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Battle of the Sexes (2017)

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The true story of the 1973 tennis match between World number one Billie Jean King and ex-champ and serial hustler Bobby Riggs.

Writer:

Simon Beaufoy
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1,762 ( 987)
Nominated for 2 Golden Globes. Another 3 wins & 17 nominations. See more awards »

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Cast

Cast overview, first billed only:
Emma Stone ... Billie Jean King
Steve Carell ... Bobby Riggs
Andrea Riseborough ... Marilyn Barnett
Natalie Morales ... Rosie Casals
Sarah Silverman ... Gladys Heldman
Bill Pullman ... Jack Kramer
Alan Cumming ... Cuthbert 'Ted' Tinling
Elisabeth Shue ... Priscilla Riggs
Eric Christian Olsen ... Lornie Kuhle
Fred Armisen ... Rheo Blair
Martha MacIsaac ... Jane 'Peaches' Bartkowicz
Lauren Kline Lauren Kline ... Nancy Richey
Mickey Sumner ... Valerie Ziegenfuss
Fidan Manashirova Fidan Manashirova ... Judy Tegart Dalton
Jessica McNamee ... Margaret Court
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Storyline

In the wake of the sexual revolution and the rise of the women's movement, the 1973 tennis match between women's world champion Billie Jean King (Emma Stone) and ex-men's-champ and serial hustler Bobby Riggs (Steve Carell) was billed as the BATTLE OF THE SEXES and became one of the most watched televised sports events of all time, reaching 90 million viewers around the world. As the rivalry between King and Riggs kicked into high gear, off-court each was fighting more personal and complex battles. The fiercely private King was not only championing for equality, but also struggling to come to terms with her own sexuality, as her friendship with Marilyn Barnett (Andrea Riseborough) developed. And Riggs, one of the first self-made media-age celebrities, wrestled with his gambling demons, at the expense of his family and wife Priscilla (Elisabeth Shue). Together, Billie and Bobby served up a cultural spectacle that resonated far beyond the tennis court, sparking discussions in bedrooms ... Written by Fox Searchlight Pictures

Plot Summary | Plot Synopsis

Taglines:

He made a bet. She made history.


Motion Picture Rating (MPAA)

Rated PG-13 for some sexual content and partial nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Language:

English

Release Date:

29 September 2017 (USA) See more »

Also Known As:

The Battle of the Sexes See more »

Filming Locations:

Los Angeles, California, USA See more »

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Box Office

Budget:

$25,000,000 (estimated)

Opening Weekend USA:

$518,332, 24 September 2017

Gross USA:

$12,638,526

Cumulative Worldwide Gross:

$18,598,607
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | SDDS | Dolby Digital

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

The hair-cutting scene was deliberately tailored to invoke a sensation of so called ASMR - Autonomous Sensory Meridian Response. ASMR is a reported experience that people describe as a "tingling" sensation, typically beginning at the scalp. ASMR video and audio had grown as a phenomenon on home-produced media in the years before the film, and this inspired directors Valerie Faris and Jonathan Dayton. "People work to make videos that elicit this response" Jonathan Dayton said "and we were wondering: 'Could we get that response in a theatre full of people?'". The scene invokes several typical ASMR "triggers", such as: face closeups, soft-spoken voices, sounds of scissors and blow-dryers, personal attention. See more »

Goofs

Margaret Court travels with her husband and child in a white 1976 Ford Pinto wagon. See more »

Quotes

Bobby Riggs: I'm the ladies number one. I'm the champ. Why would I lose?
Billie Jean King: Because dinosaurs can't play tennis.
See more »

Crazy Credits

The 1930's recording of the 20th Century Fox fanfare is used on the opening Fox Searchlight logo. See more »

Connections

Referenced in The Projectionist (2019) See more »

Soundtracks

Rocket Man (I Think It's Going to Be a Long Long Time)
Written by Elton John and Bernie Taupin
Performed by Elton John
Courtesy of Mercury Records Limited
Under license from Universal Music Enterprises
See more »

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User Reviews

 
It Thinks It Means Well But It Really Doesn't
5 October 2017 | by trevor-82944See all my reviews

A man and a woman take the stage here in 1972; the first, Billie Jean King, wins a tennis championship after a blurry match opens the titles; the second, Bobby Riggs, abandons his own family to gamble, often through his own tennis rounds. Right away, the men state how women are less publicly prevalent in tennis as men, meaning they get paid less as well. Sound familiar?

Battle of the Sexes follows much truer to history than you may think —allowing the real Billie Jean to oversee the production process proves the clear effort made to create a strong 21st century female role model. In the end, a fair point comes across: we need to reconsider our gamble in life.

The screenwriter, Simon Beaufoy (127 Hours, Slumdog Millionaire) still has potential for another future masterpiece based on his new display of well-crafted dialogue, as his style here enables each individual to realistically talk around their lies in a clever fashion. You can sense the depth behind these conflicted words, as only whatever matters to everyone's true values gets talked about.

The cast too expresses a strong desire to communicate the message about women empowerment, as most of them put in the best they could give. Oscar winner Emma Stone (Birdman, La La Land) portrays Billie Jean King with confidence to match her preparation for the role. Steve Carell (The 40-Year-Old Virgin, Foxcatcher) portrays Billie Jean's ultimate rival with a considerable hardness that proves the comedian's effectiveness at drama. But I most enjoyed one of the smaller roles, Natalie Morales, who plays Billie Jean's stuck-up authoritative agent. Unfortunately, some of the male actors destroyed the perfect performance streak, particularly Austin Stowell, who plays Billie Jean's husband, and Alan Cumming, who plays a stereotypical British assistant thrown in mostly for comic relief. So sadly, not everyone in the cast and crew was truly passionate about its message of gender superiority.

In fact, almost nobody of redeemable quality supports the message's potential positive value. In essence, we don't even meet Billie Jean's husband until the midway point, which ends up feeling extremely joyless since beforehand, we see her sexual attraction toward her lesbian hairdresser come out in a moment of embracing and unzipping in a dark, steamy motel room. At this rate, why would I want to see an unfaithful wife succeed in her desire for fame and fortune?

As for Bobby, he appears to be nothing besides a depiction of the era's public mindset—an unmotivated woman hater. The balance in telling his story all throughout the feature is barely even there, as editor Pamela Martin (The Fighter, Little Miss Sunshine) leaves too long stretches of time away from Bobby's subplot. Even his climactic tennis match against the famed female star lacks any tension on his behalf, since no details are learned about what tennis means to either combatant.

The directorial appearance in particular lacks any artistic quality, from Emma Stone's fake black wig to needing to play "Where's Waldo" on the screen. What do I mean by that? Well, the two directors Jonathan Dayton and Valerie Faris (Little Miss Sunshine) unintentionally make you search harder than necessary to find the character talking. Their lack of screen control plays its greatest toll in the end, when the legendary match is viewed from far away into the audience bleachers, consequently ruining the intimacy of tennis. The cinematographer, Linus Sandgren, just won the Oscar last year for his colorful live action daydream, La La Land, but now his Steadicam work takes a massive step back into dull indie movie mode.

In the long run, the extreme preachiness may turn you off the most, since it forcefully tells you to accept its worldview on gender superiority. Similar to various feminist propaganda such as Thelma & Louise, Erin Brockovich, Frozen, Wonder Woman, and countless others, men are painted to look like the predators responsible for women's problems, which in this circumstance devalues heterosexual relationships and diminishes love to impulsive selfishness. Why do so many message films have to force such one-sided, surfacey conclusions? These events may have actually happened, yet the depiction of her affair straight up degrades straight married people. Bobby's marriage appears problematic until his wife decides to change in a submissive fashion, while Billie Jean's sole roadblock in her newfound love is her current husband? Give me a break.

Although my parents and I felt disappointed after walking out of the theater together, it led us into a rather in-depth discussion about our current treatment towards the LGBTQ community. Therefore, we as viewers ought to talk about these crucial ideas more, as listening to one another will help us realize the true blinded difference between the sexes.


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