In short there's simply not, a more congenial spot

Rating: Null/10 (13 February 2017)

If there is a peg to hang this movie on, it would be the immortal musical number "Camelot" from the immortal musical with the same title. The emphasis however would be just on that one song, and not the entire context of the musical. After all, there is no Lancelot (this is Jackie, not Diana). Nor is there a really meaningful parallel in Marilyn Monroe (Anya cannot truly be compared with Monroe in that context). I digress. But I will come back to Camelot, again and again.
This is not a biopic but focuses mostly on the two weeks after JFK's assassination, with some flashback on the Kennedys' early days at the White House. There is considerable juxtaposition between the three main lines of narrative, even to the extents of flashbacks within flashbacks. But it is not confusing in the sense that we all know only too well what had happened (even those in the audience born way after the Kennedy era, because of the publicity).
First, there is straightforward narration, occasionally from Jackie's own POV. Secondly, there is the interview with a nameless "the journalist" (Billy Crudup with cool, contained aggression) that is quite obviously the real-life interview with Theodore H. White. Finally, there are broken yet connected confession-like talks with yet another nameless "the priest" played by John Hurt. As this great actor who passed away at the beginning of this year still has three yet-to-be-released movies, "Jackie" is unlikely to be his final gift to the cinematic world.
This movie attempts to portray Jackie from many different angles: myth, historical icon, celebrity at her height, devastated widow, mother, glamorous goodwill ambassador, unyielding figure of dignity with icy determination. Natalie Portman's work has been recognized by critics in awarding her with the "Critics' Choice" Best Actress award. There have also been a proliferation of nominations and wins in relatively minor awards. In view of Emma Stone's seemingly unstoppable momentum, Portman's odds at winning Oscar does not look too hopeful.
Different people will be drawn by different depictions of Jackie. One thing however that would be felt across a wide spectrum of audience is Jackie's aloneness and the pressure she constantly endures. The single most memorable scene is one showing Jackie doing various mundane routines in her room before the funeral. There were all kind of people around her but in a way, she was absolutely alone. Playing at the background is Richard Burton's singing of "Camelot" in the original sound track of the musical. As many will remember, to the Kennedys, Camelot is synonymous with The White House, a dream-come-true, a fairy tale. This scene is poignancy personified. This scene is at around the midpoint of the movie.
Towards the end, quietly seeping into the background are a few lines of "Camelot" that Burton chose to deliver as spoken lines, exquisitely beautifully. As I have listened to the soundtrack for countless times over a few decades since I acquired it, I became clairvoyant and immediately saw the grand finale of the movie two minutes before it came: the resplendent, rousing chorus picking up the lyrics, bringing it to a soaring height "That once there was a spot, for one brief shining moment that was known As Camelot", and the screen darks on cue, exactly as the music ends.