Working Girl

This is an example of how to make fun and interesting characters that you can empathize with. It's something that today's entertainment industry has mostly forgotten about.

The film is fun, and the cast is not bad. Melanie Griffith, Sigourney Weaver and Harrison Ford are a great combination. This is a true product of its time and as such is superior to most of today's films.

From the beginning, you sympathize with Tess McGill because the character is well written and not irritating, and the story is well balanced, with different characters, good and bad and those in between.

Sigourney Weaver is excellent in the role of the villain, and Melanie Griffith is great as Tess McGill, a secretary who wants to succeed in the business world.

In this film, not all women are saints, but women of flesh and blood, with their flaws and with whom you can sympathize, and men are the same, different, some are bad some are good, just like in real life.

An interesting and fun story with a good cast.

This is a fabulous movie. Maybe not rocket science, but clever enough! It has an engaging plot, an extremely empathetic heroine, a villainous boss, a cheatin' boyfriend, and a handsome new love interest just stepping into the picture. Get your popcorn ready for the comeuppance story of a lifetime.

The tale revolves around a smart secretary named Tess McGill, who wants to get ahead in the Big Apple but is beaten down by her nasty boss, Katherine, who steals her ideas and passes them off as her own. Fortune smiles on Tess when Katherine breaks her leg during a skiing holiday and Tess is able to 'take charge'...that is, until her boss, who recovers all too quickly, returns. Of course there is also a romance brewing here in the form of a handsome investment banker named Jack Trainer, who just happens to be her boss's boyfriend.

Harrison Ford is his typical dashing, magnetic self in the role of Jack Trainer, but it is the two ladies that make this movie. Signourey Weaver is absolutely villainous as an employee's 'worst nightmare' boss, a lady (no, not a lady) high up the corporate ladder, but lacking any semblance of integrity or kindness toward anyone below her in that ladder. You will be itching to see this nasty snob get her comeuppance.

Above all, Melanie Griffith is brilliant in the role of Tess, every viewer's favorite downtrodden secretary. She's a woman with all the intelligence and skills needed to succeed in the corporate world, but is ill used by those above her who put her down. Many employees out there will identify with Tess, having at some point in their lives been ill treated by a boss, whether male or female, with at least shades of Katherine. Furthermore, Tess will surely gain viewer sympathy regarding her unfortunate experiences with her sleazy live in lover, Mick.

The scene featuring the Staten Island ferry is beautifully done, accompanied as it is by Carly Simon's wonderful Oscar winning song, 'Let the River Run'. What an amazing voice! This is really a fantastic, fun movie. You can't help but love it.

Because there's so much content out there and I'll never get through everything I want to see in my lifetime, to help me decide, I often segue from one actor, director, or theme to another. Mike Nichols was the bridge this past weekend for Super Saturday Cinema since I watched "Who's Afraid of Virginia Woolf?" recently and have seen "Closer", "Charlie Wilson's War", and "Postcards from the Edge" in the past few years.

. This is a movie of its time, still entertaining but also allowing for a bit of anthropological thinking about the 80s. There are many good elements that have survived the test of time (35 years!), including an excellent cast, a good story, a great director, and omigod, the hair! If anyone wonders whether women really wore their hair like that, they only need to look at my 1988 high dchool yearbook where every senior girl worth her salt had her hair Aqua-Netted to the gods.

"Working Girl" is one of those movies I've put off for years; and I guess it's partly because I'd known it as a romantic comedy, but mostly because I've never been a Melanie Griffith fan.

Turns out she's the movie's best feature, fitting well as an ambitious secretary who can't get ahead, someone who takes the corporate ladder by force. Actually, all three of the stars were ideal, but Ford and Weaver seemed to be supporting Griffith. She just seemed to embody that empowered career woman who sheds her mousy constraints.

And it is a romantic comedy, but a subtle one. The humor is expressed in the dialogue and I found myself laughing more than I'd expected. It's an '80s movie down to its very DNA and pretty much everything about it still holds up.

7/10

Although the 60s and 70s are thought of as the age of feminism, it wasn't really until the 80s that women really achieved a bit of equality in movie land. But this being a less radical time, the dramas about powerful women tended to be a synthesis of Women's Lib and Reagan era entrepreneurial optimism. This is after all what success meant in that decade. But of-its-time as it is, Working Girl is still an entertaining and uplifting picture.

Written by Kevin Wade, Working Girl is a nice, neatly-constructed story. On a broad level it could be seen a black-and-white tale of good guys and bad guys. But what saves the characters from appearing one-dimensional is that they are written with a great deal of knowing realism. Who hasn't worked for a boss like Sigourney Weaver's character, or been cheated on by a jerk like Alec Baldwin's? One thing that keeps Working Girl engaging is that, while not an out-and-out comedy it is often tentatively funny in the way that real life is funny, such as Alec Baldwin's futile claim that "This isn't what it looks like".

The effectiveness of Working Girl often hinges on the way its characters are projected. On paper, Tess McGill isn't necessarily sympathetic, and neither is Katherine Parker necessarily unpleasant, at least not in the first half of the movie. However, Melanie Griffith portrays the lead with enough drive to appear credible as a go-getter, but all wrapped in a kind of sensitive charm that makes her likable. It's lucky she didn't inherit her mother's steeliness. And Sigourney Weaver manages to convey a smug and patronising manner that is only hinted at in the script, but never quite overdoing it so it is still believable that Griffith initially warms to her. Harrison Ford is at his best too, moulding the role round his limited range by giving a business-world version of his usual level-headed action hero type.

If you're a fan of the look of this era, Working Girl will be a real treat for the eyes – everything from glorious cityscapes to pouffy dresses. I'm glad director Mike Nichols puts such an emphasis on places and props, without loosing sight of the people of course. The changing fashions of the decade are even woven into the movie's themes, as Griffith swaps her hairsprayed bouffant and dangly bangles for an elegant, simple look. Working Girl is an incredibly 80s movie, but it's also the death of 80s extravagance we're witnessing there on screen. Of course, she still wears a pair of pink glasses with rims the size of beermats, but there you go. 80s extravagance died hard.