A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks like a million dollars but isn't bringing money, peace or love.A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks like a million dollars but isn't bringing money, peace or love.A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks like a million dollars but isn't bringing money, peace or love.
- Won 1 Oscar
- 55 wins & 83 nominations total
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaBecause Woody Allen doesn't get into motivation or background of a character when he's directing actors, Cate Blanchett and Sally Hawkins got together and invented the background for the sisters' relationship. So every scene when they talked about their past, although it's vague on the script and for the viewer, they both knew exactly what the sisters are talking about.
- GoofsWhen Ginger, Jasmine, Chili and Eddie are at the clams restaurant, Eddie asks Jasmine what would she be if she had finished her education. She answers, "An anthropologist". Eddie ignorantly asks, "Really, digging up fossils?" Jasmine replies mockingly: "That's an archaeologist". She is wrong. The correct answer would be, "That's a paleontologist". Jasmine is belittling Eddie for his ignorance, but she is in fact displaying ignorance herself.
- ConnectionsFeatured in The Tonight Show with Jay Leno: Episode #21.188 (2013)
- SoundtracksBack O'Town Blues
Composed by Louis Armstrong & Luis Russell
Performed by Louis Armstrong and the All-Stars
Courtesy of The Verve Music Group
Under license from Universal Music Enterprises
Featured review
Sometimes it feels like Woody Allen is deliberately hit and miss. Every other film appears to be a winner so it's become easy to just skip the mediocre ones. I thought Midnight In Paris was pretty good but I felt like its idea wasn't explored well enough and it became too repetitive. Blue Jasmine is a film that feels like it'll be another basic story at first then as the tragedy slowly unravels, it becomes all the more fascinating. At first the film's structure of flashbacking without transition is a little frustrating as the present time doesn't give you much to chew on in the first place, but it soon becomes clear that this was the only way to tell this brilliant and complex story of a woman's place in the world. Cate Blanchett is setting the reviews on fire and she certainly deserves it. I've always loved her engrossing theatrical style in films like The Aviator and The Curious Case of Benjamin Button and I've missed her since.
Here she is in full force as she switches from glamour to glare seamlessly and effortlessly. Blanchett has often played strong women and she tiptoes the line of Jasmine's strength and vulnerability both with and without sympathy. It's incredible to watch. Although I was concerned I was going to only appreciate the performance and not connect with the character, I ended up finding her struggle to feel useful in the working world and not knowing how to achieve her ambitions to cut deep into the first world human anxieties about identity and self- worth. It's great to have a film that addresses those issues so earnestly, without feeling self- pitying. Although the spotlight is on her, there's plenty of room for the supporting players to shine with the delightful comic relief performances from Louis C.K., Michael Stuhlberg and Max Casella and deceptively charming performances from Alec Baldwin, Andrew Dice Clay and Peter Sarsgaard. The real talent on the side belongs to Sally Hawkins and Bobby Cannavale who give compelling and heartbreaking performances.
I like how Allen has such confidence in his shooting style of simple wides and closeups that he doesn't let it get in the way of the story but sometimes it does feel bland rather than just Woody's brand. It sometimes feels like the story is taking uninteresting broad strokes with its archetypes but when the details come in like a mystery novel, they enrichen the story and leave just before they drown you making you want more. Perhaps Allen could've made a better job of making me intrigued in the details but that makes the pay-offs all the more sweeter. However, I'm not quite sure what to make of the ending, perhaps Allen is trying to say there's some people who can and can't be fixed, I'm not sure, but it's a fascinating tragic comic tale nonetheless. Maybe it's intended as a punishment film regarding the sin of greed. That would make sense though it wouldn't be as satisfying. It's been compared to A Streetcar Named Desire a lot but I don't remember much of that story despite having seen it twice. I think I prefer Blue Jasmine. One of Allen's most unsuspecting heavyweight films in a long time.
8/10
Here she is in full force as she switches from glamour to glare seamlessly and effortlessly. Blanchett has often played strong women and she tiptoes the line of Jasmine's strength and vulnerability both with and without sympathy. It's incredible to watch. Although I was concerned I was going to only appreciate the performance and not connect with the character, I ended up finding her struggle to feel useful in the working world and not knowing how to achieve her ambitions to cut deep into the first world human anxieties about identity and self- worth. It's great to have a film that addresses those issues so earnestly, without feeling self- pitying. Although the spotlight is on her, there's plenty of room for the supporting players to shine with the delightful comic relief performances from Louis C.K., Michael Stuhlberg and Max Casella and deceptively charming performances from Alec Baldwin, Andrew Dice Clay and Peter Sarsgaard. The real talent on the side belongs to Sally Hawkins and Bobby Cannavale who give compelling and heartbreaking performances.
I like how Allen has such confidence in his shooting style of simple wides and closeups that he doesn't let it get in the way of the story but sometimes it does feel bland rather than just Woody's brand. It sometimes feels like the story is taking uninteresting broad strokes with its archetypes but when the details come in like a mystery novel, they enrichen the story and leave just before they drown you making you want more. Perhaps Allen could've made a better job of making me intrigued in the details but that makes the pay-offs all the more sweeter. However, I'm not quite sure what to make of the ending, perhaps Allen is trying to say there's some people who can and can't be fixed, I'm not sure, but it's a fascinating tragic comic tale nonetheless. Maybe it's intended as a punishment film regarding the sin of greed. That would make sense though it wouldn't be as satisfying. It's been compared to A Streetcar Named Desire a lot but I don't remember much of that story despite having seen it twice. I think I prefer Blue Jasmine. One of Allen's most unsuspecting heavyweight films in a long time.
8/10
- Sergeant_Tibbs
- Aug 8, 2013
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Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Hoa Nhài Màu Xanh
- Filming locations
- Ocean Beach, San Francisco, California, USA(Ginger and Al walking along the beach)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $18,000,000 (estimated)
- Gross US & Canada
- $33,405,481
- Opening weekend US & Canada
- $612,064
- Jul 28, 2013
- Gross worldwide
- $99,104,804
- Runtime1 hour 38 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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