Director: Aaron Sorkin.
Writer: Aaron Sorkin.
Stars: Nicole Kidman, Javier Bardem, Nina Arianda, J.K. Simmons, Alia Shawkat, Jake Lacy, Clark Gregg, Tony Hale.
Synopsis: Lucy and Desi face a crisis that could end their careers and another that could end their marriage.
Considering that Lucille Ball is one of the most distinguished figures in the United States’ entertainment history, it is a miracle that she hasn’t gotten the biopic treatment…until now. Aaron Sorkin, coming back after his awards vehicle The Trial of the Chicago 7 (2020), arrives with his latest awards vehicle, Being the Ricardos. The film takes place in a week of Ball’s life, following her relationship with her husband, Cuban entertainer Desi Arnaz, and her role in American politics as she is exposed as a communist, the worst thing that could happen to someone in those times.
The film starts somewhere in the 1970s with interviews with Madelyn Pugh, Bob Carroll, and Jess Oppenheimer, writers, and showrunner of “I Love Lucy”, respectively, who witnessed the chaotic week at the center of the story, set in September 1952. “I Love Lucy” is the most successful TV show in the United States and its stars, Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem), form a seemingly strong marriage. Nevertheless, one Sunday evening things start to break down. Lucille suspects that her husband is cheating on her, propelled by the gossip in the latest tabloids; and, to make things worse, they hear on the radio that Ball is being accused of being a communist.
The next week, presented according to the show’s activities – Monday: the table read, Tuesday: blocking rehearsal, Wednesday: camera blocking, Thursday: run-throughs, Friday: show night –has Ball trying to save her marriage through business decisions, while Arnaz uses his power to try to kill the story about his wife. Sometimes, Sorkin takes us further in the past, showing their love story and Ball’s path that drove her to her own TV show. Unsurprisingly, Sorkin tries to cover too much story through too many devices. Surprisingly, though, these mostly work.
The script, written by the filmmaker himself, presents challenging timelines with jumps in time that work through the never stopping tone of the film (one of Sorkin’s distinctive traits). The filmmaker is well known for his ability to write dialogues and Being the Ricardos is a prime example of this. Fast and provocative, they are delivered with proficiency by the cast.
Nicole Kidman and Javier Bardem are enthusiastic, intense, and funny, challenging each other. Kidman brings to life this actress as a creative genius, imagining the show as she rehearses her lines, and having a second instinct that tells her that something is wrong with the scripts, even though she still doesn’t know the exact problem. She is forceful and decisive, sometimes coming face to face with Oppenheimer (Tony Hale). While the main duo is strong, Nina Arianda as Vivian Vance, the actress that suffers under the gigantic shadow of Ball, and J.K. Simmons, as the other actor of the show that is too opinionated, constantly outshine the stars of the movie.
The film offers a glimpse of the old Hollywood. The production design by Jon Hutman transports us back to the 1950s right in the middle of TV sets, offices, streets, and houses. The costume design by Susan Lyall shines in Kidman’s tall and svelte frame. In this aspect, Being the Ricardos is a memorable and delightful celebration of the past.
Nevertheless, it also displays the vices of the entertainment industry. The executives are adamant that Lucille’s just announced pregnancy isn’t shown or alluded to in the show, something that becomes a special cause for the marriage. Ball and Arnaz are presented as two characters advanced for their time, fighting for causes of representation and naturality on screen that make them sort of trailblazers. Especially, Lucille is this kind of vigilante that protects her husband and exhibits the racism that shapes the way executives and peers see him. Still, it is noticeable that she sees him under an uncomfortable light as well, promoting stereotypes of his origins and culture. The film presents multiple racist attitudes that are directed towards Arnaz, a man that is supposed to be the most powerful person in the room, but that is constantly judged for his un-Americanness.
Many things have already been said about Javier Bardem’s casting as Arnaz. While the Spanish actor’s performance is one of the best things of the film (even if his accent slips), once you see it, you understand why Sorkin didn’t have the sensitivity or tactfulness to cast a Cuban, or at least, a Latin American actor. The same thing that the story tries to expose, Sorkin uses as a recurring joke.
Throughout the film, there is a debate amongst the writers whether to use traditionally American or Hispanic names for a joke in the show. Madelyn Pugh (Alia Shawkat), one of the writers of the show, offers snarky comments about her incapacity to distinguish between nationalities, ethnic origins, and regions, effectively reflecting Sorkin’s inability to comprehend the importance of casting a Latin American actor in a Cuban role and the disappointment of casting a Spanish actor instead. Being the Ricardos doesn’t know how to distinguish a Cuban person from a Spanish, Mexican or Turkish one. These jokes and decisions neglect Latin Americans’ individuality and identity, showing that we are interchangeable and punching lines for the story and Sorkin himself.
Being the Ricardos is Sorkin’s best effort as a director. Kidman and Bardem’s performances are energetic and exhilarating. Wisely, Sorkin isn’t too interested in the “I Love Lucy” show, instead of focusing on the drama behind the scenes. While the events of the film are engaging, there are indications that show that Sorkin is more interested in impressing with his script or giving ecstatic moments of patriotism than in offering valuable and deep insights about the industry. The filmmaker is not interested in criticizing the old ways or offering new paths for the future. His only appeal are showy performances and thrilling dialogues.
