Some people have the ability to bring out the greatness in others. Or, at least, they have the capacity to see the greatness in others and guide it into the spotlight. I would like to think that a producer has this ability, mostly due to the success of James L. Brooks. As the winner of several Emmy Awards, he clearly knows how to produce a television show, many of which have become a part of the popular culture fabric of our society (The Simpsons, for one). Regarding his films, he has only directed six of them, but they have been a little more hit-or-miss. When the right elements come together, his films are certainly successful, both critically and financially. Perhaps this is due to his ability to get to the humanity of a story and its characters. This week’s two films examine the successful directing of James L. Brooks.
Length: 133 minutes / 2.22 hours
With as much television experience as Brooks has, it is no wonder that he eventually decided to direct a film about it. The behind-the-scenes of the newsroom could only come from an intimate knowledge of the industry, of which James L. Brooks certainly has. Broadcast News (1987) was only one of a handful of Best Picture Oscar nominees he directed. Each time he made an Oscar-worthy film, it is interesting to note that he also obtained nominations for Best Writing as well. As Good as It Gets (1997) earned this distinction alongside Broadcast News and Terms of Endearment (1984). Of course, as a producer of films, he was also in the running for a Best Picture Oscar with Jerry Maguire (1996), a film he did not direct or write, but did produce. Unfortunately, most of these films left him without any Oscars for his effort.
Jane Craig (Holly Hunter) has boundless ambition when it comes to her job as a television producer. Her best friend, Aaron Altman (Albert Brooks), secretly has a crush on her but is unable to confess his feelings. Meanwhile, a promotion moved Tom Grunick (William Hurt) from sports to the main anchor chair, despite his only skill being a photogenic personality. Jane learns Tom is also attracted to her, but Aaron tries to warn her about him while at the same time finally confessing his own feelings. It turns out Tom has broken a few ethical rules during a heartfelt interview that he obtained from a woman who was sexually assaulted. In the end, all three of them have to disband and live their lives elsewhere when the network goes under. While each of them found their own individual success, they still managed to maintain their friendship through it all.
Terms of Endearment
Length: 132 minutes / 2.2 hours
Brooks’ breakout film was none other than the aforementioned Terms of Endearment. I’d hate to draw correlations to his work and the work of M. Night Shyamalan, but he seemed to peak with his first two films. Terms of Endearment won Brooks his only three Oscars for Best Picture, Best Writing, and Best Director, the latter of which was also his only nomination in that category. Lately, his films have not been quite successful at all. I’ll Do Anything (1994), Spanglish (2004), and How Do You Know? (2010) are all largely considered much weaker than his Best Picture-nominated work. Since he only seems to direct two films every decade, we probably can’t expect anything from him soon, but when he does return to the director’s chair, I certainly hope he can earn another Oscar for his work.
The mother-daughter relationship is perhaps one of the tightest relationships any two people can ever have. Aurora Greenway (Shirley MacLaine) and her daughter, Emma Greenway-Horton (Debra Winger), have both wanted to find love in their lives. When Emma is married to Flap Horton (Jeff Daniels), Aurora’s mothering nature fails to show how much she cares about Emma and instead strains their relationship. As Emma starts her own journey into motherhood, Aurora finds love with her next-door neighbor, Garrett Breedlove (Jack Nicholson), a retired astronaut. While Emma’s marriage is threatened by an affair held between Flap and one of his students, a cancer diagnosis for Emma forces the family together. Flap and Aurora do their best to put their differences behind them to support Emma in her final months.
2 sum it up: 2 films, 2 of the best by James L. Brooks
Bacon #: 2 (Modern Romance / Jane Hallaren -> Hero at Large / Kevin Bacon)