While many people point to Sidney Lumet’s ’70s classic Network as a game changer when it came to sensationalism in the news media as well as testing the limits with regard to what could be shown on television, many forget one of the key true-life events which managed to do just that in a way no Hollywood film ever could. While the much-buzzed indie Christine is a retelling of the event in question, the film itself can’t help but feel lacking in areas it shouldn’t, despite a rich performance from its lead actress and a valiant effort to show how one such incident played an important part in bringing to light an issue so often kept in the dark.
Christine tells the true story of Christine Chubbuck (Rebecca Hall), a 1970s TV reporter who was driven by dreams of success and romance to her station’s main anchor George (Michael C. Hall). Suffering from what can only be described as manic depression as well as bipolar disorder, the film explores how Christine’s demons led her to commit suicide live on the air, forever changing the face of television.
For all its good intentions and despite having enough of the required elements, Christine is a sadly flawed film. The overall end result has a bit of a forced flow to it. From the beginning, it feels as if there’s just too much of a push into Christine and her world. Thankfully, both her and that world are compelling, albeit one much more so than the other. Beyond that, Christine is very oddly paced and somewhat fragmented, with the film’s central character taking on one challenge after another, whether it be an operation which will potentially kill her chances of conceiving or her jockeying for a job promotion. Segments showing Christine navigating through the ins and outs of her field do give insight, but they aren’t as diverting and compelling as the moments when the woman herself and her psyche are being explored.The only place the film moves naturally and organically is when it’s focusing on her and not what’s happening around her as she tries helplessly to battle her growing depression.
If there’s one important core element behind the movie’s existence, it’s to show how the real-life incident played a small, yet pivotal role in bringing the subject of depression to the forefront, changing its image in the process. Christine expertly illustrates this by showing the character as being not just driven with regards to her career, but downright maniacal when it comes to virtually every aspect of her life. Christine clings to her work; it is her comfort zone and the only area of life where she feels she has control. However, when her work becomes compromised, she begins to really fall, exhibiting severe mood-swings and near-violent outbursts. Other instances showing Christine’s fragility and vulnerability make for wonderful contrasts, such as as the 4th of July party and the moment when she is informed of her medical condition. There are moments when the people in Christine’s life are shown as concerned and offer up advice to try and talk her out of what they assume is a perpetual bad mood. However, the film shows how Christine’s case went beyond just moods, exploring the various triggers that led to her fate.
It’s too difficult to say just how brave and fearless Rebecca Hall’s work is here. The actress has more than proven herself throughout the years with a multitude of performances in a variety of films. Christine, however, is new territory for her and she navigates it perfectly, nailing the real-life woman’s frustrations and fears. While others in the cast such as Michael C. Hall and Tracy Letts as Christine’s boss do great work, as do Maria Dizzia and J. Smith Cameron as Christine’s co-worker and mother, respectively, none manage to outshine the film’s leading lady in what will surely go down as one of the best performances of the year.
It should also be noted that Christine’s production is simply stellar. From the sets and costumes to the breathtaking cinematography, everyone involved with the design of the film has gone to great lengths to make the audience feel like they’re truly in the ’70s. It’s such a shame that Christine remains largely dry for so much of its runtime, despite its compelling subject. Even the climactic moment itself, while managing to pack something of a punch, doesn’t have full weight and effect it should have had. However top production values, coupled with Rebecca Hall’s breathtaking work, should provide enough reason to watch this retelling of one of television’s most historical and tragic moments.
Originally published at cinapse.co on November 14, 2016.
