Word: controled
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Dates: during 1970-1979
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...film stars Jane Fonda as a television news reporter for a Los Angeles station who wants desperately to break out of fluffy features and into hard news. Jack Lemmon plays the supervisor of a nuclear plant's control room and Michael Douglas plays the free-lance cameraman who secretly films Lemmon and his control panel during a near-disaster at the plant. Fonda and Lemmon are well-known supporters of liberal causes and are both outspoken opponents of nuclear power. Douglas, however, is not a political activist and as producer of the film, has a considerable financial stake...
Fonda, a "Happy news" reporter seeking a more substantial story, goes with cameraman Douglas to film a special at a nuclear power plant outside Los Angeles where Lemmon is the control-room supervisor. While getting the standard tour from the plant's public relations man, buzzers ring, bells clang, the control panel lights up like a Christmas tree gone berserk, and the building shakes. Clearly, something is wrong...
...addition to the highly convincing control-room sequences in the power plant, the film's treatment of television news is excellent. Fonda skillfully portrays an ex-commercial actress trying to get away from the trap of cute feature stories. Her professionalism shows as she plants a huge smile on her face on camera, while inwardly seething because her boss killed the nuclear accident story...
Dominating play as period two came to a close (in fact, a Terrier slapshot hit both posts just before the buzzer), B.U. appeared to have regained total control, their time-worn strategy of overcoming deficits with calm, positional play an ostensible success...
Brumit offers glimpses of a variety of modern interpretations, and sticks to none. Raymond Sepe plays Alfred--the Italian tenor who can't control the urge to break forth in snatches of every showpiece aria in the book--like a disco cruiser hoping to score; William Walton at one point debases Eisenstein to use Steve Martin's "wild and crazy guy" line; and Mary Ann Martini gives Prince Orlofsky a German-accented sadism that's hard to take along with Strauss's froth...