Tag: Aaron Sorkin

A kinder, funnier look at TV’s first power couple

Lucille Ball and Desi Arnaz, stars of the hit TV sitcom I Love Lucy, in a photo taken around 1953

By Richard Ades

Last year, Aaron Sorkin dramatized the lives of Lucille Ball and Desi Arnaz in Being the Ricardos. Now Amy Poehler is revisiting the television icons in the documentary Lucy and Desi.

The first thing you should know about the new flick is that it’s nothing like Being the Ricardos. While Sorkin’s tale is awash in interpersonal conflict, marital strife and political controversy, director Poehler takes a gentler approach that creates an affectionate yet clear-eyed portrait of the famous couple.

Being a comic herself, Poehler also recognizes something that apparently escaped Sorkin: If you’re doing a film about famously funny people, you really should include a few good laughs. In fact, Lucy and Desi has many laugh-out-loud moments, thanks largely to excerpts from Ball and Arnaz’s groundbreaking 1950s sitcom, I Love Lucy.

The doc begins by looking back on the pair’s early lives with the help of archival footage and interviews with people who knew them, including their daughter, Lucie Arnaz Luckinbill. We learn that both Ball and Arnaz faced financial struggles in their younger years.

Arnaz was born into wealth, but his Cuban family lost everything and was forced to flee following the island’s 1933 revolution. When he arrived in the U.S., the film points out, he was not an immigrant but a refugee.

Ball was raised by a loving grandfather who fell on hard times due to an unjust lawsuit. The family’s dire situation led her to leave home in her mid-teens and head for New York, where she struggled to break into show business until a lucky break sent her to Hollywood.

The doc covers some of the same territory as Sorkin’s drama, though it’s able to fill in more details because it doesn’t rely so much on breathless flashbacks.

This 1940 photo shows Desi Arnaz carrying his bride, Lucille Ball, over the threshold of his Roxy Theatre dressing room in New York. The couple had eloped and gotten married in Greenwich, Conn.

How did Ball and Arnaz meet? How did they become the first couple of television comedy? How did they branch out from TV stars into big-time producers? And, finally, what drove them apart at the height of their success? These questions and others are addressed, which should delight anyone who’s ever enjoyed I Love Lucy or any of the many other shows the pair helped to create.

In the process, the doc is decidedly more discreet and even-handed than Sorkin’s dramatized account, which spends much of its time trying to figure out whether Arnaz was faithful to his talented wife. Director Poehler, writer Mark Monroe and their interviewees are clearly less interested in casting blame than they are in understanding Ball and Arnaz and paying homage to the devotion they felt toward each other even after their divorce.

As Arnaz wrote in a tribute that was read when Ball was honored by the Kennedy Center only five days after his death, “I Love Lucy was never just the title.”

Rating: 4½ stars (out of 5)

Lucy and Desi (PG) is available beginning March 4 on Prime Video.

Saga of Lucy and Desi is a Baba-loser

Desi Arnaz and Lucille Ball (Javier Bardem and Nicole Kidman) in a rare happy moment from Being the Ricardos (Amazon Studios photo)

By Richard Ades

Being the Ricardos, Aaron Sorkin’s behind-the-scenes look at the 1950s sitcom I Love Lucy, provides the answers to several burning questions.

Question No. 1: Can Aaron Sorkin do comedy? Answer: No. Sorkin has excelled at high-minded dramas such as 2020’s The Trial of the Chicago 7 and TV’s The West Wing. But as the writer and director of this film about a comedy classic, he takes a relentlessly dour approach that leaves room for only a handful of chuckles. Fans of I Love Lucy will be disappointed.

Question No. 2: Can Nicole Kidman do comedy? Answer: Yes—but she gets little opportunity here. As I Love Lucy star Lucille Ball, Kidman is both unconvincing and, worst of all, unfunny except during the brief moments when she’s allowed to act out iconic scenes from the sitcom.

Question No. 3: Did they have electric lighting in the 1950s? Answer: Yes, though you’d never know it from Being the Ricardos. Cinematographer Jeff Cronenweth lights nearly every scene so dimly that you’d think it was illuminated by oil lamps and took place during a total eclipse.

For the one or two people who aren’t familiar with the iconic sitcom, I Love Lucy was about a redheaded screwball named Lucy Ricardo and her bandleader husband, Ricky, who were played by Lucille Ball and her real-life husband, Desi Arnaz. The Ricardos lived in a New York apartment building run by their friends Fred and Ethel Mertz, played by William Frawley and Vivian Vance. Premiering in 1951, the comedy quickly became a smash hit and ran for six seasons.

Set during a single week of the show’s second season, Sorkin’s movie deals with the unexpected and potentially career-ending rumor that Ball once belonged to the Communist Party. Also during the week, Ball struggles with her suspicions that husband Arnaz (Javier Bardem) is being unfaithful. In addition, she and Arnaz must inform their sponsors that she’s pregnant, after which they hope to convince them to allow her TV character to also be pregnant despite fears that viewers will be shocked and repulsed.

There also are a few side issues that come up: Co-star Vance (Nina Arianda) chafes over the unglamorous image she’s forced to maintain as frumpy neighbor Ethel Mertz; fellow co-star Frawley (J.K. Simmons) tells Ball she’s not giving Arnaz enough on-set respect; comedy writer Madelyn Pugh (Alia Shawkat) complains about jokes that “infantilize” Lucy rather than treating her as a mature woman; and Ball engages in seemingly endless skirmishes with her director and writers over what’s funny and what’s not.

Also, in a flashback to the series’ creation, Ball fights with network bigwigs over her determination to cast her Cuban-born husband as her TV spouse despite their fears that viewers aren’t ready to accept an ethnically mixed marriage.

Whew! That’s a lot of issues. But the real problem is that Sorkin treats them all so seriously, emphasizing each melodramatic moment with overwrought music supplied by composer Daniel Pemberton. A lighter touch would have helped, as well as an occasional chance to remember what made I Love Lucy such a comedic treat. The players aren’t bad—Bardem and Simmons being especially on-target as Arnaz and Frawley, respectively—but their efforts are doomed by Sorkin’s somber approach.   

If you think back, we actually had fair warning that Being the Ricardos would be a bad idea. In 2006, NBC coincidentally premiered two series that were set behind the scenes of a sketch-comedy show much like Saturday Night Live: Tina Fey’s 30 Rock and Sorkin’s Studio 60 on the Sunset Strip. Fey’s show, a comedy, ended up running for seven seasons, while Sorkin’s show, an ambitious and serious-minded drama, quickly lost viewers and was canceled after one.

The moral: If you set out to write about comedy, if helps if you do it with a sense of humor.

Rating: 2 stars (out of 5)

Being the Ricardos (rated R) opens Dec. 10 in select theaters and Dec. 21 on Amazon Prime Video.

Revisiting the election that broke the mold

James Fletcher’s documentary looks at what Donald Trump did right in 2016—and what Hillary Clinton did wrong.

By Richard Ades

The Accidental President is worth seeing, but the timing of its theatrical release is less than ideal. Does anyone want to see a documentary that rehashes the 2016 presidential race when we’re still trying to put the 2020 election behind us?

But for those willing to give it a try, James Fletcher’s flick is a lively and surprisingly even-handed history lesson that’s sure to provide nuggets of new understanding. Though it mainly relies on talking heads to examine the past, those heads belong to an eclectic and thoughtful group of journalists, commentators, political operatives, a prominent screenwriter (Aaron Sorkin) and even a cartoonist (Dilbert’s Scott Adams).

Writer/director Fletcher begins his look back with the 2016 primary season, which saw a record number of prominent Republicans vying for the top spot. The sheer volume made it hard for any candidate to stand out—any traditional candidate, that is. While his politically experienced opponents focused on ideas, Trump gained traction by becoming, as former White House communications director Anthony Scaramucci puts it, a “human wrecking ball.”

During the GOP debates, Trump targeted other hopefuls with a steady stream of insults and name-calling that kept his face front and center throughout the 24-hour news cycle. In short, the former reality TV star showed he knew how to work the media. While conservatives often claim news outlets have a liberal bias, one interviewee notes that they actually have a “conflict bias.” Thus, the political neophyte was able to garner millions of dollars’ worth of free publicity by creating one juicy kerfuffle after another.

At the same time that he was slaking the media’s thirst for conflict, Trump was stoking the anger many Americans felt over the perception that they’d been left behind by the modern economy. The documentary notes that Sen. Bernie Sanders benefited from some of this same dissatisfaction in his bid for the Democratic nomination, fueling an early lead over Hillary Clinton. It also notes that his fans’ anger was exacerbated when the party’s establishment was suspected of using “super delegates” to give Clinton an unfair advantage in the race.  

Time correspondent Molly Ball is one of several political observers featured in The Accidental President.

Speaking of Clinton, her diehard supporters probably won’t appreciate the section of the film that focuses on what she did wrong after becoming the Democratic candidate. Despite being vastly more qualified than Trump, she hobbled herself by avoiding the press and mostly ignoring the so-called “blue wall” states where Trump ultimately carved out slim leads. (One of them, Wisconsin, was snubbed altogether.) She also made verbal gaffes such as referring to Trump supporters as “deplorables,” thus alienating voters who felt looked down upon by the “coastal elite.”

Of course, Clinton also was handicapped by FBI director James Comey and his controversial decision to raise the issue of her emails yet again during the campaign’s final days. On the other hand, as Time political correspondent Molly Ball suggests, Clinton should have been so far ahead of her inexperienced opponent by that point that such a setback wouldn’t have mattered. In the end, she won the popular vote but lost in the Electoral College, which was the only vote that mattered.

The Accidental President also brings up other issues that played a role in 2016 and still bear consideration today: Why were Twitter and Trump such a perfect match? Do emotions beat out ideas on the campaign trail? And how was Trump able to weather the “October surprise” that was the Entertainment Tonight tape?

The 2016 race may be long over and Donald Trump may be out of office, but the forces that led to his surprising victory will continue to play a role in politics because they obviously worked. That makes The Accidental President a useful history lesson.

Rating: 4 stars (out of 5)

The Accidental President (no MPAA rating) is available through VOD outlets and will screen in limited U.S. theaters beginning June 21. It will soon be available on Starz.