by Alice-Ginevra Micheli, Contributing Writer
Whenever a biopic is announced regarding iconic figures of film and television, there’s always a tantamount of pressure the comes with it — pressure from living relatives, from film buffs, from Hollywood magnates, and then all the regular pressures that come with any prestige level movie.
Being the Ricardos is a foremost example of this, as it surrounds two of the most infamous people in Hollywood’s past: Lucille Ball and Desi Arnaz. Add to that the fact that Aaron Sorkin once again placed himself behind the camera, and screenplay, and expectations were set.
But what is it actually about?
Sorkin’s latest venture follows Lucy and Desi as they face a crisis that could end their careers and another that could end their marriage over one trial-inducing week.
Following the new trend in biopics, rather than show the whole journey behind a historical figure’s life, we instead witness a significant moment that helped define who they are. You could almost say that these are ‘sliding door’ moments, where the decisions, and events that transpire, are considered pivotal turning points in their lives.
I personally prefer this storytelling method, as rather than wasting too much time on the birth, growth, and death, the audience gets a chance to intimately learn about this person at a particular point in their lives. More care and exploration can be given as to the nuances of character, and the viewer gets a chance to feel that they’re being let in on the personal parts of life.
However, it also can have its faults, some of which definitely show themselves in this. For one, due to the amount of exposition needed for the audience to properly understand what is going on, the film, inserts a series of fake ‘documentary-like’ talking heads of older versions of characters that we witness within the film. While this can be done well, as per the couple soundbites in When Harry Met Sally, these feel more shoved in for context, and tend take you out of the viewing experience. Having said that, it’s not enough to significantly impact the film’s quality itself, a great amount of which is held up by some stellar performances, and (of course) top-class dialogue by Mr. Sorkin himself.
Nicole Kidman’s turn as Ball cannot be ignored, as she physically and tonally alters her looks and mannerisms to match one of the most iconic funny women of old. From the moment you see her, you believe her to be Lucille in body and soul. Her vocal performance is also one to be admired, as I have found that every now and again her accent has dropped in recent history, as well as some characterizations having been slightly off-beat. However here, Kidman triumphs and really steals every scene she’s in.
Javier Bardem is also not one to be ignored. Playing the effervescent ‘lady killer’ Arnaz, the viewer feels immediately drawn to him, and you understand why everyone in the movie does too. Magnetic isn’t the word, but his dulcet tones, both on, and off the stage, as well as his larger-than-life character allows for a well-paired and believable matchup between the two leads.
The rest of the cast is also impressive, from the curmudgeonly J.K. Simmons to the willful Ali Shawkat, the ensemble here is bringing their talent out to play on a level that is enjoyable to witness.
The screenplay, specifically the interchanges between characters, is also as good as Sorkin has ever delivered, which is only emphasized by its ability to allow everyone in the room to have their moment in the spotlight without ever diverting from the point at hand. However, where it does suffer is in the story beats themselves — the way in which the events have been chosen to be told. Throughout, we find ourselves flashing back and forth between pasts to fill in the gaps of knowledge that most audiences are sure to have. While this might seem like the best way to help round out the events, it instead creates a relatively uninteresting third thread of storytelling that makes you just wish they’d get back to the action. After all, we already know where they will end up; what we now want to now know is how this week of events will in fact play out, and these flashbacks within the flashbacks just seem like they’ve been placed to prolong the inevitable conclusion to the story.
Overall, Being The Ricardos, is a solid event-focused biopic that has many behind it doing what they do best. The performances are inspiring; however some of the writing, and generally unequivocal directing, have this time left something to be desired from Mr. Sorkin.
If you’re into Hollywood stories and Golden Age drama, then I do recommend this piece. But if the very thought of it all sounds boring and tasking, then I would trust those instincts and steer clear.
Grade: B-
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