#nisha ganatra
Late Night is now playing in select cities and opens nationwide on Friday.
Director Nisha Ganatra and screenwriter Mindy Kaling premiered Late Night during the 2019 Sundance Film Festival and it went on to be one of the Festival’s biggest deal earners of the year.
“So much of this movie is about being a fan and being on the outside of the entertainment business,” says Kaling. “That story has been told many, many, many times by 52-year-old white men, and I love all those movies. And as a comedy nerd I’ve always identified with them because it was the closest thing that I could identify with. There was no one like me making those kind of films.” - Mindy Kaling from Variety
Emma Thompson brings pathos and amusingly severe charm to the pantsuit-clad Katherine Newbury. Smartly written by Mindy Kaling and snappily directed by Nisha Ganatra, Late Night takes on white privilege, entitlement, and a culture veering toward crassness and conservatism. Questioning how women in power are “supposed” to act, it delivers a winsome, sophisticated comedy about the times in which we live.
1: Mindy Kaling and Nisha Ganatra during 2019 Sundance Film Festival. © 2019 Dia Dipasupil/WireImage.com; 2, 3: Film stills courtesy of Late Night.
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Late Night (2019) Dir. Nisha Ganatra, Cin. Matthew Clark
“I hope I earned the privilege of your time.”
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“Even when her characters stand at life-altering crossroads, Emma Thompson always radiates the cool confidence of a certified genius who possesses an unshakable belief in herself and her gifts. We may sometimes doubt the sustainability of the women she plays, but we never doubt Thompson’s ability to imbue their experiences with humor, grace, and profundity. Late Night’s Katherine Newbury, a venerated comedian facing the loss of the talk show that is her lifeblood, is a role tailor-made for the sharp-witted comedic gifts that Thompson is seldom invited to utilize in her latter-day career, save for the occasional awards show presentation. Her sardonic one-liners consistently kill, but Thompson also knows that a withering, well-timed look or a purposeful pause can speak equal volumes. Yet what really distinguishes Thompson’s performance is the prickly, supercilious air that enshrouds Katherine, a byproduct of the actress’ welcome disinterest in making the character palatable or easy to root for; Thompson is too honest an interpreter to sand down the off-putting edges of this deeply flawed woman or simply heroize her last stand against the turning tides of network television. That we root for Katherine nevertheless is a natural inevitability when casting Thompson, who guarantees that Katherine’s moments of pathos, vindication, and victory will be earned and balanced out by the plausible, warts-and-all multidimensionality that is this sublime artist’s stock-in-trade.
Late Night is very much Thompson’s show, but it’s also a reminder that screenwriter and costar Mindy Kaling shines brightest when writing to her strengths, one of which is endowing often naïve, sometimes corny, and permanently genuine underdogs with worth and vitality on the page and screen. As Molly, the tokenized and exceedingly green new addition to Katherine’s all-male writers’ room, Kaling delights by leaning in to the character’s earnestness with the unabashed exuberance of a comedian who is accustomed to, say, looking like a fool or extending an awkward moment a beat or two past the normal threshold of comfort. It would be easy to play a character this painfully sincere with winking, in-on-the-joke irony—in other words, to emphasize the lie of one’s own performance. Kaling excels by doing the opposite, committing so hard to Molly’s verbal and physical faux pas that we are not only amused by the character’s wide-eyed gaucheness but duly convinced of it. Yet Kaling also knows that sweetness need never be confused for simplicity, and she emerges as a terrific proponent for this would-be heroine, giving Molly the cleverness and dignity to make us believe she could lift the dinosaur that is Katherine’s show out of a creative rut. By film’s end, Molly has proven that her ideas, smarts, and “lack of boundaries” are imperative, and her creator has persuaded us that her performative wit and pluck are qualities which the floundering American comedy should continue to harness. Kaling’s performance, like Thompson’s, suggests the tougher, more pointed, less polite satire Late Night might have been, but watching this unexpected yet inspired pair play off one another is never less than a spikily satisfying diversion.” — Matthew Eng
The 12 Best Female Film Performances of Early 2019
(Source:TribecaFilm.com)
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