It may be overlong – and ‘the incident’ forms only a small part of the whole – but director Craig Gillespie (Lars & the Real Girl, The Finest Hours) highlights the eccentricities in the life story of US competitive ice-skater, Tonya Harding. Importantly, he choses to laugh more with the characters than at them.
From the wrong side of the tracks, Harding (a confident, Oscar-nominated Margot Robbie – The Suicide Squad, The Wolf of Wall Street) was abused by her mother (a magnificent out-of-character Alison Janney – Spy, The Girl on the Train) and husband (an almost unrecognisable Sebastian Stan, the Captain America trilogy). Yet she rose to number one in the world and represented the US at two winter Olympics. But Harding is best remembered for her involvement in the attack on fellow ice-skater, Nancy Kerrigan.
It’s a tragic story and this black comedy tells it well. How much Harding knew is left in the air as Gillespie explores the issues of class and the nature of truth in this entertaining sports movie.
The rivalry between the ice-cool Bjorn Borg and volatile John McEnroe dominated tennis headlines in the late 70s/early 80s. Not interested in anything but being the best, Borg retired from tennis at the age of just 26 when the American replaced him as world number one in 1981.
But not before, in 1980, Borg won his fifth consecutive Wimbledon title, beating McEnroe in five sets in what is regarded as the greatest final ever seen at the All-England club. Borg McEnroe is centred round the 1980 tournament as pressure mounts on Borg to make history.
Sverrir Gudnason (Blowfly Park, Original) is appropriately cool and emotionless as Borg – and his likeness to the Swede is uncanny. Wedding plans (to Romanian tennis player Mariana Simionescu) and Wimbledon preparations do not go hand-in-hand, adding to the pressure. An emerging McEnroe (a wonderful supporting role from Shia LeBeouf – Transformers, Lawless) has his own points to prove – to both his family and the tennis world in general.
Mixing flashbacks to both men’s childhoods (interestingly Borg was a wilful and volatile teenage tennis player) with current relationship issues both on and off the court, director Janus Metz (Armadillo, Fra Thailand til Thy) brings his documentary aesthetic to ultimately let the tennis and the final itself speak for the film. Overheads, close-ups, cropping add to the excitement, making up for a somewhat oversimplified and stodgy off-court narrative.
(It makes for an interesting accompaniment with the 60s-set Battles of the Sexes)