Associate Justice of the Supreme Court of the United States, Ruth Bader Ginsburg, has been the focus of two feature-length releases in the past six months alone: Betsy West and Julie Cohen's Oscar-nominated documentary RBG took a characteristically more factual approach, encompassing her entire career, while Mimi Leder's On The Basis of Sex focuses more on her rise and journey to become one of the most prominent voices in the continuing fight for gender equality.
Ruth Bader Ginsburg (Felicity Jones) is a first-year Harvard Law School student caring for her child and cancer-stricken husband, Martin (Armie Hammer), while juggling the content from both of their classes. Despite graduating top of her class, she is unable to find a position with a law firm due to their unwillingness to hire a woman, eventually settling on a job as a professor teaching "The Law and Sex Discrimination". When presented with a case in which a man is discriminated against by the US constitution, Ruth perceives it as an opportunity to challenge all laws that differentiate on the basis of sex.
It is clear from the offset that the filmmakers have a clear admiration for their subject matter, which is both a blessing and a curse for any biopic. If you've come searching for a balanced portrait of the woman at the story's heart, then On The Basis of Sex won't work for you. It idolises RBG - understandably, one might add - and cares deeply about sharing her remarkable journey. In its determination to present her as relatable, it borrows from the 'underdog' formula rather unnecessarily, emphasising a clumsiness to amplify her character arc and rise. Its emblematic of a larger issue with the film: it's pretty standard biopic filmmaking.
Thankfully, its heart makes it so enjoyable. Written by Ginsburg's nephew, screenwriter Daniel Stiepleman clearly approaches the film with insight and a determination to do right by its subject. It rather effectively takes dense, court jargon and delivers it in a way that makes it accessible by general audiences, without dumbing it down to offensive levels that it alienates others. It is smartly streamlined and focused on her earlier years without ever losing focus on the impact her actions are still having today, captured in a profound and well-executed final sequence that would melt the hardest of hearts. Again, you cannot help but question why the film adheres to such a strict template but, perhaps given the scope of Ginsburg's story, the filmmakers thought it helpful to employ something more rigid to keep it tightly-compact. It doesn't make it any less frustrating - but it would justify that decision.
Mimi Leder's direction is glossy and well-serving, with the film's bookending scenes among the strongest displays of her skill. While the court scenes, particularly the final cumulative moment, are absent a spark that could have really enriched the power of the conclusion, it's consistently strong work across the board. Enhanced further by impressive costume and production design from the art departments, On The Basis of Sex looks every inch the part. Mychael Danna's score - while great in isolation: a stirring composition - can feel heavy-handed at times, with one rain-based moment ripped straight from a book of biopic conventions. It's the handful of these otherwise minor flaws that prevent the film from rising from 'good' to 'great'.
Ever reliable but often underutilised, Felicity Jones proves once more what a compelling force and talented actress she is. With a layered, respectable performance, Jones - like Ginsburg - displays the resolve of a woman paving the way with grit and determination. A few accent wobbles aside, Jones embodies the symbolic essence of Ginsburg, capturing her spirit superbly. Armie Hammer provides strong support as her loving husband too: their chemistry is believably palpable, and the film's presentation of their rock-solid relationship is refreshing. Partly accrediting the strength of her unwavering success to the family unit around her is nicely-considered, with the film effectively balancing her personal life and public persona well. The cast's efforts are paramount to ensuring that both parts are as engaging and should be applauded.
While it's not nearly as extraordinary as the woman at its centre, On The Basis of Sex is a perfectly solid, appealing and insightful examination of the inspiring Ruth Bader Ginsburg. Formulaic to a fault, it leans into conventions more frequently than it should, and it's altogether stronger when it unshackles itself from these biopic behaviours -- but it never once loses your interest and ticks over steadily, resulting in an accomplished piece of filmmaking executed with dignity and sincerity. It wasn't the Oscar contender it aspired to be, if only because it lacks cinematic flair and grapples with too many cliches, but as a timely study of a living-breathing legend, On The Basis of Sex is a powerful portrait packed with heart and meaning.
Summary: Well-intentioned if flawed, On The Basis of Sex utilises too many biopic conventions to elevate itself from good to great, but Felicity Jones' terrific lead performance and Mimi Leder's consistent direction make this an enjoyable, stirring portrait of a living-breathing legend.
Ruth Bader Ginsburg (Felicity Jones) is a first-year Harvard Law School student caring for her child and cancer-stricken husband, Martin (Armie Hammer), while juggling the content from both of their classes. Despite graduating top of her class, she is unable to find a position with a law firm due to their unwillingness to hire a woman, eventually settling on a job as a professor teaching "The Law and Sex Discrimination". When presented with a case in which a man is discriminated against by the US constitution, Ruth perceives it as an opportunity to challenge all laws that differentiate on the basis of sex.
It is clear from the offset that the filmmakers have a clear admiration for their subject matter, which is both a blessing and a curse for any biopic. If you've come searching for a balanced portrait of the woman at the story's heart, then On The Basis of Sex won't work for you. It idolises RBG - understandably, one might add - and cares deeply about sharing her remarkable journey. In its determination to present her as relatable, it borrows from the 'underdog' formula rather unnecessarily, emphasising a clumsiness to amplify her character arc and rise. Its emblematic of a larger issue with the film: it's pretty standard biopic filmmaking.
Thankfully, its heart makes it so enjoyable. Written by Ginsburg's nephew, screenwriter Daniel Stiepleman clearly approaches the film with insight and a determination to do right by its subject. It rather effectively takes dense, court jargon and delivers it in a way that makes it accessible by general audiences, without dumbing it down to offensive levels that it alienates others. It is smartly streamlined and focused on her earlier years without ever losing focus on the impact her actions are still having today, captured in a profound and well-executed final sequence that would melt the hardest of hearts. Again, you cannot help but question why the film adheres to such a strict template but, perhaps given the scope of Ginsburg's story, the filmmakers thought it helpful to employ something more rigid to keep it tightly-compact. It doesn't make it any less frustrating - but it would justify that decision.
Mimi Leder's direction is glossy and well-serving, with the film's bookending scenes among the strongest displays of her skill. While the court scenes, particularly the final cumulative moment, are absent a spark that could have really enriched the power of the conclusion, it's consistently strong work across the board. Enhanced further by impressive costume and production design from the art departments, On The Basis of Sex looks every inch the part. Mychael Danna's score - while great in isolation: a stirring composition - can feel heavy-handed at times, with one rain-based moment ripped straight from a book of biopic conventions. It's the handful of these otherwise minor flaws that prevent the film from rising from 'good' to 'great'.
Ever reliable but often underutilised, Felicity Jones proves once more what a compelling force and talented actress she is. With a layered, respectable performance, Jones - like Ginsburg - displays the resolve of a woman paving the way with grit and determination. A few accent wobbles aside, Jones embodies the symbolic essence of Ginsburg, capturing her spirit superbly. Armie Hammer provides strong support as her loving husband too: their chemistry is believably palpable, and the film's presentation of their rock-solid relationship is refreshing. Partly accrediting the strength of her unwavering success to the family unit around her is nicely-considered, with the film effectively balancing her personal life and public persona well. The cast's efforts are paramount to ensuring that both parts are as engaging and should be applauded.
While it's not nearly as extraordinary as the woman at its centre, On The Basis of Sex is a perfectly solid, appealing and insightful examination of the inspiring Ruth Bader Ginsburg. Formulaic to a fault, it leans into conventions more frequently than it should, and it's altogether stronger when it unshackles itself from these biopic behaviours -- but it never once loses your interest and ticks over steadily, resulting in an accomplished piece of filmmaking executed with dignity and sincerity. It wasn't the Oscar contender it aspired to be, if only because it lacks cinematic flair and grapples with too many cliches, but as a timely study of a living-breathing legend, On The Basis of Sex is a powerful portrait packed with heart and meaning.
Summary: Well-intentioned if flawed, On The Basis of Sex utilises too many biopic conventions to elevate itself from good to great, but Felicity Jones' terrific lead performance and Mimi Leder's consistent direction make this an enjoyable, stirring portrait of a living-breathing legend.