FX’s miniseries American Love Story: John F. Kennedy Jr. & Carolyn Bessette explores the undeniable chemistry, whirlwind romance, and highly publicized marriage of John F. Kennedy Jr. (Paul Antony Kelly) and Carolyn Bessette (Sarah Pidgeon). For those unfamiliar with the story, the production portrays the relationship between JFK Jr., son of the former U.S. President, and Carolyn, a talented young woman working at Calvin Klein. Together, they became what many considered American royalty, and the series has made a significant impact on the fashion world.
As our focus here is Cinematography, it is worth noting that Love Story emerges as a strong Emmy contender. As some may know, specific episodes can be submitted for Emmy consideration, and this production is competing with three chapters photographed by three different cinematographers:
Jason McCormick – Episode 01 (Pilot)
Pepe Avila del Pino – Episode 06 (The Wedding)
Andrei Schwartz – Episode 09 (Search and Recovery)
This is, without a doubt, one of the most complex cinematographic works I have ever written about. Because it is based on a true story, the production demanded extensive research into events that had already been widely documented by the media of the time. At the same time, the lighting had to guide the narrative with subtlety, gently emphasizing certain details in order to shape the viewer’s perception.
For me, having been 22 years old in 1992, the work was executed masterfully. The feeling was one of being transported back to the 1990s through an impeccable visual recreation. But how did the Cinematography manage to go beyond the obvious and faithfully reproduce the atmosphere of that decade?
I identified three distinct visual approaches throughout the miniseries:
a) Urban scenes: Remarkably complex. Through the strategic positioning of the cast, the protagonists stand out within the urban environment while preserving the effortless elegance that defined them. All of this is achieved without excessive lighting or visual embellishment, maintaining a subtle balance.
b) Domestic scenes: Here we see a truly surgical approach to composition. The cinematography and lighting structure are flawless, making precise use of classic framing techniques and the rule of thirds.
c) The couple’s scenes: These are generally characterized by warm lighting that mirrors the intensity of their passion. In the outdoor romantic sequences, particularly those set on the beach, the lighting becomes fuller and more soothing, creating the atmosphere of a safe haven, far from the eyes of onlookers and paparazzi.
From my perspective, this is an elegant piece of Cinematography. Measured, sophisticated, and technically impeccable.
