King Richard - Review

Tennis is a sport which has historically been one of social exclusion. It takes money to become the best; to pay for training, one-on-one coaches, travel to tournaments, rackets, shoes - the list goes on. Moreover, in addition to financial boundaries, geography is very much a factor which affects access into the upper echelons of the sport - all of which is inextricably linked to race.

King Richard is very much about these obstacles, telling the story of the upbringing of Venus and Serena Williams with a focus on father Richard Williams’ role in their historic overcoming of all the odds. Richard, played with a fascinating mix of charisma and obsession by Will Smith, has had a plan from the beginning: he is going to make Venus and Serena tennis stars. However, this is not merely a story of one father’s seemingly unbreakable dedication but one of black people having to negotiate white spaces whilst also struggling

with finding respect in their own community. The result is an inspiring tale

filled with excitingly shot tennis and stellar acting, most notably by

Aunjanue Ellis whose performance as Oracene Williams (now Oracene

Price) seems to truly understand that although the story of Richard Williams is one of triumph and admirable dedication, it is also one that is somewhat ego driven and self-centred.

In many ways, the film is a spiritual successor to the basketball movie Coach

Carter, which similarly begins within a predominantly black neighbourhood in

California and deals with issues of youth violence and gang culture alongside

it’s underdog sports story. Moreover, both coach Ken Carter and Richard Williams

ensure that their athletes maintain good school grades whilst pursuing their goals.

However, whilst this mixture provides the opening act of King Richard with a palpable sense of urgency, the fundamental difference between the two films is that Venus and Serena get out, as the whole family packs up to follow a free coaching opportunity at a top academy in Florida.

This is the moment where, whilst retaining some of its personality through Richard’s idiosyncrasies, the film certainly begins to look and feel more sanitised as it transitions into a more typical sports biopic. However, this is no mistake since the gloss and luxury of their new tennis academy come private country club is only accentuated in comparison to the earlier rain-soaked neighbourhood courts. Moreover, as the film shifts to focus more on Venus who is on the cusp of making it as a pro, the tennis scenes themselves are executed with vibrancy and an almost musical rhythm that makes her journey gripping to watch even if you may already know the outcome.

However, for some the outcome itself may not be satisfying since it leaves so much more to be told. Yet, for better or for worse, this is not Serena’s story nor is it Venus’ and all one can hope for is that this shows studios that people are interested in seeing these stories told, since not only do Venus and Serena deserve their own films but also those names that have not entered the public consciousness, such as Althea Gibson,

who was the first African-American to win a Grand Slam title in 1956 and one of the

best of her era.

Ultimately, King Richard is simultaneously a sports movie, a social commentary and a

reminder that more black stories are waiting to be told if the executives want to listen.

It may be somewhat flawed in not having fully explored the shortcomings of its main

character or perhaps for feeling too much like a typical sports biopic in its latter half

but it is a film that is joyous, inspiring and truly entertaining - a remarkable

combination that cannot be undervalued within the world’s current climate.