It's a thriller set in Los Angeles on Thanksgiving Day in 1986 and several days after. It follows the reactions of an alcoholic ex-actor who, on Thanksgiving morning, wakes up next to a dead man with a knife in his chest.
Alexandra Sternbergen (Jane Fonda) is a blackout alcoholic who once played a significant role in a movie. She's separated from her hairdresser husband, Joaquin Manero (Raul Julia). After a night she can't remember, she wakes up next to the body of Bobby Korshack (Geoffrey Scott), a sleazy photographer she didn't previously know.
She attempts to cover her presence in his studio and runs into an ex-cop, Turner Kendall (Jeff Bridges), who says he's on disability. "The Morning After" follows their efforts to figure out who killed Korshack if it wasn't Alexandra. We also meet Manero's new girlfriend, Isabel Harding (Diane Salinger), the daughter of a prominent judge. In a final confrontation, we learn the identity of the killer and the reason for the killing.
"The Morning After" features some good acting by Fonda as a middle-aged manipulative alcoholic. The other actors are average. The plot takes jumps that make little sense and leaves many unresolved threads. Alexandra develops a hard-to-believe trust in Turner, whose intrusive behavior was unacceptable already in the 1980s. The chemistry between Fonda and Bridges was only OK.
Alexandra Sternbergen (Jane Fonda) is a blackout alcoholic who once played a significant role in a movie. She's separated from her hairdresser husband, Joaquin Manero (Raul Julia). After a night she can't remember, she wakes up next to the body of Bobby Korshack (Geoffrey Scott), a sleazy photographer she didn't previously know.
She attempts to cover her presence in his studio and runs into an ex-cop, Turner Kendall (Jeff Bridges), who says he's on disability. "The Morning After" follows their efforts to figure out who killed Korshack if it wasn't Alexandra. We also meet Manero's new girlfriend, Isabel Harding (Diane Salinger), the daughter of a prominent judge. In a final confrontation, we learn the identity of the killer and the reason for the killing.
"The Morning After" features some good acting by Fonda as a middle-aged manipulative alcoholic. The other actors are average. The plot takes jumps that make little sense and leaves many unresolved threads. Alexandra develops a hard-to-believe trust in Turner, whose intrusive behavior was unacceptable already in the 1980s. The chemistry between Fonda and Bridges was only OK.