Everyone once in a while, I am reminded of how subjective our interpretations of movies can be. I recently reviewed Molly’s Game, a biopic of “Hollywood Poker Princess” Molly Bloom (see also here). I really enjoyed the movie. I thought Aaron Sorkin’s screenplay was snappy and engaging, Jessica Chastain well cast in the title role, and the directing was inspired.
My interpretation, however, is not universal. A friend saw the movie separately, but on the same weekend, and said:
“The movie was superficial for a mob movie with an angle from the parental psychologist character [Kevin Costner playing Larry Bloom, Molly’s father]. Molly’s Game lacked the cerebral subduction and emotional entrapment of mob interfacing movies like the Godfather, Sopranos, or Casino. Especially disappointing when so much of the subject matter revolved around world-class poker. The Molly’s Game script and movie’s execution went for low-hanging emotional fruit found in label dropping visuals, IQ scores, and quick successional facts and statistics about the institution of poker. The high point for me was when the author plugged poker as skill-based as opposed to roulette. I felt the author was disingenuous as well as the “moral” of the story… good guys finish 1st… or slick stories sell movie tickets. “
Molly’s Game is a just the kind of movie you would expect from Aaron Sorkin, the creative light behind TV series like The West Wing and movies like The Social Network. His fast-paced dialogue allows his characters to carry a lot of attitude into the movie and story, and Molly’s Game is no exception.
The movie stars Jessica Chastain as the title character, Molly Bloom, a former Olympic freestyle skier who ends up on another path after a career ending injury. She enters the world of high-stakes underground poker and becomes “Hollywood’s poker princess”–before the FBI takes her down. A key part of the film is Bloom’s tense relationship with her skeptical, high-profile attorney, Charlie Jaffey (Idris Elba). My full review is now live at the Independent Institute, but here’s a quick thumbnail summary:
As in most Sorkin scripts, Molly’s Game has many layers. He uses the unusual technique of having Molly narrate most of the movie. This useful device allows for the story to be told largely in flashback while creating tension with the no-nonsense Jaffey. Aside from the conflict between Bloom and Jaffey, the narration/flashback structure serves two other important roles. First, audiences see Molly evolve from a brash, arrogant, determined, Type-A athlete to a more humble and circumspect women who has been tamed by the cruel and violent world of underground gambling. She goes from bratty teenager to an adult with faults that are real and relatable. Second, audiences come to appreciate Molly’s personal journey through Jaffey’s skepticism, and then empathy. Just as Bloom appears to be at her lowest point, resolved to go to prison for decades because she won’t give up her clients, Jaffey is able to provide the support she needs because of his sincere belief in her innocence.
My complete review of The Postis live at the Independent Institute. Advertised as a political thriller, the movie is really an excellent “coming of age” story for the venerable newspaper The Washington Post and its publisher Katherine Graham.
Graham inherited the paper when her husband committed suicide in the early 1960’s. She didn’t know much about business or journalism. So, she had to learn on the job.
But Graham was reluctant to give up her high-society social life which involved close personal relationships with politicians and White House staff. When the Pentagon Papers were leaked to The New York Times, she had to make a big decision that could put her family’s paper in financial jeopardy.