| Field | Details |
|---|---|
| Movie Name | UP CLOSE & PERSONAL (1996) |
| Director | Jon Avnet |
| Writer | Joan Didion, John Gregory Dunne, Alanna Nash |
| Lead Actor | Robert Redford |
| Cast | Robert Redford, Michelle Pfeiffer, Stockard Channing |
| Genre | Drama, Romance |
| Release Date | March 1, 1996 (United States) |
| Duration | 2h 4m(124 min) |
| Budget | $60 million |
| Language | English |
| IMDB Rating | 6.1/10 |
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UP CLOSE & PERSONAL
The ambitious female TV journalist is a special case of the difficulties facing women trying to make it big in the corporate rat race. She has to be smart, aggressive and professionally dedicated, just like the guys. But she also is expected to be charming, beautiful and forever young. The sexy, photogenic part makes her a natural subject for movies–most recently, The Jessica Savitch Story (on TV) and To Die For, both of which focused on self destructive ambition.
Michelle Pfeiffer’s Tally Atwater, the heroine of Up Close, appears less driven and more “normal.” Her worst outrage is faking her resumé, which gets her a job in Miami and a chance to be tutored by Warren Justice (Robert Redford), a former network star reporter and the TV equivalent of the wily veteran city editor. She’s virtually a role model in paying her dues and working hard, he’s the one who’s self-destructive, largely from an excess of idealism. A no compromise guy, he insists on hard news, not fluff; on truth, not fantasy.
They fall in love, even get married, despite the problems basic to the business: If she’s going to be a star, she’ll have to move to bigger markets, and he’s been there, done that. He tries for a while, but he’s too abrasive to work in that commercial world. Eventually, he goes off to pursue a major political story in Panama. For actor Redford, it just adds to the legend. A truth-teller, he makes honest reporting noble and sexy again.
There’s no irony when Tally succeeds, she’s learned both skills and integrity from her mentor. It’s not all dead serious: There’s a funny sequence where she ends up singing “The Impossible Dream” (very badly) at the 50 yard line in the empty Orange Bowl.
Also (despite some clichés) there’s a fairly deep inside look at TV news, plus solid support from a good cast, including Stockard Channing as an icy female rival and Joe Mantegna as a bottom line fixated agent. Premarital sex, but generally uplifting take on TV journalism, for mature youth and adults.
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