Broadcast News- Set in the realm of
high-powered and fast-paced network news, “Broadcast News” plays as both workplace
love triangle but also a comedic, cannily-detailed indictment of that late 80s
news climate. Written and directed by James L. Brooks, the film presents the
lives of the pretty boy anchor Tom (William Hurt), the principled yet abrasive reporter
Aaron (Albert Brooks), and the basket-case producer Jane (Holly Hunter) and how
they try to balance work, personal relationships, and the behind-the-scenes
network shuffling.
Back in the 80s, Brooks really could do no wrong. His
timing, his ability to find comedy and pathos in such different situations was
really superb, and “Broadcast” is his best. Here he writes these three
characters with such distinct dynamics. They can have dialogue that’s
intelligent and not solely based on their relationships; work can be
interesting too. It’s a refreshing adult romantic comedy.
Holly
Hunter, in her breakthrough role, is a wonder as Jane. Watching her try to
grasp desperately onto her set-in-stone workplace principles despite her heart
being pulled another way is as captivating for the audience as is it
excruciating for her.
Brooks does his best to find his dark sardonic
humor in the material and his prickly self-deprecation fit right in to the
milieu. Hurt, riding his mid-80s career
high, does small nuanced work as the slightly out-of-touch Tom who’s willing to
do anything to get ahead. All three leads play well off of each other too.
Whether it’s the oil and water like Brooks and Hurt, or the rising heat between
Hunter and Hurt, the sparks fly between every duo. The open-ended conclusion to
this tale does feel a bit hasty, but that’s probably more a credit to Brooks
for moving the story along so swiftly. Grade:
A
The Fabulous Baker Boys- Like a great
piece of jazz, the elements of “The Fabulous Baker Boys” jive together, play
off of each other, and peak at different points to create a romantic drama full
of real sexual chemistry and strong character. Two brothers (real life brothers
Jeff and Beau Bridges) play a pair of middle-of-the-road, traveling piano bar
players who after continuing to play the same venues day-after-day, making just
enough money, decide to take on a singer in order to spice up their act. But
once the former AAA escort (and best available option) Susie Diamond (Michelle
Pfeiffer) shows up with her attitude and sultry voice, things finally come to a
head.
This film
has incredible economy of story. From the first scene, we know who these
brothers are and why their dynamic has devolved the way it has. Writer/director
Steve Kloves doesn’t spend a ton of time trying to reveal the whole of their back
story; the film shows their shading and characterization as the film goes
along, making us genuinely surprised by some of the actions they make.
As he
always does, Jeff Bridges imbues his character with his own brand of subtle
naturalism he’s been honing for years. His version of a misanthropic alcoholism
doesn’t have any of the loud pronouncements or the giant breakdown scenes that
you’d expect.
Michelle
Pfeiffer burns a hole right through the screen with her Susie Diamond. She
doesn’t have a perfect voice, but she owns the musical numbers and draws you
with her intense sexuality just like she draws in the audiences in the lounges.
She’s not just a hooker with a heart of gold; she’s a world-tested woman of
toughness and fight. No matter how much they try not to, poor Beau Bridges’s
Frank does end up looking like too much of a wet blanket too often. We never
feel as bad for him as we wonder how the couple is going to get back together. The
scenes in the nightclubs are shot with an ingenious high gloss and low-class lighting
by Michael Ballhaus, and Dave Grusin’s jazz score just keeps you in this sexy
melancholy mood. Grade: A
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