(2020) Biographical Drama (Roadside Attractions) Alicia Vikander, Julianne Moore, Janelle Monáe, Bette Midler, Timothy Hutton, Lulu Wilson, Lorraine Toussaint, Mo Brings Plenty, Ryan Kiera Armstrong, Kimberly Guerrero, Myles Evans, David Shaé, Victor Slezak, Enid Graham, Allie McCulloch, Tom Nowicki, Annika Pampel, Monica Sanchez, Gloria Steinem. Directed by Julie Taymor
Like many who have attempted to bring change to our culture, Gloria Steinem is a deeply polarizing figure. To some, she’s a heroine of the feminist movement, standing up to men and speaking truth to power regarding the patriarchy. To others, she was a conniving hypocrite who got attention because of her looks and had no compunction about using them to her advantage. Nobody can disagree that she made a definite impact on late 20th century culture which continues to reverberate now.
]Filmmaker Julie Taymor (Across the Universe) has never shied away from using unconventional means of storytelling, regularly diving into scenes of fantasy to describe what’s going on in the head of a character. Here, she utilizes four different actresses to play Steinem at various points in her life – Armstrong as a young girl, Wilson as an adolescent, Vikander as a young woman, and Moore as a middle-aged feminist leader. Actually, you might say there are five actresses playing her; Steinem herself shows up re-creating her stirring speech at the 2017 Women’s March on Washington.
The film hits most of the highlights of Steinem’s 80 plus years of life, from her relationship with her travelling salesman father (Hutton) who instilled in her a love of travel (being on the road is a theme utilized throughout the film), her mother’s gradual descent into depression and mental illness; her attempts to break through the boy’s club of New York City journalism (and succeeding by going undercover as a Playboy bunny), her early years as one of the most visible faces of the feminist movement, the founding of Ms. Magazine, and her relationships with various activists and political figures of the era, including Bella Abzug (Midler), Dorothy Pitman Hughes (Monae), the outrageous and over-the-top Flo Kennedy (a memorable Lorraine Toussaint), UFW activist Dolores Huerta (Sanchez) and Wilma Mankiller (Guerrero), the first woman to be voted prime elder of the Cherokee tribe.
The film is extraordinarily well-acted, with kudos going particularly to Vikander, who reminds us once again that she is one of the best young actresses working today. There are some emotionally charged scenes – one in which Steinem says goodbye to a dying Mankiller, or the inspiring National Women’s Congress of 1977 which moved to get the Equal Rights Amendment, an effort that ultimately didn’t succeed after conservatives banded together to denounce the ERA as a weapon for the left to destroy the family unit. Sound familiar?
The movie jumps around from time period to time period, and while it isn’t too difficult to follow, the framing device of Steinem riding a Greyhound bus – often with other versions of Steinem on the same bus, sometimes interacting together – is inventive but overused, ultimately distracting the viewer from the flow of Steinem’s story.
I suppose it’s fitting for her biopic to be unconventional, because in life Gloria Steinem has been anything but conventional. It is also fitting that the movie comes out as the nation mourns the recent death of Ruth Bader Ginsberg whose legal career made brought women’s equality closer to realization and whose passing may threaten the gains made in that regard.
The fantasy sequences may or may not be your cup of tea – I thought that Taymor should have been more judicious in their use, but you may disagree. In some ways, they are illuminating but in others they feel kind of more about the director than about the movie she’s making. I won’t attempt to place a stamp of yea or nay on those feelings; I leave that up to you, gentle reader because in the final tally it is really your call. I can only say that I found them to be overused; my wife, Da Queen, disagrees. So do other critics. That’s the kind of thing I love about movies like this – there is no right answer. Love it or hate it, you absolutely won’t forget it.
The film is curently playing in limited release around the country. It will be availble to stream on Amazon Prime beginning Wednesday, September 30th.
REASONS TO SEE: Vikander gives a whale of a performance. The NWC segment is inspiring.
REASONS TO AVOID: The fantasy sequences are overused and distracting.
FAMILY VALUES: There is profanity and some sexual references.
TRIVIAL PURSUIT: Moore, Hutton and Vikander have all won Oscars; Midler was nominated for one.
BEYOND THE THEATERS: Amazon
CRITICAL MASS: As of 9/27/20: Rotten Tomatoes: 78% positive reviews: Metacritic: 69/100
COMPARISON SHOPPING: Malcolm X
FINAL RATING: 7.5/10
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