Written and directed by Aaron Sorkin, Being the Ricardos turns its focus on Lucille Ball and Desi Arnaz, the actors who famously portrayed Lucy and Ricky Ricardo in the hit 1950s sitcom I Love Lucy. Set in the 1950s, Sorkin sorts through one of the most tumultuous periods in the couple’s life, tackling the issues in their marriage and the external factors that could have derailed both of their careers at the height of their sitcom’s popularity. Being the Ricardos is swiftly paced and bolstered by good enough performances, but it lacks the vitality to keep it going. While the film occasionally reaches its storytelling potential after an intriguing setup, it never fully soars above certain underwhelming beats.
Being the Ricardos opens by immediately introducing its two conflicts. Lucille Ball (Nicole Kidman) and husband Desi Arnaz (Javier Bardem) are in the midst of an argument about a tabloid story regarding Desi being seen with another woman. They’re also getting hot and heavy offscreen, which immediately sets the stage for their passionate yet contentious marriage. After hearing a breaking story on the radio about Lucy being registered with the Communist Party back in the 1930s, the couple must contend with the aftermath of what the news going public could mean for the future of I Love Lucy, including how it affects their co-stars Vivian Vance (Nina Arianda) and William Frawley (J.K. Simmons), the show’s writers (Alia Shawkat and Jake Lacy), and the studio. The growing tension touches everyone in different ways as they continue to produce the show, all while Lucy spirals following the allegations of Desi’s infidelities.
Sorkin’s snappy dialogue and quick pacing ensure the story never falls into a lull, but the last third of Being the Ricardos nearly derails much of the setup and goodwill that existed in the first half of the film. And while Sorkin’s writing is typically lively, his directing here is not. Being the Ricardos doesn’t have enough fuel to keep it going and the momentum it needed to build toward its intense final moment falls short long before getting there. This is primarily because the film aims to tie up all of its loose ends in a neat, nondescript way, which ultimately sucks the air out of the story and flattens much of the energy it started off with. The film hinges on the audience not knowing all that much about its main characters, but there’s a lack of suspense for those who already know the gist of what happens and how things play out. To that end, Sorkin banks on the tension of Lucy being a potential communist when that is the least interesting aspect of the film.
Despite everything, Sorkin manages a balancing act of interpersonal drama, a past history that threatens to undo Lucy’s career, and the process of making a show. With the latter, Sorkin sprinkles moments that highlight how much of a comedic genius Lucille Ball was. While everyone around her is trying to push through the tense week, Kidman’s Lucille stands, face contorted in concentration as she works to enhance the physical comedy of the scene despite the protestations that come from nearly every level of the production. Quietly, Sorkin showcases how the late actress’ comedic timing was all in the details as she envisions not what the scene is, but how it could be. Kidman is especially great in these moments, though she doesn’t always nail Ball’s incredible talent for physical comedy. Kidman is more restrained in her body language and it’s hard to be fully engaged with her performance because of it.
Javier Bardem is incredibly charming as Desi Arnaz, but both of the leads’ performances feel muted, something which is reflective of the intriguing yet underwhelming script. However, it’s J.K. Simmons and Nina Arianda who stand out despite being given a lot less material to work with. Arianda’s soulful gaze and overall nuanced performance paint Vivian’s struggles clearly; she’s Lucy’s friend, but is often overlooked and sidelined. Heated exchanges with Simmons’ William manage to ignite the spark that is somehow missing between Bardem and Kidman. Vivian tries to hide her hurt, but it’s written squarely on her face for anyone that is paying attention. Sorkin seems loosely interested in the friendship Lucy and Vivian share, one that is layered and filled with respect and tension, though there isn’t enough of it.
Being the Ricardos teases the question: did Desi really love Lucy? But the film doesn’t necessarily yield a response, often treating Arnaz like a stereotype rather than as a fully realized person. Sorkin does showcase how capable and smart he is (Desi acts as a producer on I Love Lucy, but is not given the credit for it), but there are more scenes dedicated to people talking about him than there are of him speaking for himself. Lucy fights for her husband and he fights for her, but while it’s clear she’s invested in the romantic aspect of their relationship and maintaining her career, Sorkin doesn’t have quite the same grasp on who Desi is by comparison. What the film does really well, however, is reveal — layer by layer — the consistent turbulence that is present in Lucy and Desi’s marriage. It stands out in stark contrast to the picture-perfect relationship their characters have onscreen. It’s in these moments that Sorkin’s script finds its footing, digging a bit deeper before coming quickly back up for air.
It’s unfortunate that Being the Ricardos never becomes as interesting as the people it’s centered on. The film offers enough interpersonal drama to keep audiences watching and intrigued, but while Sorkin’s script moves steadily towards the ending, the story wanes and never builds enough momentum to truly impress.
Being the Ricardos releases in limited theaters on Friday, December 10 and will be available to stream on Amazon Prime Video on December 21. The film is 125 minutes long and is rated R for language.
