Prime Time: Being The Ricardos (2021)

Written and directed by Aaron Sorkin, Being The Ricardos is a film I was keen to watch for the past few years. A look at the career and relationship between Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem), I was interested in everything to do with this. Lucy and Desi were huge stars who helped to reshape the landscape of television comedy, the casting intrigued me, and Sorkin is often a brilliant writer able to convey a lot of information in entertaining and sharp dialogue. 

The framework here is quite simple. We are shown a hectic time, and an important time, in the lives of Lucy and Desi. We also cut to some footage of people in the present talking about what they remember from their days witnessing the power couple make their show. Alongside our main stars are a couple of important supporting characters (played by J. K. Simmons and Nina Arianda), there’s a young writer (Alia Shawkat) who looks up to Lucy, but also has an idealism that doesn’t always take into account the diplomacy sometimes required to get the show made, and Jess Oppenheimer (Tony Hale) keeps trying to find a balance between the instincts of his stars and the feedback from the money men.

I won’t say that this is a bad film. The structure is a good choice, the key moments stringing the plot together work well, and it manages to celebrate the two main characters while also showing their problems. It isn’t great though, and that comes down to both the casting and the writing.

I really enjoy Kidman in many of her movie roles, but there’s a reason why she hasn’t had much success when trying her hand at comedy. Admittedly, this isn’t a comedy, but you have to believe how funny Lucille Ball can be when you see some of her famous moments being recreated onscreen, and Kidman just cannot manage it. Perhaps wary of looking too silly, or maybe not directed well enough by Sorkin, Kidman never really feels like Lucy when she has to be LUCY, although she does a perfectly good job of showing us the woman behind the TV persona. Bardem has a similar issue, although he also feels a bit weak whether portraying Desi the performer or Desi the man. The better performances come from Simmons and Arianda, both convincing as people and comedic performers, and Shawkat, who spends a lot of time being depressed by the constant crush of reality as she attempts to convince those around her of the importance of their platform. Hale is fine, but his character is the least interesting of the main bunch.

Sorkin’s dialogue just doesn’t work here though, and perhaps he would have been wise to get the structure in place and then pass the framework along to someone else. Everything that reveals actual truth about our leads is often presented in a heavy-handed and underlined way, and the mention of how Desi helped to revolutionize the TV sitcom is so horribly shoe-horned in that it feels like a clumsy segue in an improvised skit. The direction is disappointingly flat and lifeless, ensuring that Sorkin can be blamed for this being far below par for almost everyone involved.

There are still moments that work, especially when everything starts to tie together on the way to the final scenes, and Lucy and Desi are certainly worthy of the 131-minute runtime, but I won’t ever want to rewatch it. Maybe a book or documentary will serve them better, and I intend to find out when I have the time (so any recommendations are welcome).

5/10

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Charlie Wilson's War (2007)

A comedy-drama based on the real events that saw a Congressman named Charlie Wilson building support, in terms of funds and supplies, for the Afghan people being decimated during the Soviet-Afghan War that lasted throughout most of the 1980s, Charlie Wilson's War is an interesting look at the fluidity of loyalty, certainly in comparison to how things stand today. It also underlines the importance of staying to finish a job if you're going to help out a country being ravaged by war, something that America didn't do for the Afghan people, arguably leading to the whole mess that we now find ourselves in.

Tom Hanks stars as Wilson, a role that makes use of his easy likability while refusing to hide the failings of the man (mainly drink and women, not necessarily in that order). Starting from a point of relative ignorance, his journey to Afghanistan, and what he sees there, begins a relatively speedy learning curve that connects him to a wealthy potential donor, Joanne Herring (played by Julia Roberts), and a talented CIA operative (Gust Avrakotos, played by Philip Seymour Hoffman). The three work hard to raise interest and money for something they view as a worthwhile war effort, and there are some startling results as Wilson digs his heels in to negotiate budget packages and effective plans.

The final film directed by Mike Nichols, this belongs much more to the writer, Aaron Sorkin. Sorkin is pretty much THE person to go to when you want to deliver lots of information in a comprehensive, and comprehendible, manner while also fleshing out a variety of main players. Adapting the book by George Crile, Sorkin appears to be in his element as he wrestles the complexities of the diplomatic and political proceedings into a narrative that manages to be both informative and entertaining. But he also makes time and space to give the leads some great moments (the lead role is a doozy for Hanks and the main scene introducing Hoffman's character is one of the funniest things that he's ever done).

Noticing the style of the writing more than the style of direction isn't to say that Nichols does anything wrong here. It's just that he is content to keep everything relatively simple when it comes to letting his impressive ensemble have fun with the script.

Having already praised Hanks and Hoffman, both giving standout performances in a career that isn't short of great turns from them, it's also worth paying compliments to Roberts (who has less screen time but still gets a couple of moments in which to shine) and Amy Adams (playing a dutiful assistant to Charlie Wilson). There are also very enjoyable appearances from Emily Blunt, Om Puri, Ned Beatty, Ken Stott, and others, all serving the script as best they can.

Given the quality of the various aspects, it's a shame that this doesn't quite become the sum of its parts. There's just something holding it back. A reticence to pick at the scab long enough, to take more moments to show the waters getting murkier and murkier, and a third act that doesn't underline the serious consequences of what is played out as a bit of a light romp for some of the main players.

This is a very good film, a smart one aimed at adults, but it could have been tweaked to be even better.

7/10

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Molly's Game (2017)

Marking the feature directorial debut of celebrated scriptwriter Aaron Sorkin, Molly's Game is another slick, smart piece of work that the man has attached his name to, and it also happens to give Jessica Chastain a great role that doesn't rely on her being defined just by her seriousness and determination (admirable qualities, but not the only qualities I want to see in most performances).

Chastain plays Molly Bloom, a young woman who had a career in professional skiing ended by a freak accident on the slope. Which is the start of a chain of events that leads to her eventually running some major private poker games with very high stakes. Which would all be well and good if she didn't also end up welcoming players with ties to the Russian mob, and having to . . . wiggle herself into a position of illegality to cover some of the higher pots.

If I was ever going to be a sportsman then it would involve me learning how to get better at poker. Because it's the right level of physical activity for me, I like to feel as if I have a chance of winning, and it's just fun. It's also surprisingly cinematic, with many filmed games showing the building tension and how characters react differently to it. This works in Aaron Sorkin's favour, and he structures everything perfectly to reveal more about the main characters, tease out backstory, and lead viewers towards a finale that you don't think will prove satisfying, until it does. And it really does.

The dialogue is as good as you would expect, with the best exchanges being had between Chastain and Idris Elba (playing her lawyer), but also some great lines reserved for her infrequent conversations with Kevin Costner (her father). A lot of the lines sound cool and clever, but there are just as many that show Sorkin's knack for getting to the heart of a character or situation with just one or two sentences.

Chastain is excellent in the lead role, always cool and running through the odds even as things look to be overwhelming her. It's the kind of role she loves to sink her teeth into, with just a bit more detailing her and there to make her feel more human and rounded than she has been in some of her previous performances. Elba is an equally assured character, although he is at times worn down and frustrated by the stance that his high-profile client takes during her defence. Costner gives another great supporting performance that adds to the impressive list he has been building up over the past few years (but I may be biased, having always been a fan). Michael Cera, Chris O'Dowd, and Jeremy Strong are all good as various important figures in the journey that Molly makes to her position as poker game queen, with Cera and Strong both particularly good when angrily trying to assert dominance over a woman who knows she has to stay one step ahead of them. And there are a number of solid supporting turns from people Sorkin picked for their poker skills, lending the gaming scenes an air of authenticity some other films on this subject might lack.

It's easy to see why this appealed to Sorkin, and I am happy to say that he does well in the director's chair. Jargon is explained, dynamics are always made clear, memorable characters move in and out of the narrative, and Chastain looms large in every scene. Molly is never painted as an angel, although we only have her word for her personal code of conduct, but her bad decisions (some of them head-smackingly bad) are given as much attention as her successes.

Entertaining, gripping at times, aimed at adults, and doesn't often feel as if it is pandering to the audience. This might not be a full house for Sorkin, but it's enough for him to win the pot and walk away with a profit.

8/10

There's a disc you can order here.
And Americans can order the Blu ray here.

The Social Network (2010).

Before The Social Network was released it was one of the few movies in 2010 that I knew I just didn’t want to miss seeing at the cinema. Everything just seemed to be in place for the making of a modern classic. A cracking script by Aaron Sorkin based on a book by Ben Mezrich. David Fincher directing – the guy has done no wrong thus far in his career, in my view. Jesse Eisenberg, Andrew Garfield, Rooney Mara, Justin Timberlake, Rashida Jones, Max Minghella and Armie Hammer in the main roles – all may not be household names but I’m a huge fan of Eisenberg and the cast list signalled something aimed directly at those who had been making the most of Facebook since it’s creation.

 

I went to the cinema and something amazing happened, something that has been happening less and less frequently in the past few years. I wasn’t disappointed. In fact, I was absolutely blown away by the whole thing and engrossed from beginning to end.

 

There’s no doubt that certain liberties have been taken with the truth here and there (indeed, Mark Zuckerberg would try to convinve everyone that almost the entire movie is a complete fiction) but this is a barnstorming interpretation of the events that saw Zuckerberg (played, brilliantly, by Jesse Eisenberg) create Facebook and upset a number of people in the process, including the Winklevoss brothers (both played by Armie Hammer, with help from Josh Pence) and Zuckerberg’s best friend, Eduardo Saverin (Andrew Garfield).

 

Structurally, the movie starts with the evening that saw the genesis of what would eventually lead to the creation of Facebook and then moves on to show the two major depositions that Zuckerberg is involved in some time later before hopping back and forth between the most important moments in Zuckerberg’s professional life, including his involvement with Sean Parker (Justin Timberlake as the man who created Napster).

 

What ends up surprising most people when they view The Social Network is just how enjoyable and interesting it all is, quite an achievement considering it’s really the ultimate “nerd made good” tale interspersed by some legal wranglings in a boardroom. Computer programming and depositions do not make for exciting cinema but Fincher spins gold here thanks to the performances, the script so sharp it could be used to provide a clean close shave and his mastery of the camerawork mixing with an unusual, and highly impressive, soundtrack by Trent Reznor and Atticus Ross.

 

Eisenberg, it must be said, is playing someone who comes across as quite unlikeable but he does it brilliantly, portraying a man as bored and frustrated as he is intelligent. Garfield is more than his equal and when the two are working with, and sometimes against, each other it’s just a double helping of superb acting. Hammer and Minghella are both excellent but it’s worth, perhaps, specifically mentioning how good Justin Timberlake is for those doubtful of the singer’s talent. His portrayal of Sean Parker has the cockiness and showbiz-grin that you’d expect but also changes as we start to see the paranoid, sneaky little man behind the dotcom assurety. Rooney Mara plays Erica Albright, a girl who makes a massive impact on Zuckerberg’s life, and she does very well with her limited screentime. There are plenty of other people in the cast and my not mentioning them is in no way a slight on their performances, it’s simply that this film is full of the right people in the right roles doing the right stuff.

I could go on and on but I fear I’ve already spent too much time rambling like a rabid David Fincher fanboy (which, I suppose, I am). This is another cinematic masterpiece from one of my favourite directors.  

10/10

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