I'm entirely mystified by the low ratings for what is perhaps Ron Howard's best film. Apollo 13 is more spectacular, true enough. But The Paper is a greater rarity, a 'small' story, spectacularly well done.
I've seen this film numerous times - but to do so, I had to buy it on DVD from the UK, because no proper North American edition existed. Even as I write this (September 2016), there's STILL only a cropped full-screen DVD at Amazon.com, and no Blu-ray. Incredible, considering that Ron Howard is (I think rather undeservedly) considered one of Hollywood's top directors.
The Paper starts with a brilliant script, by veteran writers David and Stephen Koepp. They absolutely nail all the plot points along several beautifully intertwining story arcs: Michael Keaton trying to land a big story, his wife having a baby, his editor trying to reconcile with an alienated daughter, and a cocky columnist feuding with the city's parking commissioner. Amazingly, these threads all tie up.
Ron Howard, not usually the most flamboyant director, does a terrific job of pacing the film. He also uses a subtle but superb approach to filming the newsroom scenes, keeping the camera floating around the cubicles, creating a sense of the perpetual state of urgency imposed by a daily deadline.
All the performances are terrific. Michael Keaton is funny, angry, emotionally conflicted. Marisa Tomei is charming and spunky as usual. Duvall is perfect as the grizzled editor. Glenn Close is suitably vile as the villain. And Randy Quaid delivers yet another unheralded mini-masterpiece, as an outspoken columnist... with a gun.
If this film had been made in the 1940s, it would have starred Clark Gable and Jean Arthur and would have been directed by Howard Hawks. And today it would be regarded as a classic. For some reason, instead, The Paper has been nearly forgotten by everyone.
The Paper is flatly one of the best films about the newspaper business, and quite simply an almost perfect film in every sense. It doesn't tackle big philosophical issues (much) - but what it does, it does as well as any film has ever done. It's funny, exciting, emotionally intense and utterly satisfying. I enjoy and appreciate its unexpected depths more with each viewing.
See this film any way you can - short of purchasing the abominable pan-and-scan DVD.
I've seen this film numerous times - but to do so, I had to buy it on DVD from the UK, because no proper North American edition existed. Even as I write this (September 2016), there's STILL only a cropped full-screen DVD at Amazon.com, and no Blu-ray. Incredible, considering that Ron Howard is (I think rather undeservedly) considered one of Hollywood's top directors.
The Paper starts with a brilliant script, by veteran writers David and Stephen Koepp. They absolutely nail all the plot points along several beautifully intertwining story arcs: Michael Keaton trying to land a big story, his wife having a baby, his editor trying to reconcile with an alienated daughter, and a cocky columnist feuding with the city's parking commissioner. Amazingly, these threads all tie up.
Ron Howard, not usually the most flamboyant director, does a terrific job of pacing the film. He also uses a subtle but superb approach to filming the newsroom scenes, keeping the camera floating around the cubicles, creating a sense of the perpetual state of urgency imposed by a daily deadline.
All the performances are terrific. Michael Keaton is funny, angry, emotionally conflicted. Marisa Tomei is charming and spunky as usual. Duvall is perfect as the grizzled editor. Glenn Close is suitably vile as the villain. And Randy Quaid delivers yet another unheralded mini-masterpiece, as an outspoken columnist... with a gun.
If this film had been made in the 1940s, it would have starred Clark Gable and Jean Arthur and would have been directed by Howard Hawks. And today it would be regarded as a classic. For some reason, instead, The Paper has been nearly forgotten by everyone.
The Paper is flatly one of the best films about the newspaper business, and quite simply an almost perfect film in every sense. It doesn't tackle big philosophical issues (much) - but what it does, it does as well as any film has ever done. It's funny, exciting, emotionally intense and utterly satisfying. I enjoy and appreciate its unexpected depths more with each viewing.
See this film any way you can - short of purchasing the abominable pan-and-scan DVD.