Working Girl

Tags

1980's, Alec Baldwin, Comedy, Harrison Ford, Joan Cusack, Kevin Spacey, Melanie Griffith, Mike Nichols, Oliver Platt, Sigourney Weaver, Working Girl

Film Title

Working Girl

Director

Mike Nichols

Starring

• Melanie Griffith as Tess McGill
• Harrison Ford as Jack Trainer
• Sigourney Weaver as Katharine Parker
• Joan Cusack as Cynthia
• Alec Baldwin as Mick
• Oliver Platt as David Lutz
• Kevin Spacey as Bob Speck

Working Girl is an effervescent and feel good comedy from Mike Nichols, that satirizes the corporate business world and conveys a woman grabbing the opportunity to make something of herself. Light and funny yet also intelligent, this combination, when aided by a very accomplished cast ensures Working Girl is a triumph.

Having just turned 30, Staten Island raised secretary for a stockbroker Tess McGill wishes for something more and wants a job of an executive nature. Sadly, no matter how hard she strives, nothing much seems to come of her diligence. And after a run in with her boss, she is reassigned to a financial firm. She is to be the secretary for Katharine Parker; a seemingly affable and powerful woman who appears to take Tess under her wing and encourages her to pitch ideas. Tess comes up with a pretty neat idea for a lucrative merger that she passes by Katharine, but nothing seems to come of it. Then Katharine is injured during a skiing trip in Europe, which enables Tess to look after business while she recovers. It is here that Tess discovers that Katharine was about to go forward with her idea, without giving her any credit. But two can play at that game and Tess decides that is she wants to make her name for herself, she must take action. And action is what she takes, by styling herself into the persona of a higher executive. Though a risky move, her smarts and innate mind for business make up her artillery as she mounts her idea to a potential merger. Along the way, she enlists the help of the handsome executive Jack Trainer, who could be very handy in aiding her business plans. The thing is Jack believes that Tess is someone higher up in the job than what she is because she is so convincing with the ins and outs of making deals, and Tess manages to keep her proper status this under wraps though. Along the way, Tess and Jack develop romantic feelings for the other. Tess finds herself on the cusp of closing this deal and winning Jack, but a spanner is put in the works with the return of conniving Katharine.

Mike Nichols has always been a director who I admire, mainly for his perceptive probing of people and his approach to the characters. He infuses Working Girl with a funny surface that chimes well with the personable elements of the story, but like always, he cuts a bit deeper and has a ball dissecting big business in New York and the often ruthless tactics employed in it. Nichols work has a crisp and unobtrusive approach to it, knowing exactly when to use the camera for something different and when to just let things flow effortlessly. A stellar example of his craftsmanship is the opening that circles the Statue of Liberty while following Tess on her journey into the concrete jungle, the feeling of enormity and big dreams is very strong here. You get the best of both worlds with Mike Nichols in the director’s chair; on one hand there is the self-made Cinderella story with oodles of 80’s style and then a witty examination of someone striving to make it big in a cutthroat world of sharks. There are those who will view Working Girl with cynicism for its feel good overtones, mainly stemming from the idea that someone can succeed in this kind of world with simply pluck and intelligence( which I could understand, but don’t think it detracts from the enjoyment of it.) But to think of the film purely like that is to miss the rousing and inspiring nature of it, which will win over even the most dejected and grumpy person, as underdog Tess takes destiny and shapes it for herself. You seriously will find it hard not to laugh, due to the sparkling dialogue from Kevin Wade and screwball tropes that are updated to a world of shoulder pads and big hair, befitting of the 80’s colour and atmosphere. And the romance in the film is thankfully something that doesn’t descend into ridiculousness that could have seriously dragged the film down. In actual fact, it extended the enjoyable factor watching Tess and Jack put their heads together and slowly fall for the other, in a dazzling mix of business and pleasure. Add in parts of significant tension, that can be found as the identity of Tess is frequently nearly revealed, Working Girl is a pleasing winner. Only that it is a tad overlong is an extremely minor blemish on a delightfully mounted and performed comedy that nary puts a foot wrong. Lashings of 80’s glamour cover Working Girl and while it’s easy to scoff at some of the outfits, they actually make a good representation of how clothing makes the person which is something Tess knows all about once her Pygmalion style transformation starts. And no discussion of the film would be worth reading without mentioning the music. Largely based around the rousing Carly Simon song ‘Let the River Run’, the music sweeps you up and brings the feel good to the film in large quantities.

Melanie Griffith is inspired casting for Tess; her airy voice and expressive eyes used perfectly to imbue the part with a strength and occasional vulnerability. Griffith triumphs at making Tess a go-getter who isn’t going to just fall by the wayside and takes events, with a little subterfuge, into her hands and puts her business acumen to good use. You root for the character in her search for something worthwhile and you feel her plucky personality emerge through Griffith’s subtle yet endearing interpretation of the part. And seriously, everyone has to agree that Melanie Griffith looks adorable in this film, right? Harrison Ford contributes an affable and low-key performance as the often bewildered but honest executive, who unwittingly becomes the object of affection for both of the main ladies. Ford is a natural with light comedy and his facial expressions and awkwardness induce many laughs, plus his chemistry with both women is excellent. A tremendous supporting turn from Sigourney Weaver is also worthy of note. Playing the high-powered bitch, Weaver imbues the part with a sly charisma that sucks others in and belies her larcenous and greedy tendencies. Fabulous is the best word to describe Sigourney Weaver here, and even though she is wicked, she makes it looks so devilishly fun through her entertaining portrayal of a grinning shark in a corporate capacity with the shoulder pads to match. Joan Cusack provides countless laughs and wisecracks as the wildly dressed best friend, with nowhere near as much ambition as Tess but a supportive enough outlook for advice and salt of the Earth friendship. Alec Baldwin is here as the ne’er-do-well boyfriend who may be a hunk initially in the eyes of Tess( I mean, does this guy actually own a shirt?) but is a philanderer to put it lightly. In small appearances early in their careers, Oliver Platt and Kevin Spacey catch the eye as a pair of downright sleazy guys.

Sparkling, romantic and amusing, the executive suite comedy of Working Girl makes it a ticket to success and enjoyment from the fantastic Mike Nichols and his cast.

The Edge

Tags

1990's, Action, Adventure, Alec Baldwin, Anthony Hopkins, Elle MacPherson, Harold Perrineau, Lee Tamahori, The Edge, Thriller

Film Title

The Edge

Director

Lee Tamahori

Starring

• Anthony Hopkins as Charles Morse
• Alec Baldwin as Bob Green
• Harold Perrineau as Stephen
• Elle MacPherson as Mickey Morse

An exciting adventure thriller that wisely eschews the desire to be just about non-stop action, The Edge keeps interest throughout thanks to a cool script and good acting from the leads of Anthony Hopkins and Alec Baldwin. It isn’t the kind of film that is going to garner awards, but it is still entertaining and has some welcome changes to what we have come to expect.

Billionaire Charles Morse accompanies his much younger model wife Mickey on a photo expedition to Alaska. Also along for the shoot is fashion photographer Bob Green. Charles is a quiet and introspective man who reads a lot and has a very good memory. Lately, he has come to believe that his beautiful wife may be straying with the slightly arrogant Bob. He can’t prove this, but it does bother him. So when Bob wants to employ the services of a local man and persuades Charles to come with him and his assistant Stephen, it seems strange that he should go. Though edgy as he suspects Bob of coveting his wife, Charles goes along anyway, if anything it seems to confirm suspicion. Yet when they can’t find the man, they search around for him among the huge wilderness. This is cut short as the plane crashes into the wilderness, killing the pilot. Stranded in the middle of nowhere, the three men make a stab at returning to safety, which is thwarted by death traps and power of nature. Soon enough, unprepared Stephen is killed by an enormous bear that is stalking them. Left now are Charles and Bob, whose differences are vast and opinions of the other are far from glowing. Thankfully, Charles has an excellent memory and having read about the wild, puts his knowledge to good use as he and Bob journey for what could be safety. Over time and worn down by the surroundings, Bob warms to Charles a lot more and the two begin to share a slow but slightly uneasy kinship. Yet the seeds of doubt are still present and could break apart the fight for survival and return to civilisation. And there is also the rather large and savage bear on their tail that refuses to rest until the two men become its next meal. Hacking through dangerous terrain and braving the extreme elements, Charles and Bob must find a way to finally overcome animosity to work together. Yet can their differences and grudges thaw in order for them to pursue survival in a dangerous climate?

I’m not the biggest fan of director Lee Tamahori. His later efforts following this film, mainly Along Came a Spider and Die Another Day, leave a lot to be desired. But I have to say that his direction here was actually atypically skillful and took me by complete surprise. If only he continued to direct like he does here, he could be a credible director. Stunning and accomplished camerawork makes the wilderness locations eye-catching in beauty and amount of scope it conjures up. It also successfully suggests the enormity of the two men’s plight as they are often shown small a against the trees and mountains they journey through. One of the best areas within The Edge is the screenplay from David Mamet, that is punchy and fresh. It takes a rather simple set up and embellishes it with wit and depth, both of which are rather lacking in many other adventure action films. It is most successful in the characters of Charles and Bob, who while they seem to develop something of a respect for each other, still have an underlying feeling of tension to them. And The Edge while witty and dramatic, doesn’t leave the action by the wayside. Far from that, it has some amazing action scenes, particularly the bear attack sequences, that act in accordance with character development and for the most part hold up in a taut way. I was very impressed and surprised by how well the film came together. Though The Edge is far from flawless; the main issue is that it’s rather overlong and stretches things a bit too much. Though with that being my only niggle, it is safe to say that The Edge is a film I genuinely found myself thrilled by. A mood enhancing score does wonders, while offering glimmers of hope for the stranded men.

It is the cast of The Edge that elevates what could have been a routine exercise. Anthony Hopkins is his intelligent and memorable best here, peppering his role with an unassuming demeanor and splashes of humour. The role of Charles is one where knowledge provides power and endurance is something he gains from his harrowing experiences. And it must be stated that Anthony Hopkins, being the professional he is, contributes a very good performance to The Edge that provides it with substance. Alec Baldwin similarly impressed me with an unexpectedly vulnerable turn as the shallow but cracking Bob. Vulnerability is not normally a word I would associate with Alex Baldwin, but he pulls it off admirably and his chemistry with Anthony Hopkins is what keeps the film ticking over. Because the main basis of the film surrounds Hopkins and Baldwin, the supporting players are not given much to do that is memorable. Harold Perrineau is good in his relatively small part of the doomed Stephen, but his character is merely a plot device. The same goes for Elle MacPherson who plays the model wife of Anthony Hopkins. She is beautiful that is true, but her part is pretty thankless.

An unexpectedly well done action thriller that has refreshing character development and some fantastic dialogue, The Edge is definitely underrated stuff that while far from perfect, knows the balance between action and drama and can supply both effectively.

Blue Jasmine

Tags

2010's, Alec Baldwin, Andrew Dice Clay, Blue Jasmine, Bobby Cannavale, Cate Blanchett, Drama, Louis C.K., Peter Sarsgaard, Sally Hawkins, Woody Allen

Film Title

Blue Jasmine

Director

Woody Allen

Starring

• Cate Blanchett as Jasmine
• Sally Hawkins as Ginger
• Alec Baldwin as Hal
• Bobby Cannavale as Chili
• Andrew Dice Clay as Augie
• Louis C.K. as Al
• Peter Sarsgaard as Dwight

A strong drama/tragedy from the pen and direction of Woody Allen populated with acerbic dialogue and an exceptional cast headed by an award-winning Cate Blanchett, Blue Jasmine emerges as one of his most scathing and seriously darker films.

Jasmine was not so long ago a wealthy socialite with everything she could ask for. That is until it was revealed that her husband Hal was a fraudster and who was subsequently arrested for his shady dealings. Now penniless and recovering from a nervous breakdown, Jasmine heads to San Francisco to stay with her adopted sister Ginger. Ginger is less well off than Jasmine, but is hard-working and never bemoans it. Yet while she is doing Jasmine a favour by putting her up, she may have wished she hadn’t . You see Jasmine is not an easy or at all pleasant person to be around. The once rich society princess has a sense of entitlement that causes her to sneer at Ginger’s choices in lifestyle and men, like her latest boyfriend grease monkey Chili. In between popping pills, wittering on to herself about the old glories and hitting the booze whenever she can get her hands on it, Jasmine completely starts to unravels emotionally as her bubble bursts. Jasmine alienates those around her and people like Ginger’s ex husband Augie, who was ripped off by Jasmine’s husband are far from happy to see her swanning back into town as if nothing has happened. Through flashbacks, we begin to get a picture of her life before that she clings to with alarmingly delusional flights of fancy that are leading her down the dangerous path to another nervous breakdown.

The dark drama within Blue Jasmine unfolds very well, courtesy of fantastic and withering direction from Woody Allen. I especially liked the way he cut the flashbacks with the present. It isn’t anything complicated or flashy, it is events shown when a certain topic is brought up about Jasmine and we get answers from it.  There is a reminiscent quality about the structure of the flashbacks, which is very apt seeing as Jasmine is still completely in the past and refusing to step out of it. While Woody Allen is a master of comedy, he is also pretty adept at crafting drama. If you want a drama from him, look no further than Blue Jasmine. Humour may have a part in the movie, but like the dark tone of it, the humour comprises of scalding one-liners, biting indictments of the rich and watching Jasmine continue to delude herself that her life is still flashy and amazing. I’m liking seeing Woody Allen direct drama as he has a definite flair for this dark type of drama, tinged with bits of black comedy and vicious wit. Sure at times the narrative can flounder a little, but that is a very minor flaw in what is a very successful movie. A bright visual style showcasing San Francisco is laced with a biting irony at the darkness of the story as Jasmine heads towards the razor’s edge of insanity. A soundtrack of blues and jazz underpins the dark, tragic and pathetic nature of Jasmine’s plight, which is in one way done by her own hand.

What really dominates Blue Jasmine is the bravura performance from Cate Blanchett, that garnered her a well deserved Oscar. The character of Jasmine must have been difficult to play because of how much her emotions veer from one to the other, but Blanchett effortlessly turns in a performance that doesn’t hit a false note. The character of Jasmine is not likable; she’s bitchy, snotty and holds contempt for those who she judges to be beneath her station. Yet with Blanchett in the role, she invests it with not so much a sympathy but a reason that Jasmine is a victim of her own selfishness who simply can’t let go of her past riches and is pathetic, strangely tragic and emotionally ruined to say the least. You simply can’t take your eyes off Blanchett in her portrayal of the slowly disintegrating Jasmine and it stands as one of her best performances. Sally Hawkins provides a great foil to Blanchett’s bitchy Jasmine in the form of down to earth Ginger. She gives her part a genuine niceness tempered with a quiet strength that is soon unleashed as she grows weary of her sister’s behaviour and disapproving attitude. Ginger is a character that you can relate to more because she is rational and while not exactly thrilled at her social standing, works hard enough and sacrifices to make ends meet. Alec Baldwin, shown in flashback is the charming shark who lead Jasmine right up the garden path. Baldwin portrays the smooth operator with a smug and scheming personality with relish. Bobby Cannavale, boasting a blue-collar attitude and big heart is very good as Chili, whose temper is ignited by the way Jasmine looks down upon him. Andrew Dice Clay is well cast as Augie, who was duped by one of Hal’s schemes and came off a lot worse, while Louis C.K. is good as another possible love interest for Ginger. Rounding out the proceedings is Peter Sarsgaard as a wannabe politician who indulges Jasmine’s delusions of grandeur.

With a biting, tart wit and deft direction, Woody Allen conjures up one of his strongest films of late, that is jet-black in terms of humour and is more akin to a tragedy. And with Cate Blanchett on absolutely stellar form as the socialite fallen on hard times and slowly adrift in a sea of delusions, what more could you ask for?