BACK STORY FOR GLOBAL TENNIS STARS

SMITH PUTS ON MASK FOR INTERESTING CHARACTER

By PETER THOMAS BUSCH

A globally famous sports family gets introduced to fans after the fact in King Richard (2021).

Director Reinaldo Marcus Green takes the camera back to the Compton, California ‘hood in this biopic about the early years of two of the greatest tennis players.

Will Smith stars as Richard Williams and Aunjanue Ellis as Oracene Williams, the parents of Venus Williams portrayed by Saniyya Sidney, and Serena Williams played by Demi Singleton.

Smith shows how Williams was so determined to turn his young daughters into professional tennis players that he had them practice every day even in the evening rain.

Smith put on a metaphysical mask for the performance, grew a beard and kept his eyes a bit rolled back to depict a plodding father of destiny.

The unique character becomes compelling for viewers, but the film also benefits from the performances of the other actors, all in all making for an interesting film about an important chapter of international sports history.

Green takes the camera wherever Richard goes, with Venus and Serena not too far from his side, while showing how the family struggled a bit at first but remained optimistic by sharing positive energy.

The cast has a few characters, including a brief appearance by Dylan McDermott as Will Hodges, a sports talent scout who unsuccessfully bids for management of the Williams sisters before they turned professional.

Jon Bernthal does a good job portraying tennis coach Rick Macci who prepared the sisters for the professional tennis circuit. Macci loses all leverage he had as a well recognized tennis coach when he sees the potential of the Williams sisters.

Green balances the scenes by dividing the main linear narrative into a coming of age film about the training of the tennis stars and a character study about the father that made them so.

A score is also used over top of the scenes. Green suddenly drops the score for background noises and dialogue to build suspense. This method builds emotion for celebratory moments later on when the family begins to gain recognition and financial security.

In this way, Green manages to pull the heart strings and get everybody to hope for the success of a rags to riches story eventhough everyone knows the successful real life outcome.

King Richard is a good dramatic role for Smith who previously played sports boxing icon Muhammed Ali in Ali (2001). Green does not quite have the majestic sweep and meticulous attention to detail as director Michael Mann in Ali, but King Richard is a good take on an important sports story. 

Sidney as Venus and Singleton as Serena create a sense of happy siblings mostly working together to become great together rather than being caught up in the sibling rivalry that was later created by the media during their professional careers.

Writer Zach Baylin makes use of the time away from the tennis court with compelling dialogue among the Williams family as the parents have a couple of differences they wish to share.

Green chooses to film a place in time that many fans may not be aware of, which allows for a compelling narrative – essentially the backstory about the sports success.

The film does lack a layer of aesthetics, perhaps to keep the film real and out of the glimour glamour of later years.

And Green may have chosen one too many scenes about playing tennis, whereas Smith had created a compelling character portrayal that the audience may have wanted to know a bit more about him. In one series of scenes, Williams is shown reading tennis magazines while working as a security guard, but the camera rushes back to the tennis court before developing the character more fully.

The script might have also made more room for cameos of biopic characters, such as that of Bud Collins, John McEnroe and Pete Sampras.

Green does not make many mistakes, although everything is rather linear and uncomplicated directorially.

King Richard is playing in theaters.