‘Ricardos’ a smart, funny tribute to TV’s Golden Age
Writer-director Aaron Sorkin was responsible for one of the best films of 2020, the historical drama “The Trial of the Chicago 7,” which was released on Netflix.
He’s back in 2021 with another strong effort, the likewise based-in-truth drama “Being the Ricardos,” which landed in theaters last week before debuting on Amazon’s Prime Video on Tuesday.
“Being the Ricardos” follows a chaotic, stressful week in the lives of Lucille Ball (Nicole Kidman) and her husband and “I Love Lucy” co-star and business partner, Desi Arnaz.
While it doesn’t have the same crackle of “Chicago 7” — Sorkin goes for a different energy here, one that perhaps borrows from the Golden Age of television he largely is honoring — “Being the Ricardos” is another compelling work from the man whose writing credits also include “A Few Good Men,” “The West Wing” and “The Social Network.”
In fact, it begins with the familiar sounds of a live TV studio audience laughing, which puts us in the right space and time mentally. What happens over the course of the film isn’t all chuckles, however.
“Being the Ricardos” stretches from a Monday table read of an episode of the hugely popular 1950s sitcom to the Friday taping of it. And it shows us perfectionist Lucille obsessing over the comedic mechanics of a dinner in which her Lucy Ricardo and Desi’s Ricky Ricardo will host fighting married couple Ethel and Fred Mertz, played, respectively, by show regulars Vivian Vance (Nina Arianda) and William Frawley (J.K. Simmons).
However, that’s just what’s happening on the surface.
More significantly, Lucille and Desi are bracing for the spreading of news that she is a Communist. (She isn’t, but she did identify herself as one long ago to support a family member.)
Plus, a lengthy magazine piece is detailing alleged extramarital activities by Desi, who insists to Lucille that when he’s away from home late at night, he’s on his boat, playing cards with the boys.
Lastly, she and Desi are ready to reveal to the show’s producers and writers that she’s pregnant, which, one way or another, will change what had been planned for the rest of the season. Although the writers immediately begin to think about how they will frame Lucy in shots to hide the pregnancy once she begins to show, the couple has another idea: have Lucy be pregnant on the show.
Gasp.
Sorkin gets a ton of mileage out of the resulting fight with the other powers that be, with more than one behind-thescenes type wondering what viewers would think about such a thing.
“(That) twelve weeks ago, I (expletive) my husband,” Lucille states with what feels like perfect Ball flare.
Despite all his talent, Sorkin is hit-and-miss as a screenwriter — he certainly can be too preachy through his characters at times — but he has an undeniable gift for dialogue. It’s on full display throughout “Being the Ricardos.”
The film also possesses the density you’d expect from a Sorkin piece, “Being the Ricardos” using flashbacks to explore how Lucille and Desi became a couple and how her career arc led to this show she says she did mainly to work with her husband. She never thought it would be a hit, she says.
Also, minor subplots involving supporting players such as Vivian, writer and Lucille ally Madelyn Pugh (Alia Shawkat of “Search Party”) and producer and head writer Jess Oppenheimer (Tony Hale, “Veep”) are satisfying and illuminating. (And, as an aside, we’re thrilled to witness “Arrested Development” alums Shawkat and Hale sharing the screen again. It’s a little holiday treat.)
To Sorkin’s credit, he refrains from turning “Being the Ricardos” into a parade of callbacks to memorable moments from the show. There are a few, however, and if you think he was going to deprive us of seeing Kidman’s Lucy stomping wine grapes with her feet, you’re crazy.
Speaking of Kidman, this film doesn’t work if the producers misfire on the casting of its two leads, but they nailed it.
Wisely, Kidman (“The Hours,” “Big Little Lies”) resists engaging in an allout imitation of Ball — except when she’s on set as Lucy. It feels like the appreciate mixed approach. (At one point, the immensely talented Cate Blanchett was attached to portray Ball, but now we can’t imagine anyone but Kidman in the role.)
And then there’s Bardem (“No Country for Old Men,” “Skyfall”), who elevates almost any project with his on-screen gifts. Similarly, he avoids an imitation of Arnaz while successfully fleshing out the character. The CubanAmerican actor and musician’s love for this country comes through both via Sorkin’s writing and Bardem’s performance.
Simmons (“Whiplash”) also deserves a bit of praise, helping to lift scenes in which the typically curmudgeonly, regularly drinking William offers wise counsel to the younger Lucille as her challenges pile up and threaten to drown her.
In making the film an artistic success, Sorkin is aided by behind-thescenes folks who include previous collaborators director of photography Jeff Cronenweth (“The Social Network”); production designer Jon Hutman (“The West Wing”; editor Alan Baumgarten (“The Trial of the Chicago 7”); costume designer Susan Lyall (“The Trial of the Chicago 7,” “Molly’s Game”); and composer Daniel Pemberton (“The Trial of the Chicago 7”).
“Being the Ricardo” has a few slow stretches, but Sorkin, with a lot of help from his friends, succeeds in taking another moment in American history well worth revisiting.
“Being the Ricardos” is rated R for language. Runtime: 2 hours, 5 minutes.