Film Review with Robert Mann – Morning Glory

22nd January 2011

Morning Glory ***½

The name of producer, writer and director J.J. Abrams is one that has become synonymous with a very specific type of film and television show, him having developed a reputation for complex and compelling serialized storytelling in shows such as Alias, Lost and Fringe and for action and science fiction blockbusters like Mission: Impossible III, Star Trek and Cloverfield,
and every time the logo for his production company, Bad Robot, has appeared at the start of a film, the expectation has quite understandably been for something very much like what he has become famous for. It is something of a surprise, then, to see the Bad Robot logo at the start of Morning Glory, a film which has literally nothing in common with any of the things for which Abrams has become so beloved. I will state that Abrams does not act as writer or director on this film, only as producer (as was also the case with Cloverfield) but nonetheless his involvement is rather surprising. Seemingly part of an attempted change in direction for the producer, this film, along with the cancelled spy themed TV show Undercovers, has already proven to be something of a miss for Abrams, having already flopped in the states and failed to wow critics there or here. Any blame shouldn’t for any failings this film may have (I’m not saying it actually does have any), however, should not be aimed at Abrams but rather the people on the frontline of this film’s production – Abrams did only producer after all. The credentials behind Morning Glory are certainly very promising – director Roger Michell is the man behind well received films like Notting Hill, Changing Lanes and Venus while writer Aline Brosh McKenna has written the screenplays for both The Devil Wears Prada and 27 Dresses – and the cast is also a strong one, bringing together Rachel McAdams, Harrison Ford, Diane Keaton, Patrick Wilson and Jeff Goldblum. What about the concept though? Many comparisons have already been made to 1987 James L. Brooks film Broadcast News (which starred William Hurt, Albert Brooks and Holly Hunter), comparisons which have not been particularly favourable, and, considering the involvement of Abrams – who is known for bringing some very fresh and intriguing concepts to the screen – the idea at the heart of the film is hardly the most compelling thing to make a film about. But does Michell’s film prove to be a dud like the news show that features at the centre of its story, Daybreak (not to be confused with the Daybreak that is on British TV right now and, quite appropriately, is getting the same dreadful reaction as the one that features in this film) or does it manage to shine and dawn in 2011 as a year for decent Hollywood comedies?

Becky Fuller (Rachel McAdams) is a spirited young TV producer who finds that she has a really tough job on her hands when she accepts a job offer for her to take the reins and attempt to revive the fortunes of flagging breakfast TV show Daybreak, which has a reputation for eating up and spitting out even the most seasoned producers. It’s a job for which she will be, in the words of her new boss Jerry Barnes (Jeff Goldblum), “publicly ridiculed, overworked, underpaid” yet she doesn’t let this stop her. Her first job is to bring in legendary, but cranky, TV presenter Mike Pomeroy (Harrison Ford) to work with diva-esque anchorwoman Colleen Peck (Diane Keaton). But things start to go wrong when Mike proves unwilling to cover any story that doesn’t qualify as hard hitting news and Becky’s new presenters, who hate each other’s guts, begin bickering live on air. To make matters worse, her love affair with fellow producer Adam (Patrick Wilson) has started to go off the boil. Can Becky keep it together long enough to bring in the ratings and save Daybreak – all while rescuing her love life?

To get the most enjoyment out of Morning Glory you really need to view it as being like a morning television news programme – it doesn’t aim to be hard hitting but it does do exactly what it sets out to do and that is entertain. While it occasionally hints at satire, this is a film that largely avoids embracing the hard hitting and instead chooses to focus on the lighter side of life and if you enjoy morning television it is fair to say that you will probably enjoy this film. The humour is hardly sophisticated and never achieves all out hilarity but with its combination of funny dialogue – a scene where Colleen and Mike argue live on air being a particularly good example – silly situations that you know you probably shouldn’t laugh at but will anyway – scenes in which poor weatherman Ernie Appleby (played by Matt Malloy) goes on a rollercoaster, skydives and flies a fighter jet deliver some real laugh out loud moments – and humorous mishaps as Becky struggles to save the show – at first Daybreak truly is an awful show (much like its real life namesake) and a lot of humour is drawn from this – it proves extremely enjoyable and provides plenty of moments that are sure to make your sides split, if you like your humour light and silly anyway. The writing is generally pretty strong, providing dialogue that is consistently solid, frequently excellent and often very funny and while the story is rather predictable and sugar-coats the less than glamorous world of a TV producer – the plot is, as Pomeroy might say, “fluffy” – it also proves very heart-warming. In particular, the point at which Pomeroy shows his softer side is hardly surprising but it is very tender. The characters are all well written too and, along with casting which is very good and acting which is excellent, they are brought to vivid life on screen. Rachel McAdams delivers a very spirited performance and makes for a warm, likable and upbeat screen presence, perfectly capturing Becky’s can do personality and convincing every bit as much when her character finds the pressures of the job getting to her. And she has one hell of s smile too. Harrison Ford does grumpy superbly, perfectly convincing as an egotistic and self absorbed man who thinks he is above everything, and also proves perfectly able when he has to show a softer, more tender side, also being believable as a lost and lonely individual who is finding a place in the world all over again. Diane Keaton makes for a very convincing diva-esque type character and proves very amusing too. And the hatred between Mike and Colleen on screen really convinces. You could cut the hatred between them with knife. As for the other major players, Patrick Wilson, who is effectively little more than a romantic interest, is extremely charismatic while Jeff Goldblum is just Jeff Goldblum. Take all this and thrown in solid direction and some very good camera work and what you have is a film that may not be life changing but is heart-warming and enjoyable and sure to leave you with a smile on your face. Morning Glory may not be quite glorious and is unashamedly fluff but it is quality fluff and anything that leaves you with as big a smile on your face as this film can’t be bad.

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Review by Robert Mann BA (Hons)

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