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.

A Time to Kill

Tags

1990's, A Time to Kill, Ashley Judd, Brenda Fricker, Charles S. Dutton, Chris Cooper, Courtroom Drama, Crime, Donald Sutherland, Drama, Joel Schumacher, John Grisham, Kevin Spacey, Kiefer Sutherland, Legal Drama, Matthew McConaughey, Oliver Platt, Patrick McGoohan, Samuel L. Jackson, Sandra Bullock

Film Title

A Time to Kill

Director

Joel Schumacher

Starring

• Matthew McConaughey as Jake Brigance
• Samuel L. Jackson as Carl Lee Hailey
• Sandra Bullock as Ellen Roark
• Kevin Spacey as Rufus Buckley
• Oliver Platt as Harry Rex Vonner
• Kiefer Sutherland as Freddie Lee Cobb
• Donald Sutherland as Lucien Wilbanks
• Ashley Judd as Carla Brigance
• Brenda Fricker as Ethel Twitty
• Charles S. Dutton as Sheriff Ozzie Walls
• Chris Cooper as Dwayne Looney
• Patrick McGoohan as Judge Omar Noose

An incendiary and well mounted adaptation of the John Grisham legal/courtroom drama, A Time to Kill ensures that the moral and ethical debates come through strong, thanks to the story, script and cast.

In the town of Canton, Mississippi, a 10-year-old black girl by the name of Tonya Hailey is walking home after getting groceries from the local store. Suddenly, she is targeted by two sneering and utterly vile rednecks who violently rape and attempt to kill her by hanging. Tonya survives, but the damage to her has been done, which sends shock waves through the community. Tonya’s father Carl Lee is devastated when he discovers what has happened to his little girl and knowing that due to the racism that pervades the town and that the two men may get a light sentence, decides to take matters into his own hands. He responds by gunning down both men on their way to trial, in front of over a dozen witnesses. Arrested, Carl Lee contacts young and idealistic lawyer Jake Brigance to represent him. Jake had previously helped Carl Lee’s brother in the past and feels he must represent him; mainly because he was aware that Carl Lee might have gone through with his retribution after talking with him earlier. Jake is warned that this case will be dangerous and because he doesn’t have that much experience, he is bright and wants to help. Hurdles and stumbling blocks come up as the manipulative district attorney and prosecutor Rufus Buckley, who has his eye on office, decides to seek the death penalty and manages to stir the situation up. The climate of racism and clashing opposition makes the whole thing a powder keg as Jake finds his life in danger, as well as those closest to him being threatened by a resurgent faction of the Ku Klux Klan, brought out by one of the brothers of the men slain by Carl Lee. Yet with all the hostility and violence being thrown his way, Jake refuses to back down and his resolve is strengthened as he is soon in the courtroom representing his client in a case that could spark even more eruptions of unrest and horror for everyone. He is aided by the young law student Ellen Roark, who is a know it all but very passionate and good friend plus occasional divorce lawyer cynical Harry Rex Vonner. Yet getting a fair trial is going to be anything but easy as tensions threaten to explode.

Joel Schumacher impeccably displays a flair for the material; making it both extremely gripping and equally as powerful in what it brings to the table. A Time to Kill raises many moral questions in a series of ways that delve into the quagmire of what is deemed right and wrong, and how there is a difficult grey area in between. There are those that will say that the movie is more in favour of one view than the other, but even if that is true, A Time to Kill deserves credit for presenting issues like justice, fairness and racism with many degrees of thought-provoking effectiveness. I believe that the film tries to show both sides of things. While Carl Lee did kill the men who raped his daughter, you can understand many of the reasons why he did it. A Time to Kill asks us to consider what we would do in that situation, which allows the film to get under the skin deeply. The difficulty in the topic of morality and justice is best summed up by a speech given by Donald Sutherland’s character. He says, “If you win this case, justice will prevail, and if you lose, justice will also prevail”, which perfectly and simply reflects the complex issue at hand. The legal nature of A Time to Kill is pretty compelling to watch as the ethics of lawyers and the inevitable courtroom examinations of whether someone is guilty are put under the spotlight. The build up to the courtroom is equally as excellent, showing just how dangerous a case of this magnitude can be in a climate of uncertainty and intolerance. Yet when the courtroom drama hits, the fireworks really start to occur. The testimonies and confrontations have rippling consequences that influence the society around them, that is already at boiling point on account of racism and violence. The dignified and quick-moving script makes the legal terminology easy to digest, yet doesn’t forget the battle going on between many things within the fabric of the story. And speaking of quick-moving, A Time to Kill runs for two and a half hours, yet interest is kept in check and held throughout most of it. Sure some moments could have been expanded on, but the atmosphere and climate of the piece brings immediate attention and confronting intent to the viewer, that will get them to look at the ethics of the trial intensely. The music provided by Elliot Goldenthal is dynamic and matches the escalating emotions and tensions within the story.

A Time to Kill was the movie that really launched Matthew McConaughey to stardom and it isn’t difficult to see why. With his charming yet astute persona, he naturally plays Jake as a man put through the difficulties of the case, yet spurned on by what he sees as just cause. The gravity of the situation dawns on him after realising how complex events will turn out, but he won’t give up on this case and soldiers through it with unwavering determination. McConaughey is the right fit for the part and his closing speech in the film is powerful stuff that shows just what an excellent actor he is. Samuel L. Jackson is particularly memorable as the man on trial, evoking the self-possessed man whose temper was pushed to the edge by the brutality his daughter endured. Jackson’s work is very subtle and while he has two scenes of outburst( the first when he kills the men and the second in court) he is largely a modulated presence, though behind his eyes the fury and hurt is there as clear as day. This performance impressed me as I usually think of Jackson as manic and loud, yet he delivered a finely tuned performance as the avenging Carl Lee that reveals another side to him. We have Sandra Bullock portraying the over-eager and brainy Ellen with a good mix of sass and smarts, while Kevin Spacey can be discovered slithering his way across the screen, inhabiting the egotistical and ambitious prosecutor. Oliver Platt provides some levity from the intense drama in the sidekick role of being a cynical wise ass with questionable morals, yet also with surprising depth to match. Kiefer Sutherland is appropriately nasty and shocking, starring as the angered brother of one of the slain who riles up the Klan once more and delights in causing horror to all in order to get what he perceives as his own justice. His father Donald also makes a hell of a mark, exuding the wily silver fox persona ideal for his part of Jake’s former mentor, who despite being disbarred from court, manages to aid his young charge. It is interesting to note that Donald and Kiefer never share a scene in the film. Ashley Judd and Brenda Fricker have less to do in the film, but each is good in their respective roles of concerned wife and long-serving secretary. In smaller roles, Charles S. Dutton, Chris Cooper and Patrick McGoohan add their expertise to various people involved in the case and make the most of the time they get to be shown.

A Time to Kill emerges as an engaging crime drama that explores culpability, legality and racism in a powerful way, benefiting from confident direction and a star-studded cast.

Dangerous Beauty

Tags

1990's, Based on a true story, Catherine McCormack, Dangerous Beauty, Drama, Fred Ward, Jacqueline Bisset, Marshall Herskovitz, Moira Kelly, Naomi Watts, Oliver Platt, Romance, Rufus Sewell

Film Title

Dangerous Beauty

Director

Marshall Herskovitz

Starring

• Catherine McCormack as Veronica Franco
• Rufus Sewell as Marco Venier
• Oliver Platt as Maffio Venier
• Jacqueline Bisset as Paolo Franco
• Fred Ward as Domenico Venier
• Moira Kelly as Beatrice Venier
• Naomi Watts as Giulia De Lezze

Taking basis from the true story of 16th Century courtesan and poet Veronica Franco, Dangerous Beauty is an underrated movie that finds a somewhat inspiring and passionate tale in the journey of a trailblazer who gained both respect and scorn.

16th Century Venice: women are seen as property and marriage has nothing to do with love, more for the sake of duty and money. Veronica Franco is a beautiful young girl with a passion for verse and desire for learning. She is of lowly birth, yet has a kittenish disposition that covers this. Young and passionate Veronica is in love with Senator’s son Marco Venier, and he returns that love. Yet due to the fact that she is of inferior birth and that her family can’t provide a dowry, the two can never marry. Devastated by this knowledge, she is consoled by her mother Paolo. Her mother then gives Veronica a talk on a path to that could liberate her to a comfortable existence. The profession in question is being a courtesan. Hearing this surprising advice from her mother, Veronica recoils at first at the idea of selling her body for profit. But once she hears that courtesans can have a sense of influence and rights to an education, she takes note. Forsaking her love for Marco, Veronica transforms due to her burgeoning intelligence and drive into a courtesan of which she becomes greatly renowned. Veronica finds her fortunes changing and her reputation growing, both for better and for worse in some quarters. She gains respect from a lot of people higher up the social ladder, yet earns the hate of ladies who see that their husbands could very well be Veronica’s clients. Her poetry flourishes and though the world that she inhabits is male-dominated, through her intellect and passion she gets a foothold in society. Yet Veronica, while gaining independence, craves the love of Marco secretly yet understands the precariousness of standing. Fate has other plans however as war brews, plague arrives and the Inquisition takes residence in Venice. Veronica is forced to testify in court about her life, to which she shows her mettle and takes aim at the hypocrisy of society in unconventional style.

A film like Dangerous Beauty had the potential to be overly sleazy and trashy, so it’s good that it steers clear of both by way of confident and understanding direction. Marshall Herskovitz has this innate ability to sympathise with the characters, mainly in the case of Veronica. He doesn’t pass judgement on her despite the profession she embarks on, portraying her more as a girl who takes the initiative in order to prosper in a world that is obsessed with social standing and class. A script filled with drama, romance and wittiness, stands Dangerous Beauty in good stead as it busts apart the hypocritical attitudes of the time and especially the burdens on women in general. The parts of humour, provided mostly by Veronica and her excellent way with words, moves the story along with a brisk pace that doesn’t scrimp on the deeper parts of the story either. Now with Dangerous Beauty being a film about a courtesan, there is a sexual tone to the movie. Yet as sensuality is presented, it is done in a way that isn’t just about naked bodies and sweating. Sex is a power play in a sort of way in Dangerous Beauty, exposing how women were looked at in the time but how Veronica switched it up with her untamed personality. There are some areas where the film can be a little uneven, but Dangerous Beauty is not harmed by this thankfully as its story and execution remain intact. Beauty is glimpsed through the vast array of colour that features heavily, the visual department really knock it out the park recreating 16th Century Venice. An expressive score encompasses the humour, drama and passion on display with beautiful shifts in emotional levels.

Catherine McCormack delivers a splendid performance here as the soul of the film. Imbuing Veronica with a keen intention to learn, seductiveness and later outspoken feeling, she truly is a marvel. Boasting a beauty yet a heart and desire, you can’t quite take your eyes off her. Plus, her interpretation of the often witty and poetic words Veronica speaks are both fun and refreshing. McCormack is simply like a breath of fresh air, boasting the right temperament and conviction for the part of a woman who refused to be compromised by chains and retained dignity. The character of Veronica Franco is supposed to stand out and man does Catherine McCormack do just that. Rufus Sewell exhibits a sensitivity and sense of conflict within nobleman Marco, who knows that he loves Veronica but is obliged by duty to marry someone else. We witness the stiffening of his backbone as Dangerous Beauty commences and he begins to change. One of the biggest stand outs after McCormack is Oliver Platt. He essays the role of Marco’s cousin who isn’t as well off as he and whose jealousy burns that Veronica’s poetry flourishes with a chance of money while his dwindles. Although the character is a wastrel, there are many notes of tragedy to him. Jacqueline Bisset is simply terrific as the extremely wise mother who instructs her daughter into the ways of a courtesan under her watchful eye. She boasts a delightfully observant cynicism that has been shaped through her years as a young woman in a male-dominated world and the way in which she can educate her daughter in how to gain something. Then we have Fred Ward who clearly has a ball with the role of Marco’s uncle, playing him with a wily understanding of his nephew’s needs and a genuine respect for Veronica, where others scorn her. Though largely in the background for a lot of Dangerous Beauty, Moira Kelly comes into her own later on with a scathing attack on the unfair treatment of women in society. And look out for an early role from Naomi Watts as the timid and dutiful wife chosen for Marco.

A satisfying and beautifully rendered drama of one woman and her integrity, Dangerous Beauty is sumptuous, fresh and at times quite funny. I greatly advise people to see this film as it is a pretty underappreciated one in my eyes.