With “On the Basis of Sex,” director Mimi Leder has made the type of movie that usually drives Oscar prognosticators and history-loving dads alike into a popcorn-scented froth, but this time – gasp! – it’s about a woman, so all bets are off. For every female-centric entry like “The Queen” and “Elizabeth,” there are literally dozens of dude-driven films based on doorstop-sized biographies about the mark they made on the world, simply because it’s been far more challenging for women to make an impact in centuries past. But “On the Basis of Sex” brings (some of) the life of Supreme Court Justice Ruth Bader Ginsburg to the screen, celebrating her (literal) trials and triumphs on her way to her place on the highest court in the United States. This drama is as solidly made as its many of its biopic brethren, but like most of those films, it takes the standard approach in telling its story. “On the Basis of Sex” may not be inspired, but it will certainly be inspiring, particularly for young women in the audience.
Unlike this year’s hit documentary “RBG,” which spans the justice’s life to date, “On the Basis of Sex” focuses on a few key moments from several decades. Episodic in structure, it centers on the experiences that lead Ruth (Felicity Jones) to argue a landmark case in front of the U.S. Court of Appeals for the 10th Circuit. The film begins with Ruth’s challenging first year at Harvard in 1956, where she was among the first few classes of women and Dean Griswold (Sam Waterston) won’t let her and her fellow female students forget that they’re out of place. Adding to the course load – and the persistent misogyny – is Ruth’s life as a mother and wife. Her husband Marty (Armie Hammer) is a year ahead of her at Harvard Law, and he’s a model husband, supporting her in every way, particularly in the kitchen. (Swoon!)
After we see Ruth’s years in law school and her first job as a professor, the film skips ahead to 1970, when she has the opportunity to try her first case while parenting headstrong teenager daughter Jane (Cailee Spaeny). With insight from pioneering lawyer Dorothy Kenyon (Kathy Bates) and help from the ACLU’s Mel Wulf (Justin Theroux), she fights to change discrimination on the basis of sex in the U.S. forever.
Written by Ginsburg’s nephew Daniel Stiepleman, “On the Basis of Sex” is earnest, reverent, and rousing. Other than a few faltering legal arguments, it presents few faults with its heroine, but Ginsburg’s fans will likely find this entirely believable for a woman who has had such an extraordinary life and career. The film is equally kind toward Hammer’s Marty, who’s a dreamboat of a dude who makes dinner and makes tax law interesting. Their relationship is supremely romantic, a true equal partnership that most couples even half a century later should aspire to. It’s all so moving that it’s easy to overlook the movie’s by-the-numbers script, especially when lines are delivered by a cast this talented (even if Jones’ Brooklyn accent doesn’t always work).
Since making the less-than-well-received trio “The Peacemaker,” “Deep Impact” and “Pay It Forward” two decades ago, Leder has largely worked in TV, bringing a steady hand to shows like “Shameless” and “The Leftovers.” She’s a capable director who has a great sense of her characters, with a seemingly light touch that doesn’t overpower the story she’s telling. This isn’t the type of film where you’ll walk away talking about the cinematography from Michael Grady, but it’s not intended to be. The focus is always on Jones’ Ruth, and her strength on screen is what people will remember.
“On the Basis of Sex” is a well-enough-made movie, fully constructed in the mold of hundreds of biopics that came before; it’s emotionally satisfying but has few surprises. Unlike its protagonist, “On the Basis of Sex” isn’t particularly remarkable, but like its subject, it will inspire still fans. [B-]