When I was in college, I worked on the campus newspaper, first as a
staff writer and eventually as the editor of the news section. Since
then, I have written regularly for two other newspapers. Hence, I can
relate somewhat to the stress exhibited in the 1994 Ron Howard movie The Paper, though none of my stories has had such high stakes as the one main character Henry (Michael Keaton) is trying to break.
This movie, which was written by brothers David and Stephen Koepp,
takes place over the course of one very hectic day. Two lower-class
black teenagers stand accused of murdering a white businessman. The
audience knows it isn’t true, but Henry and his fellow reporters can
only guess in pursuit of the truth. It would be easier to assume guilt,
but if they can uncover a conspiracy and help clear innocent young men
in the process, surely that’s worth the extra hassle, right?
This movie shows all the stresses that go into putting together a daily
newspaper and the toll that it takes on the most dedicated reporters.
Henry is one of those, a workaholic whose commitment to a newspaper that
hasn’t always treated him very well frustrates his wife Martha (Marisa
Tomei), a former reporter on the verge of giving birth, though she helps
him pursue his story, as does cheerful renegade Michael McDougal (Randy
Quaid), despite the displeasure of bulldoggish Alicia Clark (Glenn
Close), the second-in-command who just wants to go to press on time
since expensive delays could sink the struggling newspaper.
There’s a manic quality to the movie that made it hard for me to follow
at first. It’s loaded with characters, many of whom are played by A-list
actors. There are also several New York City personalities who turn up
as themselves, and Howard’s parents, wife and brother all get cameos.
This turns the movie viewing into a fun game of Spot the Star but
distracts a bit from the plot, at least initially, though I found it
easier to get into once I’d been watching for a while.
The tug
among strong forces like integrity, business savvy and family makes it
compelling as the characters face very difficult choices, while the
sometimes absurdist solutions keep the laughter coming. Meanwhile, side
stories add to the more serious overtones, particularly the quest of
ailing editor-in-chief Bernie White, played by the always-excellent
Robert Duvall, to reconcile with his estranged daughter.
The
movie is rated R with good reason, particularly when it comes to
language and violence. I wouldn’t recommend it for younger audiences,
but high schoolers considering careers in journalism might want to have a
look and see what they might be getting into. This movie shows the
intense frustration that can arise from working in the newspaper
business. However, it also celebrates the exultation of a job well done.
Showing posts with label Ron Howard. Show all posts
Showing posts with label Ron Howard. Show all posts
Monday, February 4, 2013
Thursday, November 12, 2009
Frost / Nixon Is At Its Best When the Leads Play Hardball
Last year, I was so ready for the Oscars, I managed to see every
contender for Best Picture, not to mention quite a few nominees in other
categories. This year, I was much more lax. One of the movies that fell
by the wayside was Frost / Nixon, which piqued my curiosity, but not enough to make it essential viewing. I amended this oversight today.
Frost / Nixon, originally a stage play with the same two stars, was written by Peter Morgan, and the film is directed by Ron Howard, who has helmed some of my favorite movies, including the underrated Far and Away. Michael Sheen, who portrays intrepid interviewer David Frost, won me over as Tony Blair in 2006’s The Queen; he seems to have a knack for playing real-life wet-behind-the-ears personages. And I’d seen enough of Frank Langella as disgraced President Richard Nixon to be impressed with the way he embodies such an iconic role.
More than anything, this movie boils down to the two of them, together or apart, carefully plotting out what they will say to each other as teams of advisors hover fretfully. Their tactical maneuvers put me in mind of a boxing match, with Frost the Rocky-like underdog trying to find his adversary’s weak spot. I’ve always thought of Nixon, especially during this time period, as an unscrupulous, defeated figure, but throughout most of the movie he comes across as confident, courteous, charismatic and witty.
As I watched his interaction with Frost, I also found myself thinking of V, the sci-fi series that recently began airing on ABC. In both cases, the journalist is called upon to refrain from asking uncomfortable questions. The task falls to Frost to figure out how to prompt illuminating answers without enraging his subject. As when he played Blair, Sheen shows us a man who seems in over his head, suddenly thrust into a spotlight much too big for him. There’s less verbal ping-pong than the previews led me to believe, since all of the juiciest bits occur during the last portion of their interview, which stretched over several days.
Hence, the movie has a slow build to it that may try the patience of some. It’s interesting to get a peek into all of the background work that goes into an interview like this - weeks of research, millions of dollars in expenditures. But during most of their encounters, the two men are quite cordial to each other; it’s a good hour and a half before the sparring starts in earnest. Even when it’s all over with, there’s a definite sense of mutual respect.
Among the supporting cast, the clear standout is Kevin Bacon as Jack Brennan, Nixon’s deeply devoted, extremely conservative wingman. He proves an even greater stumbling block to Frost than Nixon himself, as he exercises constant vigilance in his attempts to protect the former President’s good name. On the other side of the fence is Bob Zelnick, Frost’s right-hand man. Portrayed by Oliver Platt, he’s a bundle of jokey energy, always trying to lessen the tension with a laugh but quite obviously concerned that this project could kill his career.
Rebecca Hall turns in a nice performance as Caroline Cushing, the sweet Englishwoman who quickly falls into Frost’s inner circle. Unfortunately, as a fan of Diane Sawyer (played by Kate Jennings Grant), I was disappointed in how little this ace reporter was given to do. It almost made me wonder why she was even included as a character.
If you have an interest in the role of the media in shaping society’s opinions, Frost / Nixon is a fascinating film to watch. While bits of it are a tad dry and dozy, the movie as a whole is an intriguing peek at an important slice of recent history, anchored by two outstanding performances.
Frost / Nixon, originally a stage play with the same two stars, was written by Peter Morgan, and the film is directed by Ron Howard, who has helmed some of my favorite movies, including the underrated Far and Away. Michael Sheen, who portrays intrepid interviewer David Frost, won me over as Tony Blair in 2006’s The Queen; he seems to have a knack for playing real-life wet-behind-the-ears personages. And I’d seen enough of Frank Langella as disgraced President Richard Nixon to be impressed with the way he embodies such an iconic role.
More than anything, this movie boils down to the two of them, together or apart, carefully plotting out what they will say to each other as teams of advisors hover fretfully. Their tactical maneuvers put me in mind of a boxing match, with Frost the Rocky-like underdog trying to find his adversary’s weak spot. I’ve always thought of Nixon, especially during this time period, as an unscrupulous, defeated figure, but throughout most of the movie he comes across as confident, courteous, charismatic and witty.
As I watched his interaction with Frost, I also found myself thinking of V, the sci-fi series that recently began airing on ABC. In both cases, the journalist is called upon to refrain from asking uncomfortable questions. The task falls to Frost to figure out how to prompt illuminating answers without enraging his subject. As when he played Blair, Sheen shows us a man who seems in over his head, suddenly thrust into a spotlight much too big for him. There’s less verbal ping-pong than the previews led me to believe, since all of the juiciest bits occur during the last portion of their interview, which stretched over several days.
Hence, the movie has a slow build to it that may try the patience of some. It’s interesting to get a peek into all of the background work that goes into an interview like this - weeks of research, millions of dollars in expenditures. But during most of their encounters, the two men are quite cordial to each other; it’s a good hour and a half before the sparring starts in earnest. Even when it’s all over with, there’s a definite sense of mutual respect.
Among the supporting cast, the clear standout is Kevin Bacon as Jack Brennan, Nixon’s deeply devoted, extremely conservative wingman. He proves an even greater stumbling block to Frost than Nixon himself, as he exercises constant vigilance in his attempts to protect the former President’s good name. On the other side of the fence is Bob Zelnick, Frost’s right-hand man. Portrayed by Oliver Platt, he’s a bundle of jokey energy, always trying to lessen the tension with a laugh but quite obviously concerned that this project could kill his career.
Rebecca Hall turns in a nice performance as Caroline Cushing, the sweet Englishwoman who quickly falls into Frost’s inner circle. Unfortunately, as a fan of Diane Sawyer (played by Kate Jennings Grant), I was disappointed in how little this ace reporter was given to do. It almost made me wonder why she was even included as a character.
If you have an interest in the role of the media in shaping society’s opinions, Frost / Nixon is a fascinating film to watch. While bits of it are a tad dry and dozy, the movie as a whole is an intriguing peek at an important slice of recent history, anchored by two outstanding performances.
Wednesday, July 3, 2002
A Beautiful Movie
Although I usually do not get too excited about awards shows, I looked forward to this year’s Oscars because The Fellowship of the Ring
had been nominated so many times. Although the film I was rooting for
won four Oscars, it was superceded in many categories by one of two
movies: Moulin Rouge and A Beautiful Mind. When the latter
took the Oscars for Best Picture and Best Director, I became determined
to see it. Now that I have watched it, I still don’t know that I would
say it deserved the statue more than Fellowship – I’m rather biased in that area – but it certainly was worth watching.
Based on the life of Dr. John Nash (Russell Crowe), a brilliant but tortured mathematician, Mind chronicles his career from graduate student to Nobel Prize recipient. From the beginning, it is clear that Nash may have a way with numbers, but his people skills are sorely lacking. His first meeting with his peers reveals his awkwardness, which is borne primarily of arrogance. Nash believes himself to be superior to nearly everyone he meets. He sees classes as a waste of time and runs himself ragged trying to come up with a truly original thought.
He is so intent on his work that he would probably destroy himself if not for his “prodigal roommate,” Charles (Paul Bettany). Charles is Nash’s antithesis, a British English major whose effusive personality and party animal tendencies bring Nash out of his shell. Still, Nash sees the world in mathematic terms, and it is during an evening on the town that he finally comes up with the original thought he has been searching for.
Flash forward five years, and Nash finds himself in the undesirable position of sharing his knowledge with “eager young minds.” One particular student decides to unravel the mystery surrounding this eclectic professor. Unintimidated by his standoffish demeanor, Alicia (Jennifer Connolly) sets out on a mission to connect with him. Meanwhile, a trip to the Pentagon leads Nash to become enmeshed in a project far more intrusive than it at first appears. His top secret code-breaking for William Parcher (Ed Harris) of the CIA gradually wears on his psyche, and as his married life with Alicia begins, he becomes caught in a downward spiral culminating in an earth-shattering revelation.
The remainder of the film deals with his upward climb towards normalcy and his unending struggle to do something of significance. Fairly depressing throughout, it still ends on a note of hope. Although the movie deviates significantly from the true story, it gives a suitable sense of the burden Nash has carried throughout his life. Connolly deserved the award she received for her role, and Crowe certainly did a good job, though at times I found his speech almost too mumbly to be intelligible. My favorite character is Charles, who brings much-needed levity and warmth to a number of scenes and balances Nash’s rigidity. When the circumstances of Nash’s life change drastically, he is also involved in what, for me, is the movie’s saddest scene. Ed Harris is appropriately enigmatic as the increasingly sinister Parcher, and Christopher Plummer turns in a fine performance as the psychiatrist Nash never asked for.
I found myself seeing Craig Toomey of Steven King’s The Langoliers in Nash, an arrogant man haunted by his desperation to make something of himself. The film also reminded me of The Sixth Sense in that it delivered a 180-degree twist that I did not anticipate despite thinking I knew what to expect. Finally, the chronicling of this professor’s life from his early twenties to his seventies was reminiscent of Mr. Holland’s Opus.
I did not particularly care for the movie’s Oscar-nominated soundtrack – though I generally like Charlotte Church, this was a bit too much opera for me – and, as I stated earlier, Crowe’s speech was difficult to decipher at times. All in all, however, I found it a very well-crafted movie which was worthy of the acclaim it received.
Based on the life of Dr. John Nash (Russell Crowe), a brilliant but tortured mathematician, Mind chronicles his career from graduate student to Nobel Prize recipient. From the beginning, it is clear that Nash may have a way with numbers, but his people skills are sorely lacking. His first meeting with his peers reveals his awkwardness, which is borne primarily of arrogance. Nash believes himself to be superior to nearly everyone he meets. He sees classes as a waste of time and runs himself ragged trying to come up with a truly original thought.
He is so intent on his work that he would probably destroy himself if not for his “prodigal roommate,” Charles (Paul Bettany). Charles is Nash’s antithesis, a British English major whose effusive personality and party animal tendencies bring Nash out of his shell. Still, Nash sees the world in mathematic terms, and it is during an evening on the town that he finally comes up with the original thought he has been searching for.
Flash forward five years, and Nash finds himself in the undesirable position of sharing his knowledge with “eager young minds.” One particular student decides to unravel the mystery surrounding this eclectic professor. Unintimidated by his standoffish demeanor, Alicia (Jennifer Connolly) sets out on a mission to connect with him. Meanwhile, a trip to the Pentagon leads Nash to become enmeshed in a project far more intrusive than it at first appears. His top secret code-breaking for William Parcher (Ed Harris) of the CIA gradually wears on his psyche, and as his married life with Alicia begins, he becomes caught in a downward spiral culminating in an earth-shattering revelation.
The remainder of the film deals with his upward climb towards normalcy and his unending struggle to do something of significance. Fairly depressing throughout, it still ends on a note of hope. Although the movie deviates significantly from the true story, it gives a suitable sense of the burden Nash has carried throughout his life. Connolly deserved the award she received for her role, and Crowe certainly did a good job, though at times I found his speech almost too mumbly to be intelligible. My favorite character is Charles, who brings much-needed levity and warmth to a number of scenes and balances Nash’s rigidity. When the circumstances of Nash’s life change drastically, he is also involved in what, for me, is the movie’s saddest scene. Ed Harris is appropriately enigmatic as the increasingly sinister Parcher, and Christopher Plummer turns in a fine performance as the psychiatrist Nash never asked for.
I found myself seeing Craig Toomey of Steven King’s The Langoliers in Nash, an arrogant man haunted by his desperation to make something of himself. The film also reminded me of The Sixth Sense in that it delivered a 180-degree twist that I did not anticipate despite thinking I knew what to expect. Finally, the chronicling of this professor’s life from his early twenties to his seventies was reminiscent of Mr. Holland’s Opus.
I did not particularly care for the movie’s Oscar-nominated soundtrack – though I generally like Charlotte Church, this was a bit too much opera for me – and, as I stated earlier, Crowe’s speech was difficult to decipher at times. All in all, however, I found it a very well-crafted movie which was worthy of the acclaim it received.
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