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Jane Fonda gives an incredibly nuanced performance as a spiraling down drunkard, she researched the tragic 40's star Gail Russell who drank herself to death at 36 to fully understand her characters plight of a once promising actress reduced to blackouts and infamy. Jeff Bridges is almost as strong as a stranger trying to help her out of a situation she can't even remember. The rest of the cast gives good support starting with Raul Julia on down to a pre-stardom Kathy Bates in a tiny role, the problem is that the script that all this superior work is working with is ill conceived and not terribly well directed by the usually excellent Lumet.

I was entertained. The murder mystery isn't going to impress anyone since you can count the number of suspects on one hand with a couple fingers left over. But the characters are interesting and are brought to life well by capable actors. Bridges' character is what would be termed today "casually racist." Fonda's character keeps bringing it up too despite getting further involved with the guy. It's kind of fascinating honestly. Both actors do well making you care about people that, on paper, seem pretty unlikable. Raul Julia steals every scene he's in.

I've come to appreciate Sidney Lumet's later work more as I get older. Not saying you have to be older to like his films but in my case it worked out that way. He wasn't afraid of complex characters, even offensive ones. It's hard not to respect that as we get closer to Demolition Man's vision of the future every year.

This movie was much better than I had reason to expect after reading the comments on IMDb. Its biggest flaw must be the way The Morning After is marketed. It is not really a taut whodunit thriller but rather a study of a particular place in a particular era with particular characters – a dark comedy and a love drama at the same time. The second biggest flaw is the grating, almost ever present musical score. But for the rest this movie is nearly perfect.

I should call The Morning After an expose of Southern California in the mid 1980s. The sets and the photography (a lot frontal or near frontal wide angle shots of curbside sceneries) are very accomplished – Schrader's American Gigolo came to mind. The sun is always shining, the air seems to be absolutely pure, even places that should be dirty (back yards, industrial sites etc.) are painted in gaudy colors and squeaky clean. But the minds of the principal protagonists are desperately foggy and muddled. California appears to be a big, decaying fake idyll. People go there to die, I once read in a novel by Nathanael West (The Day of the Locust – also made into a great, underrated California movie, by the way). And that more or less sums up the feel of it.

The cast is kept wonderfully small. Jane Fonda is brilliant and she would have deserved the Oscar for this part. For several long scenes she acts alone in front of the camera and she really conveys the desperation and the natural charm of the character (and she's really attractive, too, despite the boozing). Jeff Bridges is a reliable support here. Also very good is Raul Julia as Fonda's somehow estranged husband. He plays a high end hairdresser with a snazzy salon and at times displays an unexpected but highly welcome gentlemanly charm.

Until now I always thought of Sidney Lumet as an American East Coast director. It is the only one of his movies I know that is set in California. He seems to have his own way of appreciating that place. There is a director's comment on the DVD I purchased and I am looking forward to listening to that.

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.

While Jane's last Oscar nominated performance (before she retired from films) has its moments, the film falls apart after she takes off her blonde wig. I thought she looked like a knockout with it on. Some really well photographed scenery pops up near the first half and there's a long extended sequence that has her clean up the dead man's apartment, which is filled with many sly touches; alas the beginning is ten times better and more developed than the weak conclusion. Jeff Bridges adds a nice touch to the story but was it really wise for the Fonda character to place all her trust in a total stranger? Kathy Bates has a cameo as a neighbor before she hit the big time scaring everyone in Misery. She's on the screen maybe 10 seconds to a minute, tops. Overall, the parts, as other reviewers have stated, are juicier than the whole.