With the upcoming released biopic, The Post, starring Tom Hanks and Meryl Streep already garnering Oscar buzz, it seems like a good time to consider other times movies have brought the news industry into the spotlight. At a time when the future of newspapers and journalism seems so uncertain the following films are especially relevant.
All The President’s Men (1976) This classic political thriller tells the now legendary story of how Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) investigation and reporting of an a minor break-in at the Watergate led to a tangled web that brought down the Nixon presidency. (It also ensured that all future scandals would have the title ‘gate’ attached to their name.) Directed by Alan Pakula (Klute, The Parallax View) and with a screenplay by William Goldman (Butch Cassidy and the Sundance Kid, The Princess Bride) it was an instant commercial and critical success. It would garner eight Academy Award nominations and four awards including Best Screenplay for Goldman and Best Supporting Actor for Jason Robards. It currently holds a fresh rating of 93% on the Tomatometer.
Fletch (1985) Los Angeles Times reporter and master of disguise Irwin Fletcher (Chevy Chase in what he would call his favorite roll) is posing as a junkie while researching an expose on drug trafficking. A millionaire approaches him and claiming to be terminally ill hires Fletch to kill him. When further investigation reveals the millionaire to be in perfect health, Fletch realizes he’s on to a potentially much bigger story. To get at it, will take all his considerable wits. The movie was a critical and commercial hit spawning a sequel and has gone on to garner a cult following as well.
The Paper (1994) Ron Howard (Apollo 13, A Beautiful Mind) directed this American comedy-drama taking place over 24 hectic hours in the life of Henry Hackett (Michael Keaton) Metro editor for the New York Sun, a fictional tabloid. The Sun is experiencing cash flow problems and is making drastic cuts. Meanwhile Henry’s wife, Martha (Marisa Tomei), is expecting their first child and aggravated with his workaholism. She wants him to take a job at the New York Sentinel (a thinly disguised version of the New York Times). Meanwhile a sensational double homicide of two white businessman and subsequent arrest of two African American teenagers has Harry’s news sense tingling. The all star cast also includes Robert Duvall, Glenn Close, Randy Quaid, and Jason Robards (again!). It currently holds an 88% fresh rating at Rotten Tomatoes with critics praising the film for capturing the frenetic high energy environment of actual newsrooms.
State of Play (2009) This taut political thriller was an adaption of a six-part BBC series by the same name. Russell Crowe turns in a pitch perfect performance as investigative reporter Cal McAffrey who probes the suspicious death of Congressman Stephen Collins’ (Ben Affleck) mistress. Matters are further complicated by the fact that McAffrey and Collins were once old friends and that Cal had an affair with Stephen’s wife Anne (Robin Wright). Cal convinces his wary, long suffering editor Cameron (the always fabulous Helen Mirren) to let him dig deeper into the matter with the help of young reporter and blogger Della (Rachel McAdams at her most charming). Needless to say twists and turns abound in an intricate plot of layered conspiracy. State of Play garnered generally favorable reviews and Crowe won the Best Actor award from the Australia Film Institute.
Spotlight (2015) This searing biographical crime drama follows how The Boston Globe’s ‘Spotlight’ team uncovered a pattern of widespread systemic sexual abuse by priests in the Boston area, that kicked off an international scandal. Starring Michael Keaton (again!), Mark Ruffalo, Rachel McAdams (again!), Stanley Tucci, and Liev Schreiber it’s an instant masterpiece demonstrating how a culture of complicity and silence enabled generations of abuse. It was nominated for six Academy Awards and won Best Original Screenplay and Best Picture. (Read our earlier review.)
Top photo: Bigstock
Twenty-two years ago, Glenn Close won the best actress Tony Award as silent screen star Norma Desmond. She’s back and better. That’s pretty much all you need to know about this pared down production which comes to us from a successful run in London. The piece itself was never substantial. Unlike Hello Dolly or Gypsy repeated year after year as actresses yearn to execute star turns, both music (Andrew Lloyd Webber) and lyrics (Don Black/Christopher Hampton) here are pedestrian. It should be noted, however, that songs will probably never sound better as performed by a 40! piece orchestra and engineered by Sound Designer Mick Potter.
Glenn Close, Michael Xavier
Transitioning from Billy Wilder’s 1950 film, Sunset Boulevard also lost the pith of the noir aura which, in its initial form, was as morbid as Nathanael West’s 1939 The Day of the Locust. Whereas William Holden’s young screenwriter Joe Gillis was already bitter and cynical, musical theater actors have played him increasingly more innocent and/or compassionate.
The line culminates in Michael Xavier’s portrayal. A good singer and actor (not to mention eye candy), Xavier is made to sympathize with Gillis’s benefactor to such a degree, we lose the repulsion and self loathing, mercenary attitude prevalent in the original. The former is completely defanged by referring to Norma as 50 years old when, in fact, she’s supposed to be 40-50 years his senior. (Kisses should elicit shudders and don’t.) The latter appears as an afterthought. I lay these issues at the feet of Director Lonny Price, though Close may have demanded the age change.
The Company at Schwab’s
With the show’s orchestra taking up most of a sizable stage, Lonny Price must shift his characters around and above with both visual adroitness and attention to story location. He does so. An overlong party scene of youthful movie hopefuls is graphically upbeat, aided and abetted by Choreographer Stephen Mear’s exuberant moves.
For those of you living under a rock, the synopsis: chased by collectors who will shortly repossess his car, Gillis accidentally wanders onto the grounds of once celebrated, silent screen star Norma Desmond. With the conniving and protection of butler Max von Mayerling (Fred Johanson, who seems more like a cardboard Munster than an ominous obsessive), the former toast of Hollywood lives in a gilded fantasy of return to her public.
Michael Xavier, Siobhan Dillon
When Gillis learns Norma’s written a massive script in which she expects to play 16 year-old Salome, he signs on to doctor it and shortly ends up living on premises, coddled, gifted, owned. An inadvertent side romance with attractive wannabe writer, Betty Schaeffer (the very fine, fresh, and credible Siobhan Dillon) comes to naught as Norma finds out and takes violent action.
The role of proud, desperate, unbalanced Norma is less camp than frequent embodiment in Glenn Close’s well practiced hands. Older and perhaps more understanding of the diva’s emotions, Close gives us a terrified woman fighting for life as she knows it. She’s persuasively obtuse, imperious, raging, joyful – oh, the expression on her face watching Norma’s film or dancing with Ellis!, and mentally unmoored. Though vocals can be thin or off key, the performer never loses focus or verisimilitude. The audience, having raised Close to a pantheon of appreciated survivors, greets every big number with extensive applause. Three separate bows evoke cheers and stomping.
Glenn Close
James Noone’s imaginative set utilizes metalwork scaffolding, balconies and stairs to great effect, though performers get a taxing workout. A vertical daisy chain of chandeliers is marvelous as is a floating cadaver. To my mind, the Schwab’s (Drugstore) sign is way too small to allot significance. Mark Henderson’s Lighting Design offers far more nuance than mere gridwork might inspire.
Tracy Christensen does an able job with Costumes which live visually well together and appear period apt. Anthony Powell’s Costume Design for Glenn Close is both wonderfully over the top and flattering without seeming high camp – until the last scene when dressing for an early film purposefully reflects madness. Charlotte Hayward has alas toned down Norma’s exaggerated Make-up.
Photos by Joan Marcus
Opening: Glenn Close
Glenn Close in Sunset Boulevard
Music by Andrew Lloyd Webber
Book & Lyrics by Don Black & Christopher Hampton
Directed by Lonny Price
Palace Theatre
47th and Broadway
