Morning glory

Morning glory, frustrated attempt of reflecting the sensationalism in the North American press.

CARD

Movie: Morning glory. Direction: Roger Michell. Country: It uses. Year: 2010. Duration: 108 min. Genre: Comedy. Interpretation: Rachel McAdams (Becky Fuller), Harrison Ford (Mike Pomeroy), Diane Keaton (Colleen Peck), Patrick Wilson (Adam Bennett), Jeff Goldblum (Jerry Barnes), Ty Burrell (Paul). Script: Aline Brosh McKenna. Production: J.J. Abrams and Bryan Burk. Music: David Arnold. It photographs: Alwin H. Küchler. Assembly: Dan Farrell, Nick Moore and Steven Weisberg. Production design: Mark Friedberg. Wardrobe: Frank Fleming. 

 

The movie of Roger Michell (2010) is a North American comedy that counts the exploits of a morning television program and the determination of its producer for increasing the hearing.

The argument, in principle, it could seem simple and very typical of the “movies of little doves”; nevertheless, to part of its notes of intelligent humor, he hides the real image of the sensationalist press: Mike Pomeroy, a retired presenter of news, (Harrison Ford), refuses to be hunted by the young journalist Becky Fuller (Rachel McAdams) who has just been selected to direct a varietés program (kitchen, fashion, testimonies … etc) whose social base is represented for stopped, housewives and pensioners.

The tense relation between the prestigious reporter (winner of an award Pulitzer) and the stressed one and producing perfectionist is turning into friendship as he confesses the error of its life to him: To have left aside its personal life (especially, forgetting the fondness of its children) for the sake of its professional success, what appears like fundamental message (moralismo) of the movie. Also, this experience serves to two professionals like springboard towards the love: She begins its romance with an editor who, also, forgets its night and dissipated life and for his part, he seduces its partner (Diane Keaton), who assumes the role of a self-educated and good journalist expert in the way by force of years of work.

The aspect that less I have liked of the movie is the presentation of the sensationalism (here we still cannot call it a sensationalist journalism but yes morbid journalism) like a good for first, the spectators and, secondly, for the chain of television. In this comedy, the sensationalism seems to represent the solution to the problems of the program, which manages, to be supported thus in the ranking of most seen; this way, the sensationalism, it is a drug (as there says the song of the British band Oasis that gives title to the movie) for the professionals of the means and also for the viewers, who demand every day more scenes of the risky reporter being raised to a fair attraction or throwing itself to the gap in a parachute.

On the other hand, the movie continues the stela of others that have treated the topic of the role of the mass media in the North American society:

Most emphasized from all of them it is the famous masterpiece of Orson Welles, “Citizen Kane” (1941) remembering the experiences of the magnate of the journalism Charles Foster Kane immediately after its death in a big mansion. Later, the comedy of Billy Wilder “the First page” (1974) was trying to demonstrate the absence of professionalism in the sensationalist press that was avoiding the veracity and the objectivity. In 1976, Alan J. Pakula directs instructively “All the men of the president”, history of the journalistic investigation (led by Robert Redford y Dustin Hoffman) of the case Watergate that he led to the resignation of the president Nixon. In the decade of 1980, he stands out “To The knife-edge of the news” (1987, James L. Brooks), on the crossing of professional lives and personnels of several reporters. In my opinion, in the same line, an excellent movie is “Good night and good luck” directed by George Clooney in 2005: The movie narrates the relation love - hate between political power (senator Joseph McCarthy) and press, in the decade of 1950, epoch of “the hunting of witches” against the communism (Cold War) and of the first years of the journalism television in the United States.

Out of the North American movies, we find, also, other movies on journalists: Unforgettable it is “The dolce vita” of Federico Fellini (1960), I report on the called yellow press, the pursuit of a reporter of social chronicles a famous actress; The French movie “The flowers of Harrison” (Elie Chouraqui, 2000) counts the struggle for the love between a journalists' couple in the middle of the horror of the war of Bosnia. In the Spanish movies, the topic of the press has not been treated especially, except the exceptional cases of two famous comedies of José Luis Sáenz de Heredia: "Histories of the radio” (1955) and “Histories of the television” (1965), both with the common topic of the popular contests, there are a good portrait of the importance of the means in the everyday life of the Spain of the middle of the XXth century.

An aspect that has attracted attention of me on the movie is the continuous reference to the War of Bosnia in the decade of 1990, like a big exploit of the journalist interpreted by Harrison Ford: According to the movie, its performance as reporter in the conflict, would have cost him the securing of the valued Award Pulitzer. From the historical point of view, this is a false exposition, since it is proved (with the proper images of mass media proceeding from the whole world that were showing the terrible bombings of the ancient Yugoslavia and the refugees' waves) that the freedom of the press yes existed during the conflict, in contrast to the control and the filtration of images that has existed in the war of Iraq and that any journalist could gain access to the recording of the warlike situation in Bosnia.

As conclusion, the movie is entertained, nevertheless, it does not treat in depth the topic of the sensationalism in the press, remaining, only, in a simple romantic comedy (although also very far from the movie “Notting Hill“, directed by the same Roger Michell in 1999).

Cristy G. Luxuriant


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Morning glory | Magazine Atticus

Morning glory

Morning glory, frustrated attempt of reflecting the sensationalism in the North American press.

CARD

Movie: Morning glory. Direction: Roger Michell. Country: It uses. Year: 2010. Duration: 108 min. Genre: Comedy. Interpretation: Rachel McAdams (Becky Fuller), Harrison Ford (Mike Pomeroy), Diane Keaton (Colleen Peck), Patrick Wilson (Adam Bennett), Jeff Goldblum (Jerry Barnes), Ty Burrell (Paul). Script: Aline Brosh McKenna. Production: J.J. Abrams and Bryan Burk. Music: David Arnold. It photographs: Alwin H. Küchler. Assembly: Dan Farrell, Nick Moore and Steven Weisberg. Production design: Mark Friedberg. Wardrobe: Frank Fleming. 

 

The movie of Roger Michell (2010) is a North American comedy that counts the exploits of a morning television program and the determination of its producer for increasing the hearing.

The argument, in principle, it could seem simple and very typical of the “movies of little doves”; nevertheless, to part of its notes of intelligent humor, he hides the real image of the sensationalist press: Mike Pomeroy, a retired presenter of news, (Harrison Ford), refuses to be hunted by the young journalist Becky Fuller (Rachel McAdams) who has just been selected to direct a varietés program (kitchen, fashion, testimonies … etc) whose social base is represented for stopped, housewives and pensioners.

The tense relation between the prestigious reporter (winner of an award Pulitzer) and the stressed one and producing perfectionist is turning into friendship as he confesses the error of its life to him: To have left aside its personal life (especially, forgetting the fondness of its children) for the sake of its professional success, what appears like fundamental message (moralismo) of the movie. Also, this experience serves to two professionals like springboard towards the love: She begins its romance with an editor who, also, forgets its night and dissipated life and for his part, he seduces its partner (Diane Keaton), who assumes the role of a self-educated and good journalist expert in the way by force of years of work.

The aspect that less I have liked of the movie is the presentation of the sensationalism (here we still cannot call it a sensationalist journalism but yes morbid journalism) like a good for first, the spectators and, secondly, for the chain of television. In this comedy, the sensationalism seems to represent the solution to the problems of the program, which manages, to be supported thus in the ranking of most seen; this way, the sensationalism, it is a drug (as there says the song of the British band Oasis that gives title to the movie) for the professionals of the means and also for the viewers, who demand every day more scenes of the risky reporter being raised to a fair attraction or throwing itself to the gap in a parachute.

On the other hand, the movie continues the stela of others that have treated the topic of the role of the mass media in the North American society:

Most emphasized from all of them it is the famous masterpiece of Orson Welles, “Citizen Kane” (1941) remembering the experiences of the magnate of the journalism Charles Foster Kane immediately after its death in a big mansion. Later, the comedy of Billy Wilder “the First page” (1974) was trying to demonstrate the absence of professionalism in the sensationalist press that was avoiding the veracity and the objectivity. In 1976, Alan J. Pakula directs instructively “All the men of the president”, history of the journalistic investigation (led by Robert Redford y Dustin Hoffman) of the case Watergate that he led to the resignation of the president Nixon. In the decade of 1980, he stands out “To The knife-edge of the news” (1987, James L. Brooks), on the crossing of professional lives and personnels of several reporters. In my opinion, in the same line, an excellent movie is “Good night and good luck” directed by George Clooney in 2005: The movie narrates the relation love - hate between political power (senator Joseph McCarthy) and press, in the decade of 1950, epoch of “the hunting of witches” against the communism (Cold War) and of the first years of the journalism television in the United States.

Out of the North American movies, we find, also, other movies on journalists: Unforgettable it is “The dolce vita” of Federico Fellini (1960), I report on the called yellow press, the pursuit of a reporter of social chronicles a famous actress; The French movie “The flowers of Harrison” (Elie Chouraqui, 2000) counts the struggle for the love between a journalists' couple in the middle of the horror of the war of Bosnia. In the Spanish movies, the topic of the press has not been treated especially, except the exceptional cases of two famous comedies of José Luis Sáenz de Heredia: "Histories of the radio” (1955) and “Histories of the television” (1965), both with the common topic of the popular contests, there are a good portrait of the importance of the means in the everyday life of the Spain of the middle of the XXth century.

An aspect that has attracted attention of me on the movie is the continuous reference to the War of Bosnia in the decade of 1990, like a big exploit of the journalist interpreted by Harrison Ford: According to the movie, its performance as reporter in the conflict, would have cost him the securing of the valued Award Pulitzer. From the historical point of view, this is a false exposition, since it is proved (with the proper images of mass media proceeding from the whole world that were showing the terrible bombings of the ancient Yugoslavia and the refugees' waves) that the freedom of the press yes existed during the conflict, in contrast to the control and the filtration of images that has existed in the war of Iraq and that any journalist could gain access to the recording of the warlike situation in Bosnia.

As conclusion, the movie is entertained, nevertheless, it does not treat in depth the topic of the sensationalism in the press, remaining, only, in a simple romantic comedy (although also very far from the movie “Notting Hill“, directed by the same Roger Michell in 1999).

Cristy G. Luxuriant


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Filed file: Movies

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