Battle Of The Sexes

The Battle of the Sexes is primarily about the exhibition tennis match in 1973 between possibly the best female tennis player at that time Billie Jean King (Emma Stone) and three time Wimbledon men’s champion 55-year-old Bobby Riggs (Steve Carell).

However the film is much more than that, focusing on the off court drama as well. It tries to cover the formation of WTA (Women’s Tennis Association) and King also falling in love with another woman at the same time. In a way it’s a mini biography of her life but it has to shuffle the timeline and some facts to do so. 

King was indeed instrumental in the formation of the WTA after she became annoyed that the male players were receiving cash prizes up to eight times that of the women, despite the fact they attracted just as many spectators. So in 1970, King and seven other women started to set up their own breakaway tournaments which led eventually to the formation of the WTA in 1973. The WTA went on to be hugely successful and is still going strong today.

 

1973 was also the year that Riggs, a self-proclaimed male chauvinist pig who was clearly missing the limelight, challenged the then world number one Margaret Court to a match. In his eyes this would prove that men are better than women at tennis and well better, full stop. He easily beat a poorly prepared Court on what became known as the Mother’s Day Massacre.

When he subsequently challenged King she also accepted, despite previously saying that she wouldn’t but now feeling that she needed to fly the flag for womankind to make up for Court's failings. Riggs wasted no time in ramping up the acrimony by going on TV to proclaim that women only belong in the kitchen and the bedroom.

King seems to take the latter bit of advice on board, although not in a way that Riggs would have appreciated, when she takes her hairdresser Marilyn Barnett (Andrea Riseborough) back to her hotel room. It is also not greatly appreciated by King’s husband Larry (Austin Stowell). 

In reality Barnett was actually King’s secretary and the affair had already been going for two years but the film alters this point despite the reality being possibly even more fascinating. Along with the fact it was Barnett who outed her secret superstar girlfriend eight years later. 

Their relationship, as well as disrupting her marriage, doesn’t do a lot for her concentration on the tennis court but she bounces back to beat Riggs in rather exaggerated movie style in their game at the Houston Astrodome.

Despite my initial reservations the film is surprisingly entertaining, smart and well-acted. It also has the potential to educate, inspire and make you 'google', in a time when not enough films attempt to do so. 

Stone is once again excellent, among other things making her relationship with Riseborough very believable. If anything the film attempts to cover too much and spreads itself a bit thin to do so. It does actually make me want to see a full biopic of BJK.

Film Stars Don't Die in Liverpool

This is the story of the final days of Hollywood actress Gloria Grahame (Annette Bening) and also her relationship with Peter Turner (Jamie Bell), a young Liverpudlian actor half her age whom she met in the late 1970’s when they, incredibly, shared the same north London boarding house.

By this point, Oscar winner Grahame’s time in the limelight had seriously faded but she continued to work where she could and spent a lot of time performing on the stage in the UK. Turner and the hugely insecure Grahame, keen herself to feel young again, quickly became lovers. For a while at least, then she seemed to forget about him.

Until 1981 that is when, already ill, she collapsed one night and called him of the blue. She asked if she could stay over with him and his family in Liverpool. Where she hoped to spend time recuperating but, as it turns out, these were to be her final days.

Despite being exasperated that she won’t seek treatment, Turner along with his mother (Julie Walters) and father (Kenneth Cranham), looks after her. The film details his memories as he looks back on their brief transatlantic romance.

It does rather morosely becomes one long death scene but it is rather refreshing that her final decline happens outside of the public glare. This was a time when famous people could blend into every day life and not be recognised. It was a time before not only YouTube but before even DVDs. In fact VHS had only just been invented.

When the landlord of Turner's local pub does recognise his superstar girlfriend, it is a one off and nobody alerts the world via the yet to be invented Twitter. 

Finally her son, having been told about her illness, travels over to take her back home where she dies just a few hours after arriving in America aged just 57.

It's an excellent film for many reasons. Its story, its message, its time, its acting. Bening is brilliant and ably supported by Bell, with whom she shows great chemistry. There is also strong performances from his Cranham, Walters and Stephen Graham as Turner's brother.