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From the Journals of Jean Seberg (1995)

7.1
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Ratings: 7.1/10 from 170 users  
Reviews: 6 user | 14 critic

Mark Rappaport's creative bio-pic about actress Jean Seberg is presented in a first-person, autobiographical format (with Seberg played by Mary Beth Hurt). He seamlessly interweaves cinema,... See full summary »

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Title: From the Journals of Jean Seberg (1995)

From the Journals of Jean Seberg (1995) on IMDb 7.1/10

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2 wins & 1 nomination. See more awards »
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Mark Rappaport's creative bio-pic about actress Jean Seberg is presented in a first-person, autobiographical format (with Seberg played by Mary Beth Hurt). He seamlessly interweaves cinema, politics, American society and culture, and film theory to inform, entertain, and move the viewer. Seberg's many marriages, as well as her film roles, are discussed extensively. Her involvement with the Black Panther Movement and subsequent investigation by the FBI is covered. Notably, details of French New Wave cinema, Russian Expressionist (silent) films, and the careers of Jane Fonda, Vanessa Redgrave, and Clint Eastwood are also intensively examined. Much of the film is based on conjecture, but Rappaport encourages viewers to re-examine their ideas about women in film with this thought-provoking picture. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>

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1 March 1996 (USA)  »

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From the Journals of Jean Seberg  »

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When Mary Beth Hurt auditioned for the role of Jean Seberg, she shocked the filmmakers by revealing that not only was she born in the same town as Seberg (Marshalltown, Iowa), their families were neighbors who knew each other. See more »

Connections

Features For a Few Dollars More (1965) See more »

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Mendacious but fun.
30 August 2000 | by (dublin, ireland) – See all my reviews

The film as thesis. As a thesis, it's remarkably unfocused - Jean Seberg: victim; cinema, Preminger, Godard, Romain Gary, Clint Eastwood, FBI, America, Jane Fonda, Vanessa Redgrave, men: villains. Because this film isn't really interested in Jean Seberg - here she is interchangable with an aging soap star; she is a ghost, unproblematically dead; she is a hapless, helpless victim with no will of her own; she is tossed about by men, and yet here she speaks the words of her male creator, Mark Rappaport - but in the history of film, its ideologies and repressions. As these go, it is funny, informative and full of interesting and perceptive connections, but there are too many blatant distortions to actually accept it.


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