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But Smith’s interpretation is instead reminiscent of The Pursuit of Happyness, a similarly simplified tale of idealistic bootstrapping based on a real-life figure. In fact, it is necessary to fully understand what makes the rise and decadeslong dominance of the Williams sisters such a quintessentially American saga. Richard Williams is not a teddy bear - with good reason - and it’s perfectly OK to acknowledge that. Venus and Serena Williams: from Compton to the world.The little-known story of Serena Williams’ first endorsement deal.The haunting prescience of ‘Enemy of the State’.It’s a performance that gives little insight into the many contradictions of the often soft-spoken Richard, nor does it bother to reconcile that with his seeming (to the many white tennis folks who he exasperated and who exasperated him) mercurial irascibility. Smith’s exaggerated affectation colors Richard as a bumpkin given to irrational bouts of anger. Baylin’s writing, at points, becomes a cringey albatross, such as the one where Smith as Williams utters, “Dis junior coicuit worse dan de ghetto.”
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King Richard tries so hard to showcase Richard Williams as a nonthreatening, well-meaning person that Smith, in his efforts to capture Williams’ fairly standard Black rural Louisiana accent, often lands somewhere between Bagger Vance-lite and Uncle Ruckus.
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In just a few frames, she and Singleton provide a world of context for the relentlessness of the younger sister’s style of play, and the chip on her shoulder some think she has carried throughout her career. Ellis as Oracene explodes with such buoyant warmth and joyous encouragement in these scenes that she makes the case for a film that would delve closely into the making of Queens Oracene and Serena.
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Oracene, in turn, uses those videos to teach Serena, who is devastated that she won’t get the same professional training. Richard accompanies Venus to the country club and records everything she learns with a camcorder. Venus’ coach, Paul Cohen (Tony Goldwyn), will only agree to train one girl for free, not both. This point becomes especially evident in a moment where the film contrasts the training of young Venus and Serena. Ellis handles this challenge better than her leading man, having built a career on doing more with less (which is part of the reason her performance in episode seven of Lovecraft Country feels so revelatory). The paint-by-numbers script, penned by Zach Baylin, does not provide Richard Williams with an interior life so much as a sequence of events to which he reacts.
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Will Smith’s (left) take as Richard Williams doesn’t quite jibe with reality, but more importantly, with the rest of the film and its bend-over-backward effort to soften Richard. They both bring an easy, uncomplicated innocence to the screen, depicting the girls the Williams sisters have always maintained they are: bouncy, smart and unafraid to challenge their father. Sidney and Singleton are a delight on screen - their tennis skills, particularly their ability to match the Williams sisters’ style of play, are impressive. Enter Venus (Saniyya Sidney) and Serena (Demi Singleton). Richard has a plan: He and his wife Oracene (Aunjanue Ellis) will add two more children to their family, and those children will grow up to be tennis prodigies who shake up the world.
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And yet Smith’s starring role may be the weakest part of the film.ĭirected by Reinaldo Marcus Green, King Richard focuses on the early years of the tennis careers of Venus and Serena Williams, from their days and nights training on the cracked and leaf-filled surfaces of Compton, California, municipal courts to Venus’ professional debut. The movie, now available on HBO Max and in theaters, is obviously meant to be award catnip for Smith and a cinematic crowning for Richard Williams, father of Venus and Serena.