“I Was Loved For A Minute, Then I Was Hated. Then I Was Just A Punch Line…”
Based upon the controversial and compelling career of professional ice skater, Tonya Harding, Craig Gillespie’s (The Finest Hours) Oscar nominated biographical drama, I, Tonya, featuring Margot Robbie (The Wolf of Wall Street) in arguably her most fleshed-out leading performance yet, takes an impressive shot at attempting to gel together a mix of Scorsese inspired storytelling with a Rocky-esque tale of sporting success, and with the aid of a rockabilly jukebox soundtrack and eye-catching performances all around, Gillespie’s latest is a rousing, crowd-pleasing success. Utilising the form of retrospective interviews with each of the key players to unravel the exposition as the narrative evolves, I, Tonya benefits from a lightning quick editing pace straight from the outset, beginning with a young Harding as she is nurtured and raised by the steely-eyed harshness of Allison Janney’s (The Girl on the Train) LaVona Fay Golden as she begins her love affair with the ice and swiftly moving to the fruition of the relationship between herself and Sebastian Stan’s (Captain America: Civil War) Jeff Gillooly, one which proves central to Harding’s journey through both successes and life-changing failures.
Whilst the interview format does make it easy for Gillespie to cross over every avenue possible in terms of storytelling gaps, the constant switch from past to present does ultimately jar the pace of the movie come the second half, one which is too not exactly helped by the decision to include the breaking of the fourth wall at times which personally never really seemed to work to the film’s advantage, yet where the movie does succeed is in Robbie’s wildly comical and full blooded performance, one which utilises the scripts attempts to balance her love for the sport with the shocking depiction of domestic issues from both Janney’s chain-smoking mother figure and Stan’s abusive and deluded on/off love, and one which through the aid of digital effects and stunt doubles means that the physicality of the skating scenes are brilliantly orchestrated. Of course, with Harding’s biggest association being that of a rather violent moment of utmost craziness, the concluding act of the movie ruffles together elements of jaw-dropping stupidity, laugh out loud comedy and heartbreaking finality, and whilst Gillespie’s movie doesn’t exactly hit the heights of Scorsese-inflicted film-making it so obviously attempts to emulate, I, Tonya is a highly satisfactory and ludicrous tale of a fundamentally interesting public figure.