The texture of a series like “Jett” really keys into understanding what it is but the implicit necessity of what can be done within its confines. Writer/Director Sebastian Gutierrez and his wife/actress Carla Gugino have a real sense of the way to make noir idealism with sexuality and emotional overtones without becoming melodramatic. They have done this in many of their low budget films like “Elektra Luxx” and “Women In Trouble” but were always limited by the budgets or the eyes of the independent film crowd.
In making “Jett” with Cinemax (which has delivered another interesting tale right after “Warrior”), this series takes that European sensibility that Gutierrez has created (watch his most recent film: “Elizabeth Harvest” which played SxSW in 2017), but gives it an effective almost low end DePalma make over without losing the abstract elements in part that have become a stalwart of these collaborations. Gugino famously starred in “Snake Eyes” with Nicolas Cage for DePalma nearly 20 years ago so seeing her transformation from there to this is undeniably satisfying. Though there are moments of plot driven exposition, the idea and dynamics flow along at a decent pace while still letting some of the scenes breathe.
The plot without getting into too many details follows Jett played by Gugino whose real name is Daisy who is a master thief both helping and providing intel for Charlie, a debonair gangster played with aplomb by the dynamic Giancarlo Esposito. Many different characters interplay but what is interesting is no matter how damaged they are, or how cold Jett might be, there is always a sense of what might be called malignant hope…a hope that gnaws in the plot and the characters even though you know it is bad to believe in it. Whether it is Elena Anaya (who Almodovar discovered) as the rock Maria to Gaite Jansen as the lost Phoenix to Michael Aranov as the intrepid Jackie, there is so much to rip them apart and yet certain travails keep them going and connected. The violence is motivated but also malignant in its wantonness.
Gutierrez is specific with his colors and textures as he has always been but what this medium allows him to do (as he wrote and directed all 9 episodes) is a consistency of vision but also to focus on small character moments which are made specific by the titles of all the episodes. One of the more dynamic because it doesn’t focus as much on the main characters is called “Rosalie” where Bennie, one of Esposito’s hitmen, gets into a different situation than he bargained for with one of the affected victims of a hit. It is both a diatribe on human behavior but also ironically funny and introspective in many ways. The inherent essence also behind “Jett” is that it doesn’t feel it necessary to put an air of true finality on certain relationships and yet it defines them…it gives the perceptions of the characters but lets the viewer decide on their own what they think of them.
“Jett” is by no means an excellent series but it is quite good. It is self indulgent at times. But it is also undeniably poetic and vicious, tender and dark, beautiful and messy. Gugino glides through the scenes like a crow stalking its prey but also understanding that without the surrounding messy ends around her, she would not exist. Her losses are visceral but they are also necessary. Jett is an image but also a reality in terms of the character build. And for that reason because Gugino and Guitterez can approach this material in this medium with a sense of instinct, style, fun and gravitas, it allows that kind of tone that maybe might have been difficult to give a wide breathe in an independent movie the kind of texture it needs in a cabler series like “Jett”.
By Tim Wassberg