"The Law Says Women Stay Home, Men Go To Work, But All People Must Be Treated Equally..."
Based on the life of Ruth Bader Ginsburg, the Brooklyn born and highly inspirational lawyer who during the late twentieth century spent a considerable amount of her career advocating the advancement of women's rights and gender equality, On the Basis of Sex sees the return of Mimi Leder (The Peacemaker, Deep Impact) to the big screen after her success on television through the likes of The Leftovers. Featuring a screenplay from screenwriting debutante, Daniel Stiepleman, Leder's movie sees Felicity Jones (Rogue One) take the leading role as the highly intellectual, if slightly sanctimonious Ginsburg, as we see her venture through the masculine dominated society of the late 1950's and well into the radically different and more open-minded 1970's, all the time supported by her loving husband, Martin Ginsburg, as played by the safe pair of cinematic hands which is Armie Hammer (Sorry to Bother You). With an abundance of important statements at the heart of the drama, Leder's latest is an enjoyable and interesting gentle breeze through the politics of the era in which the narrative is set, and whilst On the Basis of Sex does indeed benefit from a excellent central performance, the substance and depth you would expect from a film tackling so many issues is inherently lacking, resulting in a popcorn piece which although is enjoyable enough, fails to hit as hard as the central character's effect on the world today.
Beginning with an almost The Social Network sensibility as we witness Jones' Ginsburg become enrolled in the male dominated halls of the Harvard Law School, we immediately cotton on to her stubbornness to conform to the sexist mannerisms of the school's hierarchy, all the while attempting to balance her education with her home life as the stresses of a newborn baby and her husband's recent cancer diagnosis threaten to derail her completely. With the opening act of the film managing to develop Ginsburg with a likeable degree of depth, the narrative then steams ahead to the 1970's as we now see a fully rounded family unit featuring the added inclusion of the outspoken, idealist figure of Cailee Spaeny (Bad Times at the El Royale) as Jane Ginsburg, who comes across as the ideal inspiration to her mother to finally battle against a fundamental sexist brand of political ideals. With the first ninety minutes of the movie essentially semi-effective characterisation with a side plate of knowing build-up to the final act, the concluding thirty minute court drama set pieces is actually rather well handled, even with a degree of dramatic licensing which makes Jones' standout acting moment more pantomime than To Kill a Mockingbird, a story of which is crucially mentioned at one point in the drama. As a whole therefore, On the Basis of Sex is too low-key and safely played to be classed as a true representation to match the importance of its' central figure, but with committed central performances and a likeable central feel to it, Leder's return to the big screen is more than satisfactory.
