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As a sea of dark suits and wingtip shoes make their way up the steps of Harvard Law School, the university’s victory song extols the accomplishments of the Harvard men. There’s one turquoise dress and one pair of stockings with seams down the back of the legs to choose from. It had been only six years since women were first admitted to Harvard Law School, and there were only nine women in the graduating class. The dean, Erwin Griswold (Sam Waterston), invites each of the women to a “welcoming” dinner and asks them to explain why they are taking a position that could have gone to a man. Rutgers University law student Ruth Bader Ginsburg (Felicity Jones) explains that her husband is in the second-year class, and that studying law will help her “be a more patient and understanding wife.”
Was she saying this because she thought it was what he wanted to hear? Or was she just being honest? Neither does this film, written with great affection by Justice Ginsburg’s nephew, Daniel Stiepleman, which tells us what we already know. What it does tell us is that she would be understanding, at least some of the time, but she would never be truly patient with anyone. Prior to becoming well-known for her feisty dissents, power workouts, and “Gins-burns” portrayal on “Saturday Night Live” by Kate McKinnon, Ruth Bader Ginsburg was a trailblazing litigator who argued cases that were as important to women’s rights as Brown v. Board of Education was to racial minorities’ rights. Dean Griswold would have two more encounters with her, each of which would be less patient than the one before.
“RBG,” a well-crafted documentary that was released earlier this year, expertly chronicles Justice Ginsburg’s life from her days as a schoolgirl to her appointment to the Supreme Court. This film, wisely, focuses on just two key elements: her wonderful supportive marriage to the late tax attorney Martin Ginsburg (Armie Hammer), and the one case they argued together, which was a landmark in outlawing discrimination “on the basis of sex,” which they argued together.
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When Martin Ginsburg was diagnosed with cancer, he and his wife were still in law school and were the parents of a toddler. Ruth accompanied him to all of his classes, as well as her own, and assisted him in finishing his coursework. She met with Dean Griswold to ask if he would grant her the same opportunity he had granted male students to finish her last year elsewhere and still receive a Harvard degree. She presented what we would call a model argument based on precedent, logic, and the Socratic method, which we would have called “model” in my law school days. He flatly refused. As a result, she graduated from Columbia University as the top student in her class. She wouldn’t be hired by any law firm. She decided to forego her ambitions to be an advocate in favor of teaching law students. “You’ll be a role model for the next generation in terms of fighting for change,” Martin, ever optimistic, tells her. “I wanted to be the one fighting for change!” she exclaims, indicating that this is not one of her more patient moments.
On The Basis Of Sex Quiz
And then he comes across a case—a tax case—that provides her with the opportunity she seeks. The expenses of an unmarried male caregiver would not be eligible for a tax deduction; only the expenses of a female caregiver would be eligible. She believes that the most effective way to overturn laws that discriminate against women is to adopt a law that discriminates against men. It was most likely a simple oversight on the part of the tax code writers, who failed to consider the possibility that an unmarried male might be responsible for the care of an elderly parent. Charles Moritz (Chris Mulkey) on the other hand did. The government also made three very serious mistakes, all of which were directed by Dean Griswold, who is now at the Justice Department. Instead of attempting to amend the rule, they chose to fight it. They had a misunderstanding of Ruth Bader Ginsburg.
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We like Jones and Hammer together, and they have strong support from the more colorful characters in the film, such as Kathy Bates as pioneering feminist attorney Dorothy Kenyon and Justin Theroux as Mel Wulf, legal director of the ACLU (and former campmate of Justice Ginsburg, as we learn in an endearing musical number). Director Mimi Leder has a keen eye for telling detail and a sure sense of pacing, which is especially evident in the scenes with the Ginsburgs’ teen-age daughter Jane (Cailee Spaeny), whose own spirited feminism convinces her mother that it is past time for the law to catch up with society.
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When Stiepleman teases his aunt about her seriousness of purpose, her discipline, and her legendary awful cooking, it is clear that he has a special affection for her and a special license as an insider. Martin steals some leftovers from the baby’s high chair tray rather than eating his wife’s tuna-onion casserole at one point, which is a telling moment. (He later took on the responsibility of preparing all of the family’s meals, and Hammer demonstrates some knife skills worthy of the Great British Baking Show.) However, it is heartening to witness Ginsburg’s growing realization that the world is catching up to her vision and is ready for the voice she has to speak up for.Also, you must try to play this On The Basis Of Sex quiz.
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