Directed by Roger Michell. Starring Rachel McAdams, Harrison Ford, Diane Keaton, Patrick Wilson, Jeff Goldblum 12A cert, gen release, 107 min
Rachel McAdams shines as a go-getting news producer in this glib but entertaining comedy from the screenwriter of The Devil Wears Prada, writes TARA BRADY
THIS CAREER gal romcom ponders age-old questions: what if you don't want it all? What if you're perfectly happy to make do with a glamorous gig and a dreamy like-minded boyfriend played by Patrick Wilson?
Such is Rachel McAdams' non-dilemma in Morning Glory, a sassy 21st-century reconfiguration of The Mary Tyler Moore Show. It hardly seems to matter that she's a hotshot producer attempting to revitalise a flailing breakfast TV slot, or that her ageing anchors – petulant Diane Keaton and grouchy Harrison Ford – can't stand the sight of one another. For all her dashing about, frantic smartphone exchanges and last-minute saves, we're always fairly certain that the charming Ms McAdams will ultimately get matters under control.
Where, you may well ask, is the catch? Our heroine’s TV network overlord is a twinkling, easy-going Jeff Goldblum. Wilson, as her romantic interest and a producer at the same station, couldn’t be more understanding of the situation: “Go, go, go,” he says cheerfully and supportively at the end of every interrupted date.
In lieu of any genuine conflict, Morning Gloryrevels in frontline media chaos, snappy dialogue, good vibes and "I don't know how she does it" multi-tasking. Aline Brosh McKenna's screenplay broadens our understanding of the New Girlie Professional previously outlined in her scripts for 27 Dressesand The Devil wears Prada.
McKenna’s NGP juggles coffee orders and Blackberry conferences; defiantly hobbles across streets in cheap heels; trivial is her business and business is good. In this spirit, the plucky go-getter at the heart of Roger Michell’s comedy favours the sort of reportage we’d expect from Journalist Barbie.
McAdams's career-making innovations – zany balloon rides, more comedy weather forecasts, sumo-wrestling bodysuits – frequently look like Networkwithout the irony. Morning Glory'sobvious overlaps with Broadcast Newsonly serve to highlight the movie's great NGP paradox: this woman is deadly serious about frivolity.
It’s progress of sorts, we suppose. Ford may get all the best lines, but it’s the Girl Friday who gets to cut to an outside broadcast from the mezzanine.
