We see Jackie, often the lone woman in a room full of men, trying to assert herself and say what she wants and needs, only to be told (by White House staffers, military people, even her RFK) that it's impossible-because of security or protocol or precedent or simply because the men just mysteriously know better than her-and she should give up.īut the framing device is not ultimately necessary (few are, alas) because, whether the reporter and Jackie are talking about what's on the record or off the record, and whether what Jackie is saying is objectively true or merely self-serving, we have already seen everything both of them might have had to say illustrated, in a more immediate and often wrenching way, by the flashbacks. This material in this second film connects to moments in the inevitable flashbacks to Jackie's heyday in Camelot and right after John F. Sometimes he even interrupts her when she's speaking or tries to put words in her mouth or dismiss her concerns, which shows how not-powerful even a very powerful woman can be when she's in a room with a man who's been told since birth that his words and actions are inherently more important than any woman's. The reporter is often condescending to the former First Lady. Jackie Bouvier Kennedy Onassis was first aired in two parts on November 5 and 8, 2000, by the CBS television network.The individual scenes in this "historical figure contemplates self" film are competently done and sometimes a good deal more than that, thanks to undertones of empathy and condescension in the dialogue. Alone and with expensive tastes, Jackie eventually becomes the trophy wife of Aristotle Onassis ( Philip Baker Hall), yet another wealthy and flamboyant man.
After the assassination of Kennedy in 1963, Jackie becomes America's best-known widow, and is forced to struggle through her mourning in the glare of the public eye. Kennedy (Tim Matheson), the son of a family even richer and more influential than her own, and is by his side as he becomes President of the United States - though she soon discovers that, like her father, his charm and position make him very attractive to other women, a temptation he does little to resist. Raised by a harsh, domineering mother (Frances Fisher) and a charming but unfaithful (and alcoholic) father (Fred Ward), Jacqueline Bouvier (Joanne Whalley) is born into privileged circumstances but learns early on that wealth and power do not guarantee happiness. The life of one of the most famous American women of the last half of the 20th century receives yet another retelling in this made-for-TV drama.
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