The Glorias: A Bold but Overstuffed Tribute

The bus scene in The Glorias (2020) is a bold choice by director Julie Taymor—four actresses playing Gloria Steinem at different life stages, all crammed together on a Greyhound, trading stories like passengers on a never-ending journey. It’s an audacious way to frame a biopic, and for the most part, it works.

Based on Steinem’s memoir My Life on the Road, the film is a nontraditional chronicle of the feminist icon’s life, from her childhood in Ohio to her activism in the women’s rights movement. Julianne Moore, Alicia Vikander, Lulu Wilson, and Ryan Kiera Armstrong each bring something unique to their portrayals of Steinem, with Vikander particularly shining as the young activist finding her voice. The supporting cast is stacked—Janelle Monáe as Dorothy Pitman Hughes, Bette Midler as Bella Abzug—but it’s the cumulative effect of these performances that makes the film feel alive.

Taymor’s direction is visually inventive, using split screens and dreamlike sequences to convey Steinem’s introspection. The scene where young Gloria discovers her mother’s unpublished articles is a standout, underscoring the intergenerational weight of women’s unheard voices. The film also excels in its depiction of Steinem’s evolving consciousness, particularly her realization of her own privilege as a white woman during the March on Washington.

But The Glorias stumbles when it tries to cram too much into its runtime. The pacing is uneven, and some pivotal moments—like Steinem’s abortion and her father’s death—feel rushed or underdeveloped. The film’s structure, while creative, sometimes sacrifices depth for breadth. And though the bus-as-metaphor device is clever, it occasionally feels gimmicky, as if Taymor is trying too hard to distinguish this biopic from others.

Still, The Glorias is a worthy tribute to Steinem’s legacy, even if it doesn’t always hit the mark. The film’s heart is in the right place, and its message—about the power of collective action and the necessity of intersectional feminism—resonates loudly.

The film’s strength lies in its performances, particularly Vikander’s portrayal of young Gloria. Her scenes in India are some of the most compelling, as she navigates cultural differences and begins to form her feminist consciousness. Moore, meanwhile, brings a measured gravitas to the later stages of Steinem’s life, capturing the weariness and determination of a woman who has spent decades fighting for change.

The supporting cast is equally impressive. Monáe and Midler add depth to their roles, portraying women who were instrumental in shaping Steinem’s activism. The film also benefits from Taymor’s signature visual style, which lends an artistic flair to what could have been a straightforward biopic.

However, the film’s structure ultimately works against it. The bus sequences, while innovative, can feel disjointed, and the constant shifting between time periods makes it difficult to build emotional momentum. Some key moments—like Steinem’s decision to become an activist—feel underdeveloped, as if the film is racing to cover as much ground as possible.

The Glorias is a film for those who are already invested in Gloria Steinem’s story and the broader narrative of the women’s rights movement. It’s not an introduction to these ideas but rather a deep dive for those who want to understand the personal and political forces that shaped one of feminism’s most iconic figures. The film’s themes of intersectionality, collective action, and the ongoing struggle for equality are timely and relevant, making it a valuable addition to the canon of feminist cinema.

In the end, The Glorias is a flawed but ambitious film that pays tribute to an extraordinary life. It’s not perfect—its pacing is uneven, its structure sometimes feels gimmicky—but it’s a worthy exploration of Gloria Steinem’s legacy. The performances are strong, the visuals are inventive, and the message is timely.