Tackling issues of sexism, race, and gender politics in the
television industry, “Late Night” couldn’t be timelier, and though it could
have used a sharper bite, the filmmakers deserves credit for weaving those
serious, hot-button issues into such a breezy, enjoyable comedy.
The great Emma Thompson stars as Katherine Newbury, a
trailblazing comedian who for 28 years has been the host her own late night
talk show. But over time she’s grown complacent, and her audience has been able
to tell, resulting in ten years of a steady ratings decline.
Katherine’s been able to coast by, but with the arrival of a
new network president (the always wonderful Amy Ryan) she suddenly finds her
job in real jeopardy for the first time. The new executive is frustrated by
Katherine’s refusal to cater to a mainstream audience, and expresses a desire
to replace her with a popular dude-bro stand-up comic (played by Ike Barinholtz).
In an effort to save herself, Katherine tasks her
second-in-command (Denis O’Hare) with finding her a female writer — anyone will
do — to combat bad press and shake up her exclusively white, male writing
staff. Enter Molly Patel (Mindy Kaling, who also
wrote the screenplay), a spunky, yet completely inexperienced aspiring
comedian. But she gets the gig, leaving behind her job in a Pennsylvania
chemical plant to pursue her dream job.
It’s not easy going, and Molly faces resistance from her
entitled male colleagues, led by monologue writer Tom (Reid Scott). She sets
about desperately trying to prove herself in order to avoid being seen as a
token “diversity hire,” though no one hesitates in telling her to her face that
that’s exactly what she is.
Molly’s fresh, modern perspective might just be what
Katherine needs. The two women’s contentious relationship follows the
trajectory of a standard rom-com, with a platonic, professional connection
instead of the traditional romantic one. Drawing on her early experience as an
intern on Conan O’Brien’s talk show, Kaling creates a
convincingly realized behind-the-scenes world. There’s a “The Devil Wears
Prada” feel to her script, also focusing on an ambitious woman faced with a
powerful, impossibly demanding female boss.
But the film plays things safe, and considering the late
night comedy milieu and Kaling’s background, I longed
for something with a bit more teeth. Her script is earnest almost to a fault,
and it’s perhaps too generous to some of its characters, most of whom could use
a good skewering.
The film’s best feature is a powerhouse performance from
Thompson, who plays Katherine with a cold, blustery exterior that masks some
deep-seated insecurities. There’s an intriguing scene between the two women as
they discuss their experiences with depression that I’d have preferred to see
explored, as opposed to the side plot involving Katherine’s relationship with
her ailing husband (John Lithgow), which feels unnecessary.
The film boasts a pro-diversity message that’s easy to get
behind, but that’s also the film’s main drawback. There’s a tendency toward
quick resolutions and happy endings that might have been a chance to say
something more interesting. But when the jokes keep coming, the pleasures of Kaling and Thompson’s prickly chemistry provides enough enjoyment
to carry us through.
This article appears in Jun 19-25, 2019.
