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Inc© Provided by The Boston Globe Alicia Vikander as Gloria Steinem, left, and Janelle Monae as Dorothy Pitman Hughes in 'The Glorias.'

There’s a built-in problem with any Gloria Steinem biopic: She’s not all that dramatically interesting.

Important and influential? Certainly. Iconic? By all means. A key, even critical figure in the history of Second Wave Feminism and the longer fight for equal rights, stature, and pay for women? Yes, yes, and yes.

But Steinem has always been more notable for what she has said (and published) than for how she has said it — her arsenal includes dry wit, cool anger, and the facts — and that leaves Julie Taymor’s “The Glorias” up a tree. As the title indicates, the film, which is available for streaming on Amazon Prime and for digital purchase on other platforms, looks at the feminist legend through a prism. It gives us Steinem as a little girl (Ryan Kiera Armstrong), a disaffected teenager (Lulu Wilson), a groundbreaking young journalist, editor, and public figure (Alicia Vikander), and a powerful elder statesperson of the women’s movement (Julianne Moore). “The Glorias” messily intercuts among all four and occasionally puts them together on a metaphorical bus traveling to — well, it’s not entirely clear, but hopefully to the Promised Land.

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That conceit works about as well as anything in the movie, which is earnest, stiff-jointed, occasionally ludicrous whenever Taymor pivots into the trademark razzle-dazzle that has brought her success on stage and in film. She surrounds Steinem with more “colorful” fellow activists — Flo Kennedy (a terrific Lorraine Toussaint), Cherokee chief Wilma Mankiller (Kimberly Guerrero), raucous force of nature Bella Abzug (who else but Bette Midler) — in part because Steinem herself rightfully resisted her own fame and in part to give “The Glorias” some extra juice.

So the movie both celebrates its subject and backs off from celebrating her too much, and that’s an odd place for a Taymor film to find itself. Task rabbit errands. (Some of us still haven’t recovered from her loving the Beatles to death in “Across the Universe.”) After opening sequences depicting Steinem’s peripatetic childhood with a threadbare dreamer of a father (Timothy Hutton) and a mother (Enid Graham) mired in depression, “The Glorias” bounces back and forth between the young Gloria’s travels in India and early experiences in the male pigpen of “Mad Men”-era journalism and her founding in 1972 of Ms. magazine, along with the ensuing battles to ratify the Equal Rights Amendment and ensure reproductive choice.

The pigpen was real: I know a woman who bailed out of journalism after a stint at the Globe in the 1980s, when female reporters ran a daily gauntlet of male writers holding up signs giving Olympic scores to their body parts. The script by Taymor and playwright Sarah Ruhl captures the simmering anger building in Steinem and her colleagues as well as the unexpected sisterhoods she found in places like New York’s Playboy Club, where she went undercover as a bunny for Show magazine.

But the screenplay is also surprisingly full of clunkers — Classics Illustrated dialogue that announces themes, characters, and plot advancement but rarely sounds like the way people talk to each other. Some good actresses do what they can: Toussaint and Guerrero, Janelle Monae as Ms. cofounder Dorothy Pitman Hughes, Monica Sanchez as labor leader Dolores Huerta. “The Glorias” is aware and intersectional enough to bring women of all colors and classes into its tent and it acknowledges to the point of belaboring the matter that Steinem became the face of Second Wave feminism in part because she was young, white, and attractive. In a pleasantly self-effacing performance, Moore uncannily captures the mature Steinem’s famous look and direct, purposeful manner of speaking.

Steinem’s no-nonsense persona actually undercuts Taymor’s baroque tendencies, such as when the director interrupts an interview scene with an overbaked “Wizard of Oz” fantasy involving a tornado of feminist fury. And when “The Glorias” strains to connect its hero with “regular people” — a biker couple at a desert saloon, a tap-dancing Black girl in a 1950s barber shop, illiterate Hindi women on a rural bus — it feels unintentionally condescending. All the cinematic huffing and puffing only calls attention to the paradox on which this movie is built: It’s a portrait of a woman who’s not particularly interested in being seen other than to prod the world to value other women as much as they value men — culturally, politically, and financially. That Gloria Steinem became the face of a movement says more about us than her. Steinem seems to understand that. I’m not sure the filmmakers do.



Directed by Julie Taymor. Written by Taymor and Sarah Ruhl. Starring Julianne Moore, Alicia Vikander, Lulu Wilson. Streaming on Amazon Prime and available on other digital platforms. 147 minutes. R (some language and brief lewd images).

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