Page 18 THE VILLADOM TIMES IV • November 24, 2010
Behind the scenes of morning television
by Dennis Seuling “Morning Glory” is driven by an energetic performance from Rachel McAdams. She plays Becky Fuller, a young, eager-to-please producer hired by IBS station manager Jerry Barnes (Jeff Goldblum) to shake up “Daybreak,” the lowest-rated of all the TV morning shows. Consistently in last place, the show seems to have stopped even trying to compete for viewers. Becky vows to change things. Also under contract to IBS, veteran newsman Mike Pomeroy (Harrison Ford) has covered major events, interviewed heads of state, and won numerous news awards. He prides himself on doing only hard news. That, after all, has made his reputation. Now, however, he is sitting out his contract at the station without much real work to do. Becky thinks Pomeroy is just the thing to give “Daybreak” a touch of class, but getting him to consider her offer seriously takes ingenuity, psychology, and a bit of blackmail. Once at the co-host desk with longtime morning show fixture Colleen Peck (Diane Keaton), Pomeroy refuses to do cooking segments and other fluff pieces, disdains the concept of “light news,” and generally makes life on the show miserable. “Morning Glory” is essentially the story of Becky’s trials and tribulations assuming control, dealing with inflated on-camera egos, convincing a newsman he has
Rachel McAdams, Diane Keaton, and Harrison Ford in ‘Morning Glory.’
a place on morning TV, and trying to have a social life at the same time. That social life involves Adam Bennett (Patrick Wilson), who works at the station and is attracted to Becky. But the lure and demands of work conspire to undermine attempts to develop a true relationship, since Becky is consumed with the desire to raise the ratings and prevent the talent from killing each other. McAdams (“Sherlock Holmes,” “Wedding Crashers”) is in almost every scene and is the film’s primary focus. Ford and Keaton are really supporting players, but bring a huge shot of star power to the proceedings. Keaton is great fun as the exasperated co-host who, during a commercial break, can toss invective at Pomeroy and then, when the on-air countdown reaches “two,” switch on her beauty-queen smile and shift emotional gears to become the cheery morning TV host. Ford is another story. Playing a seasoned reporter who feels trapped by contractual demands and resents not being on some important assignment overseas, Ford is one-note and the aloof coldness that might be appropriate for the character does little to win audience empathy. Ford’s Pomeroy is a fallen prima donna. His star in the hard news firmament has dimmed, but he carries on as if
it still burns brightly. Ford underplays most of the time, almost as if he is embarrassed to deliver his dialogue. Though the script may not be the best of his career, he doesn’t give his all to the role or his performance. Keaton, on the other hand, is frequently over the top, perhaps because she is trying to compensate for Ford’s tired delivery. For a comedy, there aren’t many big laughs here. The humor derives mostly from Becky’s efforts to put together an organized, interesting live TV show despite innumerable obstacles. McAdams is a charming actress, and her Becky is reminiscent of Mary Tyler Moore, but with the perkiness amped a bit too much. The audience roots for her and hopes she prevails, but too much of the movie’s success rests on her shoulders. With such distinguished co-stars, their characters would have offered a mixed perspective to life in the control room and on the set. More scenes with them would have been welcome. Rated PG-13, “Morning Glory” is pleasant, but seems more a made-for-TV flick than a theatrical feature. The screenplay by Aline Brosh McKenna lacks sparkle. In the 1930s, this story would have been told as a screwball comedy. With its more grounded narrative, the film may be more realistic, but the humor suffers.
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