Weekly Review -- A not-so-great morning

Morning Glory (2010) -- A bit of charm here, a bit of spark there, a host of characters whose flaws are our own and a brisk screenplay that weaves a simple yet lively story -- that, my friends, is what a romantic comedy should be about. Old favorites like Broadcast News and My Best Friend's Wedding relied superbly on these elements, rightfully earning the status of classics. Unfortunately, we have no such luck with Morning Glory, a film that tries and tries in vain to please, attempting so vigorously to be sprightly nonchalant that it stumbles over itself, not unlike its heroine.

After losing her longtime job, TV producer Becky Fuller (Rachel McAdams) is hired to revamp a New York morning show that has all but imploded. While tangling with the network's problems and a capricious host (Diane Keaton), Becky decides to offer a co-hosting job to a legendary, but rather curmudgeonly, anchor (Harrison Ford), in an effort to boost the ratings. As the two hosts bicker and the show remains in limbo, a prospective romance with another producer (Patrick Wilson) and Becky's dreams of greatness hang in the balance, and Becky starts re-evaluating her priorities...

Chemistry is to romantic comedies what suspense is to thrillers, and this is why the most frustrating part of Morning Glory is the underused spark between Keaton and Ford. Keaton's often neurotic, self-analytical acting style finds a wonderful contrast in Ford's gruff exterior and subdued emotions, and I wish that the two had shared more scenes. Their rapport has a lot of potential and, had it been exploited further, the film would not only have been more appealing, but also more substantial. Contrary to these two subjugated characters and performances, the connection between McAdams and Wilson's characters is supposed to be sizzling, but instead is close to fizzling at every turn. The two have ingredients, but they somehow never make lush, full-on, all-out chemistry. In fact, I find the romance aspect to be painfully underwritten, considering that it is supposed to be one of the main factors that represent a change of perspective looming on Becky's horizon.

The best performances come from actors in supporting roles. McAdams' acting is so over the top that she comes across as manic and unfocused at times. With plenty of natural appeal and charisma, she does not have to try so hard. Wilson shows promise for the genre in a pretty thankless role, but it is Keaton and Ford that steal the show and run with it. John Pankow, so hilariously sleazy on "Episodes", a show you should be watching if you are not already, has a nice turn as a self-deprecating producer. As always, I pay attention to the visual mood of the film and Alwin H. Kuchler's cinematography does not disappoint; the gentleman was responsible for the cinematography in Sunshine (2007) and Code 46, after all.

Morning Glory is one of those films where the great fragments never come together as an entertaining whole. You will enjoy the delightful bits, then spend the rest of the evening wondering about the lack of a certain je ne sais quoi, that rich essence of characterization and storytelling which links the details and creates poignant cinematic fun. The film is a head-scratcher instead of a gem, and that is too bad, because it could have been glorious.

6/10