Working Girl (1988)

Although I am taking my sweet time in doing so, my attempt to finally get around to watching more Melanie Griffith films is continuing. She was someone I never really rated while actually delivering some of her best work (I was too young to fully appreciate most of her movies, and I mistakenly equated her choice of projects not tailor-made for me with a lack of talent), but looking back on the heyday of her career is an interesting experience. Not only did Griffith pick some great projects, it's fascinating to watch her own the screen and be treated like the beauty she so clearly is, yet also look at how she represents the kind of female sexuality and presence that is so rare to see onscreen in more modern movies, after years of developments in the world of fillers, implants, sculpting, and physical training regimes.

Working Girl is probably the biggest star vehicle for Griffith, certainly in the way it keeps her front and centre for most of the runtime, and allows her to work alongside a couple of star names comfortably leaning into their star status. The fact that it's a more adult reworking of The Secret Of My Success (which I'm sure was probably based on at least one or two previous tales) is neither here nor there. The main thing is that it's very enjoyable stuff. 

Griffith plays Tess McGill, a secretary who works for her boss, Katharine Parker (Sigourney Weaver), under the mistaken impression that she will be recognised and rewarded for all of her hard work. Seeing how she has been betrayed when her best idea is passed along by Katharine without giving her any credit, Tess decides to make some major moves when Katharine has to be absent for a while. She moves into the main office, upgrades her wardrobe, and starts seriously impressing Jack Trainer (Harrison Ford).

Working Girl has a decent script by Kevin Wade, which remains arguably the best he ever wrote, and solid direction by Mike Nichols. It's a great snapshot of the time, and makes a nice companion piece to the much more testosterone-heavy Wall Street, which was released the year before. The two films show people striving for great success, but with very different ideas of just what exactly that success looks like, and they both feature main characters who seem equal parts inspirational and monstrous, depending on how well they maintain their charming facade while holding on to their power and position.  

It's the cast who really make this shine though. Griffith is perfect in her lead role, and her transformation works as well as it does because they're only aesthetic choices that help her in her "fake it until you make it" mission. Weaver has a lot of fun as the big boss, enjoyably selfish and narcissistic, but deflecting any criticism by using a fake bond of feminist sisterhood and talk of long-term plans. Ford is playing the straight man to the two leading ladies, and he's well-suited to being someone as charming and charismatic and laconic as Ford can be. There's also room to have fun with Alec Baldwin, Joan Cusack, Nora Dunn, and Oliver Platt, and the likes of Kevin Spacey, Olympia Dukakis, and Timothy Carhart are scattered throughout the supporting cast.

I'm happy to have revisited this film for the first time in a looooooooong time, but I'm even more excited to eventually make time for a number of lesser-known titles that starred Griffith in a main role. Few may hit the same heights as this, but I hope they all at least showcase someone I am finally appreciating onscreen almost four decades after they were at the peak of their career.

8/10

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Mubi Monday: Carnal Knowledge (1971)

While it's over half a century old, Carnal Knowledge doesn't feel dated. That's as impressive as it is sad. Since finally watching it I keep making a joke about it being a film obviously loved by Neil LaBute, but I'm not sure I mean it. I mean . . . I DO mean it, but probably not as a joke. There's something in the bitterness and the misogyny here that is very much a precursor to the kind of sharp and jagged explorations of the same subject matter that LaBute would deliver in many of his own works.

Jonathan (Jack Nicholson) and Sandy (Art Garfunkel) are two friends who have plenty of conversations about the women they decide to pursue. This is all set up in the very earliest scene, a sequence that has Sandy trying to establish a connection with Susan (Candice Bergen) after Jonathan basically says "I'll let you have her." Susan doesn't realise that she's going to end up in the middle of a strange three-way relationship with both Sandy and Jonathan, at least until one of them gets bored with things. Jonathan also gets involved with Bobbie (Ann-Margret), a woman who is worn down and seriously affected by the mistreatment she suffers from him. As time rolls on, various women see Jonathan unable to extricate himself from his self-created black hole of self-loathing and inability to view women as nothing more than potential conquests. It just remains to be seen whether or not Sandy will be locked in there with him.

While there's no denying that the heart of Carnal Knowledge is the bold and unflinching screenplay from Jules Feiffer, which lays bare an attitude and culture that persists to this day, it's hard not to give just as much credit to director Mike Nichols and his main cast members. Nichols may not have avoided a number of mistakes throughout his decades-spanning directorial career, but his best works cast a long shadow over a few different eras of cinema. This is one of his best, taking a scalpel to examine some of the wounds of the 1970s that were left to scab over by those wandering around aimlessly in the 1960s. Could Benjamin Braddock have turned into Jonathan one day? Maybe, maybe not. 

Garfunkel does very well in his role, being a bit more timid, yet also far too willing to join in with his friend when it seems as if it may prove to be a winning tactic for him, and all of the women make an impact in various ways (Bergen, Ann-Margret, Cynthia O'Neal, Carol Kane, and Rita Moreno), but the film belongs to Nicholson, who manages to somehow keep his character riveting even as he becomes more and more overtly loathsome. He's quite pathetic and horrible, but that is sometimes hidden away under a projected image of false confidence and bravado. 

Carnal Knowledge isn't an easy watch. I'm not sure I'd even call it an entertaining one. It's thought-provoking and vital though, an essential part of a conversation that is still happening over half a century after it was first released. The fact that we're still having the conversation may well make your heart sink, but it's also better than this kind of behaviour playing out without people having the knowledge to more easily recognise it and call it out. And at least there's a somewhat happy ending here, seeing the lengths one character has to go to in order to hold on to any imagined scrap of power.

9/10

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Charlie Wilson's War (2007)

A comedy-drama based on the real events that saw a Congressman named Charlie Wilson building support, in terms of funds and supplies, for the Afghan people being decimated during the Soviet-Afghan War that lasted throughout most of the 1980s, Charlie Wilson's War is an interesting look at the fluidity of loyalty, certainly in comparison to how things stand today. It also underlines the importance of staying to finish a job if you're going to help out a country being ravaged by war, something that America didn't do for the Afghan people, arguably leading to the whole mess that we now find ourselves in.

Tom Hanks stars as Wilson, a role that makes use of his easy likability while refusing to hide the failings of the man (mainly drink and women, not necessarily in that order). Starting from a point of relative ignorance, his journey to Afghanistan, and what he sees there, begins a relatively speedy learning curve that connects him to a wealthy potential donor, Joanne Herring (played by Julia Roberts), and a talented CIA operative (Gust Avrakotos, played by Philip Seymour Hoffman). The three work hard to raise interest and money for something they view as a worthwhile war effort, and there are some startling results as Wilson digs his heels in to negotiate budget packages and effective plans.

The final film directed by Mike Nichols, this belongs much more to the writer, Aaron Sorkin. Sorkin is pretty much THE person to go to when you want to deliver lots of information in a comprehensive, and comprehendible, manner while also fleshing out a variety of main players. Adapting the book by George Crile, Sorkin appears to be in his element as he wrestles the complexities of the diplomatic and political proceedings into a narrative that manages to be both informative and entertaining. But he also makes time and space to give the leads some great moments (the lead role is a doozy for Hanks and the main scene introducing Hoffman's character is one of the funniest things that he's ever done).

Noticing the style of the writing more than the style of direction isn't to say that Nichols does anything wrong here. It's just that he is content to keep everything relatively simple when it comes to letting his impressive ensemble have fun with the script.

Having already praised Hanks and Hoffman, both giving standout performances in a career that isn't short of great turns from them, it's also worth paying compliments to Roberts (who has less screen time but still gets a couple of moments in which to shine) and Amy Adams (playing a dutiful assistant to Charlie Wilson). There are also very enjoyable appearances from Emily Blunt, Om Puri, Ned Beatty, Ken Stott, and others, all serving the script as best they can.

Given the quality of the various aspects, it's a shame that this doesn't quite become the sum of its parts. There's just something holding it back. A reticence to pick at the scab long enough, to take more moments to show the waters getting murkier and murkier, and a third act that doesn't underline the serious consequences of what is played out as a bit of a light romp for some of the main players.

This is a very good film, a smart one aimed at adults, but it could have been tweaked to be even better.

7/10

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The Graduate (1967)

It doesn't matter how many times it happens, I am still consistently amazed at my own ability to underestimate the sheer joy available from watching classic movies. I'd seen The Graduate before, many years ago, but lined it up for a rewatch without remembering just how great it was from start to finish and now a review seems pointless. Of course, I'm still going to try to do it justice but be prepared for something completely superfluous when coming along after the praise and respect that the film has already garnered over the years.

Dustin Hoffman, in a role that remains the one that defined his career, is Benjamin Braddock, a young man who has just returned home to very happy parents after graduating from college. Unfortunately, despite the good intentions and advice of everyone around him, Benjamin doesn't know what he wants to do next with his life. He's quite confused and things get more confusing for him when a family friend, Mrs Robinson (Anne Bancroft), intimates her willingness to have an affair with him. It's definitely a fun way to kill some time but a major problem arises when Mrs Robinson's daughter (Elaine, played by Katharine Ross) comes home and Ben is asked by his parents to take her out on a date.

Perfect, just perfect. That's what The Graduate is to me. If you've not seen it in a long time then reacquaint yourself with it as soon as possible. If you've never seen the movie before then stop reading this review and get your hands on it right now.

Hoffman and Bancroft are just superb, whether they're stuck in solo contemplation, interacting with other people or sharing the screen together in the moments of their affair that mix humour with a certain eroticism. Katharine Ross is very sweet as a young woman unwittingly caught in the middle of a horrendous situation. William Daniels and Elizabeth Wilson aren't onscreen for all that long but still do well as Benjamin's parents - proud of their son and showing him off to their friends and neighbours before trying to motivate him to start planning his future. Last, but by no means least, there's a great turn from Murray Hamilton AKA Mr. Robinson.

Of course, the cast get most of the praise (as well as Simon & Garfunkel, who provided the music that would make the soundtrack as perfect as any other aspect of the movie) but the people behind the camera deserve a fair few compliments too. The script by Calder Willingham and Buck Henry overflows with great lines and exchanges. Having said that, even the dialogue-free moments have plenty to "say" thanks to the direction of Mike Nichols. It's not always that subtle - Hoffman is often shown literally drifting through this time of his life - but every frame has plenty of information and detail in there, all conveyed through mise-en-scene. A better man could probably post a screenshot from every scene online and examine and dissect it to show the importance of almost every decision. I am not that man, you'll just have to trust me.

There's so much to say about The Graduate, including the way it hops around tonally without ever feeling inconsistent and messy, but I'll leave the longer essays to others with more time and intelligence at their disposal. I have to go and listen to some Simon & Garfunkel albums.

10/10

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Silkwood (1983)

Based on a true story, Silkwood is all about a woman who works at a plutonium processing plant. Her name is Karen Silkwood and she starts to make some trouble for the management of the plant when she becomes directly involved with the union and starts doing her damnedest to blow the whistle on the numerous dangerous practices that happen around her and her colleagues every day.

It may not be the most exciting story in the world, and the lead character isn't put across as the most likeable person in the world, but Silkwood certainly has a fine pedigree. The script was written by Nora Ephron and Alice Arlen and Mike Nichols has the directorial duties. Then there's that wonderful cast. Meryl Streep plays the titular character, though it's not her best performance by a long shot, while Kurt Russell plays her on-off lover and Cher does well as her good friend. If you don't like any of those folks then how about Fred Ward, David Strathairn, Bruce McGill, Ron Silver or Craig T. Nelson? All, in my view, mighty fine actors. Even the people with names you probably won't know, such as Diana Scarwid and Sudie Bond, give very good performances and Bond is involved in one of the most harrowing scenes in the entire movie.

It's the real horror of the material here that raises it up for me, otherwise I wouldn't have been able to score the film above average. The dangers of radiation are very well known nowadays but it wasn't all that long ago when people were being misinformed and basically used up, as is the case here. Management and business owners needed results and that meant exposing employees to some serious potential health risks. Best case scenario = they really weren't aware of just how damaging it could be. Worst case scenario = they knew, they knew all too well and would go to any lengths to keep their dirty little secrets hidden away. Silkwood tends toward the latter scenario but there is some ambiguity in the first half, at least, to avoid making the company villains absolute monsters.

The film, as a whole, just didn't work well enough for me but I know that I won't forget certain moments. The character played by Sudie Bond being hauled off and cleaned down after exposure to radiation is as upsetting a scene as any that I can recall from any genre, made all the more effective by Bond's heartbreaking performance in her supporting role. Surprising as it may seem, I have to suggest that Streep is actually the weakest link here. Perhaps there was only so much she could do with her character as it was written or perhaps, as I suspect, it just so happens that someone else would have been much better for the role. I don't know who that actress would be but I do know that when I think of the likes of Margot Kidder or JoBeth Williams in the lead role I feel more intrigued about what could have been. And those are just two choices off the top of my head.

Do watch the movie to see something powerful and distressing and to see some actors doing great work but don't watch the movie just to see Streep in the main role because you may find yourself disappointed.

7/10

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