Supernova trio lights the fuse on explosive sexual-harassment drama
Starring Charlize Theron, Nicole Kidman & Margot Robbie
Directed by Jay Roach
In theaters Dec. 20, 2019
It’s an explosive title for an explosive movie about an explosive story.
The first major mainstream Hollywood film dealing with high-profile sexual harassment in the media, Bombshell dramatizes how a group of female employees brought down the head of Fox News in 2016.
With a supernova female trio as the axis of its ensemble cast, it’s anchored by Charlize Theron and Nicole Kidman as real-life Fox News on-air personalities Megyn Kelly and Gretchen Carlson, and Margot Robbie as Kayla, a fictional character who’s recently come aboard the news crew with bright-eyed ambitions to become the network’s next on-air star.
As Kayla soon learns, everything at Fox revolves around the company’s blustery, bloated CEO, Roger Ailes (John Lithgow), who rules the archly conservative network with an iron fist—and treats his female employees like eye candy. Among the rank and file, he’s known as the Leg Man, and camera angles, glass desks and wardrobe choices—no pantsuits allowed—all support his fetish.
News needs to lean hard right, and women have to be “bombshells.”
“This is a visual medium,” he reminds attractive new female hires when he calls them into his office for private interviews. “Stand up and give me a spin.”
Of course, there’s more than standing and spinning going on, and Kelly, Carlson and Kayla gradually put their individual stories, and histories, together into a tapestry that reveals a much broader, deeper pattern of exploitation, harassment and perversity by Ailes and other higher-up rotten apples.
The movie weaves real news and TV clips with the actors’ performances, integrating with the story and the timeline—then-presidential candidate Donald Trump’s ongoing spat with Kelly, sparked by his comments about her menstruation; Carlson appearing with her cohorts on the morning show Fox & Friends. Many of the scenes take viewers behind the scenes at the network, as characters break the “fourth wall” and talk to the camera, or have conversations to each other to explain what’s going on, who’s who and what’s what.
The film is rich with an outstanding supporting cast, including Saturday Night Live all-star Kate McKinnon as a Fox staffer who doesn’t fit the expected stereotype; Connie Britton as Ailes’ wife, Beth; and Mark Duplass as Kelly’s supportive husband. Mom’s Allison Janney plays a lawyer assigned the challenging job of defending Ailes, alongside Rudy Giuliani (Richard Kind). Watch for Jennifer Morrison (from TV’s Once Upon a Time and This Is Us) as a Fox staffer trying to drum up support for their boss.
Theron almost completely disappears into her role as she makes the remarkable transformation into Kelly, the story’s central character, Fox’s then-rising superstar who’s conflicted about her feelings about Ailes—he’s a monster, but also her mentor. Kidman is outstanding as well as Carlson, the network’s long-time anchor and host whose controversial views have led to faltering ratings; how long can she hang on to her job? But Robbie, the real heart and soul of the whole film, gets the movie’s most pivotal scene; when she’s alone with Ailes in his office, he goes into full creep mode, and you watch the golden glow of her enthusiasm drain away from her body as he asks her to pull the hem of her skirt higher, higher and higher.
It’s that time of year, and there could be an Oscar in the wings for Theron or Robbie.
Director Jay Roach is best known for his comedies, including Meet the Parents and Dinner for Schmucks. But working from a script by Charles Randolph, who won an Oscar for his sharp, savvy screenplay for The Big Short, he’s crafted a powerful, punchy, driving, dynamite drama that chronicles a pivotal moment in modern history, when a group of women rallied and rose up—at major risk to their jobs and careers—lighting the way for the Time’s Up and #MeToo movements.
Ailes had warned his female anchors that their “likability” was the main thing that mattered to viewers. “I don’t care that you like me,” Carlson tells a pair of attorneys. “Only believe me.”
They did. We did. We do. Bombs away. Ka-boom.