Hilary and Jackie

Released 1998
Stars Emily Watson, Rachel Griffiths, James Frain, David Morrissey, Charles Dance, Celia Imrie, Auriol Evans, Keeley Flanders
Directed by Anand Tucker

Jaqueline du Pré (Emily Watson) was one of classical music's brightest stars during the 1960s and early '70s. After making her professional debut as a teenager, she became one of the most in-demand cellists of her time, and was known not only for her peerless technique, but for the passion she exhibited by swaying to the music as she played. In 1973, while at the height of her popularity, Jacqueline was diagnosed with Multiple Sclerosis. The disease put an end to her career, and, following a 15 year battle, her life. Fans of classical music may recognize that the version of the Elgar Cello Concerto (Jacqueline's "signature piece") used in this film is an actual recording of one of her performances.

As the title implies, this film isn't just about the life of Jacqueline du Pré, but about her tempestuous relationship with her sister, Hilary (Rachel Griffiths). When they were both children, Hilary, a flutist, was considered the greater talent. She was invited to play with orchestras and make special appearances. Through practice and hard work, however, Jackie elevated herself to her sister's level, then beyond. As an adult, Hilary all but gave up the flute in favor of marriage and a family, while Jacqueline chose fame. The price was a desperate yearning to have the stability and happiness that Hilary possessed.

Hilary and Jackie is one of the most complex motion picture biographies of recent years. The relationship between the two sisters is perfectly developed. As children, they were inseparable soul-mates. When they were teen-agers, Hilary came to resent Jackie's success as her own musical aspirations floundered. Then, once they entered adulthood, the tables were turned. Jacqueline, teetering on the brink of depression and madness, obsessively craved the happiness her sister had achieved. She wanted the normalcy that her talent denied her. Then, when MS ended her career and left her alone and dependent, she had to cope with the loss of her defining characteristic, powerlessness, and death. The relationship between sisters is never simple (as movies would often have us believe). Tucker and screenwriter Frank Cottrell Boyce (from a book by Hilary and Piers du Pré) understand this, and have taken great pains to display all of the shades and variables of sisterhood in this film.

Summary by James Berardinelli