THE MORNING AFTER is one of those films that begins with an intriguing opening--JANE FONDA wakes up in bed next to a murdered man and, because she was in an alcoholic daze, can't remember even entering the man's apartment. So far, so good. Nice hook to draw the viewer in.
But as the story unwinds, it becomes clear that the writers ran out of material for a substantial story about midway through. The weaknesses are offset somewhat by the good performance of JEFF BRIDGES as a helpful policeman who agrees to help Fonda solve the who-dun-it aspect of her plight.
It's all beautifully staged and photographed in a sunlit Los Angeles and worth watching for the performances alone. Fonda is at her best as the worried alcoholic who refuses to believe she could have committed the crime and Bridges provides some good chemistry as a co-star.
But the ending (with its revelation) is a bit disappointing after all the build-up to a conclusion. RAOUL JULIA and KATHY BATES have minor roles but the weak ending is hard to dismiss.
Fonda won an Oscar nomination and deserved it for creating a dimensional character in a story thin on believable characters.
But as the story unwinds, it becomes clear that the writers ran out of material for a substantial story about midway through. The weaknesses are offset somewhat by the good performance of JEFF BRIDGES as a helpful policeman who agrees to help Fonda solve the who-dun-it aspect of her plight.
It's all beautifully staged and photographed in a sunlit Los Angeles and worth watching for the performances alone. Fonda is at her best as the worried alcoholic who refuses to believe she could have committed the crime and Bridges provides some good chemistry as a co-star.
But the ending (with its revelation) is a bit disappointing after all the build-up to a conclusion. RAOUL JULIA and KATHY BATES have minor roles but the weak ending is hard to dismiss.
Fonda won an Oscar nomination and deserved it for creating a dimensional character in a story thin on believable characters.