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20280 votes story On the Basis of Sex is a movie starring Felicity Jones, Armie Hammer, and Justin Theroux. The true story of Ruth Bader Ginsburg, her struggles for equal rights, and the early cases of a historic career that lead to her nomination Average rating 7,6 / 10 2018 genre Biography Mimi Leder

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Last year's documentary feature RBG blew the lid open on the legend that is Ruth Bader Ginsburg. That playful biography hinted at the stubbornness in her youth while casting a rather paint by numbers ascension to her seat on the Supreme Court. Rookie writer Daniel Stiepleman wisely chooses to narrow his focus on her law school education up to the first case Ginsburg (Felicity Jones) tried, which would ignite a series of sex discrimination rulings for the next several decades. This sounds like a short passage of her life, but it unfortunately is not. With no law firm hiring her regardless of her first in class marks, Ruth would initially settle, then flourish, as a law professor at Rutgers.
Every excuse in the book is given as to why she can't practice law in 1960's New York. One firm had already hired a woman (heaven-forbid having two) another asks her to apply for a secretarial position, and the last is worried about the partners' wives' potential jealousy. Up to this point we've seen Ruth graduate not only herself, but partially for her husband (Armie Hammer) as well. Martin Ginsburg was attacked by testicular cancer during Ruth's first year of school, and she becomes his surrogate sitting in all his classes and dictating all his papers as his weak shell of a body recovers on the couch. Oh, and she periodically checks on their newborn between studies.
In one of the more visually arresting shots of the film, we have a bird's eye angle of a typewriter with two folders on each side, one marked "Ruth" the other "Marty. Ruth's hands rip out the freshly written paper, placing it in a folder, then stacks the two to leave the dining room table that has been transformed into their joint office. The other standout visual comes right out of the gate scored with the intimidating yet promising Harvard fight song. A sea of men's dress coats swarm the frame, but we're given peeks of a dress and bouncing brunette hair. The fabric of the dress is the lightest color in the composition, and immediately we know to watch out for Ruth.
I can't help but to categorize this as a politically important top-notch Hallmark movie. The stakes, although grounded in historical reality, still feel fabricated to an extent. Major players in the run up to the Frontiero v. Richardson case mentioned above feel dramatized and needlessly confrontational. I understand Stiepleman's dilemma here: How does one make litigation sexy? Unfortunately it's not writing in flat confrontations where there are no consequences. The Hallmark vibe then comes along when our protagonist can't fail if she tries. Ruth's setbacks are consistently sugar-coated and her victories are equally zoomed past.
Her relationship to her strong-willed daughter produces some of the more heart-warming and painfully cheesy scenes in the film. Jane Ginsburg (Cailee Spaeny) is enthralled with women's liberation movements and debates regularly with her legal-minded mother. Jane's knowledge is so dynamic that it feels almost inappropriate coming out of her teenage lips. This is due to her relentless mother that questions her entire thought process. Her dad will tell her that Ruth's mother did the same to her as a child, and the pressure being forced onto Jane is merely a weird brand of compassion. Ruth's social skills took a backseat to her determination, and only hints of that break through in this script unfortunately.
Although grateful of seeing this story landing on big screens, I can't help but be disappointed in the lack of ambition here. Usually these films slap up the epilogue lines further sharing the history that the character would go on to make and you have a "Damn, moment. That will certainly be present for some viewers unaware of the Ginsburg family's contributions to civil rights, but I fear this feeling will be absent to those intimate with Ruth's struggles and triumphs. I root for very few films, because that isn't my job, but I couldn't help to do so with this one, which makes me all the more disappointed by the final product. I'm doubtless this story has unrivaled potential, but this adaption merely broke even.

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