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Tonya Harding is probably someone you haven’t thought about in a long time. Why would you do such a thing? It was nearly a quarter century ago that the Olympic figure skater reached the pinnacle of her fame for something that didn’t even take place on the ice: the infamous attack on rival Nancy Kerrigan, which was orchestrated by Harding’s then-husband, Jeff Gillooly, just before the 1994 United States Figure Skating Championships in Detroit.
Despite the fact that Harding was not personally involved in the infamous and injurious leg-whacking, her reputation and career were irreparably damaged as a result of the incident. As a result, she became a laughing stock, with her name alone serving as a bitter shorthand for scandal.
All of this contributes to the remarkable success of “I, Tonya.” In addition to making you recall Tonya Harding, it will also cause you to feel sympathy for her in a way you hadn’t anticipated. It will make you feel deeply sorry for her because of the abuse and pain she has endured for a significant portion of her life. With this film, director Craig Gillespie accomplishes what appears to be an impossible high-wire act: he’s created a film that’s affectionately mocking—of this theatrical sport, of the idiots who surrounded Harding, of this hideous moment in fashion and pop culture—without ever directly mocking Harding herself.
In spite of the fact that her story is told through a whirlwind of unreliable narrators, Steven Rogers’ script demonstrates great kindness and emotional charity toward this wounded figure. It’s like “GoodFellas” on ice: darkly comic at times, and at others just plain dark, but always breathtakingly alive and kicking throughout. I, Tonya has an unmistakably tumultuous air about it from the very beginning, despite the colorful glitz and cheese of the figure-skating setting. And at the epicenter of it all is Margot Robbie, who gives the performance of a lifetime as Harding in the film.
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Robbie has consistently demonstrated keen insight into the roles she’s chosen, a desire for the challenge of challenging material, and a clear desire to prove she’s so much more than just a pretty face in her career to date. Robbie has dazzled us with her versatility, even as she’s consistently held us with her charismatic screen presence. Whether it’s as the va-va-voomy siren of “The Wolf of Wall Street” (which put her on the map), the smooth scam artist of “Focus,” the bat-wielding badass Harley Quinn in “Suicide Squad,” or the noble frontier woman of “Z for Zachariah,” Robbie has dazzled us with her versatility This is a scene in which she exudes the confidence of an athlete at the pinnacle of her sport (she even learned to skate for the role), but it is tinged with sadness as we witness the low sense of self-worth she has buried beneath the surface, which is the result of years of physical and verbal abuse at the hands of her abusive mother.
Allison Janney is absolutely fantastic as the profane, chain-smoking LaVona Harding, who is constantly insulting Tonya and messing with her mind in the name of making her a champion, and she absolutely destroys the film. Despite the fact that it is a showy, scenery-chewing performance, it is not one-note; Janney brings an undercurrent of sadness to the role as she reveals LaVona’s twisted methodology.
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The fact that Tonya and her mother did not fit their superficial, socioeconomic ideals, however, meant that she was doomed to never receive an enthusiastic embrace from the elite of figure skating. “I, Tonya” depicts this aspect of Harding’s story with precision; it is one of the key components of her tragic downfall, but it also serves to make her story relatable to people outside of the secluded world of figure skating, as shown in the film. Harding, who grew up poor in Portland, Oregon, with a frizzy ponytail and poofy, homemade costumes, found it difficult to portray the image of a pristine ice queen, something Kerrigan accomplished with ease. Despite the fact that Harding was an extraordinarily athletic female skater who was one of only a handful of people to ever successfully land a triple axel in competition, U.S. judges did not always award her the high scores she deserved because she did not conform to the image they wanted to project.
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She went from one abusive situation to another because it felt familiar, if for no other reason, when Harding married the first man who was nice to her—at least at first. When Sebastian Stan first appears on screen, he plays the role of Jeff Gillooly with an air of innocent hilarity. Is a slimeball dressed as if he’s in the middle of a pornographic film. His violent side emerges, and his emotional hold on Tonya grows stronger, and you find yourself feeling sorry for her all over again, knowing that no matter where she goes, she’ll be trapped no matter what she does.
When you consider the circumstances, it is remarkable that she is able to get out on the ice even for practice, let alone compete at the highest levels of the sport in which she excels. And the more we learn about her life, the more it becomes painfully clear that the deck was always stacked against her from the beginning.
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Gillespie depicts her rise and fall from a variety of competing perspectives and contradictory voices, some of which are recreated and some of which are imagined in interviews. (The film’s editor, Tatiana S. Riegel, keeps the action moving at a breakneck pace.) In addition to hearing directly from Harding herself, we hear from an increasingly abrasive LaVona, Harding’s genteel coach Diane (Julianne Nicholson), a squirmy Gillooly, and Gillooly’s delusional friend, Shawn Eckhardt (Paul Walter Hauser), Harding’s self-appointed “bodyguard” and the mastermind of what everyone bitterly refers to as “The Incident.”
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Combined, they paint a picture of the world that isn’t quite the truth, the whole truth, and nothing but the facts as we know them. The truth is that “I, Tonya” is a vivid slice of pop culture history—an irresistible, soapy mix of jealousy, competition, and class warfare that is bolstered by powerful performances and unexpected emotional resonance—and that it does so honestly.
The fact that Gillespie has chosen so many overtly political soundtrack selections to punctuate specific moments in this stranger-than-fiction story is frustrating, given the gripping, heightened reality of this stranger-than-fiction tale. During the opening credits, Cliff Richard’s song “Devil Woman” begins to play as LaVona orders Tonya, who is played with convincing angst and heartache by Mckenna Grace, around the ice. A beautifully fluid sequence in which Harding finally musters the courage to leave Gillooly and her volatile life with him is set to Supertramp’s “Goodbye Stranger,” which is played during the sequence. While each song is fantastic, the classic rock needle drops can be a bit distracting at times.
Although it’s a minor flaw in an otherwise nearly flawless program, it’s worth mentioning. “I, Tonya” is one of the year’s best films, and it is a must-see.
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