The plot: Former world champion tennis player Bobby Riggs
(Steve Carell) makes a public bet: $100,000 to any female player that can beat
him on the court. Billie Jean King (Emma Stone), as a means to show that female
tennis players deserve equal pay as the men, accepts the bet. With Riggs’ media
circus hyping up the main event, and King trying to juggle her professional
life with her blooming attraction to hairdresser Marilyn (Andrea Riseborough),
the stakes are set for what would become one of the most famous sporting events
in history.
I’m convinced that Stone isn’t acting here; she is Billie Jean King, far as I’m
concerned. Between how she handles the main plot, the feminist determination
driving her and even the romantic side of things, she completely absorbs the
role to create a performance that will likely go down as one of her all-time
best. Carell, who has had tremendous character success with directors Jonathon
Dayton and Valerie Faris in the past with Little Miss Sunshine, continues to
show his woefully-underappreciated talent for character acting as the hustling
show-boater, flaunting his crowd-gathering chauvinism with enough clarity that
it is mostly just for the cameras, both in and out of universe.
Riseborough as
Billie’s lover is very grounded, and their relationship wins a lot of points on
authenticity and bringing out the sensuality in something as innocuous as
getting a haircut. Given how this subplot holds up a large amount of the film’s
pathos, Riseborough’s performance had to hold up and thankfully she more than
delivers. Sarah Silverman gets a lot of laughs as King’s publicist. Bill Pullman
gets a lot of knowing scorn as the upfront sexist overseer. Alan Cumming as what is
essentially Billie’s sassy gay friend is well done, adding an uplifting coda to
the film’s finale. Elizabeth Shue as Rigg’s wife fits in nicely, Austin Stowell
as Billie’s husband brings a surprisingly level-headed depiction of marital
jealousy, and Jessica McNamee as tennis player Margaret Court brings a
weird-but-still-resonant amount of presentism to her depiction of the
now-famously homophobic figure.
A common trick amongst filmmakers nowadays, as an initial
showing of adherence to period detail, is mocking up old-school renditions of
company logos. Sure enough, we get that here with the Fox Searchlight and it’s
a fitting preamble for this film. Even as someone who doesn’t take as much
issue with anachronisms in cinema, the amount of period detail here is
genuinely impressive. From the costumes to the visuals, right down to the
70’s-era sunkissed look of the actors, this lives and breathes the soul of the
time, something that makes the commentary within hit even harder, modernist
though it may be.
The part where this reaches its height is in how it affects
the relationship between Billie and Marilyn. Back when I looked at Carol, I
mentioned that the way the central relationship was portrayed felt too
out-of-time to really sink in, especially with how muddled the intent
ultimately became. Here, the film ends up highlighting how to do that same idea
and do it right. The relationship
itself is shown in a very realistic manner, with Stone and Riseborough making
for a very cute couple in their own right, and the treatment of said
relationship highlights both how genuine the coupling is and the inherent taboo that it sat in at the time the film takes
place. It shows an honest and nowhere-near-oversexualised lesbian relationship
and manages to do so without contemporary attitudes clouding the reality.
Because of this, Cumming’s final message at the end hits even harder because
not only do we see the underlying prejudice against non-straight sexuality, but
also the sense of triumph knowing how those same relationships are viewed now
(at least in the U.S.).
The phrase ‘battle of the sexes’ has always had a certain
amount of sensationalism attached to it; this epic confrontation between two
representative parties where the ultimate victor could end up setting some form
of precedent when it comes to treatment of the given gender. Dayton and Faris
have always shown a certain grim understanding of the ways women are portrayed
in media, from the scathing crackdown on child beauty pageants in Little Miss
Sunshine to the notion of wish fulfilment present in Ruby Sparks, and this is
no exception. Riggs’ original gambit isn’t shown as any kind of earnest
depiction of professional sexism, but rather as just him taking an issue of the
time and pushing some money into it. The man is shown as a crowd-gatherer, if
not always a crowd-pleaser, in how he intentionally sets up the main conflict
as a show of sensationalism that he can use to fuel his love for taking
monetary risks.
Billie, on the other hand, may want for monetary gain in the form
of equal pay for female tennis players, but her stakes in the event are much
more universal. In the face of the rampant sexism of the time, from Jack
Kramer’s self-deceiving reasons for the wage gap to Court describing Billie’s
relationship as “sin” and the natural conclusion of having women share beds
with each other (and in a film full of playing for the cameras, this is
actually accurate to the character’s views in the real world), she needs to win and make her case for the
agency of female athletes.
That’s the thing about setting precedent, whether it’s legal
or social: Facetiousness rarely ends up factoring into how it all gets remembered.
Riggs may be playing everything up for the attention, but he’s still showcasing
a very real and still-present mindset concerning the treatment of women; this
battle of the sexes may be a marketing ploy, but as the real world still
remembers the match between Riggs and Court as the “Mother’s Day Massacre”,
it’s still a real battle with consequences based on who wins. And what’s more,
because the film makes it clear just how much has been hyped up for the
publicity in-universe, the match itself has real weight to it.
As someone with
no real interest in sports, particularly if I’m just watching someone else
participate rather than doing it myself, it is quite surprising that the
titular match is as gripping as it is; both in its own right and because of the
build-up given to it. Billie wants to shut out the media circus and just play,
letting her actions speak for themselves and those of her allies; Riggs may be
milking the public but his gambling addiction, for as both hilarious and
affecting as it can get, gives him a compulsion to make it all pay off. This is
what makes this sports movie succeed at the end of the day: Solid characters on
both sides, with each given their impetus and reasons to succeed, combined with
a real sense of urgency to make the act of two people hitting a fuzzy green
apple back and forth feel important. And looking back on the events of the film
nowadays, it still is important.
All in all, this is the kind of sports film that even
shiftless layabouts like me can get into; as timely as it is amazingly
dedicated to its own era. The acting is phenomenal, the attention to detail
makes the events feel tangible and real (a major boon for any biographical
picture), the balancing of humour and pathos matches Jonathon Dayton and
Valerie Faris’ pedigree, and the writing by Slumdog Millionaire scribe Simon
Beaufoy highlights the media spin on the actual events while also emphasizing
the social and societal stakes of said events to make the drama swing hard. It
will definitely bring a smile to the faces of the LGBT community in the U.S.,
showing one of the roots that led to their eventual victory, but here in
Australia, especially with the inclusion of Margaret Court, it will most likely
end up as yet another signifier that it is time to make the change. Whether
that change will be made anytime soon remains to be seen.
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