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If you want to see this year's master class in screen acting, you need to watch Cate Blanchett's mesmerizing performance as Jasmine French, a delusional Park Avenue socialite wife in Woody Allen's 45th directorial effort, a sly, bicoastal update of Tennessee Williams' classic "A Streetcar Named Desire".As the film opens, her impeccably dressed character has hit rock bottom after her financial wizard of a husband is arrested and her assets are liquidated.In the throes of a nervous breakdown, she arrives in San Francisco and moves in with her kind- hearted sister Ginger who lives a modest, blue-collar life in a tiny apartment on the edge of the Mission – on South Van Ness near 14th Street to be exact - with her two hyperactive sons.You can tell Jasmine is not only out of her element but quite judgmental about how her sister's life has turned out.The irony of Jasmine's patronizing attitude is that she is a habitual liar who is so angry about her destitute circumstances that she frequently talks to herself.The story follows the basic outline of "Streetcar" but takes some interesting turns, for instance, when she tries to better herself by taking computer classes while working as a receptionist at a dental office.Allen has crafted his film into a clever juxtaposition of current and past events that feels jarring at first since it reflects Jasmine's precarious mental state but then melds into a dramatic arc which resonates far more than a straightforward chronology could have allowed.As a writer, he has become more vociferous in his dialogue without losing his wit.He doesn't pull punches when he showcases confrontations between his characters, whether it's between the two sisters, men and women, or people from different classes.Hostility can come in flammable torrents or in thinly veiled remarks.That Allen moves so dexterously in tone is a testament to his sharp ability in drawing out the truth in his actors.