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Morning Glory (2010)
WARNING: THERE ARE NO SPOILERS IN A MOVIE THIS OBVIOUS
In “Morning Glory,” an enthusiastic, workaholic TV producer, Becky Fuller (Rachel McAdams), lands a gig with a floundering national morning news show, “Daybreak,” and does whatever she can to turn the show into a success.
In “Morning Glory,” an enthusiastic, workaholic actress, Rachel McAdams, lands the lead in a floundering star vehicle, “Morning Glory,” and does whatever she can to turn the movie into a success.
Becky succeeds. The way she succeeds is part of why Rachel fails. Shame. It’s been a while since I’ve seen such a likeable talent turn in such a funny, nuanced performance in the service of such crap.
As the movie begins, Becky is the producer of “Good Morning, New Jersey,” which has just been bought by a conglomerate, and in the reshuffling everyone expects her to get promoted. Subordinates wear T-shirts reading, “Way to go, Becky!” and Becky wears a T-shirt into her boss’s office reading, “Yes, I accept!” Instead of getting booted up, of course, she gets booted out. Cue box of personal items and crying subordinates, still wearing their “Way to go, Becky!” T-shirts, in the parking lot.
That’s not a bad scene, actually. They telegraph it, but something about those T-shirts in the parking lot forgives the telegraphing.
No, the first real red flag of the movie is subsequent to that, when Becky’s mother (Patti D’Arbanville, “Lady D’Arbanville” Cat Stevens fans) has a heart-to-heart with her. She tells her it’s time to give up on her dreams. She tells her those dreams used to be cute but now they’re just ... embarrassing. She tells her to stop now, please, before her life becomes tragic.
Really, Mom? Your daughter just got fired through no fault of her own? From a job she was obviously good at? And this is your advice? It’s not like she’s 28 and wants to be a ballerina. She just wants to be a producer. She wants to work in TV. Maybe if you’d given a speech about how it’s 2010, and TV is dying, and you need to look to the future and try something Twitterish or YouTubeish, we would’ve bought it in some respect. Maybe if you’d owned up to how volatile the world seems, and how no job, no profession, no career seems safe in these shifting times, you would’ve connected Becky and her problems to us and ours, in a way that felt meaningful, and we would’ve cared more about the movie. Instead ...
Of course this speech was designed (by screenwriter Aline Brosh McKenna, director Roger Michell, and the suits at Paramount) to make Becky more sympathetic. It provides a kind of false tension in the first 10 minutes. She needs to show her mother! And quickly! Which she does. She lands a plum (or plummish) gig as producer of the IBS network’s fourth-place morning show: “Daybreak.”
When she arrives, the doorknobs don’t work, the staff is lethargic, the cohost, Paul McVee (Ty Burrell) is a sex pervert. So she energizes the staff by firing the co-host. But her boss, Jerry Barnes (Jeff Goldblum—always welcome to see), rather than applaud the move, tells her she has no budget for a new cohost. So she has to pick someone already contracted to, but not really working for, the IBS family.
Ah, but there is someone in this category. A legend, actually: Mike Pomeroy (Harrison Ford, all wrong for the role), a Mike Wallaceish, crotchety, old-school TV newsman, and, according to hunky fellow IBSer, Adam Bennett (Patrick Wilson), “the third worst person in the world.” Through a kind quirky persistence, she lands both the hunky Bennettt (in bed) and the crotchety Pomeroy (in the co-host chair). But while the former is accommodating and tight-abbed in the Hollywood manner, the latter fights and grumbles all the way.
He’s full of himself and his importance. He has ego battles with co-host Colleen Peck (Diane Keaton) over who gets to sign off the show—not a bad bit, actually—even though he doesn’t care a wit for the show. He insists on announcing only depressing news, or “news.” He thinks shows like “Daybreak” are contributing to the decline and fall of western civilization.
Problem? He’s right but unlikeable. He’s so gruff and serious he makes the real Mike Wallace seem like Richard Simmons in comparison. He’s so gruff he even has a growly voice, which doesn’t work for TV news at all. Listen to Wallace, Safer, Koppel. Their faces may be craggy but their voices are smooth. Harrison Ford? He’s virtually expectorating every word he says. He’s Demi Moore with bronchitis.
Bigger problem? Becky, our heroine, is likeable but wrong. We want her to win, but to win, to get the ratings up so the show isn’t canceled, she has to make her show sillier, which she does with enthusiasm. She puts the weatherman on a roller coaster. She makes him skydive. His horrified reaction makes everyone laugh and he becomes “a YouTube sensation,” whatever that’s worth. Now Colleen wants in on the action. She bakes this, she dances with that, has animals on her show. Animals! And funny things happen with them! Oops, here comes a sku-u-unk...
But it works. By aiming low, by making the fluffy show fluffier, the ratings go up, they get new doorknobs, and Becky is called into the offices of the “Today” show to become their producer. Will she abandon what she’s created, and her team of misfits, to take her dream job? Of course she won’t. This is a movie, not life. So Mike Pomeroy, realizing he’s about to lose the producer who saved the show he never wanted to be on in the first place, makes an impromptu frittata on camera, to show that he’s loosened up; and Becky, about to take the job in the “Today” show offices, sees him do this—because NBC apparently displays all their rivals’ TV shows in their corporate offices—excuses herself, and runs across town to get back to him in time. In time for what? For the frittata? The tension is past. Her choice is made. That was the tension. No, she runs for pretend tension: So she can be in the wings and smile at Mike Pomeroy as he signs off.
Get a room already, you two.
You know what might’ve been a cool movie? “An award-winning TV journalist, Mike Pomeroy (Donald Sutherland), is forced to take a job on a morning news program, where his standards keep getting lowered until his overly enthusiastic producer, Becky (Rachel McAdams), asks for one final humiliation.” Think of it as “Morning Glory” mixed with “Blue Angel.”
Or this? “A likeable, quirky TV producer, Becky (Rachel McAdams), continually lowers the standards of her morning news show to get the ratings up, but it doesn’t work and the show is canceled.”
I know. Neither would ever get made. But in a way the latter one did. “Morning Glory,” a movie that continually lowered its standards to give movie audiences what they wanted, wasn’t what people wanted. It opened in fifth place last November and sank without a trace.
March 27, 2011
© 2011 Erik Lundegaard