“Bombshell” (2019) is a drama that follows three women who work at FOX and decide to strike back against sexual harassment at their workplace: Megyn Kelly (Charlize Theron), Gretchen Carlson (Nicole Kidman) and a fictionalized composite character, Kayla (Margot Robbie). Writer Charles Randolph tries to give FOX network the dramatized approach that he gave to the US mortgage market in “The Big Short” (2015) by using the filmmaking tools of drama to educate more viewers than a documentary could ever reach. Jay Roach, whose early career was devoted to comedy franchises such as “Austin Powers” and “Meet the Parents” and shifted to political dramas such as “Trumbo” (2015), directed. He also recruited his wife, former Bangles’ lead singer, Susanna Hoffs, to provide vocals to the soundtrack.
There was no fucking way that I was going to pay one red cent to see “Bombshell.” I did not want movie studios to misconstrue my financial support as solidarity with some dreadful people who would probably, if they had not already done so against one of my many characteristics, air a segment against me. I can root against them and sexual harassment at the same time. I lived through this period and recall borrowing from someone a wish that somehow everyone involved could somehow lose. Everyone is the hero of their own story, and no one involved had an epiphany of how watering the seed of hate against others affected and destroyed them. No one emerged unscathed even those who “won.” Watching this film the day after the Politico leak that SCOTUS plans to overturn Roe v Wade seemed like perfect timing.
Roach sees “Bombshell” as a way to recruit men to stand up against sexual harassment while questioning whether a woman should direct it, but Theron wanted him on board. The film does an excellent job of making a group of unlikeable people affable so viewers can root for them-casually trotting out their professional universally approved accomplishments in dialogue, disavowing feminism, showing them as mothers and wives. It makes light of their most toxic actions as punchlines rather than attacks. There is no villain except Roger Ailes (John Lithgow), and the film even pulls punches with him by casting Connie Britton as his supportive wife and introducing her at the beginning of his downfall. By the end, Ailes is framed as an employee that corporate interests/the wealthy betrayed after he laid the foundation for their success.
The narrative structure was not as strong as it could have been. The marketing for “Bombshell” creates the impression that it will focus on three women at different stages in their career, but this impression is dissonant from the actual way that the story unfolds. Kelly is the protagonist and for most of the film, performs the duty of narrator/fourth wall breaker, which Carlson shares occasionally, but not as much as one would think considering she spearheaded the action. This choice makes practical sense because as part of Carlson’s settlement, she cannot disclose her side of the story. It was unfortunate that Kayla was a fictional character because then the narration could complete the instinctual triptych story structure. Instead she relates her inner thoughts by disclosing them to a work friend, Jess (comedic genius Kate McKinnon) until the closing scene.
The talented cast of “Bombshell” is its greatest asset. Theron disappears and becomes Kelly with the help of Kazu Hiro, who came out of retirement to do prosthetics, but Hiro’s work was just the icing on the cake. Theron nailed Kelly’s voice and cadence, physical mannerisms, and pinched demeanor. I felt as if the film sort of hamstrung Kidman with screen time and making her look less luminous as Carlson. I have some issues with Kidman and may not like Carlson, but the film treated Carlson as if she was spoiling like milk in some scenes. Robbie acted against type as the young eager employee vulnerable to exploitation. Kate McKinnon steals the show each time that she was on screen. I do not have a single complaint about the casting. Every role was filled with a renown thespian, and if lesser known such as Alanna Ubach as Jeanine Pirro or Bree Condon as Kimberly Guilfoyle, it never feels like a Saturday Night Live skit. Viewers will find themselves staring at their screens hard to make sure the real-life figures did not decide to make cameos and play themselves.
The backdrop of “Bombshell” is the 2016 Presidential election. While the denouement may end with a single sexual harasser getting scolded, Kelly only begins to turn on Ailes when he chooses Presidon’t over her in the first act. She hedges her bets during the investigation by refusing to take sides until she conducts her own inquiry to see if other people will stand up against Ailes so her career will take less of a hit, which I don’t blame her if she did. The real story is about loyalty-Ailes to his staff. The unofficial lesson is that abuse within an organization does not have to be punished if the organization circles the wagons against an outsider abusing one of their own. Kelly is depicted as feeling no solidarity with her coworkers. While men made this film, it is credible that if one of the three main characters speaks to the others, their unity collapses at the idea of anything weightier than individual ambition and personal grievance. Carlson’s pleas with Kayla ends in kicking the dog out of embarrassment for a superior upbraiding her. Kelly dismisses Kayla as a “snowflake.” The film also creates ambiguity in the flashbacks regarding how Kelly responded to Ailes’ final proposition.
“Bombshell” wants its audience to draw parallels between Presidon’t and FOX—birds of a feather. The denouement reveals Rupert Murdoch (Malcolm McDowell), fresh from announcing Ailes’ departure, chatting with Presidon’t on his cell while Murdoch’s sons (real life brothers Lachlan and James Murdoch) exchange concerned, disapproving, wordless glances. It suggests that FOX is just part of Presidon’t’s publicity campaign, but also that while Ailes is out, nothing has really changed other than the wardrobe, especially given the cold shoulders that Kelly keeps getting from colleagues. Sexual harassment is only one visible flaw that the candidate and network share. FOX’s sins are Presidont’s and vice versa. Of course, since the film did some heavy lifting to garner favor for the women of FOX news, they take some teeth out of that fear.
“Bombshell” is a dynamic film. The camera work and editing are stunning and keep the story going long after it feels over. The intercutting of archival footage with recreated scenes with the cast are seamless. It is a slick glossy production that will make for a gorgeous period piece even if it is only set a handful of years ago. It is a visually accurate time capsule in a similar way as “Primary Colors” (1988).
“Bombshell” is a little longer than it needed to be, but it features some great performances. Unfortunately it reflects the 53% that it portrays—believing that they deserve better treatment than they give to everyone else. If you would prefer a more biting account of this story, see “Divide and Conquer: The Story of Roger Ailes” (2018).
