Throughout the film, Mike keeps insisting that everybody "learn the Akais". Akai (now defunct) was one of the pioneers in the transitions from film to video in the early 1970's. With film being so expensive it gave news stations the cheaper option of recording on video cameras and storing it on VHS and similar formats rather than film. The downside was that these formats were not built for longevity and as such, a lot of VHS material was lost and never archived properly. Christine's Akai indeed became a popular and convenient option throughout the 1970's and even up to the early 1990's in some news stations. The Akai company also manufactured VCRs, VHS/DVD player combos, camcorders and CRT television sets until its collapse in 2001. The company now belongs to Akai Sales Pte Ltd, headquartered in Singapore, and has shifted its focus largely to musical instruments. See more »
At the end of the film, a character turns on "The Mary Tyler Moore Show" - the theme song is playing and the lyrics say "you might just make it after all". This movie takes place in 1974. MTM Show ran from 1970-1977 - by 1974 they would have been using the theme song that goes "you're gonna make it after all". See more »
Ask George out for coffee? Coffee never killed anyone.
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The credits don't roll, but are in still form. See more »
Written by Tommy James, Robert King
Performed by Alive N Kickin
Published by EMI Longitude Music
Courtesy of Rhino Entertainment Company/Roulette Records
By arrangement with Warner Music Group Film & TV Licensing See more »
The 70s and its war against authority, the reach for 'more'. Coming off hippies. She has a peculiar spirit, more of an artist, manifesting in the war with the station head being her father figure (he was great); the outcome is the performance art of her suicide. There was maybe nothing more 70s than that.
Hall is so ghostly and immense here. You never get women in film so transformative while being completely unconnected, or anything other than society's glue. 'Yeah but'. The struggle with mental illness is maybe too easy of an out. Would it have been better she remain cool and clinical the whole way, as on her news pieces. Rather than her having wild and emotional outbreaks where they yell about how she suffers from depression?
How come when we know what she's planning it, is it almost exciting, like she's about to get back at all of these horrible people by offing herself? It was like wait a minute, the film can't avoid putting that through since she's so wronged we will root for anything she decides. And then the whole thing feels confused after the event, like there it was, what was the purpose of this again? Albeit maybe the film's uncertainty what to do with it is the nature of suicide?
...But it left the film's biggest misstep, is ending on the rival celebrating her career advancement. It's too easy. It simplifies a gradual meltdown into basic 'humanity is evil' conclusions. It should have focused mainly on the station head father figure, cig in mouth mumbling regrets. and then the mum in a drugged daze, who'd completely let Christine down, poisoning being a woman, imparting no purpose. Maybe show some interaction between them being crucial story symbols, that contrast of mother and (absent) father, would be a far more meaningful and damning way to encapsulate the film and the 70s as a whole, rather than the ruthless cutthroat feminism it concludes with.
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