Ricardos begins a fake documentary (you can complain here) interview. I Love Lucy writers, with the former, years after the show ended. Why? I can’t answer that. But it does give Linda Lavigne some chances to get high, so maybe we should be alone. The script then goes back to 1953. During a tumultuous week in the lives of Lucille Ball and her husband/co-star Desi Arnaz (Javier Bardem): by Representative. Desi is on the cover of tabloids claiming she is unfaithful to Lucy. Additionally, she got pregnant in the middle of production for the blockbuster I Love Lucy. At a time when even the word “pregnant” on television would wow viewers and recruit her local Christian minister. An urgent iteration of a universal moral standard. (And let’s be honest, these guys are just as busy as they are.)
The film covers a week behind the scenes from an episode of Lucy:
If he doesn’t go back to the ’40s here and there, it’s for one of two reasons. The deeper context or just to enjoy Sorkin. During MONDAY: READING A TABLE. We meet all of Lucy’s leading creators: producer and screenwriter Jess Oppenheimer (Tony Hale), writers Marilyn Pu (Alia Shokat) and Bob Carroll (Jake Lacey), as well as coworkers Nivana Vance and William Frawley (JK Simmons). And it’s worth calling Clark Greg the CBS fur face. Lucy and Desi hosted this event. You are confident. But they also knew that this might be the last MONDAY: READ THE TABLE if Lucy got dirty because she ticked the “Communist” box. On her 1936 electoral register and hasn’t had any contact with the Communist Party since. It’s a busy workplace, but everyone maintains their stinging verbal jokes.
Lucy-Desi’s upheaval stems from her inability to settle down at home. You never see each other. He doesn’t always lead his music shows at the club, and when Lucy shows up. It turns out he’s holding his bag while he signs autographs, or he’s “on the boat” and playing cards all night. Desi fights like crazy for Lucy and the TV show, using her sparkling charm to smear all kinds of sticky wheels. Lucy shows off her innate comedic genius as she selects scenes for the weekly show without fear of calling her coworkers.
He had Vivian and William come to the set at 2 am to practice a little:
And you want everyone to follow his instincts because he always knows exactly what works and makes you laugh the most. Meanwhile, they waited for the history of communism; she refused to stop being a creaking wheel despite Desi’s slick charm; and struggled to show Lucy’s recently pregnant belly in front of 60 million television viewers. Sorkin’s usual salty jokes about s*x, politics and s*xual politics, Kidman and Bardem are particularly vulnerable to archetypes, but are there walks and conversations? NOR SPOILER: Yes, of course, someone ran and talked.
Being the Ricardos is as flashy as its dark theme, as funny as annoying. I’m torn between being impressed with Kidman as Lucy and thinking that Lucy should be left alone and never dramatized in a film or series. Can we have an evil holy cow, a singular icon who isn’t the subject of a spectacular biopic backed by action auditions?
So I hired my duke for this film, but Sorkin proves his existence convincingly by raising three dramatic arcs and reinforcing the incendiary. But it also eases the tension by adding flashbacks and fake documentary scenes, which increase showtime (131 minutes!) and take us away from the most exciting conflict in history. He created some of the iconic I Love Lucy songs that show us how sleek and practical Lucy looks can be – if didn’t perfect the joke. They wouldn’t have made it on television sitcoms since the 1950s.
It’s hard to miss the irony of a film about a woman:
Anyone who is an economist in the field need not be confused. Ricardos puts himself at his best when he works alongside Desi-Lucy’s dramatic bait and ropes in Hale, Simmons, Shokat and Vance – all excellent – for an extraordinary dramatization of the procedural interior of the successful TV series. The series is tight, insightful, and entertaining and requires almost a lot more emphasis than Sorkin gives.
Kidman does manage to cutout through some of the husks and assures us that we will take care of Lucy and her place in the Pantheon, like a rare woman in those days who had absolute power in a room full of men, like a woman who seeks the truth and clings to it. In their art, their marriage and their politics. Suppose we’re looking to find something of value in an instant and show business from Hollywood bio dramas to people whose work speaks so vividly for itself. In that case, this is a severe source of inspiration.
Being the ricardos uneven and full of oneself, either we are passionate about such sorkinism or far superior to them. But it’s also a fun and sometimes addictive drama. That’s likely to satisfy your curiosity about Kidman’s ability to justify his decision to play a superstar among superstars. This film barely justifies its existence – and thus justifies watching it.