The Glorias , Vikander’s Steinem is eager, powerful, and still somewhat insecure about how her voice could be used to greatest effect. It’s messy, ambitious, original, and always keeping viewers on their toes. | Rating: B- Without these elements, The Glorias wouldn’t be a Taymor picture, but they also feel superfluous in an otherwise conventional film. |, October 9, 2020 The performances and writing of The Glorias eschews iconographic portrayals that like to suggest activists as emerging fully formed by seminal moments in their lives, and instead prefers a more realistic approach. speaks bluntly and passionately about inclusivity, the rights of workers and indigenous peoples, sexism, double standards, racism, equal pay for equal work, and visibility for black and queer people. |, October 21, 2020 Like Steinem, Taymor is an artist with a unique voice that she asserts with pride and authority, whether her choices pay off or not. But instead of meaningful conflict, The Glorias, based on Steinem’s 2015 memoir My Life on the Road, presents Steinem as an unerring and widely appealing hero, one who can drop into a bar in South Dakota, as Moore’s iteration does in the film’s opening minutes, and receive praise from a female biker for inspiring her to “take to the road on my own” before speeding away in the reflection of Steinem’s signature aviator shades. Last modified on Tue 29 Sep 2020 10.41 BST. The individual scenes where Gloria deals with competing views on femininity and patriarchal mistreatments are all fine enough on their own, but the constant flitting between the two time periods is often done without reason or warning. I appreciate everything Julie Taymor is trying to do by showing the whole face of the feminist movement -- even if it is a little bit standardly done. That’s a good faith reading of a project that I would like to believe was intended to do more than just lionize its star by sanding down her real, human complications. The Glorias speaks bluntly and passionately about inclusivity, the rights of workers and indigenous peoples, sexism, double standards, racism, equal pay for equal work, and visibility for black and queer people. There is no better time than now for The Glorias to be released as it champions equal rights and the women who risked everything to stand for justice. The result is a lot of narrative whiplash that kills off any momentum the story might be building. The Glorias’ main conceit of multiple Steinems feels, by contrast, like a shallow gimmick whose potential is squandered by bizarre directing choices – one scene that commutes anger into a red-hued, poorly executed Wizard of Oz tornado dream sequence made me cackle out loud. The pain from this period occasionally leaks into an overlong stretch of time in which a miscast Vikander plays Steinem as a recent college graduate in India and later intrepid young writer in New York with a jarringly bad attempt at Steinem’s midwestern accent, flat but with none of the heartiness. The percentage of Approved Tomatometer Critics who have given this movie a positive review. |, October 9, 2020 There doesn’t seem to be a reason other than to gesture at depth – one of many baffling artistic choices that turn a nearly two-and-a-half-hour film on what should be a fascinating, mettlesome, complicated character study into an uneven, trite and at times laughably shoddy mess. The Glorias is available in Canada on VOD starting Friday, October 2, 2020. All rights reserved. Depending on one’s feelings about Taymor (of which there are many differing opinions). Coming Soon. What’s worse (or perhaps better, I’m still not sure) is how this time shifting structure is all but abandoned entirely once. As a teenager, Steinem cares for her mother (Enid Graham), an invalid struggling with mental illness, in Toledo, Ohio, after Leo abandons the family for the open road. The rest of The Glorias is similarly obvious and cloying while also shifting wildly in tone. He began writing professionally about film at the age of fourteen, and has been following his passions ever since. isn’t above lapsing unapologetically into out-of-place and almost out of context psychedelic freak-outs. As a reverent highlight reel and a history lesson, The Glorias gets the job done; as a movie, though, it rarely sings. |, October 9, 2020 Moore gets a chance to play the more fully formed version of Steinem, and she’s as fine of a performer as she usually is, but Vikander is extremely adept at the small details and buds of ideas that can bloom into meaningful flowers later in life. The story of Gloria Steinem -- from her childhood in 1940s Ohio to her leading role in the women's liberation movement. There’s a random tapdance sequence in a black owned and operated barbershop, strangely rendered animation, a bit involving a knife thrower that looks more at home in a Baz Luhrmann production, and an absolutely bonkers sequence where Steinem’s absolute owning of a chauvinistic interviewer spins wildly out of control. | Read More, Copyright © 2020 The GATE. When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. , stage and screen auteur Julie Taymor’s take on the life and work of feminist icon Gloria Steinem, exists in a narrow space between being a novel take on biopic conventions and an unwieldy disaster. 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The result is that what should be most uplifting, in "The Glorias," is most at risk of clunkiness. Andrew Parker fell in love with film growing up across the street from a movie theatre. Depending on one’s feelings about Taymor (of which there are many differing opinions), The Glorias might be her best, worst, or least production. |, October 9, 2020 From that point on. a degree of unpredictability that sets it apart from other similarly pitched biopics. The Glorias’ conversations on a bus ride that serves as the film’s through-line illuminate this arc further. And yet, The Glorias still boasts enough smarts and ingenuity to do right by the film’s subject, with a couple of great performances that keep Taymor’s loftier aspirations from spinning completely out into orbit. In these moments, Taymor eschews style in favour of a more reality based approach, and it’s the right decision, even if it doesn’t make the film look particularly different from other films about people fighting for their right to be heard and seen. goes into publication and Moore’s performance as Steinem takes over at the wheel. Most insidiously, it recasts Steinem’s hard-won political evolution into a hero’s journey of magical discoveries, in which she absorbs an intersectional approach through boldly stated themes said by people of color, then exhibits her exceptionalism by merely listening. There is vast material for an exploration of shifting American womanhood and the contradictions of activism within and outside of institutions. Another film might have mined Steinem’s remarkable life for its complications and contradictions, but The Glorias settles for slapdash iconography – Steinem picks out her signature aviators because as a saleswoman laments they “hide your beautiful face”, and declares “Martin Luther King is leading his civil rights march on Washington. On one hand, these touches give The Glorias a degree of unpredictability that sets it apart from other similarly pitched biopics. | Rating: 3.5/5 The screenplay by Taymor and Sarah Ruhl splices scenes from Steinem’s life into a narrative whose general trajectory is chronological but seesaws awkwardly between the years. also never loses sight of the bigger picture, which is the set of contributions Steinem and her collaborators made to feminist politics and culture. It takes less than a minute into The Glorias, the director Julie Taymor’s shallow biopic of the feminist icon Gloria Steinem, to realize something is off. Much like her previous stage and screen efforts (. and the Terms and Policies, and to receive email from Rotten Tomatoes and Fandango. We won’t be able to verify your ticket today, but it’s great to know for the future. ...there's much to be admired about The Glorias, including the very different but equally powerful performances by Vikander and Moore, and the staging of some landmark moments in Steinem's life... Steinem's no-nonsense persona actually undercuts Taymor's baroque tendencies, such as when the director interrupts an interview scene with an overbaked "Wizard of Oz" fantasy involving a tornado of feminist fury.
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