that perfectly emphasizes how unforgettable certain pieces of this movie are.

© 1999 Jamie Peck E-mail: jpeck1@gl.umbc.edu Visit The Reel Deal Online: http://www.gl.umbc.edu/~jpeck1/ "The most ethical guy on the production must have been Norman Hollyn, the editor, because he didn't cut anybody out, and there must have been people willing to do him big favors to get out of this movie." -Roger Ebert on "Mad Dog Time"

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