Mike Nichols' Working Girl (1988) was a romantic comedy-drama with a feminist slant. It follows Tess McGill (Melanie Griffith), a secretary with some serious ambition. She attempts to work her way up the business totem pole of Staten Island only to have her efforts squashed by a deceptive supervisor.
The themes of Nichols' masterpiece were incredibly prescient yet still relevant at the time. Even to this day (unfortunately), Working Girl is an entertaining look at a serious issue: the marginalization of women both in the workplace and at large.
Feminism
Working Girl is easily one of the best Harrison Ford movies to not involve Han Solo or Indiana Jones. Instead, it doesn't even focus on Ford's Jack Trainer at all.
Nichols' movie is one of the most important early feminist films (along with the likes of Thelma & Louise). Ford (and Weaver) may have been recognizable on the poster (Griffith was not, at that point) but the real draw is the themes conveyed throughout its runtime. The fact that a 1988 movie was able to discuss feminism in a way that proved to be a crossover hit is very impressive.
Alec Baldwin's Smarmy Character
Alec Baldwin isn't in much of Working Girl, but when he is in it, he plays smug to perfection. The first time viewers meet Mick Dugan, he's throwing his girlfriend (McGill) a birthday party. Then, she receives her present: lingerie.
His next scene continues to display his ambivalence toward McGill. She's telling him about Parker, working for a woman, and her advancement potential. It's all information that's both interesting and relevant to their lives. Dugan seems bored as she tells about her day, and that is fairly indicative of how their relationship will sour.
The Best Joan Cusack's Ever Been
If there's a hall of fame for ing female actors great at playing the friend, Joan Cusac belongs there. She's the funniest part of the movie and can bring the audience to joyful tears with just a look.
This is particularly true of her character once Tess McGill is pretending to be Katharine Parker. McGill brings Trainer into her office for a follow-up meeting on her business proposal. Cynthia pretends to be her assistant, keeping Katharine's colleague from barging in. The look on Cynthia's face conveys a whirlwind of panicked emotion, and few could sell panic as humorously as Cusack.
Mike Nichols Amiable Direction
Mike Nichols knew how to get note-perfect performances from actors. From Griffith, he got drive and determination in a big, consuming world. From Weaver, he got a cold, calculating behemoth of business who is so realistic that the viewer forgets they're watching Sigourney Weaver.
As for Ford, it's as if Nichols wisely just let him do his thing. Jack Trainer is really nothing more than a boy in a man's body throughout Working Girl, and the actor has the charm to pull that off without Trainer ever seeming like a fool. The result is close to being one of Harrison Ford's best roles.
Pushing Ford To The Sidelines
Working Girl is one of Harrison Ford's best films, but it wouldn't be fully accurate to call it a Harrison Ford film. He seems to be having a ball playing the ing character to Griffith's lead.
Considering Ford was one of the biggest stars on the planet in 1988, it would be fair for the audience to expect his role to be the one that propels the plot. But Jack Trainer hovers in the middle ground between driver and bystander; his impact on the narrative is significant, but this is really the tale of Tess McGill.
Weaver As The Villain
Katharine Parker seems overbearing and rude, at first, but it's not far off from a standard business monster. In time, it becomes obvious why Parker made it so high before 30: she doesn't play fair.
Because of how women were (even are) frequently subjugated in the business world, the viewer genuinely does not believe that McGill will succeed. Parker has stolen her idea and it seems things will stay that way. Had it been a man's idea, maybe. Katharine Parker is a phenomenal villain because she's formidable in the real world.
"Let The River Run"
The right song can really help convey the tone of a film; For instance, the best songs in horror movies can manage to both match the tone and subvert it.
Carly Simon wrote "Let the River Run" for Working Girl's soundtrack. It opens the film, playing over the credits as the camera swoops in towards New York City. It's a beautiful piece of music and is a worthy addition to any iTunes playlist. Simon rightfully won an Academy Award for Best Original Song.
Griffith's Commanding & Iconic Lead Performance
Tess McGill is a driven, intelligent woman who has what it takes to make it big. However, this is just one layer that Melanie Griffith conveys through her performance. McGill is also exhausted from being stepped on and screwed over time and time again.
Griffith manages to convey both this exhaustion and this ambition simultaneously throughout the film (with a gradual move towards ambition with less exhaustion). It's hard to imagine anyone else playing the role of McGill.
The Palpable Sisterhood
When Joan Cusack's Cynthia comes to McGill's side before a big party, it's easy to forget that it's acting. Cusack brings a warmth to Cynthia that buoys every last one of her scenes.
Plenty of other movies have had a female character enlist the help of a female friend in anticipation of some big, luxurious event. In Working Girl, it doesn't feel like a scene. Cynthia's offering of valium feels like something a flesh-and-blood late 80s friend would do.
