Basic Info / 基本情報
| English | 日本語 |
|---|---|
| Director | Craig Gillespie / クレイグ・ガレスピー |
| Year | 2017 |
| Running Time | 119 min (1h 59m) |
| Genre | Biographical Drama, Black Comedy, Sports Drama / 伝記ドラマ、ブラックコメディ、スポーツドラマ |
| Production | LuckyChap Entertainment, Clubhouse Pictures, AIDE |
| Box Office | $53.9 million (Worldwide) |
Synopsis / あらすじ
English (Short Synopsis)
Tonya Harding, a gritty outsider from Portland, becomes the first American woman to land a triple axel. But she is no “America’s sweetheart”—she’s unrefined, abused, and rejected by the skating elite. Her life collapses in 1994 when her rival, Nancy Kerrigan, is attacked. As the media paints Tonya as the ultimate villain, the film—a mockumentary featuring conflicting testimonies—questions truth itself. I, Tonya is a raw exposé of class violence, domestic abuse, and our cultural obsession with destroying people for entertainment.
日本語 (簡潔なあらすじ)
ポートランドの労働者階級出身のトーニャ・ハーディングは、アメリカ人女性初のトリプルアクセル成功という偉業を成し遂げますが、審判が求める「優雅さ」とは程遠い存在として疎まれます。1994年のナンシー・ケリガン襲撃事件により、メディアは彼女を「悪役」として仕立て上げました。関係者の矛盾する証言を交錯させる本作は、何が真実かを問いかけます。本作は、アメリカ社会に根付く階級意識やタブロイド文化の狂気を描き出し、私たちが娯楽のために人を追い詰め、破滅させていく残酷な構造を浮き彫りにした傑作です。
Cast & Crew / スタッフ・出演
| Role | English | 日本語 |
|---|---|---|
| Director / 監督 | Craig Gillespie | クレイグ・ガレスピー |
| Screenplay / 脚本 | Steven Rogers | スティーヴン・ロジャース |
| Based on | Interviews with Tonya Harding and Jeff Gillooly | トーニャ・ハーディングとジェフ・ギルーリーへのインタビュー |
| Producer / プロデューサー | Margot Robbie, Tom Ackerley, Bryan Unkeless, Steven Rogers | マーゴット・ロビー、トム・アッカーリー、ブライアン・アンケレス、スティーヴン・ロジャース |
| Cinematography / 撮影 | Nicolas Karakatsanis | ニコラス・カラカツァニス |
| Music / 音楽 | Peter Nashel | ピーター・ナシェル |
| Editing / 編集 | Tatiana S. Riegel | タチアナ・S・リーゲル |
| Production Design | Jade Healy | ジェイド・ヒーリー |
| Costume Design | Jennifer Johnson | ジェニファー・ジョンソン |
| Distribution / 配給 | Neon (US), eOne Films (UK) | ネオン（米国）、イーワン・フィルムズ（英国） |
| Cast / 出演 | Margot Robbie (Tonya Harding) | マーゴット・ロビー（トーニャ・ハーディング） |
| Sebastian Stan (Jeff Gillooly) | セバスチャン・スタン（ジェフ・ギルーリー） | |
| Allison Janney (LaVona Golden / Tonya’s mother) | アリソン・ジャニー（ラヴォーナ・ゴールデン / トーニャの母） | |
| Julianne Nicholson (Diane Rawlinson / Tonya’s coach) | ジュリアン・ニコルソン（ダイアン・ローリンソン / トーニャのコーチ） | |
| Paul Walter Hauser (Shawn Eckhardt) | ポール・ウォルター・ハウザー（ショーン・エクハート） | |
| Bobby Cannavale (Hard Copy Producer) | ボビー・カナヴェイル（ハード・コピー・プロデューサー） | |
| Bojana Novakovic (Nancy Kerrigan) | ボヤナ・ノバコヴィッチ（ナンシー・ケリガン） | |
| Mckenna Grace (Young Tonya) | マッケナ・グレイス（少女時代のトーニャ） |
Additional Information / 追加情報
Awards / 受賞歴
- 90th Academy Awards (2018) – 3 nominations, 1 win:
- Best Supporting Actress – WON (Allison Janney)
- Best Actress – nomination (Margot Robbie)
- Best Film Editing – nomination (Tatiana S. Riegel)
- 75th Golden Globe Awards (2018) – 3 nominations, 2 wins:
- Best Actress – Motion Picture Musical or Comedy – WON (Margot Robbie)
- Best Supporting Actress – Motion Picture – WON (Allison Janney)
- Best Motion Picture – Musical or Comedy – nomination
- 71st BAFTA Awards (2018) – 5 nominations, 1 win:
- Best Supporting Actress – WON (Allison Janney)
- Best Actress in a Leading Role – nomination (Margot Robbie)
- Best Editing – nomination
- Best Makeup and Hair – nomination
- Outstanding British Film – nomination
- 24th Screen Actors Guild Awards (2018) – 3 nominations, 1 win:
- Outstanding Performance by a Female Actor in a Supporting Role – WON (Allison Janney)
- Outstanding Performance by a Female Actor in a Leading Role – nomination (Margot Robbie)
- Outstanding Performance by a Cast in a Motion Picture – nomination
- 23rd Critics’ Choice Awards (2018) – 7 nominations, 3 wins:
- Best Actress – WON (Margot Robbie)
- Best Supporting Actress – WON (Allison Janney)
- Best Comedy – WON
- Best Editing – nomination
- Best Hair and Makeup – nomination
- Best Costume Design – nomination
- Best Acting Ensemble – nomination
- Independent Spirit Awards (2018) – 4 nominations, 2 wins:
- Best Female Lead – WON (Margot Robbie)
- Best Supporting Female – WON (Allison Janney)
- Best First Screenplay – nomination (Steven Rogers)
- Best Editing – nomination
Critical Reception / 批評的評価
- Rotten Tomatoes: 90% (Critics), 87% (Audience)
- Metacritic: 77/100 (Generally Favorable Reviews)
- IMDb: 7.5/10
- Eiga.com (映画.com): 3.6/5
- Universally praised as smart, audacious biopic
- Margot Robbie’s performance acclaimed as transformative
- Allison Janney’s mother praised as monstrously perfect
- Mockumentary structure praised as innovative
- Criticized by some for sympathizing with Tonya
- Praised for refusing simple hero/villain narrative
- Editing (Tatiana S. Riegel) highly acclaimed
- Roger Ebert.com: ★★★★ “A fierce, funny marvel”
- The New York Times: “A scabrous, exhilarating biopic”
- Variety: “A wickedly entertaining portrait”
- The Guardian: ★★★★ “Margot Robbie is sensational”
- Some felt film glamorized domestic violence
- Others praised for showing abuse’s complexity
Box Office Performance / 興行成績
- Worldwide Total: $53.9 million
- Domestic (US/Canada): $30.0 million
- International: $23.9 million
- UK: $5.6 million
- Australia: $4.2 million
- France: $2.1 million
- Germany: $1.8 million
- Italy: $1.4 million
- Spain: $1.1 million
- Japan: $900,000
- Production Budget: $11 million
- Return on Investment: 4.9x (major success)
- Opening Weekend (US):
- Released December 8, 2017 in 4 theaters (limited release)
- $264,000 opening weekend (limited)
- $66,000 per-theater average (excellent)
- Wide expansion January 2018 (post-nominations)
- Peak: 1,338 theaters (February 2018)
- Expansion:
- Week 1 (limited): 4 theaters
- Week 2: 10 theaters
- Week 4: 230 theaters
- Post-Oscar nominations (January 23, 2018): 575 theaters
- Post-Janney Oscar win (March 4, 2018): 1,338 theaters (peak)
- Classic awards-season platform release
- Longevity:
- Theatrical run: 22+ weeks (5.5 months)
- Awards buzz sustained entire run
- Allison Janney’s Oscar win provided boost
- Remained in theaters through April 2018
- Performance Analysis:
- Neon’s biggest hit at time of release
- $53.9M vs. $11M budget (enormous profit)
- R-rating (language, domestic violence, drug use)
- Margot Robbie’s star power + awards buzz
- “True crime” cultural moment (podcasts, documentaries)
- 1990s nostalgia factor
- Platform release strategy perfectly executed
Related Review / 関連レビュー
🔗 English Review
・[Sports Newspaper Day] Media-Fabricated “Truth” and “Story” — How Sports Newspapers Create Heroes and Villains
🔗 日本語レビュー
・【スポーツ新聞の日】メディアが作り上げた「真実」と「物語」——スポーツ新聞はいかにヒーローと悪役を創造するか
