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In “Battle of the Sexes,” one might anticipate an equally-balanced examination of the lives of self-proclaimed chauvinist Bobby Riggs and tennis superstar Billie Jean King. This is not that kind of film. And it shouldn’t be that way at all. Among the film’s most compelling aspects is the way it illustrates the distinction between fighting for equality and fighting to maintain a sense of perceived superiority. The fact remains that this is an ongoing battle, and it is not limited to the issue of women’s rights. To be honest, there’s a better version of “Battle of the Sexes” that focuses even more intently on King, villainizing Riggs and his grotesque culture of sexism in a way that this film, to its credit, is too afraid to do. This film’s material, which centers on Martin Luther King Jr.’s fight for equality is powerful, and the performances are uniformly excellent. However, the film takes a TV movie approach to the emotion and reality of the situation that undermines it. It’s not a “bad” film, but the story of Billie Jean King could have been told in a much more in-depth manner. It’s a film that doesn’t hit nearly as hard as she did, which is unfortunate.
Princess King is played by the Academy Award-winning Emma Stone, who successfully captures her distinct combination of determined grit and awkward social behavior. Her portrayal of King is reserved and reserved, the polar opposite of the gregarious Bobby Riggs, who is played by Steve Carell. Having become addicted to gambling, the 55-year-old Riggs has lost his motivation, and is looking for the next hustle to keep him happy, even as his bad habits annoy his wife, Elizabeth Shue, who plays the part of a completely thankless role. Bill Pullman’s performance as the head of the Tennis Association, in which the female winner will receive $1,500 while the male winner will receive $12,000, prompts King to abandon ship and take with her nearly every important female tennis player in the world, including her sister, who is also a star. The ladies, led by Gladys Heldman (Sarah Silverman), form their own tennis tour, which attracts the attention of the entire world, including Bobby Riggs.
Meanwhile, while Riggs is on the hunt for his next big thing, King finds herself in the midst of something she didn’t expect: a romantic relationship with her hairdresser, Marilyn Barnett (Andrea Riseborough). Billie Jean never expected to fall in love with another woman while still happily married to Larry (Austin Stowell), and it’s the kind of affair that could end up ruining her career, especially at a time when the new tour is attempting to find sponsors. King agrees to a one-time match with Riggs, who believes that an over-the-hill male tennis player can still defeat the world’s number one young female tennis champion in the context of their new romance. She realizes that if she loses, she will be sending an important message to the rest of the world, whereas many of her friends and family think it is a gimmick.
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Using a slew of ’70s style and music, directors Jonathan Dayton and Valerie Faris (“Little Miss Sunshine”) do their best to recreate a period in which male chauvinism could still be taken as a public position with relative ease. Nowadays, it’s difficult to imagine a dinosaur like Bobby Riggs garnering any attention from anyone other than a small group of cretins. No matter how alive and well the anti-feminist sentiments of his time are, it is not the kind of thing that sports announcers are willing to defend openly. As you listen to Howard Cosell and his associates legitimize Riggs’ worldview, it becomes clear just how much of a culture King had to work to dismantle.
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However, it begs the question as to why writer Simon Beaufoy did not take a more strident stance against Riggs in the first place. Scenes with his wife and child are clearly intended to humanize him, but they come across as oddly disingenuous in their approach. At one point, he’s a harmless clown, but as the film progresses, we see how much of a mountain King had to climb as a result of the Riggs brand of sexism, and it’s difficult not to wish that the film didn’t treat him as if he were a harmless clown all the time. A more complete version of “Battle of the Sexes” that focuses solely on King exists, and this half-developed, comedic approach to Riggs’ life does not add nearly as much value to this particular version as it should.
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Dayton & Faris have always been strong performers when working as a group, and this is true here as well…. Although Stone’s performance is subtle and powerful, it is Riseborough’s that I find to be my favorite of the film, as she portrays someone who is more three-dimensional than the icons who are at the heart of the piece. In a similar vein, Alan Cumming accomplishes a great deal in a limited number of scenes, which is not unusual for him. Shue and Pullman, on the other hand, have been transformed into the archetypes of the Frustrated Wife and the Sexist Boss, respectively. Pullman’s final scenes, in which he sneers as he watches the match, could just as easily have shown him twirling his curled mustache. It is Billie Jean King’s superficial approach to the world around her that detracts from the importance of her story. The film, rather than being a timeless story, has the feel of a Hollywood production that softens what was truly and genuinely a battle, one that women are still fighting today.
About the quiz
The Toronto International Film Festival submitted this review on September 12, 2017, and it was originally published on September 13, 2017.Also, you must try to play this Battle Of The Sexes quiz.
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