Shirley: in corsa per la Casa Bianca

Far be it from me to cast aspersions on someone who looks at a life like Shirley Chisholm's and has to choose just enough for a two-hour biopic. But this Netflix film, produced by Regina King and written and directed by John Ridley (whose Oscar-winning "12 Years a Slave" was phenomenal), is a bit lackluster. I don't think it uses the best cross-section of an amazing life, with just the Wikipedia entry alone presenting so much possible material for a biopic.

Regina King is excellent in the title role and the movie is well-intentioned but ultimately lacking in what made her so memorable, focusing solely on her 1972 presidential run with nothing about her work on the ERA or even how she first made it to Congress. The script feels like it takes her quotations and builds a movie around them; you can almost see the pullquote on the screen. Her famous tagline "unbought and unbossed" went unmentioned and unexplored in the entire movie, aside from one sign in the background of a scene. I'd still recommend watching this serviceable film, but keep your expectations in check.

This is a biopic of Shirley Chisholm (Regina King). In 1968, she became the first black woman to be elected to the United States Congress. The former school teacher is dismissed and told to wait her turn. She decides to run for President in 1972.

This is a straight biopic. I don't think that a failed run to a Democratic nominee who got destroyed by Nixon is actually that compelling of a story. The most compelling aspect is her marriage. That could be something there. The movie does something similar with the sister, but it's not set up well enough. Maybe a flashback with the father would help. The actors are great. The movie needs more imagination. It needs a better entry point. Barbara Lee could be that doorway. The movie could be told from her point of view.

The movie chronicles the efforts of the first black US Congresswoman Shirley Chisholm to get a nomination to run for President of the United States. The incidents in her life in 1971-72 are in focus here and the movie is by no means a biopic. ( I am only focusing on the movie since I have no knowledge of real life incidents relating to her). One can see that an ordinary middle class black lady in US is able to pursue her dream to reach the highest office of the land with hardly any resources at her disposal and how she ruthlessly bulldozes her way in the face of adversities. Her husband doesn't think she has any chances and her sister is upset with the ridicule being heaped upon them by the public in general. She doesn't like her staff using the word " Can't " and she lovingly manipulates people to give in to her plans. She is confident and plucky while displaying a cool demeanor when facing issues .( She is described as 100 lbs of nuclear energy). Watch her in her " never say die" attitude even when she gets around 4% of the votes. She is happy making a beginning for others and considers herself as a catalyst for change.

With some good direction by John Ridley Regina King gives a spirited performance and does project the nuances of her complex character to near perfection. In a way she underplays the role convincingly. Regina's sister Reina plays the role of her on screen sister very effectively.

"Shirley" (2024) sets out to capture the groundbreaking, albeit unsuccessful, 1972 presidential run of Shirley Chisholm, the first Black woman elected to the United States Congress. The film straddles the line between historical homage and cinematic spectacle with the grace of a tightrope walker in a windstorm. It's commendable in its ambition, like attempting to solve a Rubik's Cube blindfolded - admirable, but you kind of wonder why.

The movie is ok, and by "ok," I mean it's like that lukewarm cup of coffee you forgot about but decide to drink anyway because, well, caffeine is caffeine. The narrative attempts to juggle Chisholm's political struggles, personal trials, and historical context, occasionally dropping the ball but mostly keeping it in the air. The performances are robust, channeling the essence of the 70s so convincingly you can almost smell the vintage cologne and see the questionable fashion choices off-screen. However, at times, it feels like the film is more of a spirited reenactment than a deep dive, skimming the surface like a stone over water, touching on depth but never fully plunging in.

Where "Shirley" shines, though, is in its unwavering commitment to reminding us of a story that deserves to be told, even if it does so with the finesse of a sledgehammer to a nail. It's like watching your dad use a smartphone; the effort is there, the process is painful, but the outcome is mostly what you hoped for. In a sea of historical dramas that take themselves too seriously, "Shirley" is refreshingly self-aware, winking at its audience from time to time with on-the-nose dialogue and scenes that feel like they were directed by someone who binge-watched every political drama on streaming services. In the end, "Shirley" is a decent watch, the kind you'd recommend to a friend with the caveat, "It's interesting, but keep your expectations in check - like, way in check."

Shirley's greatest strength is how it shines a light on an underappreciated and pivotal figure in American history whilst emphasising her perseverance. However, it remains frustrating to see these fact based stories told in such a conventional fashion as it would feel like a straight to TV film if it wasn't for the star studded cast.

Regina King gives it her all, embodying Shirley's resilience in a way that carries the film. Terrence Howard and Lucas Hedges do a fine job in their supporting roles and it's a gift to still get to see Lance Reddick being this good in films a year after he passed. It's a true testament to his commitment and work ethic.

John Ridley's direction is mostly fine. Nothing stands out and he's content to let the performances take centre stage. The only aspect that is noticeable is the lighting, which becomes really distracting as it goes along because so many scenes are overly exposed in a way that makes it feel cheap.