LATE NIGHT
US, 2019, 102 minutes, Colour.
Emma Thompson, Mindy Kaling, John Lithgow, Hugh Dancy, Reid Scott, Denis O'Hare, Max Casella, Paul Walter Hauser, Ike Barinholtz, Amy Ryan.
Directed by Nisha Ginatra.
Audiences in the US, and audiences beyond the US, like to relax in the evenings with the television Late Night Shows, loyal to the hosts over the years, even decades. Generally they are male (we remember Johnny Carson, David Letterman, John Oliver, Jimmy Kimmel, Jimmy Fallon…) But, there has been Whoopi Goldberg… We watch the shows, enjoy the jokes, the monologue commentaries on politics and society, the guest interviews with their insights (and their promotions).
But, what are the host really like offscreen? And who does all the writing? The producing? The lining up of guests…?
Well, this very entertaining film offers some answers (and suggestions). It can be seen as all the more authentic because it was actually written by its co-star, Mindy Kaling, who has a substantial list of writing credits, especially for the American version of The Office and her own show, 117 episodes, The Mindy Project. In Late Night, she plays Molly, who works in an industrial plant but gets the opportunity in a competition to have an interview with the star of a Late Night Show, gets a job (they decide they need a woman on the writing staff which is all exceedingly male and white), is very tentative at first, at moments vulnerable, but showing she has an ear and an eye for jokes. Perhaps she drew on her early ventures into writing 15 years earlier to create the character of Molly and her travails.
Star of the show, however, in every aspect, is Emma Thompson, who, like Mary Poppins although she would never proclaim this in real life, is “practically perfect�. She is Katherine Newbury, star of her show for almost 30 years, very British, elegant in style and dress, precise in articulation, a celebrity who is very much admired. Except by the head of the network, Amy Ryan, who warns Katherine Newbury that she underestimates her audience, is snobbish in her attitudes, and that it is time for the show to end. And, they have a young stand-up comic, played by Ike Barinholtz, purveyor of really crass jokes, to take her place.
Katherine Newbury is charming on screen, thanking the audience for the privilege of letting her have time with them. But, offscreen! (Make that double !’s.) She has no personal contact with her team of writers, routinely, but slackadaisically, churning out material for her, hanging on to their jobs). When she does meet them she can’t be bothered remembering the names and numbers them off and addresses them by their number. Her loyal producer, Brad (Denis O’Hare) acts as a liaison for her in all the practical details.
With the threat to her show, the situation changes. She is also advised that she should have a woman writer – just at the time that Molly turns up from the factory for the interview and instantly gets the job (and is of Indian background which is an extra bonus). It should be mentioned that Katherine has one saving grace, her love for her husband of many years, John Lithgow, a pianist who is now suffering from Parkinson’s. The tenderness in the film comes principally from their scenes together.
Actually, the dialogue is very enjoyable to listen to, Mindy Kaling certainly has an ear for jokes, irony and jibes, but also for a lot of truth in deeper interactions.
Katherine, of course, has to learn to be human and is very fortunate that Molly is able to save the day for her several times. And, while audiences might think it will be plain sailing when Katherine is more humanised, there is a development of the plot that will surprise – and has some momentum that could sabotage Katherine’s life.
If you enjoy clever and often smart dialogue, if you enjoy strong performances, especially from Emma Thompson, if you enjoy a bit of stirring up the background behind the scenes of top television shows and their anchors, then this is definitely for you.
1. The background of American night television shows, the anchors? And behind the scenes? The title, Katherine and her program, a television host, the nature of the shows, the jokes, the interviews, monologues, guests and issues?
2. The picture of the writing staff, large staff, their hack work, writing material, its being rejected not being used? Their ambitions? To hang on to their jobs?
3. The offices in the television building, the stage? Homes and apartments? Streets and clubs? The musical score?
4. Mindy Kaling as the writer of the screenplay, insights into the television shows and their background, personalities? The clever and humorous writing? Her performance, sympathy, anchoring the story in reality?
5. Emma Thompson has Katherine, her appearance, age, manner, from England, her on-screen personality, her delivery, rapport with the audience? The contrast with Katherine offscreen, haughty, impersonal, yet depressed, love for her husband, harsh with others, her goal of excellence?
6. The show over the years, her attitude towards her audience, the privilege of their time, yet her snobbery? The head of the network, coming to see her, dislike, the threats, the termination of her show?
7. Danny, the stand-up comedian, the crassness of his show, Katherine’s shock that he was to succeed her, meeting with his agent, the head of the network? The device of having him on the show, to indicate the transition and her approval, his crassness, her outwitting him on screen, his disgust, his anger at his agent?
8. The range of writers, Charlie and his charm, Tom and his father, having the position, past friendship with Charlie? Writing the monologues? The range of the others, slack behaviour, gossiping, alerted to Katherine’s arrival, her calling them by numbers and not by name? The contributions?
9. Katherine on screen, her style, Molly looking at past examples? The range of jokes, the interviews, the You Tube filmmaker and Katherine mocking her, the reaction of the guest, calling Katherine out, and the proliferation of the scene online?
10. Walter, Parkinson’s disease, his support of Katherine, over the years, the story of his leaving his wife and children for her, his skill at music, the effect of his disease? The shock of the revelation about her affair, hurt? The phone call, the studio, talking with Katherine, her one sin and the
million good things, forgiveness?
11. Molly, her work in the plant, some stand-up comedy, seeing the advertisement, the opportunity to meet Katherine for an interview, in the waiting room, the others waiting for jobs – and the scene where the young man wanted time off from his family and was fired by Katherine? Brad and his continued presence, support, mopping up? The issue of the hiring of a woman? Molly and Katherine’s presence, awkward, her being hired, a woman, racial minority? Her eagerness, personality, Indian family, living with them?
12. The men, male, white? The lack of women in the office, the lack of minorities? (And the final sequence multi-minority?)
13. Molly on her first day, being number eight, having to sit on the bin, her honesty, Katherine’s reaction, the demand that she provide solutions, her writing, the joke about menopause, accepted, Katherine’s fear and its being omitted?
14. Charlie, his approach, stand-up comedian, her going to the gig, the sexual advances, her attraction but her refusal, after three weeks? The revelation of his affair with Katherine?
15. Molly, being accepted, her contribution, sharing the studio floor with Tom? His talking with her, admiration for her, his past?
16. Molly, preparing the stand-up evening for lung cancer? Katherine’s demands, that she stay, Molly defying her, her gig, Katherine following her – going on stage, the flat jokes, the funny jokes, Molly re-hired?
17. The decision to reshape Katherine and her off screen personality? The PR expert and Katherine’s reactions? The family party and the Germans coming, the interviews, Molly and Tom, finding Walter, their talk, Molly saving the day with the press? Katherine grateful?
18. The makeover, the range of jokes, movie personalities, Republican senators and menopause? The young woman and her series, wanting a hug? The audience response? The group, their work, yet Molly going – Katherine coming, climbing the steps, to visit her?
19. The revelation of the scandal, the headlines, Bill Maher’s denunciation on television, Katherine’s dilemma as to telling the truth on television or not, letting it blow over? Talking with Walter?
20. Molly, the advice, her watching Katherine on television, telling the truth, reprehensible behaviour by both men and women, the audience applause?
21. Katherine saved, the head of the network conceding that she had done well, Molly continuing to write – and the multi--racial staff and the women?
