If the internet is to be believed (ha!) I, Tonya is this year's Jackie: the Best Picture contender that so nearly was. Alongside The Florida Project - both of which happen to have been screened early in the UK via Odeon's Screen Unseen evenings - it would have been a tough fight between the two had the category have expanded to allow the full ten nominees in. Alas, it stuck with nine and the rest were sent packing. I, Tonya still managed a respectable three nominations but it seems to prove that unconventional biopics about heavily-scrutinised women don't seem to be the Academy's cup of tea; were the Academy right to put I, Tonya on ice, or did it deserve a spot on the podium?
I, Tonya (Margot Robbie) follows the life of figure skater Tonya Harding, who skated her way to victory in many competitions for two centuries, before an attack on her competitor, Nancy Kerrigan, entangled her in one of the sporting world's most prolific scandals of all time. As well as exploring her connection to Kerrigan's attack, I, Tonya examines Harding's life and journey leading up to 'The Incident', her history of abuse and troubling family situations.
I, Tonya is structurally unpredictable and narratively unreliable, a conscious decision that reflects the stranger-than-fiction, multi-faceted scandal that dominated the media and stirred a frenzy in the mid 1990s. Harding's story is no doubt compelling and the film packs it with intrigue and contradiction, making terrific use out of the varying versions of events; but the I, Tonya's decision to frame Harding so sympathetically suggests an intention slightly more sinister than simply 'telling the truth'. It fails to portion any of the blame to her and while it's clear to see that she has been abused at the hands of many, the film takes a very one-sided stance it never seems to shake.
Steven Rogers' has some well-written dialogue and punchy messages hidden underneath the glossy surface of this film, extending far beyond just Tonya Harding; it reaches past to make remarks about all the Tonyas in our culture - those played like a punchline - holding society somewhat culpable for their part in the bludgeoning of a young woman -- Tonya herself. We see the torment - taunts of 'white trash' and blatant bias from judging officials - of a bruised soul facing abuse at every turn and we do ache for Tonya, albeit hesitantly and cautiously. Again, it is this pathos and sympathy that is stirred within that highlights some of the concerns with I, Tonya's perception and stances - but it doesn't take too much away from what is an otherwise clever, sharp and topical screenplay. It would have been more appropriate to label this as Tonya's trust, rather than the truth.
Rogers' script attempts a lot while struggling to find the focus to remain concentrated on one aspect: it's a comedy, drama and tragedy all in one and while this mix certainly keeps you on your toes, it can result in some awkward tonal whiplash at times. When scenes of abuse are fired off in such close proximity to Allison Janney's foul-mouthed tirades attempting to raise a cackle - and often, they do - it just feels uneasy, as contradictory as the interviews peppered throughout. It constantly ricochets between tones and genres and like Harding when she begins to waver, it doesn't always stick the landing.
While the script is a little shaky, the performances are not: Margot Robbie utterly embodies Harding and her physicality, an uncompromising triumph that marks this performance as an absolute career-best. Well deserving of her Oscar nomination, Robbie is masterful in conveying the titular character's turmoil and bombastic journey very effectively, resolute and steely. Even when she fades somewhat into the background in the film's second half, her presence is commanding and her performance of the highest calibre. It's a joy to see Robbie rewarded with a character as complex and layered as Ms. Harding and we can only hope she is afforded many more opportunities in the near future.
Janney, a clear front-runner heading into the Best Supporting Actress category, is terrific as Harding's absuvie mother, LaVona, if somewhat reductive. While no subtlety can be found, it's a bold and brash performance and Janney gets away with it, delivering LaVona's hate-filled, verbal and physical onslaughts with a look of twisted menace. Sebastian Stan is notably more understated as Jeff Gillooly; it's impressive to see him shine as he does, pushing his performance right up to the line without ever crossing into gaudy territory, as Janney frequently risks - and very occasionally falls victim to.
But, aside from Robbie, Paul Walter Hauser is I, Tonya's MVP. Frequently hilarious with impeccable comedic timing, Hauser plays the disillusioned bodyguard to perfection, a source of many of the film's biggest laughs. It's a tremendous performance and Hauser could have a real career ahead of him if he plays his cards right.
But, aside from Robbie, Paul Walter Hauser is I, Tonya's MVP. Frequently hilarious with impeccable comedic timing, Hauser plays the disillusioned bodyguard to perfection, a source of many of the film's biggest laughs. It's a tremendous performance and Hauser could have a real career ahead of him if he plays his cards right.
Rogers stated that his approach to I, Tonya would be to tell both sides and 'let the audience decide'. If that's the case, it is director Craig Gillespie who presents it so one-sided. In his most skilled outing to date, he excels with the direct recreations (buoyed by exquisite hair, make-up and costume design --potential one of the Academy's greatest oversights this award season) and enforcing the thought-provoking narrative elements. The suitably corrupt storytelling incorporated here is solid and when the fourth wall-breaking and character interviews work, they really help provide context and narration to the sprawling narrative -- but it's not always executed confidently enough to be a completely effective tool. Without aplomb and occasionally clumsy, he perhaps required more experience to handle a story as fragmented as this; it's like handing an infant a one hundred piece jigsaw -- with help, support and persistence they might assemble it well enough, but it's testing and hardly the smoothest experience.
Tatiana S. Riegel does a wonderful job editing this film, incredibly sharp and powerful in her cuts and stitching; it creates moments that are funny, moments that are tragical and those minor whiplash-inducing blips aside, really elevates the entire piece. Her editing nomination is wholly deserved and it helps ensure the 119 minute runtime skates by in a flash, as clean and precise as a triple Axel.
Horrendously less exact is the face-mapping technology used to place Robbie's face on that of the skating double; it's pretty damn woeful at times. Technology nowadays is better than this and when you can physically see a superimposed Robbie stand-out a mile off, you know there's a problem. It's horribly distracting and takes you out of the moment. The film has been made for an impressively low cost but just a little bit more cash would have helped remove the blatantly obvious technical flaws.
Horrendously less exact is the face-mapping technology used to place Robbie's face on that of the skating double; it's pretty damn woeful at times. Technology nowadays is better than this and when you can physically see a superimposed Robbie stand-out a mile off, you know there's a problem. It's horribly distracting and takes you out of the moment. The film has been made for an impressively low cost but just a little bit more cash would have helped remove the blatantly obvious technical flaws.
If I sound overly harsh on I, Tonya, it may be because I hoped for - and expected - more. It's flawed and unsteady and slightly too one-sided for me to fully invest myself; I felt rather self-aware throughout and very guarded to accept this as an unbiased form of events. But there is certainly a lot of fun to be had here. The performances are fantastic all-round and Robbie gives one of the strongest performance of the year and of her career, with pathos running throughout and a great energy and charm to be found. It's frequently funny and tragic, if a little sporadical so, with impressive costume and production design, fantastic editing and more complexity in its themes than you'd realise on first glance.
In reference to my earlier question, it's clear to see why the Academy passed up on handing I, Tonya a Best Picture nomination: it's far too rough around the edges to make it into such an elite line-up (mind you, Darkest Hour did). It simply makes too many mistakes to receive high scores across the board. There's an awful lot to like about I, Tonya and while I've found more criticism in writing this review, I'm eagerly awaiting its official UK release to see how a rewatch holds it up.
★★★★★★★★☆☆
(8/10)
Summary: "Tonya, tell us the truth" the trailer demands and while I doubt this is the full story, it's her truth. It falls short of greatness but I, Tonya is led so magnificently by Margot Robbie (in a career-best performance), and tells of a scandal so shocking and compelling, that many of the film's flaws can be forgiven - if not forgotten.