On The Basis Of Sex review: Felicity Jones stars in what is in essence ‘Ruth Bader Ginsburg: Origins’ with this courtroom drama that tracks one of the pioneering lawyer’s early, and most significant, cases.
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Ruth Bader Ginsburg (or the Notorious R.B.G., as the internet has so lovingly dubbed her) is truly an inspirational figure worthy of celebrating. A key figure in a number of cases that advanced gender equality and women’s rights, it is no wonder she became only the second female justice to be sworn into the Supreme Court.
Rather than paint a large sweeping picture of her exceptional legal career, On the Basis of Sex chooses to focus on Ginsburg’s first days at Harvard in the 1950’s, building up to one of her first and most significant cases that carved the way for her to make significant changes on laws that discriminate on the basis of sex.
On the Basis of Sex as an account of Ginsburg’s strengths does feel like it only scratches the surface, almost as if it is indeed an origin tale to set up a greater story. Felicity Jones plays Ginsburg almost with a sense of caution, a person who is not yet fully formed into the formidable icon that she has become today. We see her fight against sexism on a number of fronts, from academics at Harvard, to prospective employers. It is not until we reach the 1970’s and the liberal feminist movements open up the playing field to allow Ginsburg to strike at the perfect moment It’s all a case of the right person just waiting for it to be the right time.
For the first two-thirds of the film, the pacing of the film is a little odd, as it begins in the ’50s and almost treads water until the ’70s where Ruth has her case. As a result, a lot of the drama feels a little lacking, and frankly quite dull. There isn’t a great deal of conflict on display. Her marriage with her husband, fellow lawyer Marty (played with exceeding charm by Armie Hammer) is practically perfect, supporting his wife and encouraging her to become the lawyer both he and she know she can be, while she also helps support him in his studies when he becomes ill.
As a result, a lot of conflict feels quite forced, particularly with Ruth’s relationship with her teenage daughter in the ’70s. Much of the sexism she comes face to face with is painted in broad strokes, told through snide comments and leering glances. It does all add coal on to the fire that is both the audience’s and Ruth’s frustration at not being able to change the system that perpetuates the sexism that women must endure on a day to day basis in both work and social circles.
Thankfully this all leads to a very affecting finale, in which this courtroom drama gets to the actual courtroom. While the case itself isn’t all that riveting, concerning a man who is denied a tax deduction for the nursing care for his ailing mother because he isn’t a woman, widower or divorcee, it is the implication that has weight. If Ruth and her team can win this case, then they stand to open the door to taking on all aspects of the law that discriminate based on gender, race and sexual orientation.
It is really only in these final moments that the film truly finds its stride. All the performances feel more purposeful, particularly Jones, who for the most part of the film largely doesn’t leave much of an impression. That fire that has been building in the belly comes to the fore in both her performance and the dialogue itself, leading to a suitably rousing finale.
On the Basis of Sex is a very well-intentioned drama that is, unfortunately, lacking in all that much in the way of actual drama. It is a film that is quite rightly very proud of the remarkable woman at its focus, and it sometimes feels a little overwhelmed by the occasion. Nonetheless, there is no denying that the final scenes pack a punch and allow this to stand as a crowd-pleasing movie, telling a winning story of strength and determination in the face of immeasurable odds.
On The Basis Of Sex review by Andrew Gaudion, February 2019.
On The Basis Of Sex is released in cinemas on 8th February 2019.
