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Working Girl
Working Girl
Stars: Sigourney Weaver, Harrison Ford, Melanie Griffith, Alec Baldwin, Joan CusackDirector: Mike Nichols
Summary: A young secretary (Melanie Griffith in an Oscar-nominated performance) with dreams of moving up the corporate ladder thinks that her brains will help her achieve her goals. And when she finds a job with a seemingly helpful and sympathetic boss who's also a woman (played by Sigourney Weaver) it looks as if she's on her way. But it turns out the executive is slimy and duplicitous, stealing the secretary's clever ideas to further her own career. Now the furious secretary's determined to get revenge and her plan may not only propel her to the top of the heap but get her a husband too (Harrison Ford). Mike Nichols directed this workplace comedy with a light, smart touch, getting terrific performances from his excellent cast.
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In the ensuing years since Working Girl was released, Harrison Ford has never given such a charming and witty performance, Sigourney Weaver hasn’t been given quite the same kind of scenery-chewing role, and Melanie Griffith simply hasn’t got near doing anything this good again. And yet in Mike Nichols’ excellent romantic comedy, they all gel in a film with eminent rewatch value.
The premise is fairly simple. Griffith’s lowly secretary gets a job with Weaver’s megabitch boss. The former is unhappy at home and work, while the latter is unscrupulous and underhand, and happy to pass off one of Griffith’s good ideas as her own. Yet when Weaver’s character is incapacitated, in steps Griffith, who quickly attracts the professional and personal attention of Ford, as she attempts to navigate her way to the top--until Weaver reappears on the scene…
In lesser hands, all this could become routine Hollywood nonsense, yet here it really clicks. Griffith effectively brokered her career off the back of her performance here, yet all three leads are in fine form, with a strong supporting cast and a delicious script to fall back on. Elements have certainly dated, and the world in many ways has moved on, yet there’s still plenty of room in it for films as good as this one.--Jon Foster
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