Review: The Film, On The Basis Of Sex…

One would argue that Ruth Bader Ginsburg’s life and struggles are an allegory for the women’s movement, and I wouldn’t disagree. But how would we focus this same lens on On The Basis of Sex (2018), the film about her life and struggles?  

We wouldn’t. Because, actually, we can’t. Art—especially the artists who create it—answers to different standards, creates its own rules, bridges gaps between words and realities. 

So, how does the screenplay of this film, penned by Daniel Steipleman (Out of My Mind), who is actually RBD’s nephew, create this allegory? It’s simple. It takes the marriage of RBD and her husband, Martin D. Ginsburg, and makes it an equal partnership. It illustrates that traditional gender responsibilities can be shared, if not switched or wholly exchanged. Further, art provides lessons, engenders thoughts, if not poses models. Thus, it becomes standards for men and women for generations to come. As such, with this film. 

Ruth Bader Ginsburg, herself, was a model of how 20th Century women—and men—should behave. So it tracks that a film about her life does the same thing. Interestingly, Martin D. Ginsburg's survival of testicular cancer and his journey to father two children serves as a remarkable and fitting testament to the film's representation of a model family allegory. 

Critics wail about the conventional biopic elements of the film. (Well, duh!). They also pan Felicity Jones’ (Rogue One: A Star Wars Story) occasionally uneven Brooklyn accent. And, boy, do they miss the point here. Here’s a factoid for you: people hide their regional accents, especially in the U.S. and the U.K., to prevent professional bias, to outmaneuver social stereotypes, and to improve daily communication. (Thanks, Gemini, but I knew this already, anyway). When folks like this get emotional, guess what? Their accents surface. So Jones’ performance, especially her wavering accent, was perfect for a Brooklynite woman trying to maintain her professionalism. I use this trope—and I call it a trope if no one else has—in my own writing. 

The supporting cast is dotted with talented actors, yet many of the characters act as cogs in the plotline. (It is a biopic, after all). Except for Armie Hammer (Citizen Vigilante) who portrays Martin. He plays the progressive tax lawyer with humanity and charm, and displays his support for his unconventional wife as if it were second nature. I would want my partner, whoever she may be, to have the same characteristics. 

Needless to say, I recommend this film for its allegory and its portrayal of an outstanding woman who broke the mold and taught us all how to behave.