The First Lady Story:-
In Showtime’s latest drama, “The First Lady,” Chicago lawyer Michelle Obama transitions into her role as First Lady Michelle Obama, receiving advice and solace from her predecessor Laura Bush. Laura reassures her, emphasizing the shared experience among First Ladies despite their perceived differences. However, Laura’s dual role as a voice of reason and a representative for all First Ladies sets an odd tone for the series, which attempts to explore the lives of three vastly different women who have all inhabited the White House.
Movie Ratings
| Release Date | 15 April 2022 |
| Language | English |
| Genre | Biography, Drama, History |
| Episodes | 10 |
| Creator | Aaron Cooley |
| Cast | Viola Davis, Michelle Pfeiffer, Gillian Anderson, O.&;T. Fagbenle, Aaron Eckhart, Dakota Fanning, Kiefer Sutherland, Jayme Lawson, Judy Greer, Rhys Wakefield, Regina Taylor, Lily Rabe |
| Director | Susanne Bier |
| Writer | Aaron Cooley |
| Cinematography | Amir Mokri |
| Producer | Viola Davis, Julius Tennon, Cathy Schulman, Jeff Gaspin, Brad Kaplan, Aaron Cooley, Susanne Bier |
| Production | JuVee Productions, Welle Entertainment, Gaspin Media, Lionsgate Television |
| Certificate | 16+ |
Viola Davis portrays Michelle Obama with her trademark grace, though with some exaggerated features like her stenciled eyebrows. Michelle Pfeiffer shines as Betty Ford, capturing her essence with precision, while Gillian Anderson’s portrayal of Eleanor Roosevelt is marred by distracting false teeth. Despite the star-studded cast and the talents of showrunner Cathy Schulman and director Susanne Bier, “The First Lady” struggles to overcome its fragmented storytelling.
From the pilot episode onwards, the series jumps between timelines haphazardly, often without clear direction. While certain themes like the challenges of marriage or the fight for gay rights emerge, the rush to cover multiple narratives makes the show feel disjointed. At times, it resembles a polished slideshow rather than a cohesive drama, with archival footage serving as a crutch to convey historical context.
The lack of chronological order further complicates the storytelling, leaving some character relationships underdeveloped. However, the third episode stands out for its focus on the younger selves of the protagonists, played by Jayme Lawson, Eliza Scanlen, and Kristine Froseth, as they meet their future husbands portrayed by O-T Fagbenle, Kiefer Sutherland, and Aaron Eckhart. This chapter offers a clear through line that ties the three narratives together seamlessly, providing a rare moment of coherence in an otherwise disjointed series.
However, the show faces challenges with its older generation of actors who struggle to fully embody their characters, despite their proven abilities throughout their careers. In particular, Anderson’s portrayal of Eleanor Roosevelt is hindered by the distracting false teeth she wears, preventing her from fully embracing the role. While she has moments of chemistry with Lily Rabe, who plays Eleanor’s companion, the casting choices raise questions about the authenticity of the portrayal. Davis and Fagbenle deliver some compelling moments, especially in portraying the Obamas’ private interactions as a couple. However, the scripts fail to provide clear direction for their characters beyond their domestic sphere, resulting in somewhat superficial performances.
The standout performance in “The First Lady” belongs to Pfeiffer as Betty Ford, raising the question of why the series didn’t focus solely on her character. Pfeiffer adeptly captures Betty’s mix of bewilderment, resilience, and determination to enact change, despite facing opposition from advisors like Donald Rumsfeld and Dick Cheney. While Betty’s storyline has its share of absurd moments, Pfeiffer infuses her character with depth and authenticity, making her arc the most engaging aspect of the show. Despite the fragmented storytelling that divides her character’s narrative, Pfeiffer shines in every scene she’s in.
Overall, “The First Lady” struggles to find cohesion among its three leads. It feels as though the series may have originally been conceived as three separate shows before being amalgamated into one. While recent TV series have successfully portrayed diverse female characters simultaneously, “The First Lady” fails to effectively weave together the stories of Michelle, Betty, and Eleanor. The attempt to depict intergenerational unity through symbolic imagery in the opening credits falls flat, serving as a reminder of the disjointed storytelling rather than inspiring a sense of pride. By attempting to merge three distinct narratives, the show does a disservice to each character and ultimately fails to deliver a cohesive viewing experience.
“The First Lady” premieres Sunday, April 17 at 9 pm.
