Working Girl (1988)

Overview

Working Girl is a sharp, spirited, and empowering film that takes a romantic comedy framework and infuses it with ambition, class struggle, and gender politics. Directed by Mike Nichols, known for his acutely observed character studies (The Graduate, Carnal Knowledge), the film captures the corporate culture of the late 1980s through the lens of an underdog tale.

Set in the high-stakes world of Manhattan finance, it follows a Staten Island secretary who dares to believe she deserves a seat at the boardroom table. With strong performances and a killer soundtrack (notably Carly Simon’s Oscar-winning song “Let the River Run”), Working Girl delivers both feel-good charm and sharp commentary.

Plot Summary

Tess McGill (Melanie Griffith) is a smart, street-savvy secretary from Staten Island with big dreams and little opportunity. Despite her intelligence and drive, she’s routinely underestimated and passed over in her male-dominated workplace.

When she gets assigned to work for Katharine Parker (Sigourney Weaver), a polished and seemingly supportive female executive, Tess believes she’s finally caught her big break. But Katharine turns out to be more opportunistic than altruistic—stealing Tess’s business idea while recovering from a skiing accident.

Seizing her moment, Tess steps into Katharine’s shoes, forms a business alliance with investment broker Jack Trainer (Harrison Ford), and attempts to pitch the deal herself—without revealing her true position.

What ensues is a high-stakes game of identity, deception, and ambition, as Tess navigates Wall Street politics, class divides, and her own doubts—all while falling in love with Jack, who is unaware of her secret.

Themes and Interpretation

1. Feminism and Workplace Inequality

At its core, Working Girl is a feminist fable about a woman claiming her space in a world dominated by men—and often gatekept by other women who have “made it.” Tess’s journey is not just professional; it’s a confrontation with the social structures that devalue working-class women.

The film contrasts horizontal feminism (women lifting each other up) and vertical competition (women replicating patriarchal systems once in power). Katharine is not a villain simply because she’s ruthless—she’s a product of a system that makes women feel there's room for only one at the top.

2. Class Divide and Social Mobility

Tess’s Staten Island roots, thick accent, and lack of Ivy League polish make her an outsider in the corporate world. The film is acutely aware of the invisible barriers of class and presentation, highlighting how upward mobility in America is often as much about appearance and networking as it is about competence.

The contrast between Tess’s modest lifestyle and the opulent world of Manhattan executives underscores the “fake it till you make it” ethos—and how gatekeeping operates along lines of accent, wardrobe, and social familiarity.

3. Love, Identity, and Integrity

While the romance between Tess and Jack adds a feel-good dimension, it’s never allowed to overshadow her professional journey. Jack falls for Tess not because she’s trying to be someone she’s not—but because she is someone, even if the world doesn’t yet see her that way.

The central question is whether integrity and success can coexist—and Working Girl answers optimistically, but not naively.

Direction and Visual Style

Mike Nichols brings a light but steady touch, never tipping the film too far into either satire or melodrama. He masterfully balances tone—injecting humour and charm into serious themes of classism and sexism.

Visually, the film reflects the late-’80s excesses—shoulder pads, towering hair, and sterile boardrooms—while contrasting it with Tess’s more grounded, working-class reality. The mise-en-scène cleverly tracks Tess’s transformation: from subway rides and hair spray to elevators and power suits.

Nichols also uses space effectively—boardrooms, skyline vistas, and corner offices become metaphors for inclusion, aspiration, and exclusion.

Screenplay and Dialogue

Kevin Wade’s script is smart, efficient, and laced with memorable lines:

“I have a head for business and a bod for sin.”

“If you want to be taken seriously, you need serious hair.”

The dialogue captures the tension between image and reality, and the humour never undercuts the stakes. It also allows the female characters to have complexity—Tess is vulnerable and self-doubting yet tenacious, while Katharine is elegant and brilliant but manipulative.

The narrative structure adheres to a Cinderella arc but flips it—Tess saves herself.

Music and Soundtrack

The film’s anthem, “Let the River Run” by Carly Simon, won the Academy Award, Golden Globe, and Grammy. It’s an exuberant, empowering track that perfectly captures the film’s spirit of aspiration and self-belief.

The opening sequence—set to the song and featuring Staten Island commuters heading into Manhattan—is iconic. It acts as a visual poem about ambition, hope, and the quiet determination of working people.

Performances

Melanie Griffith (Tess McGill): Griffith’s performance is the emotional core of the film. She blends vulnerability, charm, and quiet strength with real nuance. Her Staten Island accent and wide-eyed expressions make Tess feel authentic and relatable. This role earned her an Oscar nomination and cemented her as a leading lady.

Harrison Ford (Jack Trainer): Playing against type, Ford is warm, approachable, and surprisingly funny. He’s not a “prince” who rescues Tess; instead, he becomes her partner and equal.

Sigourney Weaver (Katharine Parker): In a performance that earned her an Oscar nomination, Weaver plays Katharine as a pitch-perfect example of polished duplicity. She’s poised, intelligent, and manipulative—always smiling even when cutting down.

Joan Cusack (Cyn): As Tess’s brash best friend, Cusack steals every scene she’s in. Her big hair, biting quips, and unwavering support embody the heart of the film’s class-conscious storytelling. She also received an Oscar nod.

Alec Baldwin (Mick): Tess’s cheating boyfriend is more caricature than character, but Baldwin plays him with sleazy charm, providing a contrast to Jack’s decency.

Reception and Legacy

Working Girl was a commercial and critical success:

Academy Award Wins/Nominations:

Won: Best Original Song (Let the River Run)

Nominated: Best Picture, Best Actress (Griffith), Best Supporting Actress (Weaver and Cusack), Best Director (Nichols), Best Screenplay

The film tapped into the cultural zeitgeist and helped push the conversation about women in the workplace, just as second-wave feminism was evolving into third-wave awareness.

It’s often grouped with other late-’80s “yuppie” films (Wall Street, Baby Boom, Broadcast News), but Working Girl stands out for its emphasis on female agency and authenticity over assimilation.

In 2022, a remake was announced with Selena Gomez producing, demonstrating the film's continued relevance.

Criticisms

Simplistic Resolution: The film wraps up quite tidily, with Tess getting her job, the guy, and vindication in one fell swoop. Some critics argue this feels too neat for a story dealing with systemic issues.

Cinderella Syndrome: Despite its progressive trappings, the story still hinges on upward mobility through deception and romantic connection.

Class Portrayal Can Be Stereotypical: The depiction of Staten Island culture occasionally veers into broad caricature (e.g., accents, hair, behaviour).

Conclusion

Working Girl is a rousing and emotionally satisfying portrait of ambition, resilience, and self-worth. It combines the energy of a romantic comedy with the insight of social critique. With charismatic performances, thoughtful direction, and a killer soundtrack, it remains a beloved and influential film.

More than 35 years later, Working Girl still resonates—not just as a nostalgic slice of 1980s optimism, but as a reminder of the barriers working-class women continue to face in the climb toward recognition and equality.

A whip-smart, heart-filled story of ambition and authenticity that still feels relevant today.